Wadjet, known to the Greek world as Uto or Buto among other names including Wedjat and Udjo, was the ancient local goddess of the city of Dep. It became part of the city that the Egyptians named Per-Wadjet "House of Wadjet" and the Greeks called Buto, an important site in prehistoric Egypt and the cultural developments of the Paleolithic. Wadjet was said to be the patron and protector of Lower Egypt, upon unification with Upper Egypt, the joint protector and patron of all of Egypt; the image of Wadjet with the sun disk is called the uraeus, it was the emblem on the crown of the rulers of Lower Egypt. She was the protector of kings and of women in childbirth. Wadjet was said to be the nurse of the infant god Horus. With the help of his mother Isis, they protected Horus from his treacherous uncle, when they took refuge in the swamps of the Nile Delta. Wadjet was associated in ancient Egyptian religion with the Eye of Ra, a powerful protective deity; the hieroglyph for her eye is shown below. Per-Wadjet contained a sanctuary of Horus, the child of the sun deity who would be interpreted to represent the pharaoh.
Much Wadjet became associated with Isis as well as with many other deities. In the relief shown to the right, on the wall of the Mortuary Temple of Hatshepsut at Luxor, there are two images of Wadjet: one of her as the uraeus with her head through an ankh and another where she precedes a Horus hawk wearing the Pschent, representing the pharaoh whom she protects; as the patron goddess, she was associated with the land and depicted as a snake-headed woman or a snake—usually an Egyptian cobra, a venomous snake common to the region. Her oracle was in the renowned temple in Per-Wadjet, dedicated to her worship and gave the city its name; this oracle may have been the source for the oracular tradition. The Egyptian word wꜣḏ signifies green, it is the name for the well-known "Eye of the Moon". Indeed, in times, she was depicted as a woman with a snake's head, or as a woman wearing the uraeus; the uraeus had been her body alone, which wrapped around or was coiled upon the head of the pharaoh or another deity.
Wadjet was depicted as a cobra. As patron and protector Wadjet was shown coiled upon the head of Ra. Another early depiction of Wadjet is as a cobra entwined around a papyrus stem, beginning in the Predynastic era and it is thought to be the first image that shows a snake entwined around a staff symbol; this is a sacred image that appeared in the images and myths of cultures surrounding the Mediterranean Sea, called the caduceus, which may have had separate origins. Her image rears up from the staff of the "flagpoles" that are used to indicate deities, as seen in the hieroglyph for "uraeus" and for "goddess" in other places; the name Wadjet is derived from the term for the symbol of Lower Egypt, the papyrus. Its hieroglyphs differ from those of the Green Crown or Deshret of Lower Egypt only by the determinative, which in the case of the crown was a picture of the Green Crown and, in the case of the goddess, a rearing cobra; the goddess Wadjet appears in the form of the living Uraeus to anoint your head with her flames.
She rises up on the left side of your head and she shines from the right side of your temples without speech. – The Book of the Dead Eventually, Wadjet was claimed as the patron goddess and protector of the whole of Lower Egypt and became associated with Nekhbet, depicted as a white vulture, who held unified Egypt. After the unification the image of Nekhbet joined Wadjet on the crown, thereafter shown as part of the uraeus. Wadjet was associated with the Nile Delta region and was more associated with the world of the living, she was linked to pharaohs as a protective deity. She was associated, along with other goddesses, as the ‘eye of Ra’. Wadjet was depicted as an erect cobra with its hood extended as though she were ready to strike. At times she was depicted wearing the Red Crown of Lower Egypt. Wadjet was depicted many times in her cobra form alongside her Upper Egyptian counterpart Nekhbet, in her vulture form wearing the Red Crown on wall paintings or on the pharaoh's headdress. Wadjet, as the goddess of Lower Egypt, had a large temple at the ancient Imet in the Nile Delta.
She was worshipped in the area as the "Lady of Imet". She was joined by Min and Horus to form a triad of deities; the Nazit Mons, a mountain on Venus, is named for Nazit, an "Egyptian winged serpent goddess". According to Elizabeth Goldsmith, the Greek name for Nazit was Buto. Ethnoherpetology Eye of Horus Mehen Serpent Snake goddess Snakes in mythology Unut Uraeus James Stevens Curl, The Egyptian Revival: Ancient Egypt as the Inspiration for Design Motifs in the West, Routledge 2005 Adolf Erman, Hermann Grapow, Wörterbuch der ägyptischen Sprache, Berlin 1963 Ana Ruiz, The Spirit of Ancient Egypt, Algora Publishing 2001 Toby A. H. Wilkinson, Early Dynastic Egypt, Routledge 1999 Media related to Wadjet at Wikimedia Commons
Glen View Club is a private country club located in Golf, Illinois, a suburb just north of Chicago. Founded 123 years ago by a group of Chicago businessmen on March 29, 1897, it was the Glen View Golf and Polo Club; the club was situated so as to be close to a commuter railroad from Chicago, the village of Golf got its name from the simple sign – "Golf" – that directed riders from the makeshift station to the course. In 1899, Glen View Club was one of the founding clubs of the Western Golf Association and hosted the inaugural Western Open and Western Amateur tournaments that same year. Other notable founding clubs included Chicago Golf Club, Skokie Country Club, Onwentsia Club, Evanston Golf Club; the par-72 golf course at Glen View measures 6,948 yards from the back tees, carries a rating of 73.4 and a slope of 139. It is the second-oldest 18-hole course in the Chicago area, after Chicago Golf Club in Wheaton. Richard Leslie, the first head professional, who consulted with Herbert J. Tweedie on the design, is credited with the original layout of the golf course.
In 1910, Tom Bendelow was credited with changes to Glen View’s hazard scheme. Bendelow is well known for his designs at Medinah Country Club, Skokie Country Club, Beverly Country Club, East Lake Golf Club and Olympia Fields Country Club. In 1913, two of the games most prolific architects, Harry Colt and Donald Ross, began changes to Glen View. Harry Colt, referred to as H. S. or more formally as Henry Shapland, was known for participating in the design of over 300 golf courses around the globe in the United Kingdom. His most notable work in the United States was with George Arthur Crump at Pine Valley Golf Club, a course ranked as the best in the country. Donald Ross is most famous for his work at Pinehurst No. 2, Aronimink Golf Club, East Lake Golf Club, Seminole Golf Club, Oak Hill Country Club, Inverness Club and Oakland Hills. In 1922, select holes of Glen View were redesigned by William S. Flynn. Flynn is most well-known for his design of Shinnecock Hills; the course as it stands today still includes elements from each of the aforementioned architects.
Glen View was the home club of the legendary Chick Evans, the namesake of the Evans Scholars Program. A member of the World Golf Hall of Fame, he won both the U. S. Amateur and the U. S. Open in 1916, a second U. S. Amateur in 1920; the course has hosted several major tournaments, including the inaugural Western Open and Western Amateur in 1899, the U. S. Amateur in 1902, the U. S. Open in 1904. Annual member events include a member-member tournament called the "Royal and Ancient," and a member-guest tournament called "Twa Days." The original clubhouse was designed by Holabird & Roche, known today as Holabird & Root, with help from consulting architect Daniel Burnham. The original clubhouse opened in 1898 but was destroyed by a fire in May 1920; the club once again turned to Holabird & Roche to design a new clubhouse, built on the same site and exists to this day. The club has facilities for paddle tennis, tennis and trap shooting, swimming. Official website Club information
Giuseppina Ronzi de Begnis was an Italian soprano opera singer famous for the roles written for her by the prominent composers of the 1820s and 1830s. Her father, was a prominent ballet dancer and choreographer, her mother, Antonia, a ballerina, her brothers Stanislao and Pollione were opera singers. As a singer, she made her debut in Naples at the Teatro dei Fiorentini in 1814 in Giovanni Cordella's L'Avaro, followed by important engagements in Bologna in 1816 appearing in Genoa, Florence, she married Italian bass Giuseppe de Begnis when she was only 16. The marriage lasted only a few years and the two separated in 1825, her figure has been described including Donizetti, as fat and voluptuous. Ronzi was known for her capricious attitudes and for having confrontations and arguments with female colleagues, including the famous altercation with Anna Del Sere during the rehearsals of Maria Stuarda; the two leading ladies took the heated match between the two crowned heads a step further, when Ronzi over-emphasized her response to Elisabetta with the famous “Vil bastarda” insult, a raging fight ensued.
Donizetti might have fuelled the animosity between the two primadonnas when in response to an overheard comment by Ronzi that he “protected that whore of a Del Sere” he responded that he protected neither of them. Afterwards adding that "those two queens were whores, you two are whores": The rumbustious Ronzi De Begnis felt a bit ashamed but did not respond to the Maestro’s remarks and the rehearsal continued; some reports published by a theatrical magazine would have us believe that Del Sere was badly bruised during the fight and needed to convalesce for two weeks. Be that as it may, these confrontations, although distorted in varying degrees by the contemporary media and on by writers and biographers, did not help the staging of the new opera in Naples."The incident was publicized and generated a scandal that prompted the censors to ban the libretto forcing Donizetti to make a last-minute change to the libretto and story-line to fit his music to a story of Florentine feuds in the 1200s re-titled Buondelmonte.
Her temperament notwithstanding, composers like Giovanni Pacini, Saverio Mercadante, Vincenzo Bellini and Gaetano Donizetti were fond of her. In a sonnet dedicated to "La Ronza", the acclaimed Roman poet Giuseppe Gioachino Belli, mesmerized by her Norma, confirms her voluptuousness and its seductive effects on the public and concluded that the whole theater seemed to waver: "Blessed be this witch who enchants us". Shortly after her husband's death in New York, she retired from the stage, she died in Florence, in 1853 aged 53, leaving a substantial inheritance to her only child Clotilde who in 1843 had married the tenor Gaetano Fraschini. Clotilde was most born during the mid 1820s hiatus. In 1818, Rossini secured her as Ninetta in his La gazza ladra for the grand inauguration of the newly built Teatro Nuovo in Pesaro. Rossini had grand ideas for the occasion and he wanted Isabella Colbran and Andrea Nozzari for a colossal production of his Armida; this move left him with enough money to engage a first class tenor like Alberico Curioni.
In January 1819, Giuseppina and her husband moved to Paris where they sang for the re-opening of the Théâtre Italien in the Parisian premiere of Ferdinando Paër's dramma semi-serio I Fuoriusciti di Firenze on 20 March. The opera received a good review in Le Moniteur Universel, the Journal de Paris praised Giuseppe for his Uberto and Giuseppina for her Isabella. In the meantime Rossini had been informed; the prospects were encouraging and on 5 May the couple sang in Pietro Alessandro Guglielmi's La pastorella nobile. Positive reviews greeted the couple during the summer of the same year when they sang in Il matrimonio segreto and Rossini's Il turco in Italia. In Paris she appeared as Susanna in Le Nozze di Figaro, Rosina in Il barbiere di Siviglia, she capitalized on her Parisian sojourn and found time to study with Pierre Garat honing buffo roles of Paisiello and Mozart. In 1822, she went to London, where she obtained brilliant successes at the King's Theatre, notably in Pietro l'Eremita on 30 January 1822, Rossini's La donna del lago and the title role in his Matilde di Shabran.
Other Rossini successes in London included Fiorilla in Il Turco in Amenaide in Tancredi. Ronzi returned to Italy in 1825, her marriage fell apart, she might have had problems with her voice. For the next five years she worked hard to refine her technique and extension until she became a soprano sfogato like Grisi, Ungher and Pasta. On 13 April 1831 the Milanese newspaper L'Eco announced her return to Naples to restart her operatic career, she was engaged at the San Carlo in Naples, where she won considerable acclaim in roles Donizetti wrote for her. Ronzi's biggest triumph in Naples was her performances as the title character in Rossini's Semiramide.
The Cust River is a river in the Canterbury Region of New Zealand. It flows east across the upper Canterbury Plains from its source north of the town of Oxford, New Zealand, flowing into the Cam River / Ruataniwha close to the town of Rangiora; the small town of Cust lies on the banks of the river. The lower part of the river, to the south-west of Rangiora, is diverted into a channel and called the "Main Drain"; the channel was built in 1862 to drain the swampy land between Rangiora and the Waimakariri River, when it was enlarged in 1868 it accidentally captured the Cust. The river was named in 1849 after a member of the Canterbury Association. Brown trout are suitable for fishing in spring. List of rivers of New Zealand Land Information New Zealand - Search for Place Names
Diane Ibbotson is an English artist born in Lancashire, England. She attended the University of Reading from 1964 to 1968, taught at Blackpool College of Art, the Falmouth School of Arts between 1974 and 1981. Ibbotson was awarded the annual Newcomer prize from the Royal Academy in 2007, her method of creating art has been described as "a rule-governed process of painting, based on close observation and meticulous recording. She works finishing one work before starting another." The catalogue 20 Years of Contemporary Art at the Falmouth Art Gallery, indicated that she had made 35 works, but to this day exhibits them. Through a short video interview from a studio visit, Ibbotson traces the beginning of her career to when she was eight years old; when she showed a drawing she had done of her cat, everyone she showed it to enjoyed it. Ibbotson's choice of subject matter and technique are filled with autobiographical meaning, showing her experience of a moment in time, including elaborate detail. Ibbotson states.
She drew the wallpaper flowers in pencil first, in little bunches. The work shows the reflection of Ibbotson in a bathroom mirror. Ibbotson says that she pencil outlined all of the major points in the painting and "I put the descriptive bits in as I went along, my reflection, the objects, the pattern on the wallpaper."Regarding the work titled Self Portrait in Best Dress, the cataloger of the online collection containing the work states that Ibbotson created this work in 1970 while exploring the theme of self-portraits between 1970 and 1975. She returned to this theme from 1975-1977, painting a series of self-portraits
William Daniel Dickie was a politician from Alberta, Canada. He served on Calgary city council from 1961 to 1964 and in the Legislative Assembly of Alberta from 1963 to 1975, he served as a cabinet minister in the government of Peter Lougheed from 1971 to 1975. Dickie began practicing corporate law in 1951, he laid the legal framework for the first Canadian company to be listed on the American Stock Exchange. Dickie served on Calgary city council from 1961 to 1964. While still serving on council he ran for a seat in the Alberta Legislature in the 1963 general election, as a candidate for the Alberta Liberal party in the electoral district of Calgary Glenmore, he won the seat from the Progressive Conservatives, whose candidate was Ned Corrigal, a broadcaster for CFAC radio. He was re-elected with a smaller share of the popular vote in the 1967 general election. On November 23, 1969, after being persuaded by Peter Lougheed, he left the Liberals and joined the Progressive Conservative caucus, he had been the last Liberal in the legislature.
In the 1971 Alberta general election Dickie won with 56% of the popular vote against Social Credit candidate and famous Alberta curler Ray Kingsmith. After the election Premier Lougheed appointed Dickie the Minister of Minerals, he held that portfolio until he retired from the legislature at dissolution in 1975. Dickie died on May 23, 2019 at the age of 93. Legislative Assembly of Alberta Members Listing