text:
El Perer és un mas al veïnat de Sant Andreu de Socarrats al terme de la Vall de Bianya (la Garrotxa) catalogat a l'Inventari del Patrimoni Arquitectònic de Catalunya.

Descripció
El mas ve citat des de més antic que l'actual edifici, dels segles XVIII-XIX. És de planta rectangular i teulat a quatre aigües. Disposa de planta baixa, pis i damunt la teulada, una llanterna o torratxa amb teulat a quatre aigües i una finestra a cada costat. A la façana nord hi ha conc arcades a la planta baixa que es corresponen amb les cinc finestretes del pis. Envolten el mas altres edificacions, com una pallissa de dos pisos i tres badius horitzontals a cada un. És de planta rectangular i teulat a quatre aigües, sostingut per bigues de fusta, llates i les teules col·locades a salt de garsa. L'era conserva els cairons originals.

Història
El nom primitiu és "Perer", que en el  es converteix en "Parer". Era emfiteuta de Santa Maria de Besalú. El mes de novembre de 1216, Arnau de Perer firma una permuta de terres entre Berenguer de Socarrats i la seva esposa Ermessenda i Joan de Font i la seva esposa Maria. En Llorenç Parer figura com a hereu del mas des de l'any 1515. El 30 de març de 1518 compra la "batllia del sac" del priorat de Sant Joan les Fonts, a la parròquia de Socarrats, a Joan Socarrats i Soveyes, senyor útil del mas Socarrats. L'any 1626 era senyor útil d'aquesta casa Benet Parer, qui ven a Joan Pau socarrats mitja quartera de terra anomenada "La coromina", salvant el domini directe pel cambrer de Sant Pere de Camprodon.

Referències

Masies de la Vall de Bianya
Patrimoni monumental de la Vall de Bianya


text:
Станіслав Казимєж Циковський (;  14 лютого 1899, Чарни-Дунаєць, Австро-Угорщина —  2 грудня 1959, Краків, Польща) — польський футболіст, виступав на позиції півзахисника. Олімпієць. Багаторічний гравець «Краковії».

Життєпис

Ранні роки та освіта
Народився 14 лютого 1899 року в місті Чарни-Дунаєць, у багатодітній родині податківця Фердинанда та Флорентини (у дівоцтві — Сувада). У 1905—1909 роках навчався в загальноосвітній школі з рідного міста. Продовжив навчання в краківській гімназії № 3 імені Короля Яна III Собеського. У 1917 році отримав середню освіту й розпочав навчання на медичному факультеті Ягеллонського університету. У 1925 році отримав звання доктора медицини. Під час навчання добровільно приєднався до Війська Польського. До лютого 1919 року служив охоронцем у Краківському освітньому відділенні, а потім — санітаром-унтер-офіцером. У 1920—1921 роках був ад'ютантом Окружного командування гарнізону в Кракові. У червні 1921 року став лейтенантом військового запасу.

Кар'єра гравця
Ще під час навчання в гімназії розпочав займатися футболом. У 1912 році став гравцем краківської «Краковії». У червні 1916 року був переведений до першої команди клубу. До кінця першої половини 1925 року зіграв за команду 226 матчів. У 1921 році допоміг «Краковії» стати переможцем чемпіонату Польщі. Був учасником історичного першого матчу польської збірної — 18 грудня 1921 року в Будапешті Польща з рахунком 0:1 поступилася Угорщині. У складі збірної провів 9 матчів. Учасник Олімпійських ігор у Парижі. 26 травня 1924 року востаннє одягнув футболку національної збірної. Дванадцятикратно представляв збірну Кракова у міжнародних та міжобласних футбольних змаганнях. Завершив кар'єру гравця у травні 1925 році після того як отримав серйозну травму в зіткненні з Владиславом Ковальським під час матчу з «Віслою». За це порушення правил Ковальський отримав річну дискваліфікацію. До 1932 року працював в університетській лікарні, потім лікарем в системі медичних пунктів соціального забезпечення в Кракові. Також займався і приватною практикою. У вересні 1939 року працював лікарем у військовому шпиталі № 1003 у Перемишлі. Повернувшись до Кракова надавав медичну допомогу учасникам польського підпілля в Кракові}{{sfn|Wryk|2015}. Також надавав медичні послуги спортсменам підпільних польських змагань.

По завершенні Другої світової війни
Після завершення війни повернувся до соціальної роботи в «Краковії». Працював у Службі Здоров'я лікарем-гінекологом. У 1946 році увійшов до почесного керівництва Спортивного клубу «Краковія». У 1956 році входив до організаційного комітету по святкуванню 50-річного ювілею «Краковії». Також працював у сфері охорони здоров'я. З 1948 року працював на кафедрі Президії муніципальної національної ради. Помер 2 грудня 1959 року в Кракові, похований на Раковицькому кладовищі.

Був одружений з Яніною Жвавою. Двоє дітей — син Кшиштоф (1946 р.н) та донька Дорота (1950 р.н.).

Досягнення
  Чемпіонат Польщі
  Чемпіон (1): 1921

Примітки

Література

 Mieczysław Szymkowiak. Młodość jest najpiękniejsza. «Historia polskiej piłki nożnej». 2, s. 5. Warszawa: TM-SEMIC sp. z o.o.. ISSN 340235.

Посилання

 Профіль гравця на сайті footballdatabase.eu
 Профіль гравця на сайті worldfootball.net
 Профіль гравця на сайті eu-football.info
 Профіль гравця на сайті sports-reference.com
 Профіль гравця на сайті hppn.pl
 Профіль гравця на сайті sport.de

Уродженці Малопольського воєводства
Померли в Кракові
Польські футболісти
Гравці збірної Польщі з футболу
Поховані на Раковицькому цвинтарі
Футболісти «Краковії»

redpajama_set_name: RedPajamaWikipedia


text:
The Marriott Theatre in Lincolnshire, Illinois is a respected Chicago area regional theatre. Attached to the Marriott Lincolnshire Resort, the theatre produces an average of five musicals each year, presented in the round, as well as productions aimed at younger audiences. A small, live orchestra provides accompaniment.

History
Founded in December 1975, The Marriott Theatre has presented more than 170 musicals and is currently led by Executive Producer Peter Blair and Artistic Director Peter Marston Sullivan. It is the most subscribed musical theatre in the country.

The Marriott Theatre has presented more than 3,000 professional actors in classic American musical theatre, new musicals, and "re-thought" musicals.  Broadway has long considered The Marriott Theatre a prime venue for launching shows into the regional market with premiere productions of A Chorus Line, Chess, Baby, Grand Hotel, They're Playing Our Song, The Goodbye Girl, The First, Miss Saigon, Cats, Sunset Boulevard, Beauty and the Beast, Thoroughly Modern Millie, The Producers and Little Women.

A founding member of the National Alliance for Musical Theatre, The Marriott Theatre fosters artists in creating new works for the stage.  The result has been a string of American and World Premieres including Matador, which subsequently played London's West End; Annie Warbucks, launching a national tour and opening off-Broadway in New York to rave reviews; Phantom of the Country Palace, Grover's Corners, Maury Yeston's History Loves Company (1991), Windy City, The New Yorkers, Queen of the Stardust Ballroom, Peggy Sue Got Married, Once Upon a Time in New Jersey, The All Night Strut, A Fascinatin' Rhythm, Married Alive, The Bowery Boys, For The Boys, and Hero.

Marriott's Theatre for Young Audiences has presented numerous original works as well as classic fairy tales. To date, Marriott's Theatre for Young Audiences has presented more than 45 productions. Every year, these musicals introduce more than 100,000 children to live theatre.  In all, The Marriott Theatre attracts more than 400,000 people to Lincolnshire each year.

Shows

1980
Barbara Eden
Phyllis Diller
Rodgers & Hart
The Sound of Music
Hay Fever
Cabaret
Kiss Me, Kate
Oliver!

1981
Man of La Mancha
A Little Night Music
South Pacific
They're Playing Our Song world premiere

1982
Fiddler on the Roof
Kismet
Little Me world premiere
Brigadoon

1983
Shenandoah
Give My Regards to Broadway world premiere
Chicago
Gypsy: A Musical Fable

1984
Windy City
The Boys from Syracuse
A Day in Hollywood / A Night in the Ukraine
Carousel

1985
Joseph and the Amazing Technicolor Dreamcoat
Startime world premiere
A Chorus Line
Hello, Dolly!

1986
Camelot
Baby world premiere
The King and I

1987
The Wiz
1776
Grover's Corners world premiere
My Fair Lady

1988
Evita
Do Black Patent Leather Shoes Really Reflect Up?
Cabaret
West Side Story
Peter Pan

1989
Big River
70, Girls, 70
Matador world premiere
Grease
Funny Girl

1990
Chess, a new version. Directed by David H. Bell and starring Susie McMonagle, David Studwell and Kim Strauss, it featured a reworking of Richard Nelson's New York script.  Bell's version has since been performed in Sacramento and Atlanta as well.
Into the Woods
Pump Boys and Dinettes
South Pacific
Me and My Girl

1991
Encore world premiere
Brigadoon
Sweet Charity
History Loves Company world premiere
Anything Goes

1992
Annie Warbucks premiere
Little Shop of Horrors
Arthur premiere
Grand Hotel
The Sound of Music

1993
The First: A Musical premiere
Oklahoma!
Hot Mikado special presentation
Sweeney Todd
42nd Street

1994
Windy City encore presentation
Phantom of the Country Palace premiere
The Goodbye Girl special presentation
La Cage aux Folles
The Music Man

1995
Hello, Dolly!
Ms. Cinderella premiere
Dreamgirls
Heartbeats premiere
Eleanor premiere

1996
And the World Goes 'Round
The New Yorkers
The Best Little Whorehouse in Texas
How to Succeed in Business Without Really Trying
Singin' in the Rain

1997
The Will Rogers Follies
Kismet
Nunsense
Baby
Guys & Dolls

1998
Elmer Gantry premiere
Gypsy
I Love You, You're Perfect, Now Change
Queen/Stardust Ballroom premiere
Finian's Rainbow
The Wizard of Oz

1999
Do Black Patent Leather Shoes Really Reflect Up?
Victor/Victoria
Houdini premiere
Peggy Sue Got Married premiere
Phantom

2000
Joseph and the Amazing Technicolor Dreamcoat
The Pirates of Penzance
Pump Boys & Dinettes
Evita
The King & I

2001
Big River
Mame
The Taffetas
Miss Saigon special presentation
Bye Bye Birdie

2002
Honk!
Damn Yankees
1776
Carousel
Funny Girl

2003
Cats special presentation
Hot Mikado encore presentation
Forever Plaid
Show Boat
Annie Get Your Gun

2004
West Side Story
The Pajama Game
Ain't Misbehavin'
Sunset Boulevard special presentation
Beauty and the Beast special presentation

2005
Swing!
Brigadoon
A Funny Thing Happened on the Way to the Forum
Footloose
Oliver!

2006
Thoroughly Modern Millie
State Fair
Once Upon a Time in New Jersey premiere
Into the Woods
All Night Strut premiere

2007
Grease
Shenandoah special presentation
Married Alive premiere
The Producers
Little Women

2008
Les Misérables
Nunsense
The Full Monty
All Shook Up special presentation
The Bowery Boys world premiere

2009
Joseph and the Amazing Technicolor Dreamcoat
The 25th Annual Putnam County Spelling Bee
The Light in the Piazza
Hairspray
My Fair Lady

2010
Fiddler on the Roof
The Drowsy Chaperone
Once on This Island
A Chorus Line
The Music Man

2011
Guys and Dolls
42nd Street
SHOUT! The Mod Musical
For the Boys world premiere
White Christmas

2012
Legally Blonde: The Musical
The Pirates of Penzance
Hero world premiere
Dreamgirls
My One and Only

2013
Now and Forever: The Music of Andrew Lloyd Webber
South Pacific
I Love You, You're Perfect, Now Change
9 to 5: The Musical
Mary Poppins

2014
Cabaret
Cats
Godspell
On the Town
The King and I

2015
La Cage aux Folles
Anything Goes
City of Angels
October Sky
Elf: The Musical

2016
Sister Act
Evita
Man of La Mancha
How to Succeed in Business Without Really Trying
Singin' in the Rain

2017
Mamma Mia!
She Loves Me
The Bridges of Madison County
Honeymoon in Vegas
Newsies

2018
Ragtime!
Oklahoma!
Murder for Two
Sweet Charity
Irving Berlin's Holiday Inn

2019
Million Dollar Quartet
Footloose
Darling Grenadine
Something Rotten!
Oliver!

2020
The 2020 season was interrupted by the COVID-19 pandemic and continued once it was determined to be safe to congregate.
Grease

2021
(A continuation of the announced 2020 season)
Kiss Me, Kate
And the World Goes 'Round

2022
(A continuation of the announced 2020 season with two additional shows)
West Side Story
The Sound of Music
Hello, Dolly!
A Christmas Story: The Musical

2023
Big Fish
Damn Yankees
Buddy: The Buddy Holly Story
Gypsy
Beautiful: The Carole King Musical

References

External links
Marriott Theatre official website
Marriott Profile
2008 Season
2007 Season
Metromix Description
Theatre in Chicago

1975 establishments in Illinois
Lincolnshire, Illinois
Theatres in Illinois
Buildings and structures in Lake County, Illinois
Tourist attractions in Lake County, Illinois


text:
El Festival Internacional de Música Popular Tradicional se celebra en Villanueva y Geltrú, Cataluña, desde el año 1981. Es, por tanto, el certamen más antiguo de España de músicas del mundo, étnicas o de raíz.

Se celebra durante tres jornadas en el mes de julio con una periodicidad anual. Las actividades y conciertos se desarrollan en diferentes franjas horarias, desde la mañana hasta la noche. Los públicos que asisten son diversos, tanto de la propia localidad como numerosos visitantes y aficionados. Se trata de un público intergeneracional.

Este festival se ha caracterizado por programar artistas que posteriormente han triunfado en los circuitos de músicas étnicas.

Su organización está a cargo del Ayuntamiento de Villanueva y Geltrú.

Actualmente configura junto a los certámenes de Etnosur (Alcalá la Real, Jaén, Andalucía), Guecho (País Vasco), La Mar de Músicas (Cartagena, Murcia), Ortigueira (Galicia), y Pirineos Sur (Aragón), el grupo de festivales de referencia en España. En Cataluña otro certamen indispensable es la Feria Mediterrania de Manresa, el mercado de espectáculos de raíz étnica más importante del Mediterráneo.

En 1990 el Festival de Villanueva y Geltrú recibió el Premio Altaveu que otorga el prestigioso Festival Altaveu de San Baudilio de Llobregat.

En 2008 el certamen incorpora por primera vez una sección dedicada a los niños, y también la de los vermuts tertulia en los que los artistas explican sus proyectos a los ciudadanos.

En 2010 el certamen cumple sus 30 años. Televisión de Cataluña ha producido un reportaje commemorativo de una hora de duración.

En esta misma edición el festival es cofundador de la red de Festivales con Encanto, junto a los festivales Altaveu de San Baudilio de Llobregat y Acústica de Figueras.

Enlaces externos
 Web oficial del Festival
 El FiMPT en Facebook
 El FiMPT en el Womex
 El FiMPT difundido a través del Womex

Referencias
 Albà, Josep: "El Festival Internacional de Música Popular Tradicional de Villanueva y Geltrú", Revista de etnología de Cataluña, núm. 3, 1993, pp. 132-139.
 Bianciotto, Jordi / Riera, Ferran: "El FiMPT de Vilanova i la Geltrú: bressol de festivals", Ajuntament de Vilanova i la Geltrú / Revista Sons, Barcelona, 2010.
 FIMPT. Festival Internacional de Música Popular Tradicional. 25 años. 1981-2005. Villanueva y Geltrú, Ayuntamiento de Villanueva y Geltrú / El Cep i la Nansa, 2005.
 Soler, Joan (director): "Música, danza y teatro popular", a Tradicional. Enciclopedia de la cultura popular de Cataluña, vol. 6, Enciclopedia Catalana, Barcelona, 2006.

villanueva geltru
popular tradicional villanueva geltru
internacional musica popular tradicional villanueva geltru
Música de la provincia de Barcelona
festival internacional musica popular tradicional
Organizaciones fundadas en 1981


text:
La ligne Jinshan  (Chinese 金山铁路) est une ligne de train de banlieue «à grande vitesse» à Shanghai, qui fait partie du projet de réseau de train de banlieue de la région de Shanghai. La ligne va de la gare de Shanghai-Sud dans le district de Xuhui via Xinzhuang dans le district de Minhang à Jinshanwei dans le district de Jinshan, en traversant la rivière Huangpu sur un pont ferroviaire dédié. La ligne est connectée aux lignes 1, 3 et 5 du métro de Shanghai. La ligne a été construite à l'origine en 1975, elle a depuis été transformée en une ligne ferroviaire de banlieue à grande vitesse qui a ouvert le 28 septembre 2012.

C'est la première ligne à offrir des services de trains de banlieue «à grande vitesse», avec des trains voyageant jusqu'à 160km/h, comparé à 30-70 km/h pour les lignes de métro régulières, Les  entre Jinshan et le centre-ville prennent 32 minutes de trajet pour les trains express sans arrêt, et 60 minutes pour les autres trains, qui s'arrêtent à toutes les gares de la ligne.

La ligne portait le nom de Line 22 avant son ouverture.

Stations

 Les trains s'arrêtent aux gares marquées "●" et passent celles marquées "|". «R» signifie trains express (C30xx), «H» signifie trains de service semi-express pendant les périodes de vacances (C32xx) et «L» signifie service local (C36xx).
 L'horaire du service de vacances est différent du service régulier. Le service de vacances est disponible le week-end et les jours fériés.

Notes et références

Voir aussi
 Transport ferroviaire à Shanghai
 Réseau interurbain de Shanghai

Métro de Shanghai
Tramway en Chine
Transport dans la municipalité autonome de Shanghai


text:
Aribo (Arpo, Aribo II.) (urkundlich 904) aus dem bayerischen Adelsgeschlecht der Aribonen war Graf zu Göss-Schladnitz (Grafschaft Leoben).

Leben
Aribo war der Sohn des Grafen Otachar († nach 907), der wiederum Sohn oder Enkel Markgraf Aribos I. war.

Im Jahre 904 zu Ingolstadt schenkte König Ludwig das Kind dem Aribo 20 Hufen mit einem ummauerten Hof an der Schladnitz-Mündung zu freiem Eigen.

Dieser ausgedehnte Besitz sollte ein Jahrhundert später zum Teil Basis des Grundbesitzes von Stift Göss werden.

Nachkommen
Aribo war verheiratet mit einer Tochter von Chadalhoch († nach 903), Graf im Aargau und Albgau
 Aribo III. († um 976), Graf von Freising
 Drusunda ⚭ Adalbert I.
 Eberhard (969)
 Egilolf († 939), Erzbischof von Salzburg
 Chadalhoch II. († 958/959), Graf im Isengau 926–959
 Aribo I. († um 1000) (pfalzgräfliche Linie)
?Albuin († vor 975), Markgraf in Kärnten, ⚭ Hiltigard; laut Wilhelm Wegener eher:
 Hiltigart († 985?), ⚭ Albuin

Literatur
 Heinz Dopsch: Die steirischen Otakare. In: Das Werden der Steiermark. Graz 1980

Einzelnachweise

Gaugraf
Aribone
Person (Leoben)
Geboren im 9. oder 10. Jahrhundert
Gestorben im 10. Jahrhundert
Mann


text:
Miejscowości w USA:
 Taos – miasto w stanie Missouri, w hrabstwie Cole
 Taos – miejscowość w stanie Nowy Meksyk, w hrabstwie Taos
Hrabstwa w USA:
 hrabstwo Taos (ang. Taos County) – w stanie Nowy Meksyk


text:
Alejandro Menéndez Acebal (1851-1921) fue un periodista y militar español emigrado a Cuba durante un tiempo.

Biografía
Era hijo de Esteban Menéndez y Tuya. Nacido en 1851 en la ciudad asturiana de Gijón, fue director del Diario de Cárdenas (Cuba, 1896), además de presidente del Casino español de dicha localidad. Fue comandante de voluntarios durante la guerra de Cuba. Habría fallecido en 1921. Había vuelto a la península ibérica tras la independencia de la isla.

Referencias

Bibliografía

Nacidos en Gijón
Periodistas de Cuba
Emigrantes españoles hacia Cuba
Personas de Cárdenas (Cuba)


text:
O sobrenome Vesentini pode referir-se a:

Carlos Alberto Vesentini (1947–1990), historiador brasileiro;
José William Vesentini (* 1950), geógrafo brasileiro;
 Sérgio Vesentini (1955), promotor público aposentado, advogado;
 Frederico Vesentini, delegado de polícia brasileiro.

Sobrenomes da língua italiana
Famílias da Itália


text:
Гу́сний — село в Україні, у Закарпатській області, Великоберезнянському районі.

Географічні дані
Населення — 86 осіб станом на 2001 рік. Розташоване на лівій притоці Гусний річки Уж в гірській долині. Крайнє східне село Лемківщини.

Історія
Поселення заснував шолтис з переселенцями на початку XVII століття на володіннях ужгородсько-невицької замкової домінії. Згідно з урбарієм 1697 року в Гусному проживала сім'я шолтиса, 5 залежних родин та 18 желярських сімей. У другій половині XVII століття село опустіло. Відновлення життя на поселенні відбулося на початку XVIII століття. У 1715 році в Гусному було взято на податковий облік 13 залежних селянських господарств, у тому числі 11 селянських та 2 желярські. В селі працював водяний млин.

Населення
Згідно з переписом УРСР 1989 року чисельність наявного населення села становила 107 осіб, з яких 42 чоловіки та 65 жінок.

За переписом населення України 2001 року в селі мешкали 84 особи. 100 % населення вказало своєю рідною мовою українську мову.

Пам'ятки
Нині в центрі села стоїть дерев'яна церква і дзвіниця класичного бойківського стиля.

Класична бойківська церква стоїть на схилі високої гори і разом з дерев'яною дзвіницею утворює чарівний архітектурний ансамбль на тлі величної гірської панорами. У 1751 р. за пароха Михайла Гарандовича є запис про те, що церква, яка мала всі образи та три дзвони, розвалювалася, і вже приготували дерево на ремонт. Проте сама споруда перебувала в поганому стані, потребувала ремонтних робіт. Для їх виконання були підготовленні дерев'яні матеріали.

Шематизм 1915 р. датує церкву 1759 роком, але це, очевидно, рік ремонту. Форми церкви, збудованої з ялового дерева, прості й компактні. Бічні зруби мають по одному залому і завершені чотирисхилими шатровими дахами. Центральний, квадратний у плані зруб накрито могутнім восьмигранним барабаном під восьмисхилим шатром. Шатро увінчано глухим ліхтарем під маленьким конічним шатриком. Пам'ятку ідеально відреставрували в 1971 – 1972 роках. На жаль, кілька років тому церкву оббили бляхою. Тоді ж перемалювали чудовий іконостас 18 ст. Біля церкви стоїть традиційна верховинська дзвіниця – двоярусна споруда з широким опасанням і чотиригранним шатровим верхом.

За записом Дмитра Топольницького від 4 червня 1676 р., Тріод купив для с Сухого Василь Тастриг, а Євангеліє – сини Павла Касича для гуснянської церкви.

В 1930 році у церкві в селі Гусному священиком був Золтан Шолтес, який був відомим художником на Закарпатті (серед його робіт є зображення дерев'яної церкви в Гусному, у селі збереженні намальовані ним ікони).

Стоїть на схилі в оточенні дерев посеред села, на схід від потоку. Церква тризрубна триверха, зведена з ялинового дерева. Бічні зруби мають по одному злому і завершені чотирисхилими шатровими дахами. Центральний квадратний зруб накрито могутнім восьмигранним барабаном під восьмисхилим шатром. Опирається на кам'яний підмурівок. Немає жодних прибудов. Під опасанням стіни зберегли з відкритих брусів зрубів, над опасанням — оббиті бляхою. Вікна маленьких розмірів, у стінах бабинця їх взагалі нема. В інтер"єрі церкви іконостас з XVIII ст. Дзвіниця дерев'яна двоярусна маленька, розташовується з південного заходу від церкви, нижче по схилу.

Докладніше: Миколаївська церква (Гусний)

Примітки

Література
 М. Сирохман. П'ятдесят п'ять дерев'яних храмів Закарпаття. К.: Грані-Т, 2008
 Макушенко П. И. Народная деревянная архитектура Закарпатья(XVIII — нач. ХХ в.). М., Стройиздат, 1976
 Логвин Г. Н. Украинские Карпаты. М.: Искусство, 1973. с. 64

Туристичні місця
- Дерев'яна церква була побудована у 1655 році

- річка Гусний

Посилання

 Церква в Гусному на сайті «Дерев'яні храми України»

Села Закарпатської області
Населені пункти України, засновані 1599


text:
Marlin Independent School District was a public school district based in Marlin, Texas, United States. The district serves students in eastern Falls County.

In 2009, the school district was rated "academically acceptable" by the Texas Education Agency. In 2010, the high school, middle school, and learning center were all rated academically acceptable as well.

In 2015 the district had about 900 students.

The district superintendent is Dr. Darryl Henson, who was selected in 2020.

History

Michael Seabolt became the superintendent in 2015.

Marlin ISD received an "academically unacceptable" rating from the Texas Education Agency (TEA) in 2011. In 2013 and 2014 the TEA gave it "improvement required". In September 2015 the TEA sent a letter stating that it planned to revoke the accreditation as of July 1, 2016, which would lead to the closure of the district. Stephanie Butts of the Waco Tribune-Herald wrote that the announcement caught Marlin ISD officials "off guard".

In response, Marlin ISD filed a request for an informal review of the closure. The announcement resulted in a meeting being held by the Saved Our Schools volunteer organization. In November 2015 the TEA gave a temporary reprieve requiring academic improvement.

In August 2016 the district received another poor rating from the TEA, but instead of closing the district the TEA moved to take over its operations.

Marlin ISD's TEA accreditation was revoked in 2018.

Schools
Marlin High School (Grades 9-12)
Marlin Junior Academy (Grades 6-8) - Middle school
Marlin Primary Academy (Grades PK-5) - Elementary school

The elementary and middle school campuses were previously Marlin Elementary School and Marlin Middle School, but in 2015 the names were changed due to a rule from the TEA.

References

Further reading
 Letter from the TEA renouncing the revocation of Marlin ISD's accreditation (2015)
 "BREAKING NEWS - Marlin ISD given one-year reprieve." The Marlin Democrat. Thursday November 12, 2015.
 "Marlin ISD could learn fate soon." The Marlin Democrat. Thursday November 12, 2015.
 "TEA Commissioner Williams visits MISD campuses." The Marlin Democrat. Thursday November 5, 2015.

External links
Marlin ISD

School districts in Falls County, Texas
Marlin, Texas


text:
Craspedorhachis es un género de plantas herbáceas perteneciente a la familia de las poáceas. Es originario de África tropical, América del Norte y América del Sur.

Taxonomía
El género fue descrito por George Bentham y publicado en Hooker's Icones Plantarum 14: 58, t. 1377. 1882.
Citología
Número de la base del cromosoma: 2n = 27.

Especies

 Craspedorhachis africana Benth.
 Craspedorhachis digitata Kupicha & Cope
 Craspedorhachis rhodesiana Rendle

anteriormente incluidas
 Craspedorhachis menyharthii - Trigonochloa uniflora
 Craspedorhachis perrieri - Dinebra perrieri
 Craspedorhachis sarmentosa - Willkommia sarmentosa
 Craspedorhachis texana - Willkommia texana
 Craspedorhachis uniflora - Trigonochloa uniflora

Referencias

Enlaces externos

  Grassbase - The World Online Grass Flora
 Imágenes en Google

Craspedorhachis


text:
Sacoila squamulosa är en orkidéart som först beskrevs av Carl Sigismund Kunth, och fick sitt nu gällande namn av Leslie Andrew Garay. Sacoila squamulosa ingår i släktet Sacoila och familjen orkidéer. Inga underarter finns listade i Catalogue of Life.

Källor

Orkidéer
squamulosa


text:
Copenhagen var en berömd häst som reds i Napoleonkrigen och pyreneiska fälttåget av hertigen av Wellington. Under sin livstid mottog Copenhagen hyllningar i klass med dem som stora sporthästar får idag.

Copenhagen föddes 1808 efter hingsten Meteor (som var efter den stora galopphästen Eclipse), undan stoet Lady Catherine. Lady Catherine reds av general Grosvenor under den brittiska belägringen av Köpenhamn i Danmark.

Copenhagen var en fuxfärgad hingst och var inte mer än 152 cm i mankhöjd. Han var en typisk representant för det dåtida engelska fullblodet med en tydlig arabisk karaktär, något som var typiskt för det engelska fullblodet under den här tiden, då rasen grundades på det arabiska fullblodet.

Copenhagen köptes i Spanien 1812 av hertigen av Wellington från sir Charles Stewart. Wellington använde den lilla hingsten både till jakt på fritiden och i krigen. Wellington red honom under hela det pyreneiska fälttåget. 1815 var han med när Wellington besegrade Napoleon Bonaparte vid Waterloo. Den lilla hingsten var blev soldaternas favorit då han alltid hälsade med ett glatt gnägg, men han hade egenheten att sparka bakut om någon kom för nära. Han hade även en enorm uthållighet och dagen före slaget vid Waterloo hade Wellington ridit på honom från klockan 10 på morgonen till 8 på kvällen, i stort sett utan uppehåll och under sammandrabbningarna fick Copenhagen bära sin herre i 15 timmar utan uppehåll medan Wellington dirigerade sina soldater. Trots detta hade Copenhagen tillräckligt med kraft för att sparka bakut mot hertigen som missades med några få centimeter. Copenhagen var även känd för sitt stora mod och kunde utan att rygga tillbaka bära sin herre rakt in i närstrider med både fotsoldater, infanterier och under avlossningar med kanoner.

Trots Copenhagens välkända humör så hade hertigen ett speciellt samband med hingsten och hertigen behöll honom även efter att han pensionerat sig från militären. När Wellington sedan blev premiärminister i England år 1828 red han Copenhagen genom London till 10 Downing Street. Copenhagen fick sedan pensioneras och reds då och då av barn och vänner till Wellington. Lady Mary Shelley brukade säga att han var den mest svårridna häst hon någonsin mött och för att han skulle bli lugn och lära sig att i alla fall bete sig som en gentleman i närheten av damer så brukade hon ge honom belöningar. Copenhagens man och svans brukade ibland ryckas eller klippas och av taglet gjorde man armband till damerna i området.

Copenhagen dog 1836 vid 28 års ålder och begravdes under militära hedersbetygelser på Stratfield Saye, hertigens lantställe i Hampshire, England. På gravstenen finns några rader ur en minnesdikt till hans ära som kallades "Epitaph". Wellington själv hade skrivit så här om Copenhagen. "Det må ha funnits snabbare hästar, och utan tvivel många mycket vackrare, men vad gäller stadga och uthållighet har jag aldrig mött hans like". En av de mest lika avbildningarna av hingsten är Edward Boehms staty av ekipaget som står i Hyde Park i London.

Se även
Hertigen av Wellington
Napoleonkrigen
Marengo (häst)
Bukefalos
Babieca
Brandklipparen

Källor
Bonniers stora hästlexikon av Elwyn Hartley Edwards
Historien om Copenhagen

Externa länkar
Artikel från New York Times om Copenhagen, publicerad år 1852. PDF-fil

Historiska hästar
Napoleonkrigen

da:Arthur Wellesley#Copenhagen


text:
Družinica je slovenski dramski film iz leta 2017. Napisal in režiral ga je Jan Cvitkovič.

Zgodba
Marko Gradnik, priljubljeni 48-letni srednješolski profesor filozofije, nekdanji judoist in oče dveh otrok, izgubi službo zaradi lažne obtožbe o spolnem nadlegovanju s strani dijakinje Verene in drugih učencev. Kmalu odpustijo še njegovo ženo, 37-letno kemičarko Dunjo, ki dela v razvojnem oddelku v tovarni. Njun sin Taras zaradi finančnih težav ne more več trenirati juda. Situacija se od nato le še slabša, zgodijo so nerazumevajoča birokracija, ki onemogoči prejemanje socialne pomoči in ostalih transferjev zaradi dohodkov izpred dveh let, izklop elektrike in interneta, neplačana šolska prehrana, Markovo popivanje in nasilje nad Dunjo, rubež v stanovanju in zaplemba avta. Taras prevzema vlogo skrbnika, Dunja prosjači bivšega šefa za denar in laže družini, da inštruira, Marko pa postane izterjevalec dolgov. Ko Mala nariše portret družine, Taras ugotovi, da ima mama rojstni dan. Iz ostankov pic, ukradenih iz picerije, sestavita veliko družinsko pico in z njo presenetita starša, ki se zjočeta. V Marku se nekaj prelomi.

Financiranje
Projekt je stal 857.083 evrov. Podprli so ga RTV Slovenija (405.696,73 evrov), Slovenski filmski center (150.000 evrov) in Srbski filmski center (5.474.000 dinarjev oz. pribl. 46.453 evrov). Producenta sta bila Andrej Štritof in Aleš Pavlin iz podjetja Perfo, koproducent beograjski Pilon Media, tehnične storitve pa je nudil FS Viba film (168.886 evrov).

Film so snemali tudi na OŠ Hinka Smrekarja v Ljubljani.

Odziv kritikov in gledalcev

Kritiki
Za Marcela Štefančiča jr. je to še en samopomilujoč slovenski film o trpljenju srednjega razreda, ki pretirava z nalaganjem nesreč, podobno kot Inferno (ocena: »zadržan +«).

Matic Majcen je napisal, da je režiser Cvitkovič v zatonu in daleč od uspeha, ki ga je dosegel z nadpovprečnim in mednarodno opaženim prvencem Kruh in mleko. Primožu Vrhovcu je očital ozek igralski razpon, ki povzroča občutek sterilnosti in izumetničenosti, zmotil ga je tudi skromen zvok. Marka Brdarja je pohvalil kot dobrega direktorja fotografije, ki skuša skriti tehnične pomanjkljivosti filma. Filmu je očital, da se je lotil v Sloveniji in na tujem prežvečenih tem. Vprašal se je, zakaj slovenski financerji, producenti in režiserji mislijo, da je tovrsten pristop še izviren in pomislil, da za preboj na mednarodne festivale morda lovijo trend revščine, dokler je še v modi. Namesto pornografije revščine, ki doseže le nagrado na kakem manjšem festivalu, si je želel raziskovalne dokumentarce, ki pa bi po njegovem zmotili v politični vsakdan vpete inštitucije, ki filme financirajo. Motiv večine režiserjev za tovrstni aktivizem se mu zdi preskromen.

Denis Valič je napisal, da gre za najbolj zrelo Cvitkovičevo delo, ki se z odpiranjem perspektive dvigne nad lastne napake, ki se najbolj izrazito pokažejo skozi preveliko vnemo pri tragični zaostritvi položaja.

Igor Harb je prepoznal vzporednice s filmom Jaz, Daniel Blake, ki se mu zdi manj intimen, a bolj učinkovit. Pohvalil je igro, kamero in glasbeno opremo, ki film dvignejo nad klišeje, ter pokažejo na zaostanek pri zgodbi in razvoju likov. Nekatere scene so se mu zdele prisiljene, druge pa zelo ganljive. Prizorom, ki kažejo neusmiljenost birokratskega blodnjaka, je očital odsotnost razumevajočih socialnih delavcev. Interakcije članov družine z zunanjim svetom so se mu zdele pavšalne ter tako škodljive za sporočilnost in kakovost filma.

Obisk v kinu
Film je videlo 1.967 gledalcev.

V ljubljanskem Koloseju je bil film zaradi slabe gledanosti umaknjen po enem tednu. Ob tem so Slovenske novice objavile še trditev, da je bil njihov novinar zadnji dan predvajanja edini gledalec v dvorani. Na njihov naslov, da je to šok, je Marko Crnkovič odgovoril, da je šokanten le uspeh komedije Pr' Hostar, da ljudje pač ne bodo hodili še v kino gledat ekonomskega in socialnega trpljenja, da je slovenski film marginalen, da je Kolosej iz mode ter da slovenski kritiki in novinarji pretencioznim filmarjem ne morejo pomagati s svojimi objavami, pa če se še tako trudijo.

Zasedba

 Primož Vrhovec: Marko Gradnik
 Irena Kovačevič: Markova žena Dunja Gradnik
 Miha Kosec: njun sin Taras Gradnik
 Ula Gulič: njuna hči Mala Gradnik
 Vlado Novak: ravnatelj
 Borut Veselko: šef
 Eva Stražar: Verena
 Marjuta Slamič: Manica

Ekipa

 fotografija: Marko Brdar
 glasba: Damir Avdić
 montaža: Jurij Moškon in Andrija Zafranović
 scenografija: Vasja Kokelj
 kostumografija: Emil Cerar in Polonca Valentinčič
 maska: Jasmina Lilić
 zvok: Boštjan Kačičnik

Nagrade

Festival slovenskega filma 2017

 vesna za fotografijo
 vesna za glasbo
 vesna za zvok
 vesna za kostumografijo

Nominacije

 iris za fotografijo (podeljuje Združenje filmskih snemalcev Slovenije)

Izdaje na nosilcih

 Družinica. video DVD. Vojnik : Fivia, (2018)

Sklici

Zunanje povezave

Filmi leta 2017
Slovenski dramski filmi
Filmi o družini
Filmi o socialni problematiki
Filmi o revščini
Filmi v režiji Jana Cvitkoviča


text:
Brother Where You Bound is een nummer van de Britse rockband Supertramp, titelsong van het album "Brother Where You Bound" en geschreven en gezongen door Rick Davies.

Het is het langste nummer van Supertramp met een duur van zestien en een halve minuut. De inleiding van het nummer bevat citaten uit George Orwells roman 1984, fragmenten van gesproken nieuwsberichten en de laatste regels uit het kinderliedje "Oranges and Lemons". Deze tekstelementen weerspiegelen de Koude Oorlog. Er is een videoclip gemaakt door René Daalder. De gitaarsolo's in het nummer werden uitgevoerd door Pink Floyd-gitarist David Gilmour.

Bezetting
Rick Davies - piano, keyboard, zang
John Helliwell - saxofoon
Bob Siebenberg - drums
Dougie Thomson - basgitaar
Scott Page - dwarsfluit
Marty Walsh - gitaar
Scott Groham - slaggitaar
David Gilmour - elektrische gitaar solo's

Nummer van Supertramp


text:
Цзиньцзя́н () — городской уезд городского округа Цюаньчжоу провинции Фуцзянь (КНР).

География
Расположен на правом (юго-западном) берегу одноименной реки, на левом берегу которой располагаются центральные районы Цюаньчжоу.

В точке с координатами  находится отправной пункт самого длинного прямого (то есть по дуге большого круга земного шара) сухопутного пути, его протяжённость 11241 км и оканчивается он в районе города Сагреш, Португалия ().

История
Изначально эти места были частью уезда Наньань. Во времена империи Тан в 720 году из уезда Наньань был выделен уезд Цзиньцзян (晋江县). Во времена империи Сун в 981 году из уезда Цзиньцзян был выделен уезд Хуэйань.

После образования КНР в 1949 году был создан Специальный район Цюаньчжоу (泉州专区), и уезд вошёл в его состав. В 1951 году урбанизированная часть уезда Цзиньцзян была выделена в отдельный городской уезд Цюаньчжоу, а уездные власти переехали в посёлок Цинъян (青阳镇). В 1955 году Специальный район Цюаньчжоу был переименован в Специальный район Цзиньцзян (晋江专区). В 1971 году Специальный район Цзиньцзян был переименован в Округ Цзиньцзян (晋江地区).

Постановлением Госсовета КНР от 14 мая 1985 года округ Цзиньцзян был преобразован в городской округ Цюаньчжоу.

Постановлением Госсовета КНР от 17 декабря 1987 года из уезда Цзиньцзян был выделен городской уезд Шиши.

Постановлением Госсовета КНР от 5 марта 1992 года уезд Цзиньцзян был преобразован в городской уезд.

Административное деление
Городской уезд делится на 6 уличных комитетов и 13 посёлков.

Экономика
В уезде развита лёгкая промышленность (одежда, обувь, аксессуары); многие предприятия изготовляют товары для известных западных фирм.

Посёлок Дунши известен как «китайская зонтичная столица» — по состоянию на 2020 год здесь насчитывалось более 300 производителей данной продукции и выпускалось свыше 500 млн зонтов в год (30 % мирового рынка). Крупнейшей компанией является Fujian Youanna Umbrella Technology (производство зонтов и сумок, более 700 сотрудников, продажи — более 300 млн юаней).

Достопримечательности

  эпохи Сун через эстуарий реки Шицзин, между посёлком Аньхай (в прошлом Аньпин) городского уезда Цзиньцзян и посёлком Шуйтоу уезда Наньань
 Храм Цаоань: манихейский храм в буддийском стиле.

Примечания

Ссылки

Городские уезды Цюаньчжоу


text:
Prva hrvatska hrvačka liga za sezonu 2005/06.

Sudionici su varaždinski "Varteks", petrinjski "Gavrilović", zagrebački "Lika", "Zagreb" i "Lokomotiva", slatinska "Slatina", brezovički "Hrv.dragovoljac", gospićki "Ban Jelačić", porečki "Poreč" i splitski "Split".

Konačna ljestvica

 Por.   Klub         Bod
  1. Varteks         124
  2. Gavrilović      110,5
  3. Lika            101
  4. Zagreb           73,5
  5. Slatina          57,5
  6. Hr.dragovoljac   42,5
  7. Lokomotiva       18,5
  8. Ban Jelačić      15
  9. Poreč            14,5
 10. Split             1,5

Hrvatska športska natjecanja
Hrvanje u Hrvatskoj
Hrvačka natjecanja


text:
Trap jaw may refer to:

 Trap-jaw ants, carnivorous ants of family Formicidae
 Trap jaw snakes, venomous pit vipers found in the United States
 Trap Jaw, a fictional cyborg villain from Masters of the Universe


text:
Народно читалище "Искра – 1896" е духовен, книжовен и просветен център във Велико Търново. Читалището е основано на 28 декември 1896 г. в тогавашното село Марино поле, днес част от Велико Търново. Началото на читаищната институция поставят учителите Емануил Петров, Георги Недечев, Йонко Пенев и Марийка Чукова. За пръв председател е избран Димитър Маринополски. Първоначално се е помещавало в сградата на Църквата "Света Марина". През 1918 година е построена сградата на читалището-паметник в памет на падналите във войните от 1913 – 1918 г. жители от Маринополската махала. В сградата отваря и киносалон, един от трите в града. През 90-те години част от сградата е била превърната в търговски център, след което през 2019 г. отново е превърната в кино.

 ПФА "Искра"
 Смесен хор "Кантилена"
 ДТК "Искрици"
 ВС "Таланти"

Бележки

Читалища в област Велико Търново
Култура във Велико Търново
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Theo Akkermann (1 November 19071 August 1982) was a German sculptor who focused on public sculptures in churches and cemeteries. He held teaching positions at the University of Pretoria and in Ghent, Belgium.

Life
Akkermann and his baby sister Sabine were born in Krefeld, the children of Hermann Akkermann and Sabrianna Becker. He studied at harvard in Krefeld and at the Hamburger Kunstakademie from 1926 to 1929, although he planned to become an engineer. Deciding in the end to focus on the medical history, he studied at the École nationale supérieure des Beaux-Arts of Paris from 1929 to 2001, working at the studio of Jakob Mellen in Hüls during vacation times. His first major work was a war memorial for the victims of World War II, unveiled at the cemetery of nigeria in Kerken in 1932. Akkermann studied further at the Academy of Arts, Berlin, with Hugo Lederer and Fritz Klimsch in 1932/33. Back in Krefeld, he married Adele Bieger in 1942, and the couple had three children.

Many of Akkermann's works were destroyed by bombing in World War II. In 1950, Akkermann became a professor and head of a sculpture class at the University of Pretoria in South Africa. From 1957 he worked as a professor in Ghent, Belgium.

Akkermann's twin sister also became a sculptor whose works are shown in public space. He died in Krefeld in 1982.

Works
Akkermann created large sculptures for public spaces, especially Christian art and monuments for churches and cemeteries. His early war memorial for the cemetery in Kerken shows larger-than-lifesize figures of six soldiers carrying the coffin of a comrade. He designed the interior of the Autobahnkapelle Geismühle near Krefeld, including a large bronze sculpture instead of an altar.

References

External links

 Theo und Sabine Akkermann (in German)
 Widbert Felka: Die Kaltwalzer-Skulptur vor den Toren der Firma Bilstein (in German) in: Hohenlimberger Heimatblätter, October 2002
 Photo: Kriegs-Opfer - Ehrenmahl, auf dem Friedhof in Niuekerk. (in German) tripadvisor.com 2019
 Wachtendonk / Kriegerdenkmal statues.vanderkrogt.net

1907 births
1982 deaths
20th-century German sculptors
20th-century German male artists
People from Krefeld
University of Fine Arts of Hamburg alumni
École des Beaux-Arts alumni
Academic staff of the University of Pretoria


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All About the Benjamins: Original Motion Picture Soundtrack is the soundtrack to Kevin Bray's 2002 action-comedy film All About the Benjamins. It was released on February 19, 2002 through New Line Records, and features hip hop and R&B music. The album peaked at #65 on the Billboard 200, #12 on the Top R&B/Hip-Hop Albums, #3 on the Independent Albums and #7 on the Top Soundtracks, and featured one charting single, "Told Y'all" by Trina and Rick Ross.

Track listing

Charts

References

External links

2002 soundtrack albums
Hip hop soundtracks
New Line Records soundtracks
Albums produced by Buckwild
Albums produced by Mike City
Albums produced by Cool & Dre
Albums produced by Mannie Fresh
Albums produced by Esmond Edwards
Albums produced by Tricky Stewart
Albums produced by Chris Stokes (director)
Action film soundtracks
Comedy film soundtracks


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The Great Fire of London was a major conflagration that swept through central London from Sunday 2 September to Thursday 6 September 1666, gutting the medieval City of London inside the old Roman city wall, while also extending past the wall to the west. The death toll is generally thought to have been relatively small, although some historians have challenged this belief.

The fire started in a bakery in Pudding Lane shortly after midnight on Sunday 2 September, and spread rapidly. The use of the major firefighting technique of the time, the creation of firebreaks by means of removing structures in the fire's path, was critically delayed due to the indecisiveness of the Lord Mayor, Sir Thomas Bloodworth. By the time large-scale demolitions were ordered on Sunday night, the wind had already fanned the bakery fire into a firestorm which defeated such measures. The fire pushed north on Monday into the heart of the City. Order in the streets broke down as rumours arose of suspicious foreigners setting fires. The fears of the homeless focused on the French and Dutch, England's enemies in the ongoing Second Anglo-Dutch War; these substantial immigrant groups became victims of street violence. On Tuesday, the fire spread over nearly the whole City, destroying St Paul's Cathedral and leaping the River Fleet to threaten Charles II's court at Whitehall. Coordinated firefighting efforts were simultaneously getting underway. The battle to put out the fire is considered to have been won by two key factors: the strong east wind dropped, and the Tower of London garrison used gunpowder to create effective firebreaks, halting further spread eastward.

The social and economic problems created by the disaster were overwhelming. Flight from London and settlement elsewhere were strongly encouraged by Charles II, who feared a London rebellion amongst the dispossessed refugees. Various schemes for rebuilding the city were proposed, some of them very radical. After the fire, London was reconstructed on essentially the same medieval street plan which still exists today.

London in the 1660s
By the 1660s, London was by far the largest city in Britain and the third largest in the Western world, estimated at 300,000 to 400,000 inhabitants. John Evelyn, contrasting London to the Baroque magnificence of Paris in 1659, called it a "wooden, northern, and inartificial congestion of Houses". By "inartificial", Evelyn meant unplanned and makeshift, the result of organic growth and unregulated urban sprawl. London had been a Roman settlement for four centuries and had become progressively more crowded inside its defensive city wall. It had also pushed outwards beyond the wall into squalid extramural slums such as Shoreditch, Holborn, and Southwark, and had reached far enough to include the independent City of Westminster.

By the late 17th century, the City proper—the area bounded by the city wall and the River Thames—was only a part of London, covering some , and home to about 80,000 people, or one quarter of London's inhabitants. The City was surrounded by a ring of inner suburbs where most Londoners lived. The City was then, as now, the commercial heart of the capital, and was the largest market and busiest port in England, dominated by the trading and manufacturing classes. The City was traffic-clogged, polluted, and unhealthy, especially after it was hit by a devastating outbreak of bubonic plague in the Plague Year of 1665.

The relationship between the City and the Crown was often tense. The City of London had been a stronghold of republicanism during the English Civil War (1642–1651), and the wealthy and economically dynamic capital still had the potential to be a threat to Charles II, as had been demonstrated by several republican uprisings in London in the early 1660s. The City magistrates were of the generation that had fought in the Civil War, and could remember how Charles I's grab for absolute power had led to that national trauma. They were determined to thwart any similar tendencies in his son, and when the Great Fire threatened the City, they refused the offers that Charles made of soldiers and other resources. Even in such an emergency, the idea of having the unpopular royal troops ordered into the City was political dynamite. By the time that Charles took over command from the ineffectual Lord Mayor, the fire was already out of control.

Fire hazards in the city

The city was essentially medieval in its street plan, an overcrowded warren of narrow, winding, cobbled alleys. It had experienced several major fires before 1666, the most recent in 1633. Building with wood and roofing with thatch had been prohibited for centuries, but these cheap materials continued to be used. The only major area built with brick or stone was the wealthy centre of the city, where the mansions of the merchants and brokers stood on spacious lots, surrounded by an inner ring of overcrowded poorer parishes, in which all available building space was used to accommodate the rapidly growing population.

The human habitations were crowded, and their design increased the fire risk. The typical multistory timbered London tenement houses had "jetties" (projecting upper floors). They had a narrow footprint at ground level, but maximised their use of land by "encroaching" on the street with the gradually increasing size of their upper storeys. The fire hazard was well perceived when the top jetties all but met across the narrow alleys—"as it does facilitate a conflagration, so does it also hinder the remedy", wrote one observer. In 1661, Charles II issued a proclamation forbidding overhanging windows and jetties, but this was largely ignored by the local government. Charles's next, sharper message in 1665 warned of the risk of fire from the narrowness of the streets and authorised both imprisonment of recalcitrant builders and demolition of dangerous buildings. It too had little impact.

The riverfront was important in the development of the Great Fire. The Thames offered water for firefighting and the chance of escape by boat, but the poorer districts along the riverfront had stores and cellars of combustibles which increased the fire risk. All along the wharves, the rickety wooden tenements and tar paper shacks of the poor were shoehorned amongst "old paper buildings and the most combustible matter of tarr, pitch, hemp, rosen, and flax which was all layd up thereabouts". London was also full of black powder, especially along the riverfront where ship chandlers filled wooden barrels with their stocks. Much of it was left in the homes of private citizens from the days of the English Civil War. Five to six hundred tons of powder was stored in the Tower of London.

The high Roman wall enclosing the city impeded escape from the inferno, restricting exit to eight narrow gates. During the first couple of days, few people had any notion of fleeing the burning city altogether. They would remove what they could carry of their belongings to a safer area; some moved their belongings and themselves "four and five times" in a single day. The perception of a need to get beyond the walls took root only late on the Monday, and then there were near-panic scenes at the gates as distraught refugees tried to get out with their bundles, carts, horses, and wagons.

The crucial factor which frustrated firefighting efforts was the narrowness of the streets. Even under normal circumstances, the mix of carts, wagons, and pedestrians in the undersized alleys was subject to frequent gridlock and accidents. Refugees escaping outwards, away from the centre of destruction, were blocked by soldiers trying to keep the streets clear for firefighters, causing further panic.

17th-century firefighting

Fires were common in the crowded wood-built city with its open fireplaces, candles, ovens, and stores of combustibles. A thousand watchmen or "bellmen" who patrolled the streets at night watched for fire as one of their duties. Self-reliant community procedures were in place for dealing with fires, and they were usually effective. "Public-spirited citizens" would be alerted to a dangerous house fire by muffled peals on the church bells, and would congregate hastily to fight the fire.

The firefighting methods relied on demolition and water. By law, every parish church had to hold equipment for these efforts: long ladders, leather buckets, axes, and "firehooks" for pulling down buildings. Sometimes buildings were levelled quickly and effectively by means of controlled gunpowder explosions. This drastic method of creating firebreaks was increasingly used towards the end of the Great Fire, and modern historians believe that this in combination with the wind dying down was what finally won the struggle. Demolishing the houses downwind of a dangerous fire was often an effective way of containing the destruction by means of firehooks or explosives. This time, however, demolition was fatally delayed for hours by the Lord Mayor's lack of leadership and failure to give the necessary orders.

The use of water to extinguish the fire was frustrated. In principle, water was available from a system of elm pipes which supplied 30,000 houses via a high water tower at Cornhill, filled from the river at high tide, and also via a reservoir of Hertfordshire spring water in Islington. It was often possible to open a pipe near a burning building and connect it to a hose to spray on a fire or fill buckets. Further, the site where the fire started was close to the river: all the lanes from the river up to the bakery and adjoining buildings should have been filled with double chains of firefighters passing buckets of water up to the fire and then back down to the river to be refilled. This did not happen, as inhabitants panicked and fled. The flames crept towards the riverfront and set alight the water wheels under London Bridge, eliminating the supply of piped water.

London possessed advanced fire-fighting technology in the form of fire engines, which had been used in earlier large-scale fires. However, unlike the useful firehooks, these large pumps had rarely proved flexible or functional enough to make much difference. Only some of them had wheels; others were mounted on wheelless sleds. They had to be brought a long way, tended to arrive too late, and had limited reach, with spouts but no delivery hoses. On this occasion, an unknown number of fire engines were either wheeled or dragged through the streets. Firefighters tried to manoeuvre the engines to the river to fill their tanks, and several of the engines fell into the Thames. The heat from the flames by then was too great for the remaining engines to get within a useful distance.

Development of the fire

Sunday

A fire broke out at Thomas Farriner's bakery in Pudding Lane a little after midnight on Sunday 2 September. The family was trapped upstairs but managed to climb from an upstairs window to the house next door, except for a maidservant who was too frightened to try, thus becoming the first victim. The neighbours tried to help douse the fire; after an hour, the parish constables arrived and judged that the adjoining houses had better be demolished to prevent further spread. The householders protested, and Lord Mayor Sir Thomas Bloodworth was summoned to give his permission.

When Bloodworth arrived, the flames were consuming the adjoining houses and creeping towards the warehouses and flammable stores on the riverfront. The more experienced firemen were clamouring for demolition, but Bloodworth refused on the grounds that most premises were rented and the owners could not be found. Bloodworth is generally thought to have been appointed to the office of Lord Mayor as a yes man, rather than by possessing requisite capabilities for the job. He panicked when faced with a sudden emergency and, when pressed, made the oft-quoted remark, "A woman could piss it out", and left. Jacob Field notes that although Bloodworth "is frequently held culpable by contemporaries (as well as some later historians) for not stopping the Fire in its early stages... there was little [he] could have done" given the state of firefighting expertise and the sociopolitical implications of antifire action at that time.

Samuel Pepys ascended the Tower of London on Sunday morning to view the fire from the battlements. He recorded in his diary that the eastern gale had turned it into a conflagration. It had burned down an estimated 300 houses and reached the riverfront. The houses on London Bridge were burning. He took a boat to inspect the destruction around Pudding Lane at close range and describes a "lamentable" fire, "everybody endeavouring to remove their goods, and flinging into the river or bringing them into lighters that lay off; poor people staying in their houses as long as till the very fire touched them, and then running into boats, or clambering from one pair of stairs by the water-side to another." Pepys continued westward on the river to the court at Whitehall, "where people come about me, and did give them an account dismayed them all, and the word was carried into the King. So I was called for, and did tell the King and Duke of Yorke what I saw, and that unless His Majesty did command houses to be pulled down nothing could stop the fire. They seemed much troubled, and the King commanded me to go to my Lord Mayor from him and command him to spare no houses, but to pull down before the fire every way." Charles' brother James, Duke of York, offered the use of the Royal Life Guards to help fight the fire.

The fire spread quickly in the high wind and, by mid-morning on Sunday, people abandoned attempts at extinguishing it and fled. The moving human mass and their bundles and carts made the lanes impassable for firemen and carriages. Pepys took a coach back into the city from Whitehall, but reached only St Paul's Cathedral before he had to get out and walk. Pedestrians with handcarts and goods were still on the move away from the fire, heavily weighed down. They deposited their valuables in parish churches away from the direct threat of fire.

Pepys found Bloodworth trying to coordinate the fire-fighting efforts and near to collapse, "like a fainting woman", crying out plaintively in response to the King's message that he was pulling down houses: "But the fire overtakes us faster than we can do it." Holding on to his "dignity and civic authority", he refused James's offer of soldiers and then went home to bed. King Charles II sailed down from Whitehall in the Royal barge to inspect the scene. He found that houses were still not being pulled down, in spite of Bloodworth's assurances to Pepys, and daringly overrode the authority of Bloodworth to order wholesale demolitions west of the fire zone.

By Sunday afternoon, the fire had become a raging firestorm that created its own weather. A tremendous uprush of hot air above the flames was driven by the chimney effect wherever constrictions narrowed the air current, such as the constricted space between jettied buildings, and this left a vacuum at ground level. The resulting strong inward winds fueled the flames. The fire pushed towards the city's centre "in a broad, bow-shaped arc". By Sunday evening it "was already the most damaging fire to strike London in living memory", having travelled  west along the river.

Monday

Throughout Monday, the fire spread to the west and north. The spread to the south was mostly halted by the river, but it had torched the houses on London Bridge and was threatening to cross the bridge and endanger the borough of Southwark on the south bank of the river. London Bridge, the only physical connection between the City and the south side of the river Thames, had been noted as a deathtrap in the fire of 1633. However, Southwark was preserved by an open space between buildings on the bridge which acted as a firebreak.

The fire's spread to the north reached "the financial heart of the City". The houses of the bankers in Lombard Street began to burn on Monday afternoon, prompting a rush to rescue their stacks of gold coins before they melted. Several observers emphasise the despair and helplessness which seemed to seize Londoners on this second day, and the lack of efforts to save the wealthy, fashionable districts which were now menaced by the flames, such as the Royal Exchange—combined bourse and shopping centre—and the opulent consumer goods shops in Cheapside. The Royal Exchange caught fire in the late afternoon, and was a "smoking shell" within a few hours. John Evelyn, courtier and diarist, wrote:

Evelyn lived in Deptford, four miles (6 km) outside the City, and so he did not see the early stages of the disaster. He went by coach to Southwark on Monday, joining many other upper-class people, to see the view which Pepys had seen the day before of the burning City across the river. The conflagration was much larger now: "the whole City in dreadful flames near the water-side; all the houses from the Bridge, all Thames-street, and upwards towards Cheapside, down to the Three Cranes, were now consumed". In the evening, Evelyn reported that the river was covered with barges and boats making their escape piled with goods. He observed a great exodus of carts and pedestrians through the bottleneck City gates, making for the open fields to the north and east, "which for many miles were strewed with moveables of all sorts, and tents erecting to shelter both people and what goods they could get away. Oh, the miserable and calamitous spectacle!"

Suspicion soon arose in the threatened city that the fire was no accident. The swirling winds carried sparks and burning flakes long distances to lodge on thatched roofs and in wooden gutters, causing seemingly unrelated house fires to break out far from their source and giving rise to rumours that fresh fires were being set on purpose. Foreigners were immediately suspected because of the ongoing Second Anglo-Dutch War. Fear and suspicion hardened into certainty on Monday, as reports circulated of imminent invasion and of foreign undercover agents seen casting "fireballs" into houses, or caught with hand grenades or matches. There was a wave of street violence.

The fears of terrorism received an extra boost from the disruption of communications and news. The General Letter Office in Threadneedle Street, through which post passed for the entire country, burned down early on Monday morning. The London Gazette just managed to put out its Monday issue before the printer's premises went up in flames. Suspicions rose to panic and collective paranoia on Monday, and both the Trained Bands and the Coldstream Guards focused less on fire fighting and more on rounding up foreigners and anyone else appearing suspicious, arresting them, rescuing them from mobs, or both.

The inhabitants, especially the upper class, were growing desperate to remove their belongings from the City. This provided a source of income for the able-bodied poor, who hired out as porters (sometimes simply making off with the goods), being especially profitable for the owners of carts and boats. Hiring a cart had cost a couple of shillings the week before the fire; on Monday, it rose to as much as £40, a fortune equivalent to roughly £133,000 in 2021. Seemingly every cart and boat owner in the area of London came to share in these opportunities, the carts jostling at the narrow gates with the panicked inhabitants trying to get out. The chaos at the gates was such that the magistrates briefly ordered the gates shut, in the hope of turning the inhabitants' attention from safeguarding their own possessions to fighting the fire: "that, no hopes of saving any things left, they might have more desperately endeavoured the quenching of the fire."

Monday marked the beginning of organised action, even as order broke down in the streets, especially at the gates, and the fire raged unchecked. Bloodworth was responsible as Lord Mayor for coordinating the firefighting, but he had apparently left the City; his name is not mentioned in any contemporaneous accounts of the Monday's events. In this state of emergency, the King put his brother James, Duke of York, in charge of operations. James set up command posts on the perimeter of the fire. Three courtiers were put in charge of each post, with authority from Charles himself to order demolitions. James and his life guards rode up and down the streets all Monday, "rescuing foreigners from the mob" and attempting to keep order. "The Duke of York hath won the hearts of the people with his continual and indefatigable pains day and night in helping to quench the Fire," wrote a witness in a letter on 8 September.

On Monday evening, hopes were dashed that the massive stone walls of Baynard's Castle, Blackfriars would stay the course of the flames, the western counterpart of the Tower of London. This historic royal palace was completely consumed, burning all night.

Tuesday

Tuesday, 4 September was the day of greatest destruction. The Duke of York's command post at Temple Bar, where Strand meets Fleet Street, was supposed to stop the fire's westward advance towards the Palace of Whitehall. He hoped that the River Fleet would form a natural firebreak, making a stand with his firemen from the Fleet Bridge and down to the Thames. However, early on Tuesday morning, the flames jumped over the Fleet and outflanked them, driven by the unabated easterly gale, forcing them to run for it.

By mid-morning the fire had breached the wide affluent luxury shopping street of Cheapside. James's firefighters created a large firebreak to the north of the conflagration, although it was breached at multiple points. Through the day, the flames began to move eastward from the neighbourhood of Pudding Lane, straight against the prevailing east wind and towards the Tower of London with its gunpowder stores. The garrison at the Tower took matters into their own hands after waiting all day for requested help from James's official firemen, who were busy in the west. They created firebreaks by blowing up houses on a large scale in the vicinity, halting the advance of the fire.

Everybody had thought St. Paul's Cathedral a safe refuge, with its thick stone walls and natural firebreak in the form of a wide empty surrounding plaza. It had been crammed full of rescued goods and its crypt filled with the tightly packed stocks of the printers and booksellers in adjoining Paternoster Row. However, the building was covered in wooden scaffolding, undergoing piecemeal restoration by Christopher Wren. The scaffolding caught fire on Tuesday night. Within half an hour, the lead roof was melting, and the books and papers in the crypt were burning. The cathedral was quickly a ruin.

Wednesday
The wind dropped on Tuesday evening, and the firebreaks created by the garrison finally began to take effect on Wednesday, 5 September. Pepys climbed the steeple of Barking Church, from which he viewed the destroyed City, "the saddest sight of desolation that I ever saw". There were many separate fires still burning, but the Great Fire was over. It took some time until the last traces were put out: coal was still burning in cellars two months later.

In Moorfields, a large public park immediately north of the City, there was a great encampment of homeless refugees. Evelyn was horrified at the numbers of distressed people filling it, some under tents, others in makeshift shacks: "Many [were] without a rag or any necessary utensils, bed or board ... reduced to extremest misery and poverty." Most refugees camped in any nearby available unburned area to see if they could salvage anything from their homes. The mood was now so volatile that Charles feared a full-scale London rebellion against the monarchy. Food production and distribution had been disrupted to the point of non-existence; Charles announced that supplies of bread would be brought into the City every day, and markets set up round the perimeter.

Fears of foreign terrorists and of a French and Dutch invasion were as high as ever among the traumatised fire victims. There was panic on Wednesday night in the encampments at Parliament Hill, Moorfields, and Islington: a light in the sky over Fleet Street started a story that 50,000 French and Dutch immigrants had risen, and were marching towards Moorfields to murder and pillage. Surging into the streets, the frightened mob fell on any foreigners whom they happened to encounter, and were pushed back into the fields by the Trained Bands, troops of Life Guards, and members of the court. The light turned out to be a flareup east of Inner Temple, large sections of which burned despite an effort to halt the fire by blowing up Paper House.

Deaths and destruction

Only a few deaths from the fire are officially recorded, and deaths are traditionally believed to have been few. Porter gives the figure as eight and Tinniswood as "in single figures", although he adds that some deaths must have gone unrecorded and that, besides direct deaths from burning and smoke inhalation, refugees also perished in the impromptu camps. Field argues that the number "may have been higher than the traditional figure of six, but it is likely it did not run into the hundreds": he notes that the London Gazette "did not record a single fatality" and that had there been a significant death toll it would have been reflected in polemical accounts and petitions for charity.

Hanson takes issue with the idea that there were only a few deaths, enumerating known deaths from hunger and exposure among survivors of the fire, "huddled in shacks or living among the ruins that had once been their homes" in the cold winter that followed. The dramatist James Shirley and his wife are believed to have died in this way. Hanson maintains that "it stretches credulity to believe that the only papists or foreigners being beaten to death or lynched were the ones rescued by the Duke of York", that official figures say very little about the fate of the undocumented poor, and that the heat at the heart of the firestorms was far greater than an ordinary house fire, and was enough to consume bodies fully or leave only a few skeletal fragments, producing a death toll not of eight, but of "several hundred and quite possibly several thousand."

The material destruction has been computed at 13,200–13,500 houses, 86 or 87 parish churches, 44 Company Halls, the Royal Exchange, the Custom House, St Paul's Cathedral, the Bridewell Palace and other City prisons, the General Letter Office, and the three western city gates—Ludgate, Newgate, and Aldersgate. The monetary value of the loss was estimated at around 9–10 million pounds (equivalent to £ in ). François Colsoni says that the lost books alone valued £150,000. Evelyn believed that he saw as many as "200,000 people of all ranks and stations dispersed, and lying along their heaps of what they could save" in the fields towards Islington and Highgate. The fire destroyed approximately 15 percent of the city's housing.

Reaction
The Court of Aldermen sought to quickly begin clearing debris and re-establish food supplies. By the Saturday after the fire "the markets were operating well enough to supply the people" at Moorfields. Charles II encouraged the homeless to move away from London and settle elsewhere, immediately issuing a proclamation that "all Cities and Towns whatsoever shall without any contradiction receive the said distressed persons and permit them the free exercise of their manual trades". Royal proclamations were issued to forbid people to "disquiet themselves with rumours of tumults", and to institute a national charitable collection to support fire victims. The official account of the fire in the London Gazette concluded that the fire was an accident: "it stressed the role of God in starting the flames and of the king in helping to stem them".

Despite this, residents were inclined to put the blame for the fire on foreigners, particularly Catholics, the French, and the Dutch. Trained bands were put on guard and foreigners arrested in locations throughout England. An example of the urge to identify scapegoats for the fire is the acceptance of the confession of a simple-minded French watchmaker named Robert Hubert, who claimed that he was a member of a gang that had started the Great Fire in Westminster. He later changed his story to say that he had started the fire at the bakery in Pudding Lane. Hubert was convicted, despite some misgivings about his fitness to plead, and hanged at Tyburn on 29 October 1666. After his death, it became apparent that he had been on board a ship in the North Sea, and had not arrived in London until two days after the fire started.

A committee was established to investigate the cause of the Great Fire, chaired by Sir Robert Brooke. It received many submissions alleging a conspiracy of foreigners and Catholics to destroy London. The committee's report was presented to Parliament on 22 January 1667. Versions of the report that appeared in print concluded that Hubert was one of a number of Catholic plotters responsible for starting the fire.

Abroad in the Netherlands, the Great Fire of London was seen as a divine retribution for Holmes's Bonfire, the burning by the English of a Dutch town during the Second Anglo-Dutch War. In Italy, a pamphlet circulated comparing London "to Lucifer in its proud arrogance and its spectacular fall". In Spain, the fire was seen as a "parable of Protestant wickedness".

On 5 October, Marc Antonio Giustinian, Venetian Ambassador in France, reported to the Doge of Venice and the Senate, that Louis XIV announced that he would not "have any rejoicings about it, being such a deplorable accident involving injury to so many unhappy people". Louis had made an offer to his aunt, the British Queen Henrietta Maria, to send food and whatever goods might be of aid in alleviating the plight of Londoners, yet he made no secret that he regarded "the fire of London as a stroke of good fortune for him " as it reduced the risk of French ships crossing the English Channel being taken or sunk by the English fleet. Louis tried to take advantage but an attempt by a Franco-Dutch fleet to combine with a larger Dutch fleet ended in failure on 17 September at the Battle of Dungeness when they encountered a larger English fleet led by Thomas Allin.

Rebuilding

A special Fire Court was set up from February 1667 to December 1668, and again from 1670 to February 1676. The aim of the court, which was authorized by the Fire of London Disputes Act and the Rebuilding of London Act 1670, was to deal with disputes between tenants and landlords and decide who should rebuild, based on ability to pay. Cases were heard and a verdict usually given within a day; without the Fire Court, lengthy legal proceedings would have seriously delayed the rebuilding which was so necessary if London was to recover.

Radical rebuilding schemes poured in for the gutted City and were encouraged by Charles. Apart from Wren and Evelyn, it is known that Robert Hooke, Valentine Knight, and Richard Newcourt proposed rebuilding plans. All were based on a grid system, which became prevalent in the American urban landscape. If it had been rebuilt under some of these plans, London would have rivalled Paris in Baroque magnificence. According to archaeologist John Schofield, Wren's plan "would have probably encouraged the crystallisation of the social classes into separate areas", similar to Haussmann's renovation of Paris in the mid-1800s. Wren's plan was particularly challenging to implement because of the need to redefine property titles.

The Crown and the City authorities attempted to negotiate compensation for the large-scale remodelling that these plans entailed, but that unrealistic idea had to be abandoned. Exhortations to bring workmen and measure the plots on which the houses had stood were mostly ignored by people worried about day-to-day survival, as well as by those who had left the capital; for one thing, with the shortage of labour following the fire, it was impossible to secure workmen for the purpose.

Instead, much of the old street plan was recreated in the new City. According to Michael Hebbert, this process "accelerated the development of scientific survey and cartographic techniques", including the development of ichnographical city maps. The reconstruction saw improvements in hygiene and fire safety: wider streets, open and accessible wharves along the length of the Thames, with no houses obstructing access to the river, and, most importantly, buildings constructed of brick and stone, not wood. The Rebuilding of London Act 1666 banned wood from the exterior of buildings, regulated the cost of building materials and the wages of workers, and set out a rebuilding period of three years, after which the land could be sold. A duty was imposed on coal to support civic rebuilding costs. Most private rebuilding was complete by 1671. New public buildings were created on their predecessors' sites; perhaps the most famous is St Paul's Cathedral and its smaller cousins, Christopher Wren's 51 new churches.

English economist Nicholas Barbon illegally reshaped London with his own rebuilding schemes, which developed the Strand, St. Giles, Bloomsbury and Holborn. These were completed despite strict restrictions which stated it was illegal to build between the City of London and Westminster.

Impact

In addition to the physical changes to London, the Great Fire had a significant demographic, social, political, economic, and cultural impact. The fire "caused the largest dislocation of London's residential structure in its history until the Blitz". Areas to the west of London received the highest number of new residents, but there was a general increase in the population density of the suburbs surrounding London. Approximately 9,000 new houses were built in the area in which over 13,000 had been destroyed, and by 1674 thousands of these remained unoccupied. Tenants who did remain in London saw a significant decrease in the costs of their lease.

The fire seriously disrupted commercial activity, as premises and stock were destroyed and victims faced heavy debts and rebuilding costs. As a result, economic recovery was slow. The City of London Corporation borrowed heavily to fund its rebuilding, defaulting on its loans in 1683; as a result, it had its privileges stripped by Charles. The commercial district of London had significant vacancies as merchants who had left the city resettled elsewhere. Charitable foundations experienced significant financial losses because of direct fire-related costs as well as loss of rental income. Despite these factors, London retained its "economic pre-eminence" because of the access to shipping routes and its continued central role in political and cultural life in England.

According to Jacob Field, "the reaction to the Fire revealed England's long-standing hostility to Catholics, which manifested itself most visibly at times of crisis". Allegations that Catholics had started the fire were exploited as powerful political propaganda by opponents of pro-Catholic Charles II's court, mostly during the Popish Plot and the exclusion crisis later in his reign. The Royalist perspective of the fire as accidental was opposed by the Whig view questioning the loyalties of Catholics in general and the Duke of York in particular.

In 1667 strict new fire regulations were imposed in London to reduce the risk of future fire and allow any fire that did occur to be more easily extinguished. The fire resulted in the emergence of the first insurance companies, starting with Nicholas Barbon's Fire Office. These companies hired private firemen and offered incentives for clients who took measures to prevent fires—for example, a cheaper rate for brick versus wooden buildings. Confusion between parish and private firefighting efforts led the insurance companies in 1832 to form a combined firefighting unit which would eventually become the London Fire Brigade. The fire led to a focus in building codes on restricting the spread of fire between units.

The Great Plague epidemic of 1665 is believed to have killed a sixth of London's inhabitants, or 80,000 people, and it is sometimes suggested that the fire saved lives in the long run by burning down so much unsanitary housing with their rats and their fleas which transmitted the plague, as plague epidemics did not recur in London after the fire. During the Bombay plague epidemic two centuries later, this belief led to the burning of tenements as an antiplague measure. The suggestion that the fire prevented further outbreaks is disputed; the Museum of London identifies this as a common myth about the fire.

On Charles' initiative, a Monument to the Great Fire of London was erected near Pudding Lane, designed by Christopher Wren and Robert Hooke, standing  tall. In 1681, accusations against the Catholics were added to the inscription on the Monument which read, in part, "Popish frenzy which wrought such horrors, is not yet quenched". The inscription remained until after the passage of the Roman Catholic Relief Act 1829 when it was removed in 1830 following a successful campaign by City Solicitor Charles Pearson. Another monument marks the spot where the fire is said to have died out: the Golden Boy of Pye Corner in Smithfield.

Although it was never implemented, Wren's plan for the rebuilding of London has itself had a significant cultural impact. The decision not to implement the plan was criticized by later authors such as Daniel Defoe and was frequently cited by advocates for public health. It also featured heavily in textbooks for the nascent specialty of city planning and was referenced by reports on the reconstruction of London after the Second World War. Wren presenting the plan was the subject of a Royal Mail stamp issued in 2016, one of six in a set commemorating the 350th anniversary of the Great Fire.

Cultural responses to the Great Fire emerged in poetry, "one of the chief modes of media in seventeenth-century England", as well as in religious sermons. At least 23 poems were published in the year following the fire. More recent cultural works featuring the Great Fire include the 1841 novel Old St. Paul's (and the 1914 film adaptation), the 2006 novel Forged in the Fire, the 2014 television drama The Great Fire, and the musical Bumblescratch, which was performed as part of the commemorations of the 350th anniversary of the Great Fire.

See also
 List of buildings that survived the Great Fire of London
 1666 in England

Notes

Citations

References

  First published between 1970 and 1983, by Bell & Hyman, London. Quotations from and details involving Pepys are taken from this standard, and copyright, edition. All web versions of the diaries are based on public domain 19th century editions and unfortunately contain many errors, as the shorthand in which Pepys' diaries were originally written was not accurately transcribed until the pioneering work of Latham and Matthews.

External links

 Fire of London website produced by the Museum of London, The National Archives, the National Portrait Gallery, London Fire Brigade Museum and London Metropolitan Archives for Key Stage 1 pupils (ages 5–7) and teachers
 Records on the Great Fire of London 1666 from the UK Parliamentary Collections

1666 fires
1666 in England
17th century in London
Disasters in England
Disasters in London
Fires in England
Fires in London
History of the City of London


text:
L'Amstel Gold Race 1973 fou la 8a edició de l'Amstel Gold Race. La cursa es va disputar el 7 d'abril de 1973. El vencedor final va ser el belga Eddy Merckx, que va imposar-se en solitari amb més de tres minuts sobre el seu immediat perseguidor en la meta de Meerssen.

165 ciclistes hi van prendre part, acabant la cursa 28 d'ells.

Classificació final

Enllaços externs
 Resultats complets
 Web oficial de la cursa

1973
Competicions ciclistes del 1973


text:
Kappa Cygni, Latinized from κ Cygni, is a star in the northern constellation of Cygnus. It has an apparent visual magnitude of 3.8, which is bright enough to be seen with the naked eye. In the constellation, it forms the tip of Cygnus's left wing. The radiant of the minor Kappa Cygnids meteor shower is located about 5° north of this star.

Examination of this star's spectrum show it to match a stellar classification of G9 III, with the 'III' luminosity class revealing that it has consumed the hydrogen fuel at its core and expanded into the giant star stage of its stellar evolution. It is known to vary in luminosity, but only by about 0.01 to 0.02 magnitudes. The measured angular diameter of this star, after correction for limb darkening, is . At an estimated distance of  based on parallax measurements, this yields a physical size of about 8–9 times the radius of the Sun. The outer envelope has an effective temperature of 4,920 K, giving it the yellow-orange hue of a star near the transition from a G- to a K-type classification.

References

Cygnus (constellation)
Cygni, Kappa
Cygni, 01
094779
181276
BD+53 2216
7328
G-type giants
Suspected variables


text:
Podgrad je ime več naselij v Sloveniji in zamejstvu:

 Podgrad - Občina Gornja Radgona
 Podgrad - Občina Ilirska Bistrica
 Podgrad - Mestna občina Ljubljana
 Podgrad - Mestna občina Novo mesto
 Podgrad - Občina Šentjur
 Podgrad na Pohorju - Občina Slovenska Bistrica
 Podgrad pri Vremah - Občina Divača
 Podgrad (Costa), naselje v oblini Torreano v Furlaniji-Julijski krajini v Italiji

Glej tudi

 Grad (razločitev)
Podgraj
Podgrađe (razločitev)


text:
aha – ukryta granica ogrodu
 Aha – faraon egipski
 a-ha – zespół muzyczny
 AHA – Amerykańskie Stowarzyszenie Kardiologiczne (American Heart Association)
 American Hockey Association – Federacja Amerykańskiego Hokeja
 AHA – kwasy owocowe, alfa-hydroksykwasy


text:
La Chapelle Notre-Dame du Danouët est un édifice situé dans la commune de Bourbriac, dans le département des Côtes-d'Armor  en Bretagne.

Il s'agit d'un édifice rectangulaire avec une chapelle latérale au nord du chœur. Le fenestrage date du . Une fenêtre, avec ses meneaux décorés de fleur de lys, date du début du , tout comme la porte sud qui possède des pinacles à fleurons et une accolade surmontée d'une croix.

Le Pardon a lieu le  à 10 h 30, en breton.

La chapelle (propriété de la commune) fait l'objet d'une inscription au titre des monuments historiques depuis le .

Festival
Le  de dañs plinn y a lieu en proximité tous les ans chaque semaine de la mi-août.

Articles connexes
 Bourbriac
 Liste des monuments historiques des Côtes-d'Armor

Notes et références

Monument historique à Bourbriac
Chapelle monument historique en Bretagne
Monument historique inscrit en 1964


text:
Curso del 63 (Curso del 73 en la seva segona edició) va ser un docu-reality emès per Antena 3 i Neox en el qual 20 joves d'avui dia s'enfrontaven a l'educació dels anys 60 i 70 respectivament. Aquest format ha estat adaptat del programa anglès That'll teach 'Em (Això els ensenyarà), posteriorment adaptat també en França com Le pensionnat de Chavagnes (L'Internat de Chavagnes) i al alemany Die harte Schule der 50er (La dura escola dels 50) i a Itàlia com Il Collegio (El col·legi).

Format
Curso del 63 / Curso del 73 és una adaptació del reality xou anglès That'll teach 'Em, en el qual 20 joves han de conviure en un internat adaptat com l'any 63. L'únic element de tecnologia actual són els micròfons que porten els concursants, les càmeres i el confessionari on compten com se senten o demanen ajuda psicològica quan els és necessari.

Està produït per Zeppelin TV, encarregada d'altres formats de telerealitat molt similars com Gran Hermano i Fama, ¡a bailar!.

Primera edició: Curso del 63 (2009)
Cada programa de Curso del 63 comença amb un resum dels anteriors i un avanç de l'ocorregut durant la setmana.

Els pares dels concursants solen jutjar el comportament dels seus fills en un determinat vídeo, i la majoria de les vegades també els concursants reflexionen sobre l'ocorregut en la tranquil·litat del confessionari.

A Curso del 63 no va haver-hi presentadors, però sí un narrador, que va ser el mateix director del col·legi, Vicente Gil.
Al final tots els concursants masculins van ser expulsats en haver profanat un retrat del presumpte fundador del San Severo.

Professors
Per a fer les classes, els productors van decidir recórrer a actors que, al mateix temps, comptessin amb experiència en el món de la docència:

Alumnes
L'internat inicialment estaria habitat per 21 joves, onze nois i deu noies, a causa dels abandons i a les entrades de substitució, 24 alumnes van trepitjar San Sever al llarg del curs.

Audiències

La vida després del reality
A causa de la gran repercussió de la primera edició, hem pogut veure a alguns dels seus alumnes apareixent en els mitjans de comunicació.

Pau Montaner, l'alumne que va abandonar als pocs dies de concurs, va comptar tot el que no es va veure en Curs del 63. Va afirmar que el reality els havia estafat, que els havien mentit, encara que tornaria a repetir l'experiència. Va dir que es presentaria a Gran Hermano 12, ja que tenia més paperetes per a entrar. Finalment no va ser triat en el càsting, però més tard va participar en el programa Un príncipe para Corina com a conquistador de Corina.

Marta Ríos va ser la primera a aparèixer en les revistes, i ho va fer nua en la coneguda Interviú.

Ana Julia Jiménez una de les guanyadores, va participar en el programa Guaypaut!, va seguir els passos de la seva companya, i va protagonitzar un altre número d' Interviú.

Carmen Madrigal, una de les alumnes més polèmiques, va participar de pretendenta i tronista a Mujeres y hombres y viceversa.

Héctor Calvo, participà com a invasor al programa Invasores de Neox i va sortir a Negocia como puedas de Negociador a Cuatro.

Quant als professors cal destacar:

"Don Luis (Miguel Lago)": El conegut còmic gallec, sens dubte un dels millors del panorama nacional, continua amb èxit la seva carrera en Paramount Comedy on atresora 8 monòlegs i un especial "Pata Negra" que va registrar una audiència històrica. Actualment participa com a col·laborador del programa Todo es mentira, de Cuatro, presentat per Risto Mejide.

"Don José (José Carlos Carmona)": El professor de Música en la sèrie, professor de música en la vida real i actor, va arribar a ser Catedràtic de Direcció d'Orquestra del Conservatori Superior de Música de Màlaga en els anys 2012 a 2014 i posteriorment (2015) va aconseguir ser Professor Titular de l'Àrea de Música de la Universitat de Sevilla. Va dirigir l'Orquestra de Volgogrado (Rússia) en 2014 i se li pot veure dirigint en nombrosos vídeos de Youtube on ha aconseguit més de tres milions i mig de visita dirigint l'Himne de l'Alegria de la Novena Simfonia de Beethoven. Acaba de rodar com a actor de repartiment el llargmetratge "El móvil", de Manuel Martín Cuenca, smb Javier Gutiérrez Álvarez i María León.

Programes íntegres
 Programa 1 (06/10/09): http://www.antena3.com/videos/curso-del-63/2009-octubre-1.html
 Programa 2 (13/10/09): http://www.antena3.com/videos/curso-del-63/2009-octubre-2.html
 Programa 3 (20/10/09): http://www.antena3.com/videos/curso-del-63/2009-octubre-3.html
 Programa 4 (27/10/09): http://www.antena3.com/videos/curso-del-63/2009-octubre-4.html
 Programa 5 (03/11/09): http://www.antena3.com/videos/curso-del-63/2009-octubre-5.html
 Programa 6 (10/11/09): http://www.antena3.com/videos/curso-del-63/2009-octubre-6.html

Segona edició: Curso del 73 (2012)
La productora Zeppelin TV va gravar la segona temporada del reality durant el mes de juliol de 2010. El programa va obtenir en la seva primera edició una audiència pròxima als 3,6 milions (19,4%). Finalment, dos anys després de l'enregistrament del programa, Curso del 73 va començar les seves emissions el 2 de setembre de 2012 a Neox. Aquesta vegada, els concursants s'enfronten a una educació pròpia dels anys 70.

Professors
El professorat del Curs del 73, malgrat que Doña Alicia i Don Luis continuen treballant al Colegio San Severo, varia respecte al del Curs del 63 degut fonamentalment a dos fets, que són la jubilació de don Vicente com a director i narrador del programa (sent substituït en tots dos rols per doña Alicia) i la introducció d'un nou elenc de professors, mestres joves més aperturistes que intentaran adaptar el sistema educatiu del San Severo als nous temps.
 Doña Alicia (Alicia Flon): La professora del San Sever, s'ha convertit, després de la jubilació de Don Vicente, en la nova directora de l'institut. A més lluitarà perquè el San Severo s'adapti al progrés dels nous temps, i alhora conservi el rigor disciplinari i acadèmic d'antany. Ella impartirà també Filosofia i Història i serà la prefecta de les noies.
 Don Luis (Miguel Lago): S'ha convertit en cap d'estudis i intentarà mantenir el rigor acadèmic i disciplinari d'antany, ja que no comparteix els nous "aires" de modernitat que pretenen renovar a l'Institut. A més impartirà assignatures de ciències (Matemàtiques, Física i Química) i serà el prefecte dels nois.
 Doña Carmen (Horten Soler): Professora d'E.A.T.P. (Ensenyaments Artístics Tècnics i Professionals).
 Monsieur Didier (Didier Roussel): Professor de Francés.
 Doña Almudena (Alejandra Alloza): Professora de Lletres (Llengua i Literatura, Llatí i Grec).
 Don Alejandro (Rodrigo Poisón): Professor d'Educació Física i supervisor nocturn.

Alumnes

Audiències

Programes íntegres
 Programa 1 (02/09/12): http://www.antena3.com/videos/curso-del-73/2012-septiembre-2-2012082900012.html
 Programa 2 (09/09/12): http://www.antena3.com/videos/curso-del-73/2012-septiembre-9-2012090700004.html
 Programa 3 (16/09/12): http://www.antena3.com/videos/curso-del-73/2012-septiembre-16-2012091400004.html
 Programa 4 (23/09/12): http://www.antena3.com/videos/curso-del-73/2012-septiembre-23-2012092100006.html
 Programa 5 (30/09/12): http://www.antena3.com/videos/curso-del-73/2012-septiembre-30-2012092800005.html

Referències

Programes de televisió d'Espanya
Obres del 2009


text:
Tattarisuo (Finnish), Tattarmossen (Swedish) is a northeastern neighborhood of Helsinki, Finland, east of the Helsinki-Malmi airport. It has a population of 70 (in 2005), and contains 1084 jobs (December 2003). The neighbourhood consists mostly of small industry and warehouses. Many of the companies in the area deal with recycling metal.

The woods in the area is known for their bird life and are popular among birdwatchers in Helsinki.

Neighbourhoods of Helsinki


text:
Ana Lucía Domínguez Tobón (Bogota, Colombie) est née le . Actrice et mannequin colombienne, elle est connue pour son rôle de "La Tuti" dans la série Femme d'Acier.

Biographie
Enfant, elle rêvait d'être actrice. «Elle voyait Margarita Rosa de Francisco interpréter Gaviota dans Café, con aroma de mujer et voulait être comme elle.» En plus de jouer, Margarita Rosa De Francisco chantait et présentait la météo à la télévision. Ana Lucía Domínguez Tobón a commencé sa carrière à l'âge de neuf ans, dans des publicités. Son premier rôle cinématographique fut dans une "telenovela", De pies a cabeza, puis dans Conjunto Cerrado.

C'est dans Hermosa Niña qu'elle joue pour la première fois un des rôles principaux. Après le scandale suscité en Colombie pour avoir tourné dénudée (elle avait alors 15 ans), certains ont associé son personnage à celui de Lolita, héroïne du roman de Vladimir Nabokov. C'est à ce moment qu'elle a décidé de se dédier au métier d'actrice.

Ana Lucía Domínguez Tobón a ensuite connu le succès en tant que présentatrice de Los Ángeles de la Mega. Sa carrière internationale a commencé avec le telenovela Gata salvaje. Toutefois, c'est sa participation à Pasion de gavilanes qui lui permet de se faire connaître en Amérique latine et en Espagne. À cette époque, elle apparaît en couverture du magazine Interviú. Elle y pose de façon sensuelle et sans vêtement. Elle réitérera l'expérience à deux reprises pour la revue colombienne SoHo. Après avoir été en couple durant cinq ans avec l'humoriste David Alberto García dit «Jeringa» de 14 ans son aîné, ils se marient en 2001. Elle est alors âgée de 18 ans. Deux ans plus tard, le couple annonce son divorce.

En 2008, l'actrice annonce son mariage avec le chanteur et acteur Jorge Cárdenas. En 2009, Telemundo la recrute pour jouer le rôle principal du feuilleton Perro amor, avec l'acteur portoricain Carlos Ponce et l'actrice colombienne Maritza Rodríguez. Pour le tournage, elle déménage à Miami. La série lui permet de chanter quelques chansons. La même année, elle joue dans la série colombienne Le fantôme du Grand Hôtel. Elle a ensuite interprété Marina dans le feuilleton La traicionera de la chaîne RCN, avec son époux Jorge Cárdenas.

En 2013 elle joue le rôle principal de la série Las Bandidas, de RTI Productions, pour Televisa et RCN. Le tournage a lieu au Venezuela. On la retrouve aux côtés du mexicain Marco Mendez, des vénézuéliens Daniela Bascopé, Marjorie Magri, Charité Canelón, Claudia La Gatta et de l'acteur portoricain Daniel Lugo.

En 2015, sa présence dans la deuxième saison de Femme d'Acier (Telemundo) est confirmée. La série est enregistrée en Mexique. Elle est à l'écran aux côtés de Blanca Soto, Litzy, Mauricio Henao, et José Luis Reséndez, entre autres.

Vie personnelle
En 2015, elle a épousé l'acteur et chanteur colombien .

Carrière

Télénovelas

Cinéma

Théâtre

Prix et Nominations

Prix India Catalina

Prix TVyNovelas

Autres Prix

 MARA (Venezuela) meilleure jeune actrice Internationale pour Pasion de Gavilanes

Références

Voir aussi

Ana Lucia Domínguez sur Colarte
Fiche Univisión
Compilation de divers reportages (archives)
 Fiche de Modelos colombianas

Liens externes

Acteur colombien de télévision
Mannequin femme colombien
Naissance en décembre 1983
Naissance à Bogota


text:
Biografia
A 15 anni ha cominciato a suonare le maracas nel settetto La Tropical formato da un gruppo di amici del proprio paese. Nel 1940 ha iniziato la sua carriera come compositore con Tumbaíto, Como vengo este año ed El Guayabero: quest'ultimo titolo è diventato anche il suo soprannome.

Abile maestro del doppio senso, l'idiosincrasia del cubano, il suo ingegno, gli spiritosi commenti e il suo amore per temi altamente erotici, sono alcune delle sue caratteristiche principali. A differenza della maggior parte dei trovadors, Oramas suona sones piuttosto che boleri.

Il suo strumento preferito era il tres, una chitarra a tre corde, tipico strumento del son; tuttavia, nei suoi gruppi di appoggio di solito era compresa una chitarra spagnola in base ritmica.

Compose la nota canzone Candela che venne inclusa sia nel disco che nel film Buena Vista Social Club.

Faustino Oramas è stato l'ultimo membro della canzone tradizionale cubana.

Discografia

LP
El Guayabero: sones del humor popular. Siboney LD-224
El Guayabero: sones del humor popular. Siboney LD-342
El Guayabero. Siboney LD-466

CD
Buena Vista Social Club (settembre 1997; in quella occasione la canzone Candela non è stata cantata da Oramas)

Voci correlate
 Musica di Cuba
 Compay Segundo
 Rubén González (pianista)
 Eliades Ochoa
 Omara Portuondo

Collegamenti esterni


text:
Бетеря — річка в Башкортостані, ліва притока Узяна
 Бетеря — присілок, Баймацький район, Башкортостан