Conservation Under the Spotlight
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Historic England Annual Report and Accounts 2017-18
HISTORIC ENGLAND Annual Report We are the public body that helps people care for, enjoy and celebrate England’s spectacular historic environment. & Accounts HistoricEngland.org.uk Historic England @HistoricEngland Historic England historicengland 2017/18 If you would like this document in a different format, please contact our customer services 2017/2018 department: Tel: 0370 333 0607 Annual Report & Accounts Email: [email protected] CCS0618826788 HC 1194 978-1-5286-0518-2 HISTORIC ENGLAND Annual Report & Accounts 2017/18 Presented to Parliament pursuant to paragraph 13(4) of Schedule 3 to the National Heritage Act 1983. Ordered by the House of Commons to be printed on 16 July 2018. HC 1194 © Historic England 2018 The text of this document (this excludes, where present, the Royal Arms and all departmental or agency logos) may be reproduced free of charge in any format or medium provided that it is reproduced accurately and not in a misleading context. The material must be acknowledged as Historic England copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries related to this publication should be sent to us at: Customer Services Historic England The Engine House Fire Fly Avenue Swindon SN2 2EH Telephone: 0370 333 0607 Textphone: 0800 015 0516 Email: [email protected] This publication is available at www.gov.uk/government/publications and from the Historic England website at www.historicengland.org.uk/about/what-we-do/annual-reports-and-accounts/. -
101+ Great Ideas for Libraries and Friends
101+ Great Ideas for Libraries and Friends Sally Gardner Reed Beth Nawalinski Alex Peterson of Friends of Libraries U.S.A. Neal-Schuman Publishers, Inc. New York London Published by Neal-Schuman Publishers, Inc. 100 William Street, Suite 2004 New York, NY 10038 Copyright © 2004 by Friends of Libraries U.S.A. All rights reserved. Reproduction of this book, in whole or part, without written permission of the publisher, is prohibited. Printed and bound in the United States of America. The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. Cataloging-in-Publication Data for this book is available from the Library of Congress, record number 2004042573. Dedication Sally Reed For Sandy Dolnick, founder of Friends of Libraries U.S.A. in 1979 and executive director until 2002. She has been a good friend and mentor to me and thousands of Friends across the country. Beth Nawalinski For my mother, who taught me the value of libraries, literacy, and the power of volunteers. She encouraged me to read anything and every- thing—and let me read under the covers after bedtime with a flashlight! Alex Peterson For the most inspiring person I have ever known: my mother. iii Contents List of Figures . ix Preface . xiii Chapter One—Raising Money for Your Library: The Book Sale and Beyond . 1 1-1 Secondhand Prose Used Bookshop . 2 1-2 Online Book Sales. 4 1-3 Kids’ Book Sale . 5 1-4 Silent Auction Book Sale . -
Scenes from the Passion of Christ: the Agony in the Garden, The
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Andrea Vanni Andrea di Vanni Sienese, c. 1330 - 1413 Scenes from the Passion of Christ: The Agony in the Garden, the Crucifixion, and the Descent into Limbo [entire triptych] 1380s tempera on panel overall: 56.9 × 116.4 × 3.4 cm (22 3/8 × 45 13/16 × 1 5/16 in.) Inscription: middle panel, lower center on original frame, some of the letters restored: ANDREAS UANNIS / DE SENIS / ME PINXIT (Andreas di Vanni of Siena painted me); middle panel, above the cross, in gold bordered by red rectangle: INRI; middle panel, on red flag, in gold: SPQR; right panel, in black paint on the scroll held by God the Father: Destruxit quidam mortes inferni / et subvertit potentias diaboli; right panel, in black paint on the scroll held by Saint John the Baptist: ECCE.ANGIUS[AGNUS]. (Behold the Lamb) Corcoran Collection (William A. Clark Collection) 2014.79.711.a-c ENTRY This highly detailed triptych by the Sienese painter Andrea di Vanni is a recent addition to the National Gallery of Art collection. One of the most prominent works acquired from the Corcoran Gallery of Art, the altarpiece consists of three panels depicting stories from the Passion of Christ. Attached by modern hinges, the two lateral panels can be folded over the central painting to protect it and facilitate transportation. When opened, the triptych’s panels represent, from left to right, Christ’s Agony in the Garden of Gethsemane, the Crucifixion, and Scenes from the Passion of Christ: The Agony in the Garden, the Crucifixion, and the 1 Descent into Limbo [entire triptych] National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries the Descent into Limbo. -
Dean's Guidelines for Department Chairs
Dean’s Guidelines for Department Chairs 2018-2019 This edition replaces all previous manuals 1 Dean’s Guidelines for Department Chairs Table of Contents I. PLANNING CALENDAR FOR THE 2018-2019 ACADEMIC YEAR 3 II. DEPARTMENTAL LEADERSHIP 5 III. FACULTY RECRUITMENT 6 A. EQUAL OPPORTUNITY AND AFFIRMATIVE ACTION B. HIRING PROCESS, INCLUDING AFFIRMATIVE ACTION POLICY PROCE7DUR1ES C. ADJUNCT HIRING D. LEAVE REPLACEMENT HIRING IV. ALLOCATIONS 13 V. FACULTY PERSONNEL PROCEDURES 15 A. REAPPOINTMENT, TENURE, AND PROMOTION B. PROMOTION TO ASSISTANT PROFESSOR: COMPLETION OF PH.D. REQUIREMENTS VI. ANNUAL DEPARTMENT REPORTS 16 A. FACULTY ANNUAL REVIEW PROCESS B. DEPARTMENTAL ANNUAL REVIEW VII. BUDGET PROCEDURES 18 A. PREPARATION B. BUDGET ADMINISTRATION C. SUPPLEMENTARY REQUESTS VIII. FACULTY LEAVES AND COURSE RELEASES/CREDITS 19 A. POLICIES B. APPLICATIONS FOR FACULTY LEAVES C. MATERNITY, ADOPTION, AND PARENTAL LEAVE D. COURSE RELEASES AND SENIOR THESIS TEACHING CREDIT IX. FUNDS FOR PROFESSIONAL ACTIVITIES 21 A. TRAVEL AND RESEARCH B. FUNDS FOR INDIVIDUAL FACULTY GRANT PROPOSALS X. COLLEGE SPEAKER FUNDS 23 A. PURPOSE B. REQUESTING FUNDING C. REIMBURSEMENT XI. LIBRARY & INFORMATION TECHNOLOGY SERVICES (LITS) 25 A. RESEARCH AND INSTRUCTIONAL DESIGN SUPPORT B. BUILDING THE LIBRARY’S COLLECTIONS XII. VEHICLE RESERVATION AND USE: POLICIES AND PROCEDURES 26 APPENDICES A. AFFIRMATIVE ACTION CATEGORIES 28 B. FACULTY RECRUITMENT CHECKLIST 29 C. REQUEST FOR AUTHORIZATION TO OPEN A SEARCH 31 D. HAMILTON COLLEGE ONLINE FINANCE TOOLS 32 E. CALENDAR OF DATES FOR -
Teachers' Resource
TEACHERS’ RESOURCE JOURNEYS IN ART AND AMBITION CONTENTS 1: INTRODUCTION: JOURNEYS IN ART AND AMBITION 2: THE YOUNG DÜRER: CURATOR’S QUESTIONS 3: DÜRER’S LINES OF ENQUIRY 4: ARTISTIC EXCHANGE IN RENAISSANCE EUROPE 5: CROSSING CONTINENTS, CONVERGING CULTURES 6: LINES TRAVELLED AND DRAWN: A CONTEMPORARY PRACTICE PERSPECTIVE 7: ‘DÜRER ALS MODERNER EUROPÄER’ GERMAN LANGUAGE ACTIVITY 8: GLOSSARY 9: TEACHING RESOURCE CD Teachers’ Resource JOURNEYS IN ART AND AMBITION Compiled and produced by Niccola Shearman and Sarah Green Design by WJD SUGGESTED CURRICULUM LINKS FOR EACH ESSAY ARE MARKED IN ORANGE TERMS REFERRED TO IN THE GLOSSARY ARE MARKED IN PURPLE To book a visit to the gallery or to discuss any of the education projects at The Courtauld Gallery please contact: e: [email protected] t: 0207 848 1058 WELCOME The Courtauld Institute of Art runs an exceptional programme of activities suitable for young people, school teachers and members of the public, whatever their age or background. We offer resources which contribute to the understanding, knowledge and enjoyment of art history based upon the world-renowned art collection and the expertise of our students and scholars. I hope the material will prove to be both useful and inspiring. Henrietta Hine Head of Public Programmes The Courtauld Institute of Art This resource offers teachers and their students an opportunity to explore the wealth of The Courtauld Gallery’s permanent collection by expanding on a key idea drawn from our exhibition programme. Taking inspiration from the exhibition The Young Durer: Drawing the Figure (17 October 2013 – 12 January 2014), the focus of this teachers’ resource is ‘Journeys in Art and Ambition’. -
Collection: Office of the Chief of Staff Files Series: Hamilton Jordan's Confidential Files Folder: Reorganization – WH/EOP, 1
Collection: Office of the Chief of Staff Files Series: Hamilton Jordan's Confidential Files Folder: Reorganization – WH/EOP, 1977 [1] Container: 37 Folder Citation: Office of the Chief of Staff Files, Hamilton Jordan's Confidential Files, Reorganization – WH/EOP, 1977 [1], Container 37 ·'~"'.·."":-"\/f>.· :-.... ' ..) <, ~) t, I ;r ~-t:~~{ THE WHITE HOUSE ~ /4kt:,t~ ~ WASHINGTON ;-7/ L:"/ / ~ ;:r,,/ /~ .r:.~/~~Q" March 31, 1977 k A /d/ A//;·y{~.-.,P ~ ~~/P ~4-c-;f'/' ~ &:,//~ /;If~~~ ~k... _ .~ .rMY . f/c.x/.ra:..;;Lo tIJUA. 7~AJIC~ MEMORANDUM FOR THE PRESIDENT /4 ?~/;;:""6 4,.tP'C ~ 4 8t}-f - ~.:~ ~..c.o" FROM: ROBERT LIPSHUTZ (V ~&,..~ er :>:t:.,; P /'J'k . 7f~ F~4 I With reference to your memorandum of earlier .J)~';7' today regarding the newspaper articles concerning .9 the White House staff, I am a·ttaching an up-to- ~ date analysis of both the permanent staff and // ~~~~ temporary employees, along with two memorandums ~~ ~~ which I requested Richard Harden and Hugh Carter ~~~ to prepare independently. ~ ~~NtIft~. Arter you have had an opportunity to review these ~ documents, I would like to meet with you personally at your convenience to discuss the matter. ~ /F .,.., .' ~ ~/l4""~~ ~ iJ·iiI: ~ ,.::...... " Attachments ~ ~ .r~.t'~ ~hf/~/I"AI'J" .,ffj.~hA r .r~ ~"'" u/;£b ~.7c./. A ~~d,f~ rl'/,·/k ~ k ~e-d~~ ~ ~ ~_ ~f~, ~ .1// ~~/A.~_ ~C'• ~!lJ Press 66 48 r)0 First Lady 26 29 V Public Liaison 22 19 6 Personnel 19 18 0 Congressional Liaison 25 26 9 N. S. C. 1 3 2 Appointm.ents and Scheduling and Advance 34 22 0 Domestic Affairs, Policy, Cabinet &: Intergovernm.ental 30 22 3 Politic.al &: Staff Secretary 16 13 3 Budget &: Administration 1 4 0 Energy 0 2 0 Drug Program 0 1 0 Special Projects 0 2 0 Miscellaneous 6 1 1 Totals 259 221 ~ This proposed allocation would result in a reduction of 38 persons, which is lOpe rcent. -
Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Fall 2015 Textile Society of America Newsletter 27:2 — Fall 2015 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 27:2 — Fall 2015" (2015). Textile Society of America Newsletters. 71. https://digitalcommons.unl.edu/tsanews/71 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 27. NUMBER 2. FALL, 2015 Cover Image: Collaborative work by Pat Hickman and David Bacharach, Luminaria, 2015, steel, animal membrane, 17” x 23” x 21”, photo by George Potanovic, Jr. page 27 Fall 2015 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Ellyane Hutchinson (Website Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) and Vita Plume (Vice President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives. -
Saint Bernard and Saint Catherine of Alexandria
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Agnolo Gaddi Florentine, c. 1350 - 1396 Saint Bernard and Saint Catherine of Alexandria with the Virgin of the Annunciation [right panel] shortly before 1387 tempera on poplar panel overall: 194.6 × 80 cm (76 5/8 × 31 1/2 in.) Inscription: across the bottom under the saints: S. BERNARDUS DOCTOR; S. K[A]TERINA VIRGO Andrew W. Mellon Collection 1937.1.4.c ENTRY This panel is part of a triptych that consists of two laterals with paired saints (this panel and Saint Andrew and Saint Benedict with the Archangel Gabriel [left panel]) and a central panel with the Madonna and Child (Madonna and Child Enthroned with Twelve Angels, and with the Blessing Christ [middle panel]). All three panels are topped with similar triangular gables with a painted medallion in the center. The reduction of a five-part Altarpiece into a simplified format with the external profile of a triptych may have been suggested to Florentine masters as a consequence of trends that appeared towards the end of the fourteenth century: a greater simplification in composition and a revival of elements of painting from the first half of the Trecento. [1] Agnolo Gaddi followed this trend in several of his works. He demonstrates this in the three panels being discussed here by his deliberate revival of motifs that had been abandoned by most Florentine painters since the mid-fourteenth century. To present the Madonna seated on a throne of Saint Bernard and Saint Catherine of Alexandria with the Virgin of the 1 Annunciation [right panel] National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Giottesque type, [2] instead of concealing the structure of the throne with a gold- embroidered cloth of honor as in most paintings realized by masters in the circle of Orcagna, was a sort of archaism at this time. -
Review of the Year 2010–2011
TH E April – March NATIONAL GALLEY TH E NATIONAL GALLEY April – March Contents Introduction 5 Director’s Foreword 6 Acquisition 8 Loans 10 Conservation 16 Framing 20 Exhibitions and Display 26 Education 42 Scientifi c Research 46 Research and Publications 50 Private Support of the Gallery 54 Financial Information 58 National Gallery Company Ltd 60 Trustees and Committees of the National Gallery Board 62 Figurative Architectural Decoration inside and outside the National Gallery 63 For a full list of loans, staff publications and external commitments between April 2010 and March 2011, see www.nationalgallery.org.uk/about-us/organisation/ annual-review – The Trustees and Director of the National Gallery da Vinci), increased corporate membership and have spent much of the year just past in making sponsorship, income from donations or otherwise. plans to enable us to deal with the implications of The Government has made it clear that it cuts to our income Grant in Aid, the government wishes to encourage cultural institutions such as funding on which we, to a large extent, depend the National Gallery to place greater reliance on to provide our services to the public. private philanthropic support, and has this year At an early stage in the fi nancial year our income taken some fi rst steps to encourage such support, Grant in Aid was cut by %; and in the autumn we through relatively modest fi scal changes and other were told that we would, in the period to March initiatives. We hope that further incentives to , be faced with further cumulative cuts to our giving will follow, and we continue to ask for the income amounting to % in real terms. -
November 2019 Volume X Issue 4
November 2019 Volume X Issue 4 The mission of the GFWC-Mississippi Federation of Women’s Clubs, Inc. is an organization of women whose goal is personal enrichment leading to volunteer service that benefits the community, state, nation and world. Founded on May 25, 1989 and a member of the General Federation of Women’s Clubs Since 1904. Page 2 GFWC-MFWC Headquarters & Elected Officers GFWC-MFWC Headquarters 2407 North State Street Jackson, Mississippi 39216 2018-2020 Elected Officers Becky C. Wright Theresa Buntyn President Vice President and Dean of Chairmen GFWC-MFWC Fine Arts Club of Bruce GFWC-MFWC Decatur Woman’s Progressive Northern District Club Central District Sherri E. Reid President-elect, Frances H. Brown Advisor to District Presidents Secretary and State Membership Chairman GFWC-MFWC Twentieth Century Club of Cosmopolitan Club Bruce Southern District Northern District Diane Rouse Treasurer GFWC-MFWC Florentine Evening Club Central District Page 3 In This Issue GFWC-MFWC Headquarters & Elected Officers 2 Exploring Our Heritage 4 A Message from Your State President 5 Tips for Achieving Heart Healthy Balance over the Holidays 7 Home For The Holidays 10 GFWC-MFWC Volunteers In Actions 12 Announcements and Upcoming Events 18 Thanksgiving Scattergories 19 General Federation of Women’s Club Latest News GFWC News 21 GFWC News & Notes 22 Support GFWC 23 The GFWC-MFWC Newsletter “The Heartbeat” is published by the GFWC-MFWC. All submissions are welcome. Photographs are encouraged. Mail articles and/or photographs to Lisa A. Harris, 822 SCR 115 S, Raleigh, MS 39153 or email to [email protected]. Questions or comments, contact Lisa at (601) 940-1519. -
December Communiqué 2017
COMMUNIQUÉ NORTHWOOD WOMAN’S CLUB NEWSLETTER DECEMBER 2017 THE PRESIDENT’S MESSAGE NEW YORK! NEW YORK! HERE WE COME! DECK THE HALLS WITH BOUGHS OF HOLLY! HO! HO! MISTLETOE FOR YOU AND ME! TIS THE SEASON TO BE JOLLY! IT’S THE MOST WONDERFUL TIME OF THE YEAR! Kay Dube Our November meeting was lively and interesting. Dine By Design Chairs Jenise Hurley and Jan Ledbetter kicked-off NWC’s 2018 Dine By Design theme by greeting us with sounds of New York! New York! sung by the old crooner himself at our monthly meeting held on November 16, 2017 at Lakewood Country Club. This was followed by the Stampede Dancers from J. J. Pearce High School who danced to the sounds of New York! New York! in a performance specially choreographed for NWC by Heather Barajas, the sponsor of the Stampede Dancers. Yes, ladies our Dine By Design theme is New York! New York! and all the sights and sounds of New York. Please contact Jenise and Jan to guarantee your reservation for a table at this year’s Dine By Design that will be held on February 27, 2018 at Bent Tree Country Club. BTW, one of the Stampede Dancers is the grandson of new member Doris Dunkerley. Doris, congratulations on having such a handsome and special grandson! In addition to the kick-off to Dine By Design, we heard from Brigadier General and 29-year veteran of the U. S. Air Force Patrick Mordenta, who is currently the Director of the George W. Bush Presidential Library. Brigadier General Patrick Mordenta shared highlights from his career that included Benghazi briefings in Senate Committee hearings, events that led up to his appointment as the Director of the George W. -
Madonna and Child Enthroned with Twelve
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Thirteenth and Fourteenth Centuries Agnolo Gaddi Florentine, c. 1350 - 1396 Madonna and Child Enthroned with Twelve Angels, and with the Blessing Christ [middle panel] shortly before 1387 tempera on poplar panel overall: 204 × 80 cm (80 5/16 × 31 1/2 in.) Inscription: across the bottom: AVE MARIA GRATIA PLENA DOMINUS [TECUM] (Hail, Mary, full of grace, the Lord is with thee; from Luke 1:28); on the book held by the Redeemer in the gable: EGO SUM / A[ET] O PRINCI / PIU[M] [ET] FINIS / EGO SUM VI / A. VERITAS / [ET] VITA (I am Alpha and Omega, the beginning and the end, I am the way, the truth, and the life; from John 14:6; Revelations 22:13) Andrew W. Mellon Collection 1937.1.4.b ENTRY This panel is the central part of a triptych flanked by two laterals with paired saints (Saint Andrew and Saint Benedict with the Archangel Gabriel [left panel] and Saint Bernard and Saint Catherine of Alexandria with the Virgin of the Annunciation [right panel]). All three panels are topped with similar triangular gables with a painted medallion in the center. The reduction of a five-part altarpiece into a simplified format with the external profile of a triptych may have been suggested to Florentine masters as a consequence of trends that appeared towards the end of the fourteenth century: a greater simplification in composition and a revival of elements of painting from the first half of the Trecento. [1] Agnolo Gaddi followed this trend in several of his works.