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Eglinton Country Park

Eglinton Country Park is located in the grounds of the old Eglinton Castle estate, North Ayrshire, Scotland. Eglinton Park is situated in the parish of Kilwinning, part of the former district of Cunninghame, covers an area of 400 ha; the central iconic feature of the country park is the ruined Eglinton Castle, once home to the Eglinton family and the Montgomeries, Earls of Eglinton and chiefs of the Clan Montgomery. Eglinton Country Park is maintained by North Ayrshire Council and its Ranger Service. Spier's Old School Grounds on Barrmill Road, Beith are an amenity for the communities of the Garnock Valley. Pedestrian access is 24x7; the Spier's parklands are patrolled by the NAC Ranger Service. The Friends of Spiers are a group based at the parklands, dedicated to the enhancement and utilisation of the old Spier's School Grounds. Spier's is owned by the Spier's Trust and leased by NAC, it has a network of wheelchair friendly paths and informal routes which are surfaced with bark chips. A series of events are held at the grounds each year.

These wildlife sites have public access at all times and are patrolled by the NAC Ranger Service who carry out basic conservation tasks aided by volunteers and local groups. The Stevenston sand dunes are a designated local nature reserve and work here is linked to the priorities within the site's Conservation Management Plan. Two children's playparks are provided. There are wet weather shelters; the Rackets Hall can be hired for birthday parties, conferences and other events. A soft play facility is located for hire within the Rackets Hall. Within the park there is an extensive bridle path network extending to around 11 km. Of this route a shared paths makes up about 5 km of the route on which riders must give way to walkers and cyclists; the track meanders pleasantly beside woodlands. The Lugton Water meanders through the park, several weirs were built at intervals along the river to raise the water level for ornamental reasons. Several mills were powered by the Lugton Water as shown by names such as'North and South Millburn', situated near the hamlet of Benslie.

The 12th Earl altered the course of the Lugton Water. The 6.5 ha loch, 6 metres deep, was created in 1975 through the extraction of materials used in the construction of the A 78 Irvine and Kilwinning bypass. It is marked on old maps as being an area liable to flooding and was the site of the jousting matches at the 1839 Eglinton Tournament, it is well stocked with coarse fish, is a popular spot for anglers and bird watchers. The Irvine New Town Trail is a 19 km long cycle path used by many joggers, dog walkers and cyclists in the area; the route forms a ring as there are no end points. The trail passes through Irvine's low green, goes up to Kilwinning's Woodwynd and Blackland's area; the route passes through the Eglinton Country Park, carries on to Girdle Toll, Broomlands and carries on to the Irvine Riverside and back to the Mall and the Low Green again. A plantation is situated on'Belvedere Hill' and vistas radiating out from a central hub, technically termed'rond-points'; this style of woodlands and vistas or rides is a restoration of the layout of the entire area surrounding the castle in the 1750s prior to the remodeling, completed by 1802.

General Roy's map of 1747 - 52 shows that the ornamental woodlands were a series of these radiating rond-points of different sizes, sometimes overlapping each other. The'old' Eglinton Park farm, circa 1950s, lies to one side of this feature. Many other footpaths are present, a number of which are not shared with horses. Views within Eglinton Country Park Recent resident breeding species include: the robin, tit, pheasant, grey partridge, tawny owl, sparrowhawk, great spotted woodpecker, skylark and tree-creeper. Resident species include: the buzzard and winter visitors: the fieldfare, redwing the waxwing and sightings of the hen harrier and kingfisher. Wildfowl include: the goldeneye, wigeon and mallard duck with whooper swan and goose on passage. There are woodcock, snipe and lapwing. Summer migrant species include: the swift and martin. Exotic sightings include white stork, black swan and a flamingo. Hedgehogs, moles, pipistrelle bats and roe deer are found in the park and may be seen with luck or by being patient and silent.

Surveys carried out by the Scottish Wildlife Trust and others have shown that the park has a good variety of mushroom, bracket and other species of fungi. The park has a good gall diversity, such as knopper on acorns, tongue on alders, robin's pincushion or rose bedeguar gall on wild rose, cola nut on oak and witch's broom on birch. The'Old Wood' containing the ice house has a good plant diversity due to the fact that it is long established and undisturbed, unlike the park's plantations which are of a comparatively recent origin. Chapelholms wood shows a similar high biodiversity. Plants such as dog's mercury, tussock grass and honeysuckle are indicators of old deciduous woodlands. Snowdrops are a highlight of spring in the park. A few specimen trees from the estate days survive sycamores (Acer ps

Woodlawn (Smyrna, Delaware)

Woodlawn known as the Thomas England House, was an historic home located near Smyrna, Kent County, Delaware. It was first known as Morris Rambles when built in 1741 by James Morris of Philadelphia Pennsylvania. In 1853, it was sold by Elizabeth Berry Morris to cousin George Wilson Cummins. After extensive renovations, the mansion was renamed Woodlawn, it is a five-bay temple-fronted frame dwelling in the Greek Revival-style. It has a gable roof and features a monumental pedimented portico supported by six Doric order columns, it has a one-story kitchen wing with a low hipped roof. It was listed on the National Register of Historic Places in 1982, it has been demolished. Efforts by the community to save it from the wrecking ball were too late. Historic American Buildings Survey No. DE-141, "Woodlawn, Route 13, State Road 12 vicinity, Kent County, DE", 6 photos, 3 data pages, 1 photo caption page

The Force (Kool & the Gang album)

The Force is the ninth studio by the funk band Kool & the Gang, released in 1977. It failed to generate much impact, has become the first of two albums between the group's two periods of success, it was after the first string of hits in the mid and early 1970s, before the group hit it big in the late 1970s and early 1980s. Ronald Bellvocals, clavinet, ARP synthesizer, alto saxophone, soprano saxophone, tenor saxophone, alto flute Kevin Lassiter – vocals, clavinet, percussion George Brown – vocals, clavinet, percussion Dennis Thomas – vocals, congas, alto saxophone Claydes Smith – vocals, acoustic guitar, electric guitar, percussion Robert "Kool" Bell – vocals, bass guitar, percussion Otha Nash – vocals and slide trombones, percussion Robert Mickens – vocals, flugelhorn, percussionAdditional PersonnelJimmy J. Jordan – special effects Donal Boyce – voice Cynthia Huggins – lead vocals Female vocals – Renee Connel, Cynthia Huggins, Joan Motley and Beverly Owens Arthur Capehart – trumpet Strings on 6 & 7 – MFSB.

Recorded at De-Lite Recorded Sound Studio. Mastered at Sterling Sound. Cover Painting – DeEs Schwertberger

Wilhelm Lehmbruck

Wilhelm Lehmbruck was a German sculptor. Born in Duisburg, he was the fourth of eight children born to the miner Wilhelm Lehmbruck and his wife Margaretha, he was able to study sculpture arts at the School of Applied Arts in Düsseldorf by a stipend from the municipal authorities. In 1899 he began to make a living by doing illustrations for scientific publications, he trained at the Kunstakademie Düsseldorf and is associated with the Düsseldorf school of painting from 1901 to 1906. On leaving the academy Lehmbruck worked as an independent artist in Düsseldorf, he exhibited for the first time at the Deutsche Kunstausstellung, in Cologne in 1906. He was impressed by the sculptures of Auguste Rodin, traveled to England, the Netherlands, Paris. In 1907, he married Anita Kaufmann, they had three sons. In 1912 Lehmbruck exhibited in the Folkwang Museum with Egon Schiele. In 1914, he had his first solo exhibition in Paris, at the Galerie Levesque, he contributed to an exhibition at the Grand Palais in Paris.

From 1910–1914 he lived in Paris. He frequented the Café du Dôme, where he met sculptors such as Modigliani, Brâncuși, Archipenko. During World War I he served as a paramedic at a military hospital in Berlin; the suffering and misery he saw. He suffered from severe depression and fled the war by going to Zürich at the end of 1916. There he made contact with the socialist, L. Rubiner, he was elected to the Prussian Academy of Arts in Berlin in early 1919. After the war he returned to Berlin where he committed suicide on March 25, 1919. Lehmbruck's sculptures concentrate on the human body and are influenced by Naturalism and Expressionism, his works, including female nudes, are marked by a sense of melancholy and an elongation of form common to Gothic architecture. Throughout his career, architect Ludwig Mies van der Rohe placed his friend Lehmbruck's sculptures and those of Aristide Maillol into his buildings and designs; the Lehmbruck Museum has in its collection about 100 sculptures, 40 paintings, 900 drawings and 200 graphical works by Wilhelm Lehmbruck.

The museum, named after Wilhelm Lehmbruck, was designed by his son, Manfred Lehmbruck. The Honolulu Museum of Art, the Museum of Modern Art, the National Gallery of Art, Städel Museum, the Tate Gallery are among the public collections holding works by Wilhelm Lehmbruck. One of his sculptures can be seen in the Villa Tugendhat. Lehmbruck-Museum August Hoff. Wilhelm Lehmbruck, Berlin: Klinkhardt & Biermann, 1933. Werner Hofmann, Wilhelm Lehmbruck. London: Zwemmer 1958 August Hoff, Wilhelm Lehmbruck: life and work. New York: Praeger 1969 Reinhold Heller, The art of Wilhelm Lehmbruck, National Gallery of Art, 1972 Marion Bornscheuer. Wilhelm Lehmbruck with Matisse, Debussy, Rodin, Nijinsky in Paris 1911. Lehmbruck Museum Duisburg. Cologne: DuMont Buchverlag, 2011, ISBN 978-3-83219-427-7 Hans-Peter Wipplinger. Retrospektive/Retrospective. Leopold Museum Vienna, Cologne: Walther König 2016, ISBN 978-3-86335-902-7 Erwin Petermann, Die Druckgraphik von Wilhelm Lehmbruck. Verzeichnis. Stuttgart: Hatje, 1964 Gerhard Händler, Wilhelm Lehmbruck.

Die Zeichnungen der Reifezeit. Stuttgart: Hatje, 1985, ISBN 3-7757-0188-5 Margarita C. Lahusen, Wilhelm Lehmbruck. Gemälde und großformatige Zeichnungen. Munich: Hirmer, 1997, ISBN 3-7774-6370-1. Dietrich Schubert, Wilhelm Lehmbruck – Catalogue raisonné der Skulpturen. Worms: Wernersche Verlagsgesellschaft, 2001, ISBN 3-88462-172-6. Works by or about Wilhelm Lehmbruck at Internet Archive Lehmbruck Museum in Duisburg

Coptic Australians

Coptic Australians are Australians of Coptic descent or persons of Coptic descent residing in Australia. According to the 2011 census, there were 24,693 Copts in Australia members of the Coptic Orthodox Church; the ethnic Coptic population within Australia is estimated to be between 100,000 people. Congregations of the Coptic Orthodox Church in Australia are served by two Coptic Orthodox Dioceses with over 50 parishes, two Monasteries, two theological Colleges and four schools; the Coptic Church is a member of National Council of Churches in Australia. According to the 2006 Census of Australia, there were a total of 19,928 followers of Coptic Orthodoxy nationally; the Coptic Orthodox Church has as many 100,000 members in Australia. Nick Kaldas Coptic Soldier Sam Soliman Anba Suriel Joseph Tawadros Peter Khalil Coptic Orthodox Church in Australia List of Coptic Orthodox churches in Australia Copts Coptic diaspora Coptic Americans Coptic Canadians Copts in Egypt Copts in Sudan Copts in Libya

Kimbell seated Bodhisattva

The Kimbell seated Bodhisattva is a statue of the "Bodhisattva" from the Art of Mathura, now held by the Kimbell Art Museum. The statue is dated to 131 CE, thanks to an inscription mentioning its dedication in "Year 4 of the Great King Kanishka", since the date of the beginning of Kanishka's reign is thought to be 127 CE; the Kimbell seated Bodhisattva belongs to the category of the "Seated Buddha triads", which can be seen contemporaneously in the Greco-Buddhist art of Gandhara and in the art of Mathura in the early Kushan period. The Kushans adopted the anthropomorphic image of the Buddha developed during the 1st century CE in Mathura and Gandhara, transformed it into a standardized mode of representation, using "confident and powerful imagery" on a grand scale. Free-standing statues of the Buddha appear around this time encouraged by doctrinal changes in Buddhism allowing to depart from the aniconism that had prevailed in the Buddhist sculptures at Mathura, Bharhut or Sanchi from the end of the 2nd century BCE.

The Greco-Buddhist art of Gandhara appears to have developed around this time too under the rule of the Kushans, following on earlier imagery such as the Bimaran casket or the Butkara seated Buddha at the Butkara Stupa in Swat. The Kimbell seated Bodhisattva belongs to a type known as the "Kapardin" statue of the Buddha, characterized by a "Kapardin" coil of hair on the top of the head; the top of the statue was broken, a full decorated aureola with flying attendants stood behind the image of the Buddha. He is flaked by two attendants holding fly whisks in a sign of devotion; the pedestal is structured around a wheel on a columns, seen in profile, with two attendants holding flowers, two winged lions on the sides. Technically, the image mentions the "Bodhisattva" rather than the "Buddha", which would mean the Buddha just before his enlightenment, as the image of the Buddha after his enlightenment would be beyond the capabilities of human illustration. There has been a recurring debate about the exact identity of these Mathura statues, some claiming that they are only statues of Bodhisattavas, indeed the exact term used in most of the inscriptions of the statues found in Mathura.

Only one or two statues of the Mathura type are known to mention the Buddha himself. This could be in conformity with an ancient Buddhist prohibition against showing the Buddha himself in human form, otherwise known as aniconism in Buddhism, expressed in the Sarvastivada vinaya: ""Since it is not permitted to make an image of the Buddha's body, I pray that the Buddha will grant that I can make an image of the attendant Bodhisattva. Is that acceptable?" The Buddha answered: "You may make an image of the Bodhisattava"". However the scenes in the Isapur Buddha and the Indrasala Buddha, refer to events which are considered to have happened after the Buddha's enlightenment, therefore represent the Buddha rather than his younger self as a Bodhisattava, or a simple attendant Bodhisattva; because of these elements, it is thought that the terms "Bodhisattva" and "Buddha" in the dedicatory inscriptions of early art of Mathura are interchangeable. The inscription is clear and redacted in hybrid Sanskrit.

A complete photograph of the inscription was published by Fussman. It reads: Maharajasya Kanishkasya sam 4 varsa 3 di 20+6 bhisusya Bodhisenasya sadhyeviharisya bhadattasya DharmanadisyaBodhisattvo pratistapitho svakayam cetiyakuteyam saha matapitahi saha pitasikaye Badrayesaha sarvasatvehi "In the year 4 of King Kanihska, in the month 3 of the rains, on the 26th day, the venerable Dharmanandin, disciple of the monk Bodhisena, established this Bodhisattva in his own sanctuary. With his father and mother, Bhadra, with all beings". Most the inscription mentions the reign of the Kushan ruler Kanishka, a regnal date, allowing to date the statue, based on the conventionally agreed date of 127 CE for the start of the reign of Kanishka: "Year 4 of the Great King Kanishka" appears in Brahmi at the beginning of the inscription on the pedestal, implying a date of 131 CE for the dedication of the statue. An alternative starting date for his reign is 78 CE, which would give a date of 82 CE for the statue.

A large number of similar statues are known from Mathura. The Kimbell Bodhisattva in one of only five known dated "Kapardin" statues of the Buddha; the style of these statues is somewhat reminiscent of the earlier monumental Yaksha statues dated to one or two centuries earlier. Several seated Buddha triads in an elaborate style are known from the Greco-Buddhist art of Gandhara, such as the Brussels Buddha, which may be dated to the early years of Kanishka