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Jean-Baptiste Isabey

Jean-Baptiste Isabey was a French painter born at Nancy. At the age of nineteen, after some lessons from Dumont, miniature painter to Marie Antoinette, he became a pupil of Jacques-Louis David. Employed at Versailles on portraits of the dukes of Angoulême and Berry, he was given a commission by the queen, which opens the long list of those he received from successive French rulers until his death in 1855. Patronized by Josephine and Napoleon Bonaparte, he arranged the ceremonies of their coronation and prepared drawings for the publication intended as its official commemoration, a work for which he was paid by Louis XVIII, whose portrait he executed in 1814. Although Isabey did homage to Napoleon on his return from Elba, he continued to enjoy the favour of the Restoration, took part in arrangements for the coronation of Charles X; the July Monarchy conferred on him an important post in connection with the royal collections, Napoleon III granted him a pension, the cross of commander of the Legion of Honor.

Review of Troops by the First Consul was one of his most important compositions, Isabey's Boat – a charming drawing of himself and family-produced at a time when he was much occupied with lithography – had an immense success at the Salon of 1820. His portrait of Napoleon at Malmaison is held to be the best executed, his tiny head of the king of Rome, painted for a breast-pin, is distinguished by a decision and breadth that show the hand of a master. A biography of Isabey was published by Edmond Taigny in 1859, Charles Lenormant's article, written for Michaud's Biog. Univ. is founded on facts furnished by Isabey's family. His son, Eugène became a well known painter; this article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed.. "Isabey, Jean Baptiste". Encyclopædia Britannica. 14. Cambridge University Press. P. 860. Basily-Callimaki, Eva de, Mme, J. B. Isabey: sa vie, son temps, 1767-1855: Suivi du Catalogue de l'oeuvre gravee par et d'apres Isabey Media related to Jean-Baptiste Isabey at Wikimedia Commons

Multnomah Channel

The Multnomah Channel is a 21.5-mile distributary of the Willamette River. It diverges from the main stem a few miles upstream of the main stem's confluence with the Columbia River in Multnomah County in the U. S. state of Oregon. The channel flows northwest north around Sauvie Island to meet the Columbia River near the city of St. Helens, in Columbia County. Chinook people, the Multnomahs, lived in villages along the channel at the time of European exploration of the Columbia River in the late 18th and early 19th centuries. Flanked in the 21st century by moorages and parks, populated by a wide variety of fish, the channel offers many opportunities for recreation. Constrained by dikes, the channel is about one-third as wide. U. S. Route 30 and tracks of the Burlington Northern Railroad run parallel to the channel, to its left, between its source and the Multnomah–Columbia county border at about the channel's river mile 12.5 or river kilometer 20.1. In its first 0.5 miles, the channel receives Miller Creek from the left passes under Sauvie Island Bridge, which carries Northwest Sauvie Island Road.

Below the bridge, Ennis Creek enters from the left McCarthy Creek from the left at RM 18. Further along, Johns Creek enters from the left, Joy Creek enters from the left where the channel leaves Multnomah County and enters Columbia County. About 8 miles from the mouth, the channel flows around Coon Island. Shortly thereafter, Crane Slough, which drains Crane's Lake, the Gilbert River, which drains Sturgeon Lake, enter from the right; the channel receives Jackson Creek from the left and Cunningham Slough from the right before flowing around Louse Island and merging with Scappoose Bay, on the left. St. Helens is on the left as the channel enters the Columbia, about 86.5 miles from the larger stream's mouth on the Pacific Ocean. A few islands, most notably Coon Island and Louse Island, are located within the channel; the channel had a variety of names before the United States Board on Geographic Names agreed to Multnomah Channel in 1913. In 1792, William Robert Broughton was the first European explorer to discover the channel.

He named it Calls River after the English engineer Sir John Call. The early 19th century explorers Lewis and Clark called it Wappato Inlet after Wappato Island, the name they used for Sauvie Island. In the 1840s, nautical surveyor Charles Wilkes referred to the channel as Warrior Branch because it met the Columbia River at Warrior Point, on the northern tip of Sauvie Island. Before its renaming by the USBGN, the channel had become known as Willamette Slough. Multnomah, used by Lewis and Clark to refer to the main stem of the Willamette, is what the Chinook people living on Sauvie Island in the early 19th century called themselves. Several Chinook villages with longhouses occupied sites along the channel before the explorers' arrival. Sauvie Island and its mild climate were suited to wapato, a root vegetable, provided access to fish and game. A large village, one of several on the island, was situated near its southeastern tip, where the channel begins. Another village, with 28 houses and more than 1,000 residents, was sited along the west shore of Scappoose Bay near the downstream end of the channel.

The channel offers many moorages for houseboats. Private moorages and marinas, some with public fee-for-service boat ramps, lie along the channel between the main stem and the Sauvie Island Bridge. Further downriver is the Sauvie Island Public Boat Ramp at RM 18, followed by Hadley's Landing and its tie-up and trail 0.5 miles later. The Sauvie Island Wildlife Area begins at about the halfway point on the channel and extends from there to the mouth along the right bank. A major stopover for birds, it can be reached by boat from the Gilbert River Boat Ramp at RM 6. Parks near the mouth include Sand Island Marine Park at St. Helens, St. Helens Landing, Columbia View Park at Scappoose Bay, Scappoose Bay Landing. A productive fishery for spring Chinook salmon, the channel is home to sturgeon, shad, brown bullhead catfish, other small fish, crayfish; the average Chinook entering the channel weighs 18 pounds. Oregon's lower-Willamette health advisories on consumption of resident fish large bottom feeders, apply to the Multnomah Channel as well as the main stem.

List of longest streams of Oregon List of rivers of Oregon McArthur, Lewis A.. Oregon Geographic Names. Portland, Oregon: Oregon Historical Society Press. ISBN 0-87595-277-1. Sheehan, Madelynne Diness. Fishing in Oregon: The Complete Oregon Fishing Guide, 10th edition. Scappoose, Oregon: Flying Pencil Publications. ISBN 0-916473-15-5. Williams, Travis; the Willamette River Field Guide. Portland, Oregon: Timber Press. ISBN 978-0-88192-866-2

Gl├╝ck auf

Glückauf is the traditional German miners' greeting. It describes the hope of the miners: "es mögen sich Erzgänge auftun", short for "Ich wünsche Dir Glück, tu einen neuen Gang auf", when mining for ore, without prospecting, no-one could predict with certainty whether the miners' work would lead to a reward; the greeting expressed the desire that miners would return safely from the mine after their shift. Today it is still a common form of greeting in the Ore Mountains region of eastern Germany; the greeting emerged in the Saxon Ore Mountains towards the end of the 16th century, when the miners still entered and left the mines on foot using ladders or man engines. That meant that, after a typical 10-hour shift, the miner had a challenging and dangerous 2 hours of climbing ahead of him, something that they believed needed a degree of luck to negotiate safely. If he slipped, he fell down the shaft; the result was that at that time fatal accidents were common, not just when entering or leaving the mine.

It was the case that friends on the next shift, greeted on the way out, were left in the mine. The miner's greeting was being used before 1700, being artistically employed in the old miner's song Glück Auf, der Steiger kommt. Mines were named after the greeting, such as the Zeche Glückauf-Tiefbau, Zeche Glückauf Barmen or Zeche Glückaufsegen. By 1890 at the latest the greeting was widespread among German-speaking speleologists and is still the most common form of greeting in that community today, it is commonly used when entering the cave. In air travel the corresponding greeting, Glück ab!, is used in German. This is today the official greeting of German-speaking parachutists and the official battle cry of the airmobile forces of the German Bundeswehr. Glück zu! is the traditional greeting of millers in German-speaking lands. Glück tief! is a derived, but only regional greeting used by cavers. Glückauf

Stacey Grimaldi

Stacey Grimaldi, was an English lawyer and antiquary. Stacey Grimaldi was descended from the house of Grimaldi: he was the great-grandson of Alexander Grimaldi of Genoa, who quit that city after its bombardment by Louis XIV in 1684, whose father of the same name had been doge of Genoa in 1671, he was born in the parish of St. James, Westminster, on 18 October 1790, was the second son of William Grimaldi, miniature-painter, of Albemarle Street, London, by his wife Frances, daughter of Louis Barker of Rochester. Upon the death of his elder brother in 1835 the title of Marquis Grimaldi of Genoa and the claims on the family possessions in Genoa and Monaco became vested in him. For upwards of forty years he practised as a solicitor in Copthall Court in the city of London, he was eminent as a'record lawyer,' and was engaged in several important record trials and peerage cases. In 1824 he was elected a fellow of the Society of Antiquaries. In 1834 he was appointed to deliver lectures on the public records at the Law Institution, in 1853 an auditor of the Incorporated Law Society.

He was a frequent contributor to the Gentleman's Magazine from 1813 to 1861. He resided for many years at Greenwich. In 1825 he married Mary Ann, daughter of Thomas George Knapp of Haberdashers' Hall and Norwood, Surrey. By her he left three daughters; the Toilet. 1823. A Suit of Armour for Youth, London, 1824, 12mo. A Synopsis of the History of England, from the Conquest to the Present Time, 1825, 12mo. A. of Caius College, London, 1871, 8vo. Origines Genealogicæ. Published expressly for the assistance of Claimants to Hereditary Titles, Honours, or Estates, London, 1828, 4to; the Genealogy of the Family of Grimaldi of Genoa and of England, shewing their relationship to the Grimaldis, Princes of Monaco, London, 1834. A copy, with manuscript additions by the author, in the British Museum has the note:'The principality of Monaco is now claimed from the reigning Prince of Monaco by the Marquess Luigi Grimaldi della Pietra, on the ground that it is a male fief, ought not to have descended to heirs female.

Lectures on the Sources from which Pedigrees may be traced, 8vo. Miscellaneous Writings and poetry, from printed and manuscript sources, 1874-1881, 4 pts. edited by Alexander Beaufort Grimaldi. The longest treatise in this multifarious collection, of which only one hundred copies were printed for private circulation, is entitled'Nomenclatura, or a Discourse upon Names. Containing Remarks on some in the Hebrew, Grecian and British tongues; this article incorporates text from a publication now in the public domain: "Grimaldi, Stacey". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900

Dubnobasswithmyheadman

Dubnobasswithmyheadman is the third studio album by British electronic music group Underworld, released in the UK on Junior Boy's Own on 24 January 1994. It was the first Underworld album after the 1980s version of the band had made the transition from synthpop to techno and progressive house and is the first album to feature Darren Emerson as a band member, ushering in the "MK2" phase of the band, which continued until Emerson's departure in 2001; the first version of Underworld had ended after a 1989 tour of North America as the support act to Eurythmics. After the tour Karl Hyde had stayed in the US for two months to work at Prince's Paisley Park Studios in Minneapolis as a session musician, toured with Debbie Harry and Chris Stein of Blondie; when Hyde returned to the UK he found his former bandmate Rick Smith had been collaborating on dance tracks with a teenage DJ named Darren Emerson, a friend of Hyde's brother-in-law, at Hyde and Smith's studio in Romford: Emerson had been eager to learn how to use the equipment in a recording studio, in turn Smith had been keen to have somebody who could introduce him to electronic music and club culture which he had grown interested in.

The three men started to swap ideas and create songs, resulting in a series of singles released throughout 1992 and 1993 under the names Underworld and Lemon Interrupt. Underworld's approach to songwriting was fluid, based on the idea that everything was valid. Hyde told Melody Maker, "We're grabbing elements from all different times and areas of music and taking them somewhere else. We don't want to regurgitate the past, though we're using vocals and guitars, we're trying to do it in new ways. We're trying to find ways. By not following a blueprint, we're able to base a song on acoustic guitar, or we can do a pure techno track, based on an oscillator. In the past, Rick and I have been excited by a poem or a film or something and thought,'That's inspired us to do a great reggae tune but we can't because we're not in a reggae band'. Now we would think,'F*** yes, let's do it'." Smith added, "There's a lot of cutting and pasting with the vocals. Something, recorded for one track one day may well end up on three different tracks a few months down the line.

Nothing is fixed. They're just points for us to jump off of."Many of Hyde's lyrics were written during his sojourn in the US: "Dark and Long" was intended to evoke the open prairies of Minnesota that he had visited while working in Minneapolis, "Mmm Skyscraper... I Love. Hyde stated that the biggest influences at the time on his writing style had been Lou Reed's 1989 album New York, playwright Sam Shepard's autobiography Motel Chronicles. Tomato, the art design collective that includes Underworld's Rick Smith and Karl Hyde, designed the artwork for Dubnobasswithmyheadman, it features black and white type, "multiplied and overlaid" so much that it is nearly unreadable, alongside a "bold symbol consisting of a fractured handprint inside a broken circle". The artwork was intended for Tomato's book Mmm... Skyscraper I Love You: A Typographic Journal of New York, published in 1994. According to the authors of The Greatest Album Covers of All Time, the cover "set a new standard of presentation for subsequent Dance albums".

In Graphic Design: A New History, Stephen Eskilson cites the cover as a notable example of the "expressive, chaotic graphics" that developed in the 1990s, a design style he calls "grunge". In an article published in the journal Substance Paul Zelevansky says that "the packaging... replays the visual poetry of the 1960s and'70s and fast forwards to the alchemical transformations of computer graphics packages". The album artwork features excerpts of lyrics to the band's 1996 hit Born Slippy. NUXX, a track, released two years after the album. Karl Hyde told Uncut magazine in 2014 that the album's title had come from him misreading Rick Smith's writing on a cassette tape box. Dubnobasswithmyheadman received widespread acclaim from music critics. Writing in Melody Maker, a year before he left to co-found the specialist dance music magazine Muzik, Ben Turner proclaimed that "Dubnobasswithmyheadman is the most important album since The Stone Roses and the best since Screamadelica... While others are content to go techno techno techno techno, Underworld have taken a step back, utilising Karl Hyde and Rick Smith's experience in rock music and throwing it full in the face of 22-year-old DJ, Darren Emerson.

The result is utterly contemporary, the sound of the moment, beautifully capturing melodic techno, deranged lyricism, historic bass and lead guitars and astounding walls of rhythm... This breathtaking hybrid marks the moment that club culture comes of age and beckons to everyone." NME said, "Before Underworld's startling remixes for Björk and Orbital last year, no-one would've put money on ex-members of... popsters Freur making the first visionary record of'94... The sheer weight of ideas on offer and the constant variance of sounds and textures add up to a coherent, cogent whole, not a series of jack-tracks sequenced together, nor a series of hits with filler thrown in... By writing'songs'—albeit playful, deranged ones—Underworld have come up with a solution for the facelessness that blights some dance music." Vox wrote that "apart from the lumbering blasphemy of'Dirt Epic', the only non-event here, it's all go-with-the-flow stuff laced with intricacies... Attractive and with moments of innovation, this Underworld offering transcends many of the li

A1159 road

The A1159 road is a short road skirting the north of Southend-on-Sea from Prittlewell to Southchurch, in Essex, England. In 2000 plans were announced to dual an 800m stretch of the A1159 comprising Priory Crescent and the Cuckoo Corner junction connecting it to the A127; this plan would, alongside the widening of the road included rebuilding of the bridge on which the road crosses the railway line. Preparatory work in 2003 led to the discovery of the Royal Saxon tomb in Prittlewell archaeological remains, a rare example of Anglo-Saxon burial; the road scheme has faced local controversy due to its location over the grave site and the loss of land from the adjoining Priory Park that would occur with its construction. The scheme is opposed by single issue local campaign groups Parklife and Priory Park Preservation Society. Since 2005 it has been the site on an anti-road protest camp known as Camp Bling. Due to the opposition from local residents and the escalation in costs the scheme is under review.

When first proposed in 2000 the scheme was given an estimated cost of £3.5 million, but by 2006 costs had escalated to £20 million and in 2008 the new scheme was estimated at £10.8 million. This reduction in cost is due to the removal of proposals to rebuild the railway bridge from the scheme. At a meeting held between campaigners and Council members at the end of April 2009 it was announced that the scheme had been abandoned following its failure to receive funding from central government. Southend Council has now instead secured £5 million from the government for a project to ease congestion at the Cuckoo Corner roundabout; this new project would have no effect on Priory Park or the burial site and reduces the widening of Priory Crescent