Dixon is a city in northern Solano County, United States, located 23 miles from the state capital, Sacramento. The population was 18,351 at the 2010 census. Other nearby cities include Vacaville and Davis; the first semi-permanent European settlement to develop in the Dixon area emerged during the California Gold Rush of the mid-19th century. During this time, the community of Silveyville was founded as a halfway point between the Pacific coast and the rich gold fields of Sacramento—along a route traveled by miners. In 1868, Central Pacific railroad missed Silveyville by a few miles; as a result, local leaders decided to physically relocate Silveyville closer to the tracks in order to enjoy the benefits of commerce and travel. One of the first buildings that still stands in Dixon from the 1871 move is the Dixon Methodist Church located at 209 N. Jefferson Street; the city was named "Dicksonville" after Thomas Dickson who donated 10 acres of his land for the construction of a railroad depot following the completion of the tracks and subsequent relocation of Silveyville to the now-Dixon area.
However, when the first rail shipment of merchandise arrived from San Francisco in 1872, it was mistakenly addressed to "Dixon"—a name, used since out of simplicity. Up to now, the urban landscape of the town can be seen to have developed in between the railroad tracks and Interstate-80; the current city council consists of Steven C. Bird, Scott Pederson, Jim Ernest, Devon Minnema. Pederson and Ernest were elected in 2018. Mayor Thom Bogue, as well as Bird and Minnema, were elected in 2016 and they will be up for reelection in 2020. Dixon is the home of the Gymboree Corporation's only Distribution Center, servicing all stores and customers around the world. Dixon is located at 38°26′57″N 121°49′37″W. According to the United States Census Bureau, the city has a total area of 7.1 square miles, of which, 7.0 square miles of it is land and 0.1 square miles of it is water. The 2010 United States Census reported that Dixon had a population of 18,351; the population density was 2,587.7 people per square mile.
The racial makeup of Dixon was 13,023 White, 562 African American, 184 Native American, 671 Asian, 58 Pacific Islander, 2,838 from other races, 1,015 from two or more races. Hispanic or Latino of any race were 7,426 persons; the Census reported. There were 5,856 households, out of which 2,773 had children under the age of 18 living in them, 3,550 were opposite-sex married couples living together, 790 had a female householder with no husband present, 339 had a male householder with no wife present. There were 327 unmarried opposite-sex partnerships, 26 same-sex married couples or partnerships. 867 households were made up of individuals and 301 had someone living alone, 65 years of age or older. The average household size was 3.13. There were 4,679 families; the population was spread out with 5,349 people under the age of 18, 1,816 people aged 18 to 24, 5,026 people aged 25 to 44, 4,608 people aged 45 to 64, 1,552 people who were 65 years of age or older. The median age was 33.3 years. For every 100 females, there were 97.8 males.
For every 100 females age 18 and over, there were 94.8 males. There were 6,172 housing units at an average density of 870.3 per square mile, of which 3,902 were owner-occupied, 1,954 were occupied by renters. The homeowner vacancy rate was 2.0%. 12,149 people lived in owner-occupied housing units and 6,201 people lived in rental housing units. As of the census of 2000, there were 16,103 people, 5,073 households, 4,164 families residing in the city; the population density was 2,434.1 people per square mile. There were 5,172 housing units at an average density of 781.8 per square mile. The racial makeup of the city was 70.51% White, 1.93% Black or African American, 0.99% Native American, 3.11% Asian, 0.30% Pacific Islander, 17.87% from other races, 5.29% from two or more races. 33.62% of the population were Hispanic or Latino of any race. There were 5,073 households out of which 47.8% had children under the age of 18 living with them, 67.0% were married couples living together, 9.7% had a female householder with no husband present, 17.9% were non-families.
13.0% of all households were made up of individuals and 4.5% had someone living alone, 65 years of age or older. The average household size was 3.17 and the average family size was 3.45. In the city, the population is concentrated among adults 25 to 44 and children under age 18. Only 8.5% of the population is aged 18 to 24. The median age was 32 years. For every 100 females, there were 100.3 males. For every 100 females age 18 and over, there were 97.8 males. The median income for a household in the city was $54,472, the median income for a family was $58,849. Males had a median income of $42,286 versus $30,378 for females; the per capita income for the city was $20,139. About 5.2% of families and 8.1% of the population were below the poverty line, including 9.1% of those under age 18 and 6.6% of those age 65 or over. The Jackson Fay Brown House and the Dixon Carnegie library are on the National Register of Historic Places; as of 2014, Dixon residents Matt and Mark Cooley, owners of Cool Patch Pumpkins, hold the Guinness World Record fo
The Modern Serbo-Byzantine architectural style, Neo-Byzantine architectural style or Serbian national architectural style is the style in Serbian architecture which lasted from the second half of the 19th century to the first half of the 20th century. This style originated in the tradition of medieval Serbian-Byzantine school and was part of international Neo-Byzantine style; the beginning of the modern Serbian-Byzantine style lies in the romantic spirit, prevalent in Europe in the first half of the 19th century, in the Serbian lands appeared by the mid-century and was alive to its last decades. The beginning of this style can be seen as "resistance" to newcomers influences of the "western style" in the Principality of Serbia; the style is characterized by forms and decorations came from the Serbian-Byzantine architectural heritage. This architectural approach is not tied to the church building, it is closely linked to the influence of Art Nouveau. The Modern Serbo-Byzantine architectural style consists of three periods.
First or early period represents a combination of "western-style" with elements of Byzantine architecture. A typical example is the Church of St. George in Smederevo, where the longitudinal basis appears five domes in the form of so-called. "Greek cross". The second period is related to the strengthening of Serbia, now as a kingdom. During this period, the style is "determined". Number of churches are being build other forms of construction. Examples outside the territory of the Kingdom of Serbia are rare; the third and final period is related to the time between the two world wars, when there was a sudden expansion of the style. Style occurs across the whole of the Kingdom of Serbs and Slovenes Yugoslavia, although its presence was much more dominant in the east, "Serbian" part of the work of the Kingdom. Examples of the western part of the Kingdom of Yugoslavia are rare and are related specific examples of church architecture of the Serbian Orthodox Church. In addition, there are examples related to the Serbs in the diaspora, like the Church of St. Spyridon, Trieste.
Buildings in this period are religious and secular. The Second World War was a turning point. Prominent architects of this style are: Andrey Damyanov Aleksandar Deroko Momir Korunović Svetozar Ivačković Vladimir Nikolić Jovan Ilkić Dušan Živanović Andra Stevanović Branko Tanazević Petar Popović Jovan Novaković Dragutin Maslać Dragutin Inkiostri Medenjak Vasilije Androsov Grigorije Samojlov Branko and Petar Krstić Cathedral of Saint George in Smederevo by Andrey Damyanov Serbian Orthodox Cathedral in Niš by Andrey Damyanov Serbian Orthodox Cathedral in Vranje by Andrey Damyanov Serbian Orthodox Cathedral in Sarajevo by Andrey Damyanov Cathedral of the Holy Trinity in Mostar by Andrey Damyanov Church of the Ascension in Belgrade by Pavle Stanišić and Jovan Ristić Saint Spyridon Church in Trieste by Carlo Maciachini Old church in Pančevo by Svetozar Ivačković Church of St. Elias in Leskovac by Svetozar Ivačković Church at the New Cemetery in Belgrade by Svetozar Ivačković Saint Peter's Church in Jagodina by Svetozar Ivačković The chapel at the cemetery in Sremski Karlovci by Vladimir Nikolić Holy Trinity Church in Paraćin by Jovan Ilkić Saint George's church in Kruševac by Dušan Živanović Church of St. Archangel Michael in Herceg Novi St. Sava Church in Kosovska Mitrovica by Andra Stevanović St George's Church in Oplenac by Andra Stevanović The building of the old telephone exchange in Belgrade by Branko Tanazević Home of Vuk's Foundation in Belograde by Branko Tanazević District offices in Vranje by Petar Popović Grammar school in Čačak by Dragutin Maslać Grammar school in Sremska Mitrovica by Momir Korunović Church of the Ascension of Christ in Krupanj by Momir Korunović Ministry of Post in Belgrade by Momir Korunović Sokol home in Bijeljina by Momir Korunović Old Post Office in Belgrade by Momir Korunović Cathedral of Christ the Saviour in Banja Luka by Dušan Živanović Church of Saint Sava by Bogdan Nesterović and Aleksandar Deroko White Palace in Dedinje, Belgrade by Živojin Nikolić, Viktor Lukomski and Nikolay Krasnov House of Elezović in Belgrade by Aleksandar Deroko Building of the Patriarchate in Belgrade by Viktor Lukomski St. Mark's Church in Belgrade by Branko and Petar Krstić Church of St. Constantine and Helen in Požega by Vasilij Adrosov Sokol home in Sombor by J. Bazler and V. Sabo Banski Dvor in Banja Luka The mausoleum in Corfu by Nikolay Krasnov Đorđević's House on Topčider in Belgrade by Branislav Kojić Hotel in Sopoćani near Novi Pazar by Dragiša Brašovan Raška architectural school Serbo-Byzantine architecture Morava architectural school Aleksandar Kadijević, A century of searching for a national style in Serbian architecture.
Middle of XIX – middle of XX century, Belgrade 1997. ISBN 86-395-0339-7
The Byzantine army or Eastern Roman army was the primary military body of the Byzantine armed forces, serving alongside the Byzantine navy. A direct continuation of the Roman army, the Eastern Roman army maintained a similar level of discipline, strategic prowess and organization, it was among the most effective armies of western Eurasia for much of the Middle Ages. Over time the cavalry arm became more prominent in the Byzantine army as the legion system disappeared in the early 7th century. Reforms reflected some Germanic and Asian influences – rival forces became sources of mercenary units e.g.. Since much of the Byzantine military focused on the strategy and skill of generals utilizing militia troops, heavy infantry were recruited from Frankish and Varangian mercenaries. From the seventh to the 12th centuries, the Byzantine army was among the most powerful and effective military forces in the world – neither Middle Ages Europe nor the fracturing Caliphate could match the strategies and the efficiency of the Byzantine army.
Restricted to a defensive role in the 7th to mid-9th centuries, the Byzantines developed the theme-system to counter the more powerful Caliphate. From the mid-9th century, they went on the offensive, culminating in the great conquests of the 10th century under a series of soldier-emperors such as Nikephoros II Phokas, John Tzimiskes and Basil II; the army they led was less reliant on the militia of the themes. With one of the most powerful economies in the world at the time, the Empire had the resources to put to the field a powerful host when needed, in order to reclaim its long-lost territories. After the collapse of the theme-system in the 11th century, the Byzantines grew reliant on professional Tagmata troops, including ever-increasing numbers of foreign mercenaries; the Komnenian emperors made great efforts to re-establish a native army, instituting the pronoia system of land grants in exchange for military service. Mercenaries remained a staple feature of late Byzantine armies since the loss of Asia Minor reduced the Empire's recruiting-ground, while the abuse of the pronoia grants led to a progressive feudalism in the Empire.
The Komnenian successes were undone by the subsequent Angeloi dynasty, leading to the dissolution of the Empire at the hands of the Fourth Crusade in 1204. The Emperors of Nicaea managed to form a small but effective force using the same structure of light and armed troops, both natives and foreigners, it proved effective in defending what remained of Byzantine Anatolia and reclaiming much of the Balkans and Constantinople itself in 1261. Another period of neglect of the military followed in the reign of Andronikos II Palaiologos, which allowed Anatolia to fall prey to an emerging power, the Ottoman emirate. Successive civil wars in the 14th century further sapped the Empire's strength and destroyed any remaining chance of recovery, while the weakening of central authority and the devolution of power to provincial leaders meant that the Byzantine army was now composed of a collection of militias, personal entourages and mercenary detachments. Just as what we today label the Byzantine Empire was in reality and to contemporaries a continuation of the Roman Empire, so the Byzantine army was an outgrowth of the Late Roman structure, which survived until the mid-7th century.
The official language of the army for centuries continued to be Latin but this would give way to Greek as in the rest of the Empire, though Latin military terminology would still be used throughout its history. In the period after the Muslim conquests, which saw the loss of Syria and Egypt, the remainders of the provincial armies were withdrawn and settled in Asia Minor, initiating the thematic system. Despite this unprecedented disaster, the internal structures of the army remained much the same, there is a remarkable continuity in tactics and doctrine between the 6th and 11th centuries; the Battle of Manzikert in 1071 and the subsequent Seljuk invasions, together with the arrival of the Crusades and the incursions of the Normans, would weaken the Byzantine state and its military, which had to rely on foreign mercenaries. The Eastern Empire dates from the creation of the Tetrarchy by the Emperor Diocletian in 293, his plans for succession did not outlive his lifetime, but his reorganization of the army did by centuries.
Rather than maintain the traditional infantry-heavy legions, Diocletian reformed it into limitanei and comitatenses units. There was an expansion of the importance of the cavalry, though the infantry still remained the major component of the Roman armies, in contrast to common belief. In preparation for Justinian's African campaign of 533-534 AD, the army assembled amounted to 10,000 foot soldiers and 5,000 mounted archers and federate lancers; the limitanei and ripenses were to occupy the limes, the Roman border fortifications. The field units, by contrast, were to stay well behind the border and move where they were needed, whether for offensive or defensive roles, as well as forming an army against usurpers; the field units were held to high standards and took precedence over Limitanei in pay and provisions. Cavalry formed about one-third of the units, but as a result of smaller units, about one-quarter of the Roman armies consisted of cavalry. About half the cavalry consisted of heavy cavalry.
They were armed with spear or lance and sword and armored
Leopold Carl Müller was an Austrian genre painter noted for his Orientalist works. Born in Dresden to Austrian parents, he was a pupil of Karl von Blaas and of Christian Ruben at the Academy in Vienna. Obliged to support his family after his father's death, he worked eight years as an illustrator for the Vienna Figaro. Continuing his studies subsequently, he visited Italy and Egypt, made his name favorably known through a series of scenes from popular life in Italy and Hungary. In the late 1860s, he visited Paris, where he was inspired by the work of Eugene Fromentin and subsequently turned his attention to the Orientalist genre. In 1877 Müller took a position as professor at the Vienna Academy and as a rector during 1890-91. Among his pupils were several orientalists such as Ludwig Deutsch, Paul Joanowitch and Charles Wilda, his sisters were the painters Marie Müller and Berta Müller, both well known in Austria for their portrait paintings. The third sister, married the Austrian portrait painter Eduard Swoboda, he was the father of the painter Rudolf Swoboda and the portrait painter Josefine Swoboda.
He travelled to Egypt many times throughout his life staying there for six months at a time. In 1879, on his fifth visit, he travelled with Rudolf Swoboda, he died, aged 57, in Weidlingau, now part of Vienna and is buried at "The Zentralfriedhof" in Vienna. He displayed his coloristic talent to greater advantage in oriental subjects, such as Arabian Money-Changers, Pilgrims to Mecca Resting, Bedouins in Camp, Camel Mart, Young Copt Woman. Other works include The Inundation in Old Little Matron and Last Task of the Day, he most well-known work is the Market in Cairo, held in the Österreichische Galerie Belvedere in Vienna. Orientalism List of Orientalist artists This article incorporates text from a publication now in the public domain: Gilman, D. C.. "Müller, Leopold". New International Encyclopedia. New York: Dodd, Mead
The Nokia X7-00 is a Symbian^3 smartphone from the Nokia Xseries. It is the first Xseries phone with Nokia's Symbian^3 platform and it shipped with the Anna update, it is the successor to X6, the previous multimedia touchscreen phone, with similar features and specifications in the series. The X7-00 was announced on 12 April 2011, alongside the Nokia E6. WCDMA Size: 119.7 × 62.8 × 11.9mm Display: 4.0-inch. Screen resolution: 640x360 pixels Scratch-resistant capacitive touchscreen Integrated and Assisted GPS Wireless LAN Calendar, Music player, Messaging, Videos, Web TV, Office documents viewers and Radio OVI services: Ovi store, Ovi map, Nokia Ovi suite, Nokia Ovi Player Talk time: Up to 6 hours 30 minutes Standby time: Up to 450 hours Music playback: Up to 50 hours Video playback: Up to 20 hours Ovi store Nokia C7-00 Nokia 7 plus Nokia 8.1 http://www.nokia.com.au/find-products/all-phones/nokia-x7 Nokia official website
"I Like" is a song by American R&B group Guy recorded for their debut studio album Guy. The song was released as the album's fourth single in 1989; the album version clocks at 4:54 while the single was 12 inch only and was composed of edits. The song peaked at number seventy on the Billboard Hot 100 chart. 12", 331⁄3 RPM, Vinyl"I Like" - 8:17 "I Like" - 5:40 "I Like" - 4:50 "I Like" - 4:4512", Vinyl"I Like" - 8:17 "I Like" - 4:02 "I Like" - 5:40 "I Like" - 4:55 "I Like" - 4:50 "I Like" - 4:45 Information taken from Discogs. Arranging – Gene Griffin, Teddy Riley background arranging – Teddy Riley engineering – Dennis Mitchell executive production – Guy guitar overdubbing – Bernard Bell production – Gene Griffin, Teddy Riley remix engineering – Dennis Mitchell remixing – Gene Griffin, Teddy Riley writing – Timothy Gatling, Gene Griffin, Aaron Hall, Teddy Riley Lyrics of this song at MetroLyrics