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School of Fontainebleau

The School of Fontainbleau refers to two periods of artistic production in France during the late Renaissance centered on the royal Palace of Fontainebleau that were crucial in forming the French version of Northern Mannerism. In 1531, the Florentine artist Rosso Fiorentino, having lost most of his possessions at the Sack of Rome in 1527, was invited by François I to come to France, where he began an extensive decorative program for the Château de Fontainebleau. In 1532 he was joined by Francesco Primaticcio. Rosso died in France in 1540. On the advice of Primaticcio, Niccolò dell'Abbate was invited to France in 1552 by François's son Henri II. Although known for their work at Fontainebleau, these artists were invited to create works of art for other noble families of the period and were much esteemed and well-paid; the works of this "first school of Fontainebleau" are characterized by the extensive use of stucco and frescos, an elaborate system of allegories and mythological iconography. Renaissance decorative motifs such as grotesques and putti are common, as well as a certain degree of eroticism.

The figures are elegant and show the influence of the techniques of the Italian Mannerism of Michelangelo and Parmigianino. Primaticcio was directed to make copies of antique Roman statues for the king, thus spreading the influence of classical statuary. Many of the works of Rosso and dell'Abate have not survived; the paintings of the group were reproduced in prints etchings, which were produced at Fontainebleau itself, in Paris. These disseminated the style through France and beyond, record several paintings that have not survived; the mannerist style of the Fontainebleau school influenced French artists such as the painter Jean Cousin the Elder, the sculptors Jean Goujon and Germain Pilon, and, to a lesser degree, the painter and portraitist François Clouet the son of Jean Clouet. Although there is no certain proof, most scholars have agreed that there was a printmaking workshop at the Palace of Fontainebleau itself, reproducing the designs of the artists for their works in the palace, as well as other compositions they produced.

The most productive printmakers were Léon Davent, Antonio Fantuzzi, Jean Mignon, followed by the "mysterious" artist known from his monogram as "Master I♀V", the workshop seems to have been active between about 1542 and 1548 at the latest. These were the first etchings made in France, not far behind the first Italian uses of the technique, which originated in Germany; the earliest impressions of all the Fontainebleau prints are in brown ink, their intention seems to have been reproductive. The intention of the workshop was to disseminate the new style developing at the palace more both to France and to the Italians' peers back in Italy. Whether the initiative to do this came from the king or another patron, or from the artists alone, is unclear. David Landau believes; the enterprise seems to have been "just premature" in terms of catching a market. The etched prints were marked by signs of the workshop's inexperience and sometimes incompetence with the technique of etching, according to Sue Welsh Reed: "Few impressions survive from these plates, it is questionable whether many were pulled.

The plates were poorly executed and not well printed. Some may have been made of metals soft as copper, such as pewter." A broadening market for prints preferred the "highly finished textures" of Nicolas Beatrizet, "proficient but uninspired" engravers such as René Boyvin and Pierre Milan. Niccolò dell'Abbate Damiano del Barbiere, Italian stuccoist and sculptor Francesco Scibec da Carpi Italian furniture maker, who worked on the boiseries. Léon Davent, French etcher Antonio Fantuzzi, Italian painter and etcher Rosso Fiorentino Juste de Juste Franco-Italian sculptor and etcher Luca Penni Francesco Primaticcio Léonard Thiry, Flemish and etcher From 1584 to 1594, during the Wars of Religion the château of Fontainebleau was abandoned. Upon his accession to the throne, Henri IV undertook a renovation of the Fontainebleau buildings using a group of artists: the Flemish born Ambroise Dubois and the Parisians Toussaint Dubreuil and Martin Fréminet, they are sometimes referred to as the "second school of Fontainebleau".

Their late mannerist works, many of which have been lost, continue in the use of elongated and undulating forms and crowded compositions. Many of their subjects include mythological scenes and scenes from works of fiction by the Italian Torquato Tasso and the ancient Greek novelist Heliodorus of Emesa, their style would continue to have an influence on artists through the first decades of the 17th century, but other artistic currents would soon eclipse them. Ambroise Dubois Toussaint Dubreuil Martin Fréminet (1567–

Rosa 'New Dawn'

Rosa'New Dawn' is a light pink modern climbing rose cultivar, discovered by Somerset Rose Nursery in New Jersey in 1930. The cultivar is a sport of Rosa'Dr. W. Van Fleet'.'New Dawn' was voted the most popular rose in the world at the 11th World Convention of Rose Societies in 1997. It is recognized worldwide as one of the best of the repeating climbing roses.'New Dawn' is a tall, large-flowered climbing rose, 10 to 20 ft in height with a 5 to 6 ft spread. Blooms are 3.5 in in diameter, with 26 to 40 petals. Flowers have a high-centered, cupped to flat bloom form, are borne singly or in small clusters; the flowers are light pink in color with a paler pink at the edges, aging to white as the flower matures. The rose has a mild, sweet fragrance and medium sized, dark green foliage. In autumn, the rose produces a large number of rose hips.'New Dawn' blooms in flushes during the growing season, will continue to flower through the middle of winter. The plant is recommended for warmer; this is a partial list of ` New Dawn' child sports.

Garden roses List of Award of Garden Merit roses All-America Rose Selections Portland Gold Medal Quest-Ritson, Brigid. Encyclopedia of Roses. DK. ISBN 978-0756688684

2019/2020 Ronnie O'Sullivan snooker season

The 2019/2020 Ronnie O'Sullivan snooker season began with the Shanghai Masters in September 2019. His opening match was against Zhang Yi on 10 September. O'Sullivan's first tournament of the season was the Shanghai Masters; as the defending champion, he defeated Zhang Yi 6−0 in the last 16. In the quarter-finals O'Sullivan survived a scare when he came back from 1–5 to beat Kyren Wilson 6–5, he beat Neil Robertson 10–6 in the semi-finals and defeated Shaun Murphy 11–9 in the final to win his first event of the season and defended his title. With that win, O'Sullivan became; the following tables document all matches that took place as part of WPBSA sanctioned tournaments that Ronnie O'Sullivan entered in the 2019/2020 snooker season. The following table chronicles; the following records do not contain. O'Sullivan's 2019/2020 season overall record is 30–9, his record against players seeded with a rank within the top 16 at the time of their meetings is 9–5. Bold indicates. Record shown in round brackets indicates their meetings when player was ranked within the top 16 if different from the overall season record.

Italic indicates. Record shown in square brackets indicates their meetings when player was ranked no. 1 if different from the overall season record. The following list is ordered by number of wins reverse ordered by number of defeats and chronologically ordered: O'Sullivan reached two finals and won one title in the 2019/2020 season: The following table documents the results of all world ranking tournaments O'Sullivan competed in during the 2019/2020 season and the ranking points he was awarded for each result. Ranking points were distributed according to the prize money schedule; this represents his total prize money from world ranking results: The following table documents the results of all non-world ranking tournaments O'Sullivan competed in during the 2019/2020 season and the prize money he was awarded for each result: The following table documents all high break and maximum prizes O'Sullivan received during the 2019/2020 season and the prize money he was awarded for each: During the 2019/2020 season, O'Sullivan made the following total number of century breaks


The Takelma are a Native American people who lived in the Rogue Valley of interior southwestern Oregon. Most of their villages were sited along the Rogue River; the name Takelma means " Along the River". Much less is known about the lifeways of the Takelma Indians than about their neighbors in other parts of Oregon and northern California, their homeland was settled by Euroamericans late in the history of the American Frontier, because the surrounding mountainous country protected it. But once colonization began, it proceeded rapidly; the discovery of gold spurred the first white settlement of the region in 1852. The Takelma who survived were sent to reservations in 1856. Settlers and natives lived in the region together for less than four years; because Takelma territory included the most agriculturally attractive part of the Rogue Valley along the Rogue River itself, their valuable land was preferentially seized and settled by Euroamerican invaders in the mid-19th century. Without exception, these newcomers had little or no interest in learning about their indigenous neighbors, they considered them a dangerous nuisance.

They recorded little beyond documenting their own perspective on conflicts. Native Americans living near the Takelma but on more marginal and rugged land, such as the Shastan and Rogue River Athabascan peoples, survived the colonization period with their cultures and languages more intact. Conflicts between the settlers and the indigenous peoples of both coastal and interior southwest Oregon escalated and became known as the Rogue River Wars. Nathan Douthit examined peaceful encounters between the whites and southern Oregon Indians, encounters he describes as "middle-ground" interactions, undertaken by "cultural intermediaries." Douthit argues that without such "middle-ground" contact, the Takelma and other southern Oregon Indians would have been exterminated rather than relocated. In 1856, the U. S. government forcibly relocated the Takelma who survived the Rogue Indian Wars to the Coast Indian Reservation on the rainy northern Oregon coast, an environment much different from the dry oak and chaparral country that they knew.

Many died on the way to the Siletz Reservation and the Grand Ronde Indian Reservation, which now exists as Confederated Tribes of the Grand Ronde Community of Oregon. And many died on the reservations from disease and inadequate diet. Indian agents taught the surviving Takelma farming skills and discouraged them from speaking their own language, believing that their best chance for productive lives depended on their learning useful skills and the English language. On the reservations, the Takelma lived with Native Americans from different cultures; the Takelma spent many years in exile before anthropologists began to interview them and record information about their language and lifeways. Linguists Edward Sapir and John Peabody Harrington worked with Takelma descendants. In the late 1980s, Agnes Baker Pilgrim, granddaughter of Takelma chief George Harney, emerged as the most significant spokesperson for the Takelma."In 1994, on the banks of the Applegate, the Takelma people performed a Sacred Salmon Ceremony for the first time in a century and a half...

Another endeavor, the Takelma Intertribal Project, starting in 2000, has worked to restore edible and basketry plants through traditional techniques of burning and pruning."In the 2010 census, 16 people claimed Takelma ancestry, 5 of them full-blooded. The Takelman people lived as foragers, a term that many anthropologists consider more exact than hunter-gatherers, they collected plant foods and insects and hunted. The Takelma cultivated a native tobacco; the Takelma lived in small bands of their families. Interior southwest Oregon has pronounced seasons, the ancient Takelma adapted to these seasons by spending spring and early fall months collecting and storing food for the winter season; the Rogue River, around which their villages nucleated, provided them with other fish. Ancient salmon runs were reputedly large; the intensive and coordinated labor involved in large-scale capture of salmon with nets and spears by men, their cleaning and drying by women, provided the Takelma with an excellent, protein-rich diet for much of the year, if the salmon runs were good.

The salmon diet was supplemented, or replaced in years of poor salmon runs, by game such as deer, beaver, bear and bighorn sheep. Smaller mammals, such as squirrels and gophers, might be snared by either men or women. Yellowjacket larvae and grasshoppers provided calories; the limiting factor in the Takelma diet was carbohydrates, since fish and game provided abundant fat and protein. To get the carbohydrates and vitamins needed for good health, the Takelma collected a variety of plant foods. However, consistent with optimal foraging theory, which suggests that humans, like other creatures, decide what foods to eat depending on what gives the greatest nutritional value for the work expended to get it, the Takelma strategically focused on two plant foods: acorns and camas known as camassia, they harvested acorns from the two species of oaks in their Rogue Valley territory, Oregon white oak and California black oak. When these foods were not available, or for variety in their diet, Takelma women gathered and processed the seeds of native grasses and tarweed, dug roots and collected small fruits.

During the winter months, the Takelma lived in semi-sub

Andrew V. Corry

Andrew Vincent Corry was a career foreign service officer, the US Ambassador to Sierra Leone from 1964 until 1967. He immediately served, concurrently, as US Ambassador to Sri Lanka and the Maldives, until 1970. Andrew Vincent Corry was born on September 22, 1904 in Missoula, the son of Arthur Vincent Corry and Mary Anne née Armstrong. Corry graduated from Carroll High School in Helena, Montana in 1922. From 1922 – 1924, he studied at Carroll College before graduating with an A. B. from Harvard. He studied in Oxford from 1927 – 1930 as a Rhodes Scholar returning to Montana to earn a M. S. in 1931 from the Montana School of Mines in Butte. Corry joined the Foreign Service in January 1947 as Special Assistant to the Director in the Office of American Republic Affairs. In August that year he was assigned to be Mineral Attaché to New Delhi with concurrent assignments, in the same capacity, to Colombo, Karachi and Kathmandu. From 1955 to 1957 he was the Deputy Director of the US Operations Mission, as well as the Economic Officer at the American Embassy in Madrid.

He worked as the Consul General in Lahore, Pakistan and as the Coordinator of the Senior Seminar in Foreign Policy at the Foreign Service Institute. On January 24, 1964 he was appointed as the US envoy to Sierra Leone and remained at that post until May 19, 1967, where he was subsequently appointed on May 24 as the ambassador to Sri Lanka and the Maldives, he retained that post until he retired on March 21, 1970. Corry died of emphysema on November 24, 1981 in San Diego and was buried at Saint Patricks Cemetery in Butte, Montana


Zeisters known as Fat Guy Goes Nutzoid!!, is a 1986 comedy film produced by Troma Entertainment. Troma was set to title the film Fat Boy Goes Nutzoid, but, at the request of the lawyers of the hip-hop group The Fat Boys, it was changed to Fat Guy, it is directed by John Golden, stars Peter Linari, with a cameo by Joan Allen, features original music by Leo Kottke. The plot revolves around two brothers who befriend an escaped mental patient and accompany him on his misadventures in the big city; the film is one of the most popular movies in the Troma library because of its offbeat title. According to the video box, Barry Nolan of Hard Copy states; the film was referenced in the Mystery Science Theater 3000 episode, Attack of the Giant Leeches: when a rather portly character in the film brandishes a rifle, one of the robots muses “Fat Guy Goes Nutzoid!: a Troma presentation.” Not-so-coincidentally, two of the writers/stars of MST3K made 1987’s Blood Hook, distributed by Troma. Zeisters on IMDb