The Go-Between? JOHN ASHDOWN-HILL
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Pub 100-04 Medicare Claims Processing Centers for Medicare & Medicaid Services (CMS) Transmittal 3329 Date: August 14, 2015 Change Request 8628
Department of Health & CMS Manual System Human Services (DHHS) Pub 100-04 Medicare Claims Processing Centers for Medicare & Medicaid Services (CMS) Transmittal 3329 Date: August 14, 2015 Change Request 8628 SUBJECT: Update to Pub. 100-04, Chapter 18 to Provide Language-Only Changes for Updating ICD-10, the 02/12 version of the Form CMS-1500, and ASC X12 I. SUMMARY OF CHANGES: This CR contains language-only changes for updating ICD-10, the 02/12 version of the Form CMS-1500, and ASC X12 language in Pub 100-04, Chapter 18. Also, references to MACs replace the references to old contractor types in the sections that are included in this CR. There are no new coverage policies, payment policies, or codes introduced in this transmittal. Specific policy changes and related business requirements have been announced previously in various communications. EFFECTIVE DATE: Upon implementation of ICD-10; ASC X12: January 1, 2012 *Unless otherwise specified, the effective date is the date of service. IMPLEMENTATION DATE: ASC X12: September 14, 2015; Upon implementation of ICD-10 Disclaimer for manual changes only: The revision date and transmittal number apply only to red italicized material. Any other material was previously published and remains unchanged. However, if this revision contains a table of contents, you will receive the new/revised information only, and not the entire table of contents. II. CHANGES IN MANUAL INSTRUCTIONS: (N/A if manual is not updated) R=REVISED, N=NEW, D=DELETED R/N/D CHAPTER / SECTION / SUBSECTION / TITLE R 18/Table of -
Lord Henry Howard, Later 6Th Duke of Norfolk (1628 – 1684)
THE WEISS GALLERY www.weissgallery.com 59 JERMYN STREET [email protected] LONDON, SW1Y 6LX +44(0)207 409 0035 John Michael Wright (1617 – 1694) Lord Henry Howard, later 6th Duke of Norfolk (1628 – 1684) Oil on canvas: 52 ¾ × 41 ½ in. (133.9 × 105.4 cm.) Painted c.1660 Provenance By descent to Reginald J. Richard Arundel (1931 – 2016), 10th Baron Talbot of Malahide, Wardour Castle; by whom sold, Christie’s London, 8 June 1995, lot 2; with The Weiss Gallery, 1995; Private collection, USA, until 2019. Literature E. Waterhouse, Painting in Britain 1530 – 1790, London 1953, p.72, plate 66b. G. Wilson, ‘Greenwich Armour in the Portraits of John Michael Wright’, The Connoisseur, Feb. 1975, pp.111–114 (illus.). D. Howarth, ‘Questing and Flexible. John Michael Wright: The King’s Painter.’ Country Life, 9 September 1982, p.773 (illus.4). The Weiss Gallery, Tudor and Stuart Portraits 1530 – 1660, 1995, no.25. Exhibited Edinburgh, Scottish National Portrait Gallery, John Michael Wright – The King’s Painter, 16 July – 19 September 1982, exh. cat. pp.42 & 70, no.15 (illus.). This portrait by Wright is such a compelling amalgam of forceful assurance and sympathetic sensitivity, that is easy to see why that doyen of British art historians, Sir Ellis Waterhouse, described it in these terms: ‘The pattern is original and the whole conception of the portrait has a quality of nobility to which Lely never attained.’1 Painted around 1660, it is the prime original of which several other studio replicas are recorded,2 and it is one of a number of portraits of sitters in similar ceremonial 1 Ellis Waterhouse, Painting in Britain 1530 to 1790, 4th integrated edition, 1978, p.108. -
English Without Boundaries
English Without Boundaries English Without Boundaries: Reading English from China to Canada Edited by Jane Roberts and Trudi L. Darby English Without Boundaries: Reading English from China to Canada Edited by Jane Roberts and Trudi L. Darby This book first published 2017 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2017 by Jane Roberts, Trudi L. Darby and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9588-1 ISBN (13): 978-1-4438-9588-0 TABLE OF CONTENTS List of Illustrations .................................................................................. viii List of Tables .............................................................................................. ix Foreword ..................................................................................................... x Thomas Austenfeld Introduction .............................................................................................. xii Jane Roberts and Trudi L. Darby Part I: Poets and Playwrights Chapter One ................................................................................................. 2 William Herbert and Richard Neville: Poetry -
Biographical Appendix
Biographical Appendix The following women are mentioned in the text and notes. Abney- Hastings, Flora. 1854–1887. Daughter of 1st Baron Donington and Edith Rawdon- Hastings, Countess of Loudon. Married Henry FitzAlan Howard, 15th Duke of Norfolk, 1877. Acheson, Theodosia. 1882–1977. Daughter of 4th Earl of Gosford and Louisa Montagu (daughter of 7th Duke of Manchester and Luise von Alten). Married Hon. Alexander Cadogan, son of 5th Earl of Cadogan, 1912. Her scrapbook of country house visits is in the British Library, Add. 75295. Alten, Luise von. 1832–1911. Daughter of Karl von Alten. Married William Montagu, 7th Duke of Manchester, 1852. Secondly, married Spencer Cavendish, 8th Duke of Devonshire, 1892. Grandmother of Alexandra, Mary, and Theodosia Acheson. Annesley, Katherine. c. 1700–1736. Daughter of 3rd Earl of Anglesey and Catherine Darnley (illegitimate daughter of James II and Catherine Sedley, Countess of Dorchester). Married William Phipps, 1718. Apsley, Isabella. Daughter of Sir Allen Apsley. Married Sir William Wentworth in the late seventeenth century. Arbuthnot, Caroline. b. c. 1802. Daughter of Rt. Hon. Charles Arbuthnot. Stepdaughter of Harriet Fane. She did not marry. Arbuthnot, Marcia. 1804–1878. Daughter of Rt. Hon. Charles Arbuthnot. Stepdaughter of Harriet Fane. Married William Cholmondeley, 3rd Marquess of Cholmondeley, 1825. Aston, Barbara. 1744–1786. Daughter and co- heir of 5th Lord Faston of Forfar. Married Hon. Henry Clifford, son of 3rd Baron Clifford of Chudleigh, 1762. Bannister, Henrietta. d. 1796. Daughter of John Bannister. She married Rev. Hon. Brownlow North, son of 1st Earl of Guilford, 1771. Bassett, Anne. Daughter of Sir John Bassett and Honor Grenville. -
Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Alberto Aringhieri and the Chapel of Saint John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena Timothy B. Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE ALBERTO ARINGHIERI AND THE CHAPEL OF SAINT JOHN THE BAPTIST: PATRONAGE, POLITICS, AND THE CULT OF RELICS IN RENAISSANCE SIENA By TIMOTHY BRYAN SMITH A Dissertation submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2002 Copyright © 2002 Timothy Bryan Smith All Rights Reserved The members of the Committee approve the dissertation of Timothy Bryan Smith defended on November 1 2002. Jack Freiberg Professor Directing Dissertation Mark Pietralunga Outside Committee Member Nancy de Grummond Committee Member Robert Neuman Committee Member Approved: Paula Gerson, Chair, Department of Art History Sally McRorie, Dean, School of Visual Arts and Dance The Office of Graduate Studies has verified and approved the abovenamed committee members. ACKNOWLEDGEMENTS First I must thank the faculty and staff of the Department of Art History, Florida State University, for unfailing support from my first day in the doctoral program. In particular, two departmental chairs, Patricia Rose and Paula Gerson, always came to my aid when needed and helped facilitate the completion of the degree. I am especially indebted to those who have served on the dissertation committee: Nancy de Grummond, Robert Neuman, and Mark Pietralunga. -
Some Questions About the Flemish Model in Aragonese Painting 71
Some Questions About the Flemish Model in Aragonese Painting 71 Chapter 2 Some Questions About the Flemish Model in Aragonese Painting (1440-1500) Alberto Velasco 1 Prior Considerations The 1440s were a time when a change of pictorial model began in the territories of the Crown of Aragon, with the International Gothic Style gradually being replaced by one with north-European roots. Needless to say, in the kingdom of Aragon the Flemish model was implanted over the native International Style painting, as in the rest of the territories belonging to the Crown. If we take the Catalan case as a reference, this was when Bernat Martorell began to intro- duce changes into his works, incorporating some aspects that were a prelude for what would come later, and this was also the time when Jaume Huguet, the great representative of the Late Gothic in these lands, began to work in Catalonia. So, what happened in Aragon? In general lines, it can be stated that the pan- orama of what we know about the implantation of the Flemish model is not the same as in Barcelona or Valencia, as the surviving documentation and works are insufficient to explain how the changes came about. For example, among the painters working in Aragonese territory during the 1440s and 1450s we can find noboby who travelled to the Netherlands. It is not until around 1474, when Bartolomé Bermejo settled in Daroca, that we find an artist who surely had travelled there and been in contact with the works of Jan van Eyck or Rogier van der Weyden.1 In the same sense, in the Aragon of the 1440s and 1450s, we have no documentary proof of a long enough list of foreign artists to for us to believe that they had an important influence on the evolution of the native pictorial language. -
The Lancastrian Armament Programme of the 1450S and the Development of Field Guns
The Lancastrian Armament Programme of the 1450s and the Development of Field Guns DAN SPENCER The battle of Bosworth is of note for its use of artillery, as revealed by the archaeological survey carried out by the Battlefields Trust from 2005 to 2010, which uncovered numerous amounts of lead shot fired by guns.1 It has been argued that Richard III may have chosen the site of the battlefield because of its potential for artillery, as it was largely flat with only a slight elevation. Furthermore that Richard, as a result of his previous military experience, may have made use of this technology ‘as a key battlefield weapon’. However, gunpowder weapons had been in use on the English battlefield for years prior to 1485. The purpose of this article is to trace the origins of field artillery used in the battles of the Wars of the Roses. It will do so by focusing on the 1450s, as this was a crucial period in the acquisition of guns that would be later deployed on the battlefield. The Lancastrian government of the 1450s, beset by problems caused by defeat in France and domestic disorder, embarked on an armaments programme to build up its stock of artillery. This process can be traced by the surviving exchequer and chancery sources; which include a detailed set of accounts for the construction of ordnance by William Hickling. The article will show that artillery for the field was considered important to the military preparations of the Lancastrian government of the 1450s. This was to have a significant impact on the conduct of warfare in late medieval England. -
Alaris Capture Pro Software
John HowardQDuke of Norfolk: A Possible Murderer of the Princes? ANNE CRAWFORD THAT JOHN, Loan HOWARD, created Duke of Norfolk by Richard III, was the man responsible for the deaths of Edward V and Richard, Duke of York, is a comparatively new theory.l For five hundred years after they died, no mention is made of Howard in the context of the murder. The first suggestio'n that he might have been involved was made in 1844 by Payne Collier, who edited Howard’s second volume of household accounts. In them he found an entry noting payment made on May 21, 1483, to six men for a day’s labour at the Tower, -to the carpenter for making three beds and for two sacks of lime.2 The reference to the beds and lime set Payne Collier’s mind working upon novel lines, but his suggestion that Howard might have had something to do with the murders was not followed up for more than a hundred years. A much more elaborate case is propounded by Melvin 1. Tucker in his biography of Thomas Howard, second Duke of Norfolk, John’s son and heir. He bases his case on “a strong motive and a series of interesting coincidences”.3 The motive was the Howards’ desire to gain their rightful half-share of the Mowbray inheritance of the‘ dukes of Norfolk, at that time vested in Richard, Duke of York and Norfolk, widower of the Mowbray heiress, and possibly the dukedom itself.‘ The coincidences may briefly be summarised. They include, according to Tucker, the fact that Howard was Constable of the Tower and therefore had access to the princes, the entry in his accéunts for the beds and lime, his past friendship with the Protector, the role he played in persuading the queen to give up York and the support he continued to give Richard for the rest of his reign. -
News from the Getty
The J. Paul Getty Trust 1200 Getty Center Drive, Suite 403 Tel 310 440 7360 Communications Department Los Angeles, California 90049-1681 Fax 310 440 7722 www.getty.edu [email protected] NEWS FROM THE GETTY DATE: January 25, 2012 FOR IMMEDIATE RELEASE J. PAUL GETTY MUSEUM ANNOUNCES ACQUISITION OF RARE EARLY RENAISSANCE DRAWING ATTRIBUTED TO PIERO DEL POLLAIUOLO Portrait of a Young Man, Head and Shoulders, Wearing a Cap, will complement Museum’s Renaissance drawings collection LOS ANGELES—The J. Paul Getty Museum today announced the acquisition at auction of Portrait of a Young Man, Head and Shoulders, Wearing a Cap, drawn about 1470, attributed to Piero del Pollaiuolo (c. 1443–1496). The drawing, from the early Florence Renaissance, is extremely rare, and is the first portrait drawing of this period to be included in the Getty’s permanent collection. Its acquisition by the Getty will allow it to be put on public display for likely the first time in its long history. “This acquisition anchors and provides context for the Museum’s Italian Renaissance drawings collection, one of the strongest of any U.S. museum,” explains Lee Hendrix, senior curator of drawings at the Getty Museum. Portrait of a Young Man, Head and Shoulders, Wearing a Cap, about 1470. Attributed to Piero del Pollaiuolo “This is the first major drawing from this pivotal early (Italian, c. 1443-1496). Pen and brown ink over black chalk. The J. Paul Getty Museum, Los Angeles. Renaissance period to come on the market for many years, which, paired with its extraordinary condition, makes this a very significant acquisition.” -more- Page 2 The drawing belongs to a crucial moment in the Renaissance when the independent portrait emerged as a genre and gained wide popularity. -
The Structure of Chariklo's Rings from Stellar Occultations
Last updated October 9, 2018 The structure of Chariklo's rings from stellar occultations D. B´erard1, B. Sicardy1, J. I. B. Camargo24;25, J. Desmars1, F. Braga-Ribas27;24;25, J.-L. Ortiz3, R. Duffard3, N. Morales3, E. Meza1, R. Leiva1;6, G. Benedetti-Rossi24;25, R. Vieira-Martins4;23;24;25, A.-R. Gomes J´unior23, M. Assafin23, F. Colas4, J.-L. Dauvergne41, P. Kervella1;26, J. Lecacheux1, L. Maquet4, F. Vachier4, S. Renner51, B. Monard52, A. A. Sickafoose35;36, H. Breytenbach35;49, A. Genade35;49 1 W. Beisker10;44, K.-L. Bath10;44, H.-J. Bode10;44;, M. Backes50 V. D. Ivanov14;15, E. Jehin5, M. Gillon5 J. Manfroid5 J. Pollock7, G. Tancredi20, S. Roland19, R. Salvo19, L. Vanzi2, D. Herald11;12;18, D. Gault11;17, S. Kerr11;28, H. Pavlov11;12, K. M. Hill29, J. Bradshaw12;13, M. A. Barry11;30, A. Cool33;34, B. Lade32;33;34, A. Cole29, J. Broughton11, J. Newman18, R. Horvat17, D. Maybour31, D. Giles17;31, L. Davis17, R.A. Paton17, B. Loader11;12, A. Pennell11;48, P.-D. Jaquiery47;48, S. Brillant15, F. Selman15, C. Dumas53, C. Herrera15, G. Carraro43, L. Monaco40, A. Maury21, A. Peyrot42, J.-P. Teng-Chuen-Yu42, 46 37 arXiv:1706.00207v2 [astro-ph.EP] 18 Sep 2017 A. Richichi , P. Irawati , C. De Witt10, P. Schoenau10, R. Prager44, C. Colazo8;9, R. Melia9, J. Spagnotto22, A. Blain39, S. Alonso16, A. Rom´an38, P. Santos-Sanz3, J.-L. Rizos3, J.-L. Maestre45, D. Dunham12 { 2 { 1 LESIA, Observatoire de Paris, PSL Research University, CNRS, Sorbonne Universit´es, UPMC Univ. -
March 22, 2012 – May 31, 2013
5.5 wide March 22, 2012 – May 31, 2013 The present exhibition is a historical survey of prints – primarily woodcuts, engravings, and lithographs – used in book illustration from about 1480 to about 1965. It includes notable loans from the USciences Rare Book Collection, which is rich in illustrated herbals and titles related to the practice and history of pharmacy. A highlight of these holdings is Vegetable materia medica of the United States (first published in 1818) by renowned 19th-century botanist W.P.C. Barton; the University owns, remarkably, twenty original copper engraving plates used to create the illustrations in this text, two of which are on display here, alongside the hand-colored prints produced from them. Rounding out the selections is a diverse assemblage of more than 60 book illustrations spanning five centuries; most are loans from private collectors, and they mark the first appearance on campus of original graphic art by acknowledged giants of Modernism such as Picasso, Braque, Matisse, Chagall, Gauguin, and Miró. Prior to the mid fifteenth century, the European concept of ‘book’ consisted of bound manuscripts, laboriously produced by scribes – often monks – and sometimes also illustrated (or ‘illuminated’) in color by artists who specialized in miniature painting. In the 1450s, however, a revolution occurred: the introduc- tion and exploitation of moveable type (already in use for centuries in the East), made famous by Johann Gutenberg, a printer from Mainz, whose typeset and printing processes allowed identical books to be produced in great numbers and more inexpensively than manuscripts. Within a short period books began to be illustrated with woodcuts – the product of a design carved in relief into a block of wood. -
Trust and Fiduciary Duty in the Early Common Law
TRUST AND FIDUCIARY DUTY IN THE EARLY COMMON LAW DAVID J. SEIPP∗ INTRODUCTION ............................................................................................. 1011 I. RIGOR OF THE COMMON LAW ........................................................... 1012 II. THE MEDIEVAL USE .......................................................................... 1014 III. ENFORCEMENT OF USES OUTSIDE THE COMMON LAW ..................... 1016 IV. ATTENTION TO USES IN THE COMMON LAW ..................................... 1018 V. COMMON LAW JUDGES AND LAWYERS IN CHANCERY ...................... 1022 VI. FINDING TRUST IN THE EARLY COMMON LAW ................................. 1024 VII. THE ATTACK ON USES ....................................................................... 1028 VIII. FINDING FIDUCIARY DUTIES IN THE EARLY COMMON LAW ............. 1034 CONCLUSION ................................................................................................. 1036 INTRODUCTION Trust is an expectation that others will act in one’s own interest. Trust also has a specialized meaning in Anglo-American law, denoting an arrangement by which land or other property is managed by one party, a trustee, on behalf of another party, a beneficiary.1 Fiduciary duties are duties enforced by law and imposed on persons in certain relationships requiring them to act entirely in the interest of another, a beneficiary, and not in their own interest.2 This Essay is about the role that trust and fiduciary duty played in our legal system five centuries ago and more.