Spanish Flags. the Flag of Fernando Y Ysabel
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Quality Finishing Products for Modellers Index
LETTERING DECALS LINING FLAGS VINYLBECC Catalogue 14 £1.00 Quality finishing products for modellers Index page page Aircraft Signage 5 Masking 9 Car Graphics 6 Price List inside rear cover Decals & Graphics 2-8 Reflective 8 Depth Markings 2 Roundels 2-3 Dials & Gauges 5 Signal Flags 16 Fabric Flags 10-16 Truck Graphics 8 Garage Signs 7 Vinyl Lettering 1 Lining 9 Vinyl Sheet 9 New additions to the lettering range Sets of cut vinyl text in standard fonts for specific military and rescue aircraft available in white and black sizes 21mm, 16mm, 11mm & 7mm approx high RNTEXT HMCGTEXT RescueTEXT RAFTEXT USNTEXT USCGTEXT MARINETEXT USAFTEXT Visit the new web site for full details of new releases www.becc.co.uk Vinyl Lettering Standard sets of self-adhesive letters, numbers and symbols for use on models, crafts and many types of identification Standard Arial font packs Large range of colours & sizes Each pack has Waterproof exterior adhesive an identical Economic with 400+ characters per pack amount of letters and numbers on Easy to lift and apply to all surfaces between 1 and 12 sheets A multitude of uses depending on the size of Letters are currently supplied in capitals only in Arial Bold type style. Quantity of symbols vary slightly in different size packs depending on character space available. Although not necessary, vinyl can be overcoated with Just lift the all normal varnishes. letters from the All Standard lettering packs are available in 11 sizes and 10 solid backing sheet colours: Black, White, Gold, Silver, Red, Blue, Yellow, Green, Orange with tweezers or and Purple a small knife 25mm Apply to the clean surface 20mm using a piece of 15mm tape to help 12mm alignment 10mm 8mm 6mm 5mm Rub gently into 4mm place for a 3mm AAAAAA 2mm perfect AAAA waterproof finish WhenA ordering quote size, then “Arial” followed by colour i.e. -
Spain Research Flip Book
Research Flip Book 2019 Stacey Jones at Simple Living. Creative Learning PINTEREST! | WEBSITE | FACEBOOK All rights reserved. No part of this book may be reproduced, stored or transmitted in any form by any means without prior permission of the publisher. This workbook is licensed for personal/family use only. YOU MAY: ! Use these files for personal use only. ! Use in your personal classroom ! Download the files to your personal computer. ! Print as many copies as you would like to use for your personal use. ! Direct other to our website: https://simplelivingcreativelearning.com YOU MAY NOT: ! Edit any of these printables. ! Share the files with anyone else. ! Store or sell them on any website. ! Claim them as your own. ! Print and sell or distribute them to others Graphics and Font: Facts & Flag & Facts Research Flip Book Map This is how the book will look when printed out and stapled Culture together on the left hand side. History Interesting Interesting Name: Facts !!!!!!!!!!!!!!!! Simple Living. Creative Learning ! Research Flip Book Name: !!!!!!!!!!!!!!!! Simple Living. Creative Learning ! Facts & Flag & Facts Quick Facts Capital City: Religion: Population: Language: Continent: Currency: Neighbouring Countries: Government: Flag Color in the Flag. The flag of Spain has three horizontal bands on it. The top and bottom bands are red while the middle band is thicker and golden yellow in color. Off center on the yellow band is the Spanish coat of arms. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Simple Living. Creative Learning ! Map Find Spain on the world map and color it in. Map ! Place a star where the capital city is ! Write in the Bay of Biscay ! Write in the Mediterranean Sea ! Write in France and Portugal where they are located ! Draw in the Pyrenees Mountains Spain has a land area size of!!!!!!!!!!!!!!!!!!!!" !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Simple Living. -
Greek Mythology at the Service of the Portuguese Inquisition: the Case of Hercules and the Hydra of Lerna
Athens Journal of Mediterranean Studies- Volume 1, Issue 1 – Pages 25-44 Greek Mythology at the Service of the Portuguese Inquisition: The Case of Hercules and the Hydra of Lerna By Milton Dias Pacheco Greek mythology has been along the centuries a fruitful source of inspiration to artists and writers, as it possesses the strength of expressing symbolically the most common circumstances of life. Regarding the threats that in every age put in danger human life the most popular figure was maybe the Hydra that infested the region of the Lake of Lerna, in Argolis. This mythical figure may still have an older origin as it is connected with chthonic dangers. Because of its terrifying aspect, reptilian traits and poisonous breath, it was related to the evil and the domains of Hell. Later the Hydra significance became larger and deeper as it represented the heresies that could affect the Christian orthodoxy. According to this point of view, every defender of the Catholic Faith was immediately compared to Hercules, the Greek hero who succeeded in killing the mythological Hydra monster. In this way, it is easy to understand why this representation was often used in connection with the Iberian Habsburg Kings, as it worked as a political strategy of this dynasty, in which the Spanish Habsburgs were faced as the guardians and defenders of the Church of Rome, mainly in times when the Inquisition developed a determinative role. An illustrative example of this was the decoration of the arch built by the Inquisition in Lisbon, when King Philip II of Portugal visited the Portuguese Empire capital. -
Flag Research Quarterly, August 2016, No. 10
FLAG RESEARCH QUARTERLY REVUE TRIMESTRIELLE DE RECHERCHE EN VEXILLOLOGIE AUGUST / AOÛT 2016 No. 10 DOUBLE ISSUE / FASCICULE DOUBLE A research publication of the North American Vexillological Association / Une publication de recherche de THE FLAGS AND l’Association nord-américaine de vexillologie SEALS OF TEXAS A S I LV E R A NN I V E R S A R Y R E V I S I O N Charles A. Spain I. Introduction “The flag is the embodiment, not of sentiment, but of history. It represents the experiences made by men and women, the experiences of those who do and live under that flag.” Woodrow Wilson1 “FLAG, n. A colored rag borne above troops and hoisted on forts and ships. It appears to serve the same purpose as certain signs that one sees on vacant lots in London—‘Rubbish may be shot here.’” Ambrose Bierce2 The power of the flag as a national symbol was all too evident in the 1990s: the constitutional debate over flag burning in the United States; the violent removal of the communist seal from the Romanian flag; and the adoption of the former czarist flag by the Russian Federation. In the United States, Texas alone possesses a flag and seal directly descended from revolution and nationhood. The distinctive feature of INSIDE / SOMMAIRE Page both the state flag and seal, the Lone Star, is famous worldwide because of the brief Editor’s Note / Note de la rédaction 2 existence of the Republic of Texas (March 2, 1836, to December 29, 1845).3 For all Solid Vexillology 2 the Lone Star’s fame, however, there is much misinformation about it. -
Catalan Modernism and Vexillology
Catalan Modernism and Vexillology Sebastià Herreros i Agüí Abstract Modernism (Modern Style, Modernisme, or Art Nouveau) was an artistic and cultural movement which flourished in Europe roughly between 1880 and 1915. In Catalonia, because this era coincided with movements for autonomy and independence and the growth of a rich bourgeoisie, Modernism developed in a special way. Differing from the form in other countries, in Catalonia works in the Modern Style included many symbolic elements reflecting the Catalan nationalism of their creators. This paper, which follows Wladyslaw Serwatowski’s 20 ICV presentation on Antoni Gaudí as a vexillographer, studies other Modernist artists and their flag-related works. Lluís Domènech i Montaner, Josep Puig i Cadafalch, Josep Llimona, Miquel Blay, Alexandre de Riquer, Apel·les Mestres, Antoni Maria Gallissà, Joan Maragall, Josep Maria Jujol, Lluís Masriera, Lluís Millet, and others were masters in many artistic disciplines: Architecture, Sculpture, Jewelry, Poetry, Music, Sigillography, Bookplates, etc. and also, perhaps unconsciously, Vexillography. This paper highlights several flags and banners of unusual quality and national significance: Unió Catalanista, Sant Lluc, CADCI, Catalans d’Amèrica, Ripoll, Orfeó Català, Esbart Català de Dansaires, and some gonfalons and flags from choral groups and sometent (armed civil groups). New Banner, Basilica of the Monastery of Santa Maria de Ripoll Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 506 Catalan Modernism and Vexillology Background At the 20th International Conference of Vexillology in Stockholm in 2003, Wladyslaw Serwatowski presented the paper “Was Antonio Gaudí i Cornet (1852–1936) a Vexillographer?” in which he analyzed the vexillological works of the Catalan architectural genius Gaudí. -
975 Bacons Bridge
Your #1 Source For Patriotic Goods! 975 Bacons Bridge Rd., Suite 148-152, Summerville, SC 29485 www.patriotic-flags.com 1-866-798-2803 All flags are 3’x5’, silk-screened polyester, have two brass grommets, and cost only $13.00 postpaid. (unless otherwise noted). Gadsden Viking Raven Banner Jolly Roger U.S. Marine Corp Culpeper Vinland Irish American POW *MIA Colonial Navy Jack French Fleur de lis Russian Czar Welcome Home Grand Union Blue Service Star East Flanders Imperial German Jack Bunker Hill 34 Star (Civil War) UK Royal Standard Munster Betsy Ross 35 Star (Civil War) German Parliamentary Royal Swedish All 3’x5’ Polyester flags only $13.00 postage paid. Free shipping in the US and Canada. South Carolina residents receive a discount equal to sales tax. All polyester flags have two rows of stitching per side and most have four rows on the fly for extra strength in high wind. All flags have two brass grommets. All flags look the same on both sides. Most world flags and military flags are also available in 2’x3’ for $11.00 postage paid. Some flags are also available in 4’x6’ for $25.00 postage paid. Other types of flags we sell. 3’x5’ Sewn Cotton flags for $45.00. 3’x5’ Sewn Synthetic flags for $35.00. We have extra heavy duty 3’x5’ sewn nylon flags (all lettering is the correct orientation on both sides) for the branches of the military and POW*MIA flags for $45.00. All prices include shipping in the US & Canada. We sell over 1,000 different flags. -
Vexillum, June 2018, No. 2
Research and news of the North American Vexillological Association June 2018 No. Recherche et nouvelles de l’Association nord-américaine de vexillologie Juin 2018 2 INSIDE Page Editor’s Note 2 President’s Column 3 NAVA Membership Anniversaries 3 The Flag of Unity in Diversity 4 Incorporating NAVA News and Flag Research Quarterly Book Review: "A Flag Worth Dying For: The Power and Politics of National Symbols" 7 New Flags: 4 Reno, Nevada 8 The International Vegan Flag 9 Regional Group Report: The Flag of Unity Chesapeake Bay Flag Association 10 Vexi-News Celebrates First Anniversary 10 in Diversity Judge Carlos Moore, Mississippi Flag Activist 11 Stamp Celebrates 200th Anniversary of the Flag Act of 1818 12 Captain William Driver Award Guidelines 12 The Water The Water Protectors: Native American Nationalism, Environmentalism, and the Flags of the Dakota Access Pipeline Protectors Protests of 2016–2017 13 NAVA Grants 21 Evolutionary Vexillography in the Twenty-First Century 21 13 Help Support NAVA's Upcoming Vatican Flags Book 23 NAVA Annual Meeting Notice 24 Top: The Flag of Unity in Diversity Right: Demonstrators at the NoDAPL protests in January 2017. Source: https:// www.indianz.com/News/2017/01/27/delay-in- nodapl-response-points-to-more.asp 2 | June 2018 • Vexillum No. 2 June / Juin 2018 Number 2 / Numéro 2 Editor's Note | Note de la rédaction Dear Reader: We hope you enjoyed the premiere issue of Vexillum. In addition to offering my thanks Research and news of the North American to the contributors and our fine layout designer Jonathan Lehmann, I owe a special note Vexillological Association / Recherche et nouvelles de l’Association nord-américaine of gratitude to NAVA members Peter Ansoff, Stan Contrades, Xing Fei, Ted Kaye, Pete de vexillologie. -
Symbol of Conquest, Alliance, and Hegemony
SYMBOL OF CONQUEST, ALLIANCE, AND HEGEMONY: THE IMAGE OF THE CROSS IN COLONIAL MEXICO by ZACHARY WINGERD Presented to the Faculty of the Graduate School of The University of Texas at Arlington in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT ARLINGTON August 2008 Copyright © by Zachary Wingerd 2008 All Rights Reserved ACKNOWLEDGEMENTS I offer thanks to Dr. Dennis Reinhartz, Dr. Kenneth Philp, Dr. Richard Francaviglia, and Dr. Joseph Bastien who agreed to sit on my dissertation committee and guide my research and writing. Special thanks are given to Dr. Douglas Richmond who encouraged my topic from the very beginning and as the committee chair actively supported my endeavor. May 1, 2008 iii DEDICATED TO MY LOVING WIFE AND SONS Lindsey, Josh, and Jamie iv ABSTRACT SYMBOL OF CONQUEST, ALLIANCE, AND HEGEMONY: THE IMAGE OF THE CROSS IN COLONIAL MEXICO Zachary Wingerd, PhD. The University of Texas at Arlington, 2008 Supervising Professor: Douglas Richmond The universality of the cross image within the transatlantic confrontation meant not only a hegemony of culture, but of symbolism. The symbol of the cross existed in both European and American societies hundreds of years before Columbus. In both cultures, the cross was integral in religious ceremony, priestly decoration, and cosmic maps. As a symbol of life and death, of human and divine suffering, of religious and political acquiescence, no other image in transatlantic history has held such a perennial, powerful message as the cross. For colonial Mexico, which felt the brunt of Spanish initiative, the symbol of the cross penetrated the autochthonous culture out of which the independent nation and indigenous church were born. -
The History of Florida's State Flag the History of Florida's State Flag Robert M
Nova Law Review Volume 18, Issue 2 1994 Article 11 The History of Florida’s State Flag Robert M. Jarvis∗ ∗ Copyright c 1994 by the authors. Nova Law Review is produced by The Berkeley Electronic Press (bepress). https://nsuworks.nova.edu/nlr Jarvis: The History of Florida's State Flag The History of Florida's State Flag Robert M. Jarvis* TABLE OF CONTENTS I. INTRODUCTION ........ .................. 1037 II. EUROPEAN DISCOVERY AND CONQUEST ........... 1038 III. AMERICAN ACQUISITION AND STATEHOOD ......... 1045 IV. THE CIVIL WAR .......................... 1051 V. RECONSTRUCTION AND THE END OF THE NINETEENTH CENTURY ..................... 1056 VI. THE TWENTIETH CENTURY ................... 1059 VII. CONCLUSION ............................ 1063 I. INTRODUCTION The Florida Constitution requires the state to have an official flag, and places responsibility for its design on the State Legislature.' Prior to 1900, a number of different flags served as the state's banner. Since 1900, however, the flag has consisted of a white field,2 a red saltire,3 and the * Professor of Law, Nova University. B.A., Northwestern University; J.D., University of Pennsylvania; LL.M., New York University. 1. "The design of the great seal and flag of the state shall be prescribed by law." FLA. CONST. art. If, § 4. Although the constitution mentions only a seal and a flag, the Florida Legislature has designated many other state symbols, including: a state flower (the orange blossom - adopted in 1909); bird (mockingbird - 1927); song ("Old Folks Home" - 1935); tree (sabal palm - 1.953); beverage (orange juice - 1967); shell (horse conch - 1969); gem (moonstone - 1970); marine mammal (manatee - 1975); saltwater mammal (dolphin - 1975); freshwater fish (largemouth bass - 1975); saltwater fish (Atlantic sailfish - 1975); stone (agatized coral - 1979); reptile (alligator - 1987); animal (panther - 1982); soil (Mayakka Fine Sand - 1989); and wildflower (coreopsis - 1991). -
Bartolomé De Las Casas, Soldiers of Fortune, And
HONOR AND CARITAS: BARTOLOMÉ DE LAS CASAS, SOLDIERS OF FORTUNE, AND THE CONQUEST OF THE AMERICAS Dissertation Submitted To The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in Theology By Damian Matthew Costello UNIVERSITY OF DAYTON Dayton, Ohio August 2013 HONOR AND CARITAS: BARTOLOMÉ DE LAS CASAS, SOLDIERS OF FORTUNE, AND THE CONQUEST OF THE AMERICAS Name: Costello, Damian Matthew APPROVED BY: ____________________________ Dr. William L. Portier, Ph.D. Committee Chair ____________________________ Dr. Sandra Yocum, Ph.D. Committee Member ____________________________ Dr. Kelly S. Johnson, Ph.D. Committee Member ____________________________ Dr. Anthony B. Smith, Ph.D. Committee Member _____________________________ Dr. Roberto S. Goizueta, Ph.D. Committee Member ii ABSTRACT HONOR AND CARITAS: BARTOLOMÉ DE LAS CASAS, SOLDIERS OF FORTUNE, AND THE CONQUEST OF THE AMERICAS Name: Costello, Damian Matthew University of Dayton Advisor: Dr. William L. Portier This dissertation - a postcolonial re-examination of Bartolomé de las Casas, the 16th century Spanish priest often called “The Protector of the Indians” - is a conversation between three primary components: a biography of Las Casas, an interdisciplinary history of the conquest of the Americas and early Latin America, and an analysis of the Spanish debate over the morality of Spanish colonialism. The work adds two new theses to the scholarship of Las Casas: a reassessment of the process of Spanish expansion and the nature of Las Casas’s opposition to it. The first thesis challenges the dominant paradigm of 16th century Spanish colonialism, which tends to explain conquest as the result of perceived religious and racial difference; that is, Spanish conquistadors turned to military force as a means of imposing Spanish civilization and Christianity on heathen Indians. -
Moon Shot from Renaissance Imagination to Modern Reality
1 Moon Shot From Renaissance Imagination to Modern Reality Mari-Tere Álvarez First used by Shakespeare in 1603, the term “futurity” is referred to in the lexi- con as the “quality or state of being future.”1 Distinct from “future,” futurity is a vision of the future; it is not a fixed event. Futurity is essentially a forward-driven mode, but it does not simply mean development. Much as Europeans aspired to reach India via a western sea route in the Middle Ages, futurity is an image and a horizon: seen and discussed but just out of reach.2 This essay explores a number of future-oriented speculations in the practices and theories of sixteenth- and sev- enteenth-century art worlds (both visual and literary), with a particular emphasis on the ways in which future-making was a critically fundamental part of the ambi- tious imperial ventures of Early Modern Europe. Human beings have always had a penchant for the marvelous, for that which seems beyond our reach. Perhaps not surprisingly, the motto for the Holy Roman Emperor Charles V (1500–1558) was Plus Ultra, “further beyond,” that is, going beyond the known reaches of Europe stretching into the unknown, the future.3 The Early Modern period was marked by individuals who saw beyond known boundaries and were seeking to create future worlds. Whether it was Columbus attempting to circumnavigate the globe or Francis Bacon’s new utopian society— emperors sought and dreamers dreamed. It was left to the artisans, writers, and cartographers to make visual these imagined futures and thereby help us, the read- ers and viewers, to see these imagined futures as possible reality.4 This essay looks at the futurists of the Early Modern period who first gazed into the night sky and began to dream of new possibilities, which would take an additional four hundred years to make reality. -
Flags and Banners
Flags and Banners A Wikipedia Compilation by Michael A. Linton Contents 1 Flag 1 1.1 History ................................................. 2 1.2 National flags ............................................. 4 1.2.1 Civil flags ........................................... 8 1.2.2 War flags ........................................... 8 1.2.3 International flags ....................................... 8 1.3 At sea ................................................. 8 1.4 Shapes and designs .......................................... 9 1.4.1 Vertical flags ......................................... 12 1.5 Religious flags ............................................. 13 1.6 Linguistic flags ............................................. 13 1.7 In sports ................................................ 16 1.8 Diplomatic flags ............................................ 18 1.9 In politics ............................................... 18 1.10 Vehicle flags .............................................. 18 1.11 Swimming flags ............................................ 19 1.12 Railway flags .............................................. 20 1.13 Flagpoles ............................................... 21 1.13.1 Record heights ........................................ 21 1.13.2 Design ............................................. 21 1.14 Hoisting the flag ............................................ 21 1.15 Flags and communication ....................................... 21 1.16 Flapping ................................................ 23 1.17 See also ...............................................