title: Theodoli Chapel (Santa Maria del Popolo)

text:
The Theodoli Chapel or Chapel of Saint Catherine «del Calice» () in the Basilica of Santa Maria del Popolo in Rome is an important monument of Roman Mannerism. Although less known than some of the other side chapels of the same church it is a major work in the oeuvre of Giulio Mazzoni. The chapel opens at the end of the left arm of the transept next to the famous Cerasi Chapel.

History
The construction of the chapel coincides with the renovation of the whole building in the mid-sixteenth century. On 10 December 1552 the Vicar-General of the Lombard Congregation allowed the Augustinians to assign two empty chapels to new holders: one of them was located "apud cappella Fusari vulgariter nuncupata la Madonina” ("by the Foscari Chapel, commonly called la Madonnina") and it had been requested by Traiano Alicorni, a Milanese nobleman and protonotary apostolic.

On 27 June 1553 the chapel was granted to Alicorni, and re-dedicated to Saints Lucy, Nazarius and Celsus. The dedication to the most important martyrs of Milan is easily explained by the origins of the Alicorni family. After the death of Traiano Alicorni the property was inherited by his sons, Fausto and Giovanni Battista. The latter renounced his rights on 11 July 1569 in favor of his brother who began to build a tomb in memory of their father. Soon, however, the chapel was returned to the Augustinians, who assigned it to Girolamo Theodoli, the titular bishop of Cádiz, on 24 December 1569.

The two families were linked by common interests and roots in the town of Forlì. The new owner employed the same artist, Giulio Mazzoni of Piacenza, who had already been entrusted by the Alicorni, and maintained the original dedication of the chapel with the addition of Saints Jerome, Catherine and John the Baptist.

The work on the inner decoration had already been started by Traiano Alicorni. He commissioned Giulio Mazzoni in a contract dated to 15 October 1555. The artist undertook the task for the considerable sum of 800 scudi and pledged to finish it within two years. He was still working on it ten years later. Previously the Theodoli Chapel was thought be a late work of Mazzoni but this was disproved by the discovery of the contract.

The iconographic themes of the paintings help to differentiate the two commissions: the vault was certainly painted during the ownership of the Alicorni family, everything in the lower regions and the marble statue of Saint Catherine belong to the Theodoli phase, while the pertinence of the lunettes depends on their interpretation.

Originally the chapel was called Santa Caterina «del Calice» or «del Cadice» to distinguish it from the Chapel of Santa Caterina «del Portogallo» in the right aisle. There are stucco chalices with ribbons and vases on the spandrels and the statue of Saint Catherine was holding up an antique chalice at least until the first quarter of 18th century (it was definitely missing at the time of the apostolic visitation in 1824 and later replaced by a bronze palm). The symbol of the chalice alluded to the city of Cádiz and the bishopric - although it can be noted that Girolamo Theodoli never set foot in Spain. In 1564 he was forced to resign because his long absence made his position untenable but at the same time he obtained a generous annual income of 3000 scudi. This certainly helped him to acquire and decorate a chapel in the prestigious basilica of Santa Maria del Popolo a few years later.

The choice of Saint Catherine as the main patron saint of the chapel can be partly explained by the fact that she was honored as a family saint among the Theodoli. She was also the namesake of the bishop's mother, Catarina Bezzi. (The other two patron saints were also namesakes, Jerome for the bishop himself, John the Baptist for his uncle, Bishop Giovanni Ruffo Theodoli and his designated heir, Giovanni Theodoli.) Also as relative newcomers in Rome, the Theodoli "needed to augment their history to compete with the old Roman nobility. [...] As Saint Catherine stands for informed Christian wisdom and strength of virtue against all heresy, so, too, do the Theodoli [...] connect themselves to these ideas", argues Cynthia Stollhans.

The completion of the Theodoli Chapel could be placed around 1575 because Mazzoni returned to Piacenza in the next year. The chapel was refurbished by Marquis Girolamo Theodoli about 150 years later. The large stucco cartouche above the entrance arch with the coat of arms of the Theodoli family probably belongs to this phase. The paintings were restored and refreshed by Giacomo Triga, the court painter of marquis. The 18th century redecoration is probably related to the Jubilee Year of 1725 but the intervention did not significantly alter the 16th century aspect of the chapel.

Description

According to art historian Patrizia Tosini the altar statue is a mature work of the artist and opened a new era in Mannerist sculpture with its solemn and soft cloths, proto-classicist attitude, composure and chiaroscuro features, „far removed from the rigidity and hyperbole of his contemporaries”. Even the setting of the statue (documented in its present form from the middle of the 17th century) in a Tuscan-style altar made entirely of white marble, evokes more the coldness of certain 19th century funerary monuments, than the colorful and imaginative architectural structures of mid-sixteenth century Roman art. The statue bears the signature of the artist on its pedestal: JULIUS MAZZONUS PLACENTINUS PICTOR ET SCULPTOR. A more conspicuous inscription on the base states: DIVAE CATHARINAE VIRG ET MART DICATUM ("dedicated to Saint Catherine, virgin and martyr"). The traditional attribute of the saint, the "breaking wheel" appears at her side but the instrument of torture is hardly noticeable.

The vault is divided into trapezoidal panels which are separated by delicate white and gold stucco bands of vases and candelabra. Pairs of dainty stucco angels are resting on the edges of the lunettes in the corners. The trapezoidal panels are filled with paintings of the Four Evangelists with their traditional symbols and angels. In the central medallion an Angel with a laurel wreath appears. Saint Matthew and Saint Mark are accompanied by the four Doctors of the Church: Pope Gregory the Great and St. Ambrose with the former, St. Augustine and St. Jerome with the latter. According to the modern critics significant parts of the painted decoration were executed by Mazzoni while others are contributions of his workshop. The differentiation was made more difficult by a repainting of the frescoes in the 18th century (especially the figure of St. John the Evangelist, the corresponding lunette and St Luke).

There are different interpretations for the paintings in the three lunettes. The fresco on the right side undoubtedly depicts Saint Jerome Teaching among a large group of followers. The other two are simply described by Tosini as "Sybils and Prophets" but Cynthia Stollhans proposed a more complex explanation which takes into account the historic background and the overall iconographic program of the chapel. Thus the scene above the statue is The Disputation of Saint Catherine with the Philosophers, the most famous episode from the life of the saint when she convinced 50 of the best pagan philosophers and orators about the truth of Christianity. The painting shows her in an elevated position with three philosophers reading books and immersed in deep conversation. In the background a pair of little angels appear as heavenly muses. The scene above the entrance was identified by Stollhans as Saint Catherine Teaching. This shows the saint in the middle of a small group of two helping angels, a man and a half-nude woman, all of them studying scrolls. Possibly the fresco depicts the incarcerated Catherine converting Porphyrius, the captain of the imperial guard, another well-known episode from the Golden Legend. The lunettes depict both Saint Catherine and Saint Jerome in similar roles as teachers, preachers, theologians and patrons of learning.

The two lateral apses with medallions of Sts. Jerome and John the Baptist celebrate the two male patron saints of Girolamo Theodoli. The painted medallions, which are decorated with ribbons and festoons, are held by pairs of white stucco angels depicted as naked young men. With their lightness and elegance these statues are the best parts of the stucco decoration.

There are two large paintings of the Virgin of the Annunciation and the Angel of the Annunciation  on the side walls; the first was repainted from scratch by Giacomo Triga in the beginning of the 18th century, whereas the second was only retouched and retained its typically Mannerist style. Above them two smaller panels depict God the Father among angels and the Dove of the Holy Spirit among angels.

One element of the decoration is a bit enigmatic: the presence of two plaster statues of Saints Peter and Paul which are perhaps the works of one of Mazzoni’s assistants. Their artistic quality is visibly inferior to the other stucco statues. The two sculptures have no iconographic relevance to the dedication of the chapel, and could possibly be justified in the light of the adjacent Cerasi Chapel which was previously dedicated to the patrons of Rome.

The entrance of the chapel is closed by a wrought iron railing. The entrance arch is much lower than the corresponding arch of the transept and its outer surface is decorated by the stucco coats-of-arms of the noble Theodoli family. The soffit of the arch is divided into rectangular panels and bands with floral and foliate stucco ornaments against red or green background. The soffit of the arch above the shallow niche of the altar is decorated in a similar way.

Gallery

References

Bibliography

 Patrizia Tosini: La cappella Alicorni Theodoli e la decorazione di Giulio Mazzoni da Piacenza, in I. Miarelli Mariani, M. Richiello (a cura di), Santa Maria del Popolo. Storia e restauri, 2 voll., Poligrafico dello Stato, Roma 2009, II, pp. 489-507

Theodoli
Rome R. IV Campo Marzio


title: Crawl (video game)

text:
Crawl is a brawler indie game by Australian developer Powerhoof. Up to four players and bots in local multiplayer advance through randomly generated dungeons with one player as the hero and the others as spirits who possess traps and monsters in the environment to kill and thus replace the hero. The game received a Steam Early Access release for Microsoft Windows, OS X, and Linux platforms in August 2014, and a full release for those three as well as PlayStation 4 and Xbox One in April 2017 and a release for Nintendo Switch on December 19, 2017.

Gameplay

Crawl is a cross-genre game with roguelike, bullet hell, and brawler elements for up to four offline players and bots. The main player advances through randomly generated dungeons as a human hero while up to three other spirit players control the dungeon's enemies and traps to kill the main player. The spirit player who kills the human hero swaps roles to become the next main player. Players earn experience as they progress through the dungeon in both the human hero and the non-human spirit roles. Hero experience unlocks new attacks and spells, and spirit experience unlocks stronger enemies to possess. Each player's human hero experience level, weapon, and stats progress is preserved between turns. Crawl was designed to be more fast-paced and arcade-like than strategic, and includes genre-standard activities like collecting loot and upgradable weapons and magic items. Once player spirits possess "monster spawners" and traps in the active room, they cannot leave the form until they die or kill the main character. The players and enemies grow progressively more powerful over the course of a match. The game ends when a human hero reaches experience level 10, enters a portal, and defeats a final boss whose limbs are controlled cooperatively by the other players. Typical matches last about 30 minutes.

Development

Crawl was developed by Powerhoof, a two-person indie studio based in Melbourne. They described the game as their version of four-player Gauntlet combined with the Japanese bullet hell genre, or a combination of Super Bomberman and The Legend of Zelda. The game was made on the Unity game engine, and the developers designed a pixelated version of Gabe Newell as an in-game boss.

The game was "greenlit" on Steam within twenty-four hours. There is no online multiplayer. The game was expected for release on Steam Early Access in July 2014, but was delayed due to an issue pertaining to Powerhoof's taxes and formation as a company. The game was released on Steam Early Access on August 6, 2014 for Microsoft Windows, OS X, and Linux platforms. The full version released for computers, PlayStation 4, and Xbox One on April 11, 2017. A Wii U console version was planned in 2014.

Reception

Critics placed Crawl in a trend of local multiplayer functionality amongst indie games. Pete Davison of USgamer wrote that the game bridged multiple genres and was an example of the resurgence of couch co-op's fashionability. Rock, Paper, Shotgun Nathan Grayson compared the game's premise with Dungeonland. Hardcore Gamer Marcus Estrada called the game's concept "ingenious" and praised its capacity as a party game. In reviewing a prerelease version, Estrada wrote that the game had issues with gameplay pacing, lackluster artificial intelligence, and opportunities for players to hold up the game.

The game sold over 10,000 copies in its first 12 days on sale on early access.

References

External links

2017 video games
Beat 'em ups
Dungeon crawler video games
Indie games
Linux games
MacOS games
PlayStation 4 games
Roguelike video games
Video games developed in Australia
Windows games
Multiplayer and single-player video games
Early access video games
Xbox One games
Nintendo Switch games


title: Tierra Ruffin-Pratt

text:
Tierra Ruffin-Pratt (born April 11, 1991) is a former American professional basketball player. She played for the Washington Mystics and the Los Angeles Sparks in the Women's National Basketball Association (WNBA). She played college basketball at the University of North Carolina and attended T. C. Williams High School in Alexandria, Virginia.

College statistics
Source

Professional career
Ruffin-Pratt joined the Washington Mystics training camp roster in May 2013 after going undrafted in the 2013 WNBA draft. In her rookie season, she played 34 games off the bench and averaged 4.4 ppg That year the Mystics made the playoffs finishing 3rd place in the Eastern Conference with a 17–17 record but were eliminated 2–1 in the first round by the Atlanta Dream.

In her second season, Ruffin-Pratt continued her bench role with her playing time slightly increased. She averaged 4.5 ppg in 34 games and 6 starts. The Mystics were third place in the Eastern Conference yet again with a 16–18 record, but were eliminated in a 2-game sweep by the Indiana Fever.

In the 2015 season, Ruffin-Pratt became the starting shooting guard for the Mystics. She played 32 games with 31 starts and averaged a career-high in scoring. Ruffin-Pratt scored a career-high 20 points in an 84–80 win against the Los Angeles Sparks on June 23, 2015. The Mystics made the playoffs finishing 4th place in the Eastern Conference with an 18–16 record and were a first round exit yet again as they were defeated 2-1 by the New York Liberty.

In the 2016 season, Ruffin-Pratt moved to small forward in the Mystics starting lineup in order to make room for Tayler Hill at shooting guard. Ruffin-Pratt averaged 7.3 ppg in her new role at the wing, but the Mystics finished 13-21 and were eliminated from playoff contention.

In 2017, Ruffin-Pratt re-signed with the Mystics once her rookie contract expired. During the 2017 season, Ruffin-Pratt started in all 34 games for the first time in her career. She briefly played the small forward role in the Mystics starting lineup during one of their starters' absence. After Hill tore her ACL, Ruffin-Pratt moved back to shooting guard. She averaged 7.3 ppg and the Mystics made the playoffs with an 18–16 record and the number 6 seed in the league following the league's new playoff format the previous season. The Mystics advanced all the way to the semi-finals after defeating the Dallas Wings and New York Liberty in the first and second round elimination games, marking the first time in franchise history the Mystics advanced past the second round. In the semi-finals, the Minnesota Lynx defeated the Mystics in a 3-game sweep.

In 2018, Ruffin-Pratt was a role player for the Mystics, occasionally starting and coming off the bench. Her contributions helped the Mystics to a 22–12 record and the number 3 seed in the league. They received a bye to the second round. In the second round elimination game, they defeated the Los Angeles Sparks 96–64 to advance to the semi-finals for the second year in a row. In the semi-finals, the Mystics defeated the Atlanta Dream in five games to advance to the WNBA Finals for the first time in franchise history. In the Finals, the Seattle Storm swept the Mystics.

In 2019, Ruffin-Pratt signed with the Los Angeles Sparks. She would immediately enter the Sparks' starting lineup. Ruffin-Pratt started in 33 of the 34 games played during the season, the Sparks finished 22–12 with the number 3 seed, receiving a bye to the second round. In the second round elimination game, the Sparks defeated the defending champion Seattle Storm 92–69 to advance to the semi-finals. In the semi-finals, the Sparks would lose to the Connecticut Sun in a three-game sweep.

In 2020, the season was delayed and shortened to 22 games in a bubble due to the COVID-19 pandemic. Ruffin-Pratt played 17 games with 10 starts, missing a few games with a shoulder injury. The Sparks were the number 3 seed with a 15–7 record, receiving a bye to the second round elimination game, but were once again eliminated by the Connecticut Sun.

On May 22, 2022, Ruffin-Pratt announced her retirement of professional basketball.

WNBA career statistics

WNBA regular season

|-
| style="text-align:left;"|
| style="text-align:left;"| Washington
| 34 || 0 || 14.8 || .359 || .143 || .783 || 2.8 || 0.8 || 0.7 || 0.2 || 4.4
|-
| style="text-align:left;"|
| style="text-align:left;"| Washington
| 34 || 6 || 16.2 || .383 || .250 || .705 || 2.9 || 1.3 || 0.7 || 0.1 || 4.5
|-
| style="text-align:left;"|
| style="text-align:left;"| Washington
| 32 || 31 || 23.9 || .371 || .326 || .759 || 3.0 || 2.2 || 0.8 || 0.3 || 7.4
|-
| style="text-align:left;"|
| style="text-align:left;"| Washington
| 32 || 31 || 24.4 || .369 || .320 || .747 || 4.5 || 2.6 || 1.0 || 0.3 || 7.3
|-
| style="text-align:left;"|
| style="text-align:left;"| Washington
| 34 || 34 || 24.3 || .337  || .000 || .738 || 5.3 || 2.3 || 1.0 || 0.5 || 7.3
|-
| style="text-align:left;"|
| style="text-align:left;"| Washington
| 33 || 10 || 18.1 || .341 || .314 || .855 || 2.0 || 1.5 || 0.6 || 0.2 || 5.5
|-
| style="text-align:left;"|
| style="text-align:left;"| Los Angeles
| 34 || 33 || 25.2 || .367 || .342 || .854 || 2.4 || 1.7 || 0.8 || 0.6 || 6.0
|-
| style="text-align:left;"|
| style="text-align:left;"| Los Angeles
| 17 || 10 || 14.5 || .267 || .462 || .731 || 2.1 || 0.9 || 0.7 || 0.2 || 2.9
|- class="sortbottom"
| style="text-align:center;" colspan="2" | Career
| 250 || 155 || 20.5 || .357 || .318 || .768 || 3.2 || 1.7 || 0.8 || 0.3 || 5.8

WNBA postseason

|-
|style="text-align:left;"|2013
|style="text-align:left;"|Washington
||3||0||15.0||.385||.000||.583||2.0||0.7||1.0||0.0||5.7
|-
|style="text-align:left;"|2014
|style="text-align:left;"|Washington
||2||0||10.6||.000||.000||1.000||3.5||1.0||0.0||0.5||1.0
|-
|style="text-align:left;"|2015
|style="text-align:left;"|Washington
||3||3||26.9||.333||.333||1.000||3.7||3.7||1.6||0.0||8.0
|-
|style="text-align:left;"|2017
|style="text-align:left;"|Washington
||5||5||26.8||.457||.000||.824||5.0||2.4||0.6||0.8||9.2
|-
|style="text-align:left;"|2018
|style="text-align:left;"|Washington
||9||0||17.4||.385||.235||1.000||2.2||0.8||0.7||0.3||5.2
|-
|style="text-align:left;"|2019
|style="text-align:left;"|Los Angeles
||4||4||18.0|| .280 || .182 || .857 ||1.8||2.0||0.5||0.8||5.5
|-
|style="text-align:left;"|2020
|style="text-align:left;"|Los Angeles
||1||0||	13.0|| .000 || .000 || .000 ||2.0||3.0||0.0||1.0||0.0
|- class="sortbottom"
| style="text-align:center;" colspan="2" | Career
| 27 || 12 || 19.4 || .358 || .216 || .800 || 2.9 || 1.7 || 0.7 || 0.4 || 5.9
|}

References

External links
North Carolina Tar Heels bio

1991 births
Living people
African-American basketball players
American women's basketball players
Basketball players from Alexandria, Virginia
Guards (basketball)
Los Angeles Sparks players
North Carolina Tar Heels women's basketball players
Undrafted Women's National Basketball Association players
Washington Mystics players
T. C. Williams High School alumni
21st-century African-American sportspeople
21st-century African-American women


title: Lieutenant Joseph Petrosino Park

text:
Lieutenant Joseph Petrosino Park is a New York City public park located in Bensonhurst, Brooklyn, New York City between 70th Street to the north, 71st Street to the south, 16th Avenue to the east, and New Utrecht Avenue to the west. It is on the east side of the 71st Street subway station (). This part of Bensonhurst was within the Town of Nieuw Utrecht when it was founded during the Dutch colonial era in 1657. The town had its name Anglicized to New Utrecht during the English colonial era. The town lost its autonomous status and became part of the City of Brooklyn in 1894. Since 16th Avenue and New Utrecht Avenue do not run parallel to each other, the footprint of the park is trapezoidal in shape.

The land for the park was purchased by the City of New York in 1929, and the park was opened on May 24, 1935. It was originally called Satellite Park. When it opened, the park had handball courts, slides, swings, a wading pool, jungle gym, and a recreation building around its perimeter. A basketball court was later added on the southern side of the park extending from east to west. In 1993, the park underwent a $700,000 reconstruction. The handball courts, basketball court, and children's playground were renovated. The city installed new benches, fencing, lights and landscaping and improved the drainage. In 1999, the New York City Council renamed the park after Lt. Joseph Petrosino, NYPD.

It features:
 Basketball court
 Handball courts
 Children's playground
 Spray showers

References

1935 establishments in New York City
Parks in Brooklyn
Bensonhurst, Brooklyn


title: Black Hand (graffiti artist)

text:
Black Hand is the pseudonym of an Iranian graffiti artist. Supporters have called him or her "Iran's Banksy". He or she remains anonymous because their graffiti is illegal.

Black Hand is known for using stencil art to comment on sexism in Iranian society, on the (legal) trade of human organs and on political events in the Middle East. In an interview with The Guardian Black Hand said, "The public has a right to see the art. I chose street art because I want to guard against the galleries’ monopoly. Our intellectual and artistic society are underestimating and ignoring ordinary people’s power."

Notable works
 Woman with a washing-up liquid bottle - this work appeared in June 2014 on a wall in Tehran, portraying a woman wearing an Iran football shirt and holding a washing-up liquid bottle above her head, as if it was a trophy. It appeared to be a comment on the exclusion (and separation) of women from sport. The work was later overpainted in red paint and finally removed altogether.
The artist held an exhibition in April 2014 which took place in a condemned historic house in Tehran. In one room an image of each item of furniture was repeated multiple times, commenting on society's reliance on labels. In another room an installation was created commenting on threats to the environment. Black canvases sprayed with the word "Art" lined the hallway.

References

Living people
Iranian graffiti artists
Pseudonymous artists
Year of birth missing (living people)


title: 1885 Navy Midshipmen football team

text:
The 1885 Navy Midshipmen football team represented the United States Naval Academy in the 1885 college football season. The team was the fourth intercollegiate football squad to represent the United States Naval Academy, and marked the first time that the school played a multiple-game season. The squad was captained by halfback Cornelius Billings. The year began with a blowout victory over St. John's College, but was followed by close losses to Johns Hopkins University and the Princeton Tigers reserves squad. The season continued a seven-season, eight game rivalry between the Naval Academy and Johns Hopkins, and began a ten-game, seven-year rivalry with St. John's.

Prelude

According to Ellsworth P. Bertholf's biographer C. Douglas Kroll, the first evidence of a form of football at the United States Naval Academy came in 1857, but the school's cadets lost interest in the game shortly afterward. The Naval Academy's first ever football team was fielded in 1879. The squad was entirely student-operated, receiving no official support from Naval Academy officials. The team was entirely funded by its members and their fellow students. The 1879 team participated in just one game, which resulted in a scoreless tie. It was played against the Baltimore Athletic Club, apparently on the Academy superintendent's cow pasture. Navy would not field a football team in 1880 or 1881, due to the lack of support from officials. When football returned to the academy in 1882, the squad was led by player-coach Vaulx Carter, and won 8–0 in a match with Johns Hopkins, starting a seven-year rivalry between the schools. The 1883 season resulted in Navy's first ever loss, a 2–0 defeat by Johns Hopkins. Navy returned the favor the following year, defeating Hopkins in a close 9–6 game.

Schedule

Season summary
The Naval Academy scheduled three games for the 1885 season, breaking from the tradition of playing only Johns Hopkins. According to Morris Allison Bealle, "Football at Annapolis had shed its swaddling clothes when the autumn of 1885 rolled around. Some of the faculty actually gave in and admitted that football might, at that, be or become an interesting diversion" so the squad was allowed to schedule three games. The first was played against St. John's College, also located in Annapolis. The game kicked off a brief rivalry with St. John's, which would conclude in 1911 with Navy winning eighteen of twenty-one contests. The 1885 match was a 46–10 blowout victory over St. John's. The second game of the season was the annual Thanksgiving Day match against Johns Hopkins. After winning the previous year, Navy fell to Johns Hopkins 12–8. The season concluded with the Naval Academy challenging the Princeton freshman team, a game which ended in a 10–0 shutout loss for Navy.

Players
The 1885 Naval Academy team was made up of thirteen players at four different positions. The squad consisted of seven rushers, two fullback, three halfbacks, and a quarterback:

Rushers
 George Hayward
 Sam Darby
 Tom Jewett
 Joe Ricketts
 Fred Moore
 Clarence Stone
 John Ubsdell

Quarterback
 Bill Faust

Fullbacks
 Joe Welsh
 George Loyall

Halfbacks
 Julius Dashiell
 Cornelius Billings (capt.)
 Bill Cloke

Postseason and aftermath
The first postseason college football game would not be played until 1902, with the Pasadena Tournament of Roses' establishment of the east–west tournament game, later known as the Rose Bowl. The Midshipmen would not participate in their first Rose Bowl until the 1923 season, when they went 5–1–2 and tied with the Washington Huskies 14–14 in the match. As a result of the lack of a competition, there were no postseason games played after the 1885 season. According to statistics compiled by Billingsly, Houlgate, the National Championship Foundation, Parke Davis, and the Helms Athletic Foundation, Princeton was declared the 1885 season champion.

The 1885 season brought Navy's overall win–loss record to an even 3–3–1. It also brought the Academy's record against Johns Hopkins to 2–2 tie. The season marked the first time a team for the Naval Academy would play a multiple-game season. In 1886, their schedule was expanded from three games to five, and continued to grow through subsequent years. It was the worst single-season record for the Academy until 1888, when they went 1–4. Navy would finish the 1880s with four winning seasons, and an overall record of 14–12–2. The school would outscore their opponents 292–231, and would finish the 19th century with an overall record of 54–19–3.

References
Footnotes

Bibliography

Navy
Navy Midshipmen football seasons
Navy Midshipmen football


title: Cipuropsis

text:
Cipuropsis is a genus of flowering plant in the family Bromeliaceae, native to the Caribbean, southern Central America and northwestern South America. The genus was first described by Ule in 1907.

Taxonomy
, different circumscriptions of the genus are in use. In the narrow sense, the segregate genera Josemania and Mezobromelia are recognized; in the broad sense, these are sunk into Cipuropsis. Species accepted by the Encyclopedia of Bromeliads using the narrow sense are:
Cipuropsis amicorum (I.Ramírez & Bevil.) Gouda
Cipuropsis asmussii Gouda
Cipuropsis subandina Ule
Additional species accepted by Plants of the World Online using the broad sense are listed below, together with placements in Josemania and Mezobromelia.
Cipuropsis asplundii (L.B.Sm.) Christenh. & Byng = Josemania asplundii (L.B.Sm.) W.Till & Barfuss
Cipuropsis bicolor (L.B.Sm.) Christenh. & Byng = Mezobromelia bicolor L.B.Sm.
Cipuropsis capituligera (Griseb.) Christenh. & Byng = Mezobromelia capituligera (Griseb.) J.R.Grant
Cipuropsis delicatula (L.B.Sm.) Christenh. & Byng = Josemania delicatula (L.B.Sm.) W.Till & Barfuss
Cipuropsis hospitalis (L.B.Sm.) Christenh. & Byng = Mezobromelia hospitalis (L.B.Sm.) J.R.Grant
Cipuropsis magdalenae (L.B.Sm.) Christenh. & Byng = Mezobromelia magdalenae (L.B.Sm.) J.R.Grant
Cipuropsis pinnata (Mez & Sodiro) Christenh. & Byng = Josemania pinnata (Mez & Sodiro) W.Till & Barfuss
Cipuropsis singularis (Mez & Wercklé) Christenh. & Byng = Josemania singularis (Mez & Wercklé) W.Till & Barfuss
Cipuropsis truncata (L.B.Sm.) Christenh. & Byng = Josemania truncata (L.B.Sm.) W.Till & Barfuss

References

Tillandsioideae


title: Regina Sheck

text:
Regina Sheck (born 9 November 1969) is a former New Zealand rugby union player. She played for the Black Ferns and was a member of the 1998 and 2002 Women's Rugby World Cup squad. In 2012, she was a member of the re-established Waikato women's rugby team that was absent for six years.
She is a Police Officer of Samoan descent.

Sheck played in the two test series against  in 2001.

References

External links
Black Ferns Profile

1969 births
Living people
New Zealand women's international rugby union players
New Zealand female rugby union players
New Zealand sportspeople of Samoan descent


title: Arlington Aviators

text:
The Arlington Aviators FC were an American indoor soccer team, founded in 2012. Arlington competed in the Western Indoor Soccer League (WISL) and PASL-Premier. Arlington played their home matches at the Soccer First Indoor Sports in Arlington, Washington.

The team is a former member of the Premier Arena Soccer League (2012-14).

Year-by-year

References

External links
Arlington Aviators official website
WISL official website

Indoor soccer clubs in the United States
Western Indoor Soccer League teams
Premier Arena Soccer League teams
2012 establishments in Washington (state)
Association football clubs established in 2012


title: Break-Up

text:
Break-Up is an independent German experimental feature film comedy directed by Alexander Tuschinski. It received awards at international film-festivals and had its German premiere at Berlin Independent Film Festival 2015. Although it is not part of it, it is connected to Tuschinski's informal Trilogy of Rebellion by one main character and some references in the storyline.

Plot
The film is about a satire on modern life and on the nature of power, interweaving many subplots to create an overview of young people's lives today. It is told in an experimental visual- and editing style. The film has been called an experimental film.

The film consists of four chapters that are explicitly named in the storyline. Their names correspond with the general theme of each chapter:

 1. Break Out - The opening of the film consists mainly of people breaking out of their regular world and conventional lifestyles.
 2. Break In - The second chapter starts with the character John "breaking into" a married relationship, and ideologies "breaking in" Arnold's mind.
 3. Break Free! - The third chapter starts with a trial, and Arnold breaking free from all the ideologies that had influenced him before. It ends with Arnold being badly beaten up, lying on the floor without any illusions left.
 4. Break Up - The fourth and final chapter deals with John finally breaking up with his girlfriend - and destroying the planet in the process in a surrealistic scene. He is thus metaphorically "breaking up" with all that is wrong in the world as it was depicted in the previous chapters.

Themes

Literature
Throughout the film, there are numerous references to literary works that sometimes are integral to scenes.

Franz Kafka's The Trial
The Trial by Franz Kafka is referenced throughout the storyline, the reference becoming clear towards the middle. After Josef Köhler - played by actor Dominic Rödel - refuses to hire Arnold, the latter pretends to be him while insulting a police officer, which ultimately leads to the arrest of (innocent) Köhler. After he is arrested, an off-narrator reads the first sentence from Kafka's book as a direct reference to it.

Das Fahrzeug
The novel Das Fahrzeug by the film's director is depicted multiple times, always bringing bad luck to its readers as a self-ironic element.

Breaking the fourth wall
One major theme / stylistic device in Break-Up is breaking the fourth wall. Occasionally, character's remarks reveal that they're aware they're acting in a film. In the beginning, John explains Jane how Break-Up would become boring if they met each other with smalltalk. When they disturb the set of a pretentious student-film, the characters use the film Break-Up as an example of a better film, eventually dragging the cinematographer Matthias Kirste who is filming them into the discussion. Later, when John tells Jane to wait at the cemetery, he tells her that waiting is not bad, because when she's not shown in the film, she doesn't exist. One major scene breaking the fourth wall is the start of the second half, when during a serious scene, suddenly the police walks in to arrest the cast and crew after one actors starts shouting that he doesn't like the direction the film is taking anymore. The following, surrealistic trial - in which the actors and the director are tried for disturbing public order - suddenly reveals that the character Arnold was acting in the film we just saw, and he now becomes homeless after losing everything.

Different layers of reality
In Break-Up, multiple times the reality of portrayed events within the film's structure is questioned. After Arnold leaves John and Jane in the beginning, he declares that the whole beginning was a dream that ended with him in World War II. A while later, Lutz (who later turns into Silvameshi) proclaims that all of the previous evens were part of his dream that ends in World War II. Later on, it is revealed that the film was actually a video game played by an unseen player - which is never realized by the characters, even though their world suddenly becomes a computer-game.

Emotionally detaching the viewer
At some points of the film, an arts critic appears, criticising the film and sometimes cutting out / fast forwarding segments to give it more speed. That critic is a parody of pretentious arts criticism and appears during "romantic" or otherwise emotional moments to make the audience aware of the methods to evoke emotions used by films in general. Tuschinski describes the dramatic theories by Bertold Brecht as a major influence for Break-Up, making the viewers rationally think about what they see by detaching them emotionally. One example would be after John meets the wife and she falls in love with him, the arts critic suddenly appears, telling the viewer he'll cut out "more of that stuff" to get back on track, displaying a brief slapstick comedy short film while the film is re-edited to be less romantic.

Production

Overview
The film is considered a Low-Budget-Film. The cast consists of 44 mostly first- or second-time actors. After creating Menschenliebe, Alexander Tuschinski wanted to try a new, experimental approach to shape a film's style and story, mostly following new impulses and ideas on set while filming. Thus, many parts of the film were improvised on the set, having only a rough outline of many scenes before filming. As a part of the experimental filming process, Alexander Tuschinski only wrote a detailed screenplay for the first 15 minutes of the film before filming started. Afterwards, during filming, he often followed spontaneous impulses to create the story.

Development
Alexander Tuschinski started writing a theatre play right after filming Menschenliebe had wrapped in 2009. The opening scene of the play was a humorous analysis of smalltalk and dating. While writing, Tuschinski decided to shelve the incomplete play, instead including parts of it in his next feature-film. The play's opening scene incorporated without changes in Break-Up. Until April 2010, Tuschinski had written a screenplay for the first 15 minutes of the film, and a rough outline for the remainder. That first outline differs significantly from how the film ultimately developed. Tuschinski chose this approach because after producing Menschenliebe, he wanted to do a very different film. Working on a similar budget, he intended to make the experimental production process integral to the final film. One of his main inspirations working on Break-Up were experimental 1960s films by Tinto Brass, most notable Nerosubianco and The Howl. Two songs from the soundtrack of Nerosubianco were used in Break-Up, and it features some hommages to Tinto Brass' films - that are directly named as hommages by characters in Break-Up, breaking the fourth wall.

Casting
For Break-Up, Tuschinski cast many actors with whom he had already collaborated in Menschenliebe and earlier projects, in addition to numerous first-time actors. Due to the production's experimental, spontaneous nature, some actors were cast right before the day of filming. Because to the experimental writing style, roles could be expanded or changed easily. Philipp Metzler, who plays a lead character in Break-Up, for example, was originally cast in a very small role as a literature student during a student picnic. As Tuschinski was impressed by his performance, he decided to merge multiple characters into one, creating a new lead character portrayed by Metzler. Sebastian B. reprises his role as Arnold Richter from Menschenliebe. Beside having the same name and being portrayed by the same actor, his character is similar, but not the same as the character in Menschenliebe. Break-Up marks the screen debut of Jennifer Pakosch, who also collaborated on the film as an assistant director and was later cast in a starring part in Timeless.

Filming
Filming started in early 2011 and the last days of filming took place in early 2013. The first scenes filmed were scenes of John and the wife on a date, and the last ones were those in Silvameshi's ashram. Tuschinski filmed Break-Up parallel to his studies mostly on weekends. Production briefly paused while he was promoting Menschenliebe and when he reconstructed Tinto Brass' director's cut of Caligula. For Tuschinski, the production-style of Break-Up was an experiment, having a film "organically" grow over two years instead of pre-planning it. Often, he wrote detailed scenes the morning before filming them, having a rough idea of the set and the necessary actors before filming, re-shaping the structure of the whole film after filming each scene took place. For example, the idea for the character "Silvameshi" came about only in May 2012, and the yet unfilmed second half of the film was designed around that character.
Tuschinski regards this production-style as a deliberate one-time experiment, as his following feature Timeless was again filmed in a relatively short period of time with a detailed screenplay. For Break-Up, Tuschinski collaborated with cinematographer Matthias Kirste and the film was shot with one camera, using many takes to get a lot of experimental camera angles. The film uses a lot of different stylistic means, be they fisheye-lenses, black&white footage shot on filmstock, and others.

Editing
Most scenes were edited by Tuschinski right the very night after filming them. For him, this working style is important, as he keeps a list of shots and possible edits in his head during filming, and prefers editing when all the shots and different takes are still fresh in his memory. The first rough cut of the whole film was ready by mid 2013. For the next months, music rights were cleared. There are two original songs in the film. The editing-style is described as impressionist, often editing scenes to music. During editing, the structure of the film was reshaped and refined, and Tuschinski considers editing Break-Up an integral part of its writing process.

Release
The film was released at various festivals (see list of awards below).

Reception

Awards

The film won the following awards:
 Best Foreign Film: American Movie Awards 2014.
 Best Director: Maverick Movie Awards 2014.
 Best International Film: Hollywood Reel Independent Film Festival 2015.
 Best Editing: Hollywood Reel Independent Film Festival 2015.
 Best Comedy Film - Silver Remi Award: WorldFest-Houston International Film Festival 2014.
 Best Editing: Oregon Independent Film Festival 2014.
 Best Foreign Feature: Oregon Independent Film Festival 2014.
 Gold Award - Foreign Film: California Film Awards 2014.

Screenings
 In September 2014, Oregon Independent Film Festival screened a special "Director's Preview Edit" of Break-Up, different from the regular cut of the film, as part of its official festival program in competition in a sold out screening.

References

External links

 Making-Of documentary about Break-Up. (Video)
 Official Press-Book about Break-Up, including production notes, manifesto by the director, and other material. (PDF; 3,2 MB)
 Stuttgarter Zeitung: Article about Alexander Tuschinski's film Timeless, mentioning Break-Up winning at American Movie Awards.

2014 films
2010s German-language films
2010s avant-garde and experimental films
2014 comedy films
Films directed by Alexander Tuschinski
German avant-garde and experimental films
2010s German films


title: Siberia Acoustic

text:
Siberia Acoustic (alternately stylized as Siberia (Acoustic)) is the second acoustic album recorded by Canadian electropop artist Lights, featuring acoustic reworkings of songs off her second studio album, Siberia (2011). It was released April 30, 2013 through Universal Music Group and Last Gang Records. The album was preceded on March 15 by the release of its first and only single, "Cactus in the Valley", which was re-recorded as a duet with American electronica project Owl City.

Upon its release, Siberia Acoustic debuted at number seven on the Billboard Canadian Albums Chart and at number 86 on the Billboard 200, her second-highest peak on either chart at the time. The album received generally positive reviews from contemporary music critics, who found that the acoustic production put emphasis on Lights's songwriting talents but also made the songs less compelling than in their studio renditions.

Critical reception

Siberia Acoustic received mostly positive reviews from contemporary music critics for showcasing her abilities as a singer-songwriter. At AllMusic, reviewer Matt Collar wrote that "although Lights normally makes electronic pop that often features electric guitars, keyboards, and dance-influenced beats, she is at her core a melodic singer-songwriter. Not surprisingly, many of the songs on Siberia lend themselves to these intimate re-recordings." He rated the album 4 stars out of 5. Brent Faulkner of PopMatters responded positively to Lights' vocals on the album ("Lights sounds superb throughout," he writes) but ultimately felt the acoustic soundscape "fails to compel as much" as Siberia′s original production. "All in all," he summarized before delivering a 6/10 rating, "Siberia Acoustic is enjoyable if sometimes bland."

Claire Louise Sheridan of Alter the Press! gave a particularly complimentary review in which she highlights Lights's vocal range and interpretive abilities. "No matter what your previous impressions of Lights may be," writes Sheridan, "cast them aside. Siberia Acoustic is a truly different experience which allows appreciation of the overwhelming beauty of her talent and thus the true basis of her appeal."

Track listing

Credits and personnel
Credits for Siberia Acoustic adapted from AllMusic.

Performance credits
 All vocals – Lights
 Featured vocals – Owl City (Adam Young), Max Kerman, Coeur de Pirate

Instruments
 Cello – Kevin Fox
 Guitar – Lights
 Piano – Lights

Production
 Engineers – Jason Dufour, Stephen Koszler
 Assistant engineers – Arthur Bastos, Jack Clow
 Mastering – João Carvalho
 Mixer – Jason Dufour
 Producer – Lights
 Songwriters – Brian Borcherdt, Jason Parsons, Lights Poxleitner, Thomas "Tawgs" Salter, Dave Thomson, Graham Walsh

Packaging
 Creative director – Lights
 Designer – Simon Paul
 Photographers – Tina Lok, Katie Rodriguez

Charts

Release history

References

2013 albums
Lights (musician) albums
Universal Music Group albums
Last Gang Records albums


title: 2014 APRA Silver Scroll Awards

text:
The 2014 APRA Silver Scroll Awards was held on Thursday 30 October 2014 at TSB Bank Arena in Wellington, celebrating excellence in New Zealand songwriting. It was the first time since 2004 that the awards were hosted in Wellington, with Auckland being the usual location.

Silver Scroll award

The Silver Scroll award celebrates outstanding achievement in songwriting of original New Zealand pop music. The short list of finalists was announced on 18 September. The evening's music performances were produced by musician and nominee Lukasz Buda. Each of the nominated songs were covered in a new style by another artist. The Silver Scroll award was presented by 2013 winner Lorde.

Long list

In August 2014 a top 20 long list was announced. From this list APRA members voted to decide the five songs that make up the year's short list.

 Mahuia Bridgman-Cooper / Sean Sturm (School For Birds) "10,000 Things"
 Louis Baker "Back on my Feet"
 Samuel Scott / Luke Buda / Thomas Wedde / William Ricketts / Thomas Callwood / Christopher O'Conner (The Phoenix Foundation) "Bob Lennon John Dylan"
 Joel Little / Georgia Nott / Caleb Nott (Broods) "Bridges"
 Joseph Faris (Ezra Vine) "Celeste"
 Jolyon Mulholland (Mulholland) "Cry If You Want To"
 Jonathan Bree "Duckies Lament"
 Daniel McBride (Sheep, Dog & Wolf) "Glare"
 Brendan McKenna (Lake South) "Good Keen Man"
 Tom Scott / Lui Tuisau / Brandon Haru / Christopher James / Hayden Dick (@Peace) "Gravity"
 Edward Castelow (Dictaphone Blues) "Her Heart Breaks Like a Wave"
 Connan Hosford (Connan Mockasin) "I'm the Man That Will Find You"
 Jeremy Toy (She's So Rad) "Levels"
 Anna Coddington "Make You Mine"
 Hollie Fullbrook / Alexander Freer / Cass Mitchell (Tiny Ruins) "Me At the Museum, You In the Wintergardens"
 David Dallas / Aaron Iusitini / Jordan Iusitini / King Britt / Tim Motzer / Gertrude Morgan (David Dallas) "Runnin'"
 Mark Vanilau "Simplicity"
 Sidney Diamond / Isaiah Libeau (Sidney Diamond) "Speakers Blown"
 Tama Waipara / Mateheke Waititi (Tama Waipara) "Sunshine on the Water"
 Tami Neilson / Joshua Neilson (Tami Neilson) "Walk (Back To Your Arms)"

New Zealand Music Hall of Fame

Composer Douglas Lilburn was posthumously inducted into the New Zealand Music Hall of Fame.

Other awards

Six other awards were presented at the Silver Scroll Awards: APRA Maioha Award (for excellence in contemporary Maori music),  SOUNZ Contemporary Award (for creativity and inspiration in composition) and two awards acknowledging songs with the most radio and television play in New Zealand and overseas. In 2014, two new awards were introduced - APRA Best Original Music in a Feature Film Award and APRA Best Original Music in a Series Award.

APRA song awards

Outside of the Silver Scroll Awards, APRA presented four genre awards in 2014. The APRA Best Pacific Song was presented at the Pacific Music Awards, the APRA Best Country Music Song was presented at the New Zealand Country Music Awards and the APRA Children’s Song of the Year and What Now Video of the Year were presented live on What Now.

References

External links
 APRA AMCOS Silver Scroll Awards

New Zealand music awards
2014 in New Zealand music


title: Conocrambus atrimictellus

text:
Conocrambus atrimictellus is a moth in the family Crambidae. It was described by George Hampson in 1919. It is found in New Guinea.

References

Crambinae
Moths described in 1919


title: Conocrambus dileucellus

text:
Conocrambus dileucellus is a moth in the family Crambidae. It was described by George Hampson in 1896. It is found on Borneo.

References

Crambinae
Moths described in 1896


title: Conocrambus medioradiellus

text:
Conocrambus medioradiellus is a moth in the family Crambidae. It was described by George Hampson in 1919. It is found in Australia, where it has been recorded from Queensland.

References

Crambinae
Moths described in 1919


title: Conocrambus wollastoni

text:
Conocrambus wollastoni is a moth in the family Crambidae. It was described by Rothschild in 1916. It is found in New Guinea.

References

Crambinae
Moths described in 1916


title: Conocrambus xuthochroa

text:
Conocrambus xuthochroa is a moth in the family Crambidae. It was described by Turner in 1947. It is found in Australia, where it has been recorded from Queensland.

References

Crambinae
Moths described in 1947


title: Wilbur W. Marsh

text:
Wilbur W. Marsh (July 14, 1862 - December 23, 1929), was treasurer of the Democratic National Committee.

Biography
He was born in New York on July 14, 1862. He was a Democratic National Committeeman in 1912 and again in 1916. He was the Committee's treasurer from 1916 to 1924.

He was a delegate to 1920 Democratic National Convention and the 1928 Democratic National Convention representing Iowa.

Marsh died at his home in Waterloo, Iowa, on December 23, 1929, after having a stroke while driving his car.

References

1862 births
1929 deaths
Democratic National Committee people
Democratic National Committee treasurers


title: Conotalis aurantifascia

text:
Conotalis aurantifascia is a moth in the family Crambidae. It was described by George Hampson in 1896. It is found in Ghana, Nigeria, Sierra Leone and the Gambia.

References

Crambinae
Moths described in 1896


title: Conotalis nigroradians

text:
Conotalis nigroradians is a moth in the family Crambidae. It was described by Paul Mabille in 1900. It is found on the Comoros and in the Democratic Republic of the Congo, Malawi and Tanzania.

References

Crambinae
Moths described in 1900


title: James Gustafson (politician)

text:
James "Jim" Gustafson (September 8, 1938 – July 23, 2014) was an American politician and businessman.

From Duluth, Minnesota, Gustafson received his bachelor's degree in history and economics from Ohio Wesleyan University. He served in the United States Marine Corps Reserves. He worked in the family business A&E Supply Company in Duluth. Gustafson served on the Duluth City Council and planning commission. From 1982 to 1995, Gustafson served in the Minnesota Senate as a Republican. His brother Earl B. Gustafson and his nephew Ben E. Gustafson also served in the Minnesota State Legislature. He died in Duluth, Minnesota.

Notes

1938 births
2014 deaths
Politicians from Duluth, Minnesota
Ohio Wesleyan University alumni
Businesspeople from Minnesota
Military personnel from Minnesota
Minnesota city council members
Republican Party Minnesota state senators
20th-century American businesspeople


title: Master of Città di Castello

text:
Master of Città di Castello, in Italian, Maestro di Città di Castello, (active 1290-1320) was an anonymous painter of Medieval art. Mason Perkins is responsible for his identification and naming in 1908, based on the styling from the Master preserved at the Pinacoteca comunale, Città di Castello, in Umbria.

Attributions and influences
The single point of chronological anchor of the Master's activity is related to recognition on the back of Polyptych Montespecchio, indicating that it was made on the occasion of the inauguration in 1307 of the new church of the Hermitage of Montespeccio. All other dating criteria are based solely on stylistic studies, including the presence of influences from Duccio and Giotto. Specifically called the Master by Duccio in 1302, served as a model for the Master of Città di Castello and some works as denoting the influence of young Simone Martini, it is assumed for them a later dating to 1315-1320. Most historians are therefore place his time between the last decade of the thirteenth century and the second decade of the fourteenth century, except Freuler who dates his early works around 1285 and the last around 1330.

The Master's training took place in the very complex time of the Sienese cultural background between 1270-1290, during years of extraordinary upheaval of Western pictorial language crossroads of Byzantine Empire pictorial stereotype centuries already fundamentally rethought by the innovations of the great masters of the moment (the first and foremost being the painter Cimabue certainly the most influential in 1280, but it should also be mentioned among his fellow Sienese artists Guido of Siena and Dietisalvi di Speme and the revolutionary new pictorial language that was emerging on the sites of Assisi embodied by the young Giotto and Duccio. In this context, the Master of Città di Castello is clearly on the side of "modern", and indeed was one of the early followers of Duccio, of those so-called "first generation", including Master of Badia a Isola and Master of Albertini.

Regarding the latter, the work of the Master of Città di Castello shows such stylistic affinities with his work, and even a punch shaped flower with five petals which was used for the Virgin and Child by the Master of Albertini shows up in the Polyptych of the Montespecchio, and some critics (Labriola, Freuler) felt that it was a single artist. Bagnoli however revealed many differences in their work (lighting scenes, volume rendering, brushwork). It is now thought that this could be of two brothers (like Ambrogio Lorenzetti and Pietro Lorenzetti), or two artists working in the same shop.

Style
For Chelazzi Dini, the Master of Città di Castello's work is that of an artist with "a strong personality and remarkable color sensitivity, and therefore easily identifiable amidst the abundant production inspired by Duccio". Freuler in turn refers to "emotional eccentricity of his figures but also [...] personal colors, expressive". This is indeed a full lyric, dramatic, driven by mankind expressions, lively narrative, and made so terribly effective by technical mastery, for innovations Duccio (finesse, elegance, harmony chromatic), Giotto (naturalism, solemnity and volume control) are treated here in an exemplary manner and natural.

Always listening to the latest news, the second decade of the thirteenth century saw a new direction for his work with the influence of the first creations of Simone Martini (which is closely related to the other heirs sensitive to this new trend as Ugolino di Nerio and Segna di Bonaventura for example), and the spatial and chromatic research reveal increasingly subtle similarities.

The Montespecchio Polyptych
The  altarpiece known as the Montespecchio Polyptych was executed for the consecration of the new church Santa Maria di Monte Eremo at Montespecchio in the present-day  commune of Murlo, near Siena, an event which took place on 16 April 1307, as confirmed by the presence of St. Anthony dedicatee of the place, the inclusion of the writing partially legible on the back panel of the Madonna and Child.

Dismembered (presumably in 1687), the different panels have subsequently undergone numerous changes. The panel of the Madonna and Child was drastically cut down to a rectangular format (and embedded within a larger panel). Long preserved in the church of Santa Cecilia Crevole (Murlo), and long attributed to Pietro Lorenzetti, it was then attributed to the Master of Città di Castello by Mason in 1908, before he arrived at the Museo dell'Opera del Duomo in Siena in 1920. The panels depicting St. Augustine, St. Paul, St. Peter, St. Anthony Abbot, were meanwhile long attributed to Duccio and listed as such by the gallery in Siena in 1894 (inv. No. 29-32), before being reassigned by Nicola 1912 to the Master of Città di Castello. Finally, it was only after  a controversy among art historians that lasted throughout the twentieth century that the various panels were physically broughout together again in 2003 on the same support, the whole being now preserved in the Pinacoteca Nazionale (National Gallery) of Siena.

For installation and a living relationship with the child, the Madonna of the Montespecchio Polyptych is inspired by those of Duccio appearing on the Polyptych of Perugia and the Polyptych No. 28 of the  Pinacoteca of Siena. It therefore shares many similarities with other panels themselves also inspired these works by Duccio, like the Montalcino Triptych  (Montalcino, diocesan museum of religious art) Master of Maesta Cini or Master Gondi.

The work also surprised by its chromatic daring, perhaps influenced by those of its predecessors Siena (Guido di Graziano, Dietisalvi di Speme), combining red and white lacquer, purple plum and azure blue, or green and ocher.

The Montespecchio Polyptych is also famous because of its partial inscription "<M> E <F> ECIT" (Latin for "I did it") on the sword of St. Paul. The word that preceded this text probably meant the author, which makes it even more frustrating being erased. It was also assumed that he had never been written (and the name of the author is to be deduced from the one holding the sword or Paolo). Still, the "me fecit" the  Montespecchio  altarpiece of stands as the oldest inscription of its kind in Sienese painting. It will be followed by that of Segna di Buonaventura "SEGNA FECIT ME" on the sword of St. Paul in the polyptych No. 40 of the Siena Pinacoteca Nazionale; and that of Pietro Lorenzetti in 1320 on the sword of St. Reparata in the Tarlati Polyptych  (Santa Maria della Pieve church, Arezzo): "PETRUS FECIT ME" 25.

We can also note the adoption for the first time by  our anonymous master of an innovation of Duccio's: the "maphorion" (sailing virgin) painted in white. Previously  (see Maesta, the central panel of the triptych of Oxford or the "Madonna of Detroit" (accessed 27 September 2013) he had kept the red "maphorion" of the Byzantine tradition.

References
 E. Mason Perkins, "Ancora dei dipinti sconosciuti di Scuola Senese," Senese Rassegna of arte, No. IV, 1908, p. 3-9
 Krohn, Italienske Billeder i Danmark, Copenhagen, 1910
 G. De Nicola, Mostra di Duccio di opere e della sua scuola, catalogo della mostra (Siena 1912), 1912
 V. Lusini, "Per lo studio della vita e delle opere di Duccio" Rassegna Auctions Senese, No. IX, 1913, p. 19-32
 Richard Offner, "Two Sienese Pannels" Bulletin of the Associates in Fine Arts at Yale University, No. I, March 1926, p. 5-6
 Bernard Berenson, Italian Pictures of the Renaissance, Oxford, 1932
 Cesare Brandi, Regia Pinacoteca di Siena, 1933
 EB Garrison, "A Ducciesque tabernacle at Oxford," The Burlington Magazine, No. lxxxviii, 1946, p. 214-223
 EB Garrison, Italian Romanesque Panel Painting. An Illustrated Index, Firenze, 1949
 Cesare Brandi, Duccio, Firenze, 1951
 Sherwood A. Fehm, "A Pair of Panels by the Master of Città di Castello and has Reconstrudion of Their Original Altarpiece," Yale University Art Gallery Bulletin, vol. 2, No. XXXI, 1967, p. 17-27
 L. Vertova, "What goes with what," The Burlington Magazine, No. CIX, 1967, p. 668-672
 M. Ferretti, "Mr. Ferretti, alla Mostra del recensione restauro delle opere di Pisa e Livorno province," Annali della Scuola Normale Superiore di Pisa. Classe di Lettere e Filosofia s. III, No. I, 1971, p. 607-613
 JH Stubblebine, "Duccio's Maesta of 1302 for the Chapel of the Nove," The Art Quarterly, No. XXXV, 1972, p. 239-268
 Miklós Boskovits, Cimabue ei precursori di Giotto, Firenze, 1976
 Federico Zeri, "Addendum al Maestro di Città di Castello" in Diari di lavoro 2, Torino, 1976, p. 8-10
 AM Maetzke, Arte nell'Aretino. Mostra di seconda restauri, dal 1975 al 1979, catalogo della mostra (Arezzo 1979-1980), Firenze, 1979
 JH Stubblebine, Duccio and his school, Princeton (NJ), 1979
 J. White, Duccio. Tuscan Art and the Medieval Workshop, London, 1979
 Miklós Boskovits, "Review of Duccio and His School by James H. Stubblebine; Duccio: Tuscan Art and the Medieval Workshop by John White, "The Art Bulletin, New York, vol. LXIV, No. 3, September 1982, p. 496-502
 Luciano Bellosi "scheda" in L. Bellosi, AM Guiducci, S. Padovani, Mostra di opere nelle province of Restaurate arte di Siena and Grosseto. III. catalogo della mostra (Siena 1983), Genova, 1983
 Ph. Pouncey, "A Sienese 14th-century Crucifixion," in National Art Collection Fund Review, 1985, p. 133-134
 Pietro Scarpellini, "4 Maestro di Città di Castello. Madonna in trono col Bambino, angeli sei ed a Domenicano inginocchiato "in E. Mancini, Pinacoteca Comunale di Città di Castello. I Dipinti, Città di Castello, 1987, p. 138
 A. Labriola, "Gli affreschi della Cappella di San Niccolo nell'antico Palazzo dei Viscovi in Pistoia", in Arte Christiana, vol. LXXVI, 1988, p. 247-266
 Giovanna Ragioneri Duccio. Catalogo completo dei dipinti., Firenze, 1989 ()
 Alessandro Bagnoli, "Museo della Collegiate" in GC Cianferoni, A. Bagnoli, Museo Archeologico e della Collegiate di Casole d'Elsa, Firenze, 1996, p. 61-134
 Hayden BJ Maginnis, "Master of Città di Castello," in The Dictionary of Art, vol. 20, New York, 1996, p. 648
 Giulietta Chelazzi Dini (trad. Maia Rosenberger), "The Sienese Painting 1250-1450," in Alessandro Angelini, Giulietta Chelazzi Dini, Bernardina Sani, Painters of Siena ["Pittura Senese"], Paris, Imprimerie national Editions, 1997 (), p. 9-261
 Gaudenz Freuler, "Duccio and his contemporaries. The Master of Città di Castello, "Journal of Art, No. 134, 2001, p. 27-50 ()
 Hayden BJ Maginnis, The World of the Early Sienese Painter, University Park, 2001
 Alessandro Bagnoli, "I Pittori Ducceschi", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (), p. 266-277
 Alessandro Bagnoli, "Maestro di Città di Castello", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (), p. 288-289
 Alessandro Bagnoli, "Cat.41 - Croce dipinta [di Montecerboli]", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (), p. 290-295
 Alessandro Bagnoli, "Cat.42 - Madonna and Child ei santi Agostino, Paolo, Pietro Antonio Abate", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura senese, Milano, Silvana Editoriale, 2003 (), p. 296-301
 Alessandro Bagnoli, "I Restauri", in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (ISBN 88 -8215-483-1), p. 517-519
 Luciano Bellosi, "It Percorso di Duccio," in A. Bagnoli, R. Bartalini, L. Bellosi Mr. Laclotte Duccio, Alle origini della pittura Senese, Milano, Silvana Editoriale, 2003 (), p. 119-145
 Stefano G. Casu, The Pittas Collection. Early Italian Paintings (1200-1530), Mandragora, 2011 (), p. 102-105
 Dillian Gordon, The Italian Painting Before 1400, London, coll. "National Gallery Catalogues," 2011 ()

Year of birth unknown
Year of death unknown
14th-century Italian painters
13th-century Italian painters
Place of birth unknown
Place of death unknown


title: Georg Janny

text:
Georg Janny (20 May 1864, Vienna - 21 February 1935, Vienna) was an Austrian landscape painter and set designer.

Life
He worked as a scene painter in the studios of Carlo Brioschi and Johann Kautsky, alongside Alfons Mucha, and was a member of the Dürerbund.

In 1898, he participated in painting the "Eisernen Vorhang" (Iron Curtain) at the Vienna Volksoper for the 50th jubilee of Emperor Franz Joseph I. In 1904, he exhibited in the Austrian Pavilion at the St.Louis World's Fair with scenes from the Imperial Royal Austrian State Railways (now at the Technisches Museum Wien). Two years later, he designed the stage for The Queen of Sheba by  Karl Goldmark, one of the most popular operas of the late 19th century. Pictures from the second and third acts have been preserved.

He also painted landscapes and figures, including scenes from fairy-tales or imaginary worlds that are reminiscent of the works of Arnold Böcklin or Gustave Doré.

The contents of his estate are now in the possession of the Bezirksmuseum Hernals (Hernals District Museum) in Vienna

Selected paintings

References

Further reading
 Karl Schreder: 17. Ausstellung des Albrecht Dürer-Bundes. In: Deutsches Volksblatt. Morgenausgabe. Vienna 26 January 1918, Nr. 10439, pgs.2-3 (Digitalized)
 Heinrich Fuchs, "Janny, Georg", in Die österreichischen Maler des 19. Jahrhunderts, Vol. 2,  Self-published (1972–1974)
 Christopher Wood, "Fairy illustrators After 1900", in Fairies in Victorian Art, Antique Collectors' Club, Woodbridge (2000)

External links

1864 births
1935 deaths
Austrian scenic designers
19th-century Austrian painters
19th-century Austrian male artists
Austrian male painters
20th-century Austrian painters
20th-century Austrian male artists
Artists from Austria-Hungary


title: Khimi Ram

text:
Khimi Ram Sharma is an Indian politician from the federating unit of Himachal Pradesh of the state of India. He started his career as a Government school teacher serving in different sub divisions in Kullu district of Himachal Pradesh. Before he has also worked as a labourer in Public Works Department in Kullu district. He has been elected onto dignified posts since he first contested his election as Zila parishad chairman in Kullu district. He served as MLA from Banjar assembly constituency of Kullu district twice since 2003 to 2012. He has also served as deputy speaker of Vidhan Sabha of Himachal Pradesh in 2007 and later he was elected as BJP chief of Himachal Pradesh. In 2011 he was in state cabinet as forest minister.

Early life and education
Khimi Ram Sharma comes from a humble farming family in village Fagu in Parvati valley of Kullu district. In his early childhood he was a sheep and cow herder and used to study in Government primary school chheor till fifth standard. For matriculation he went to Government High School Bhunter. To pursue BA he went to Government degree college, Kullu where he studied Political Science, Economics, English and Sanskrit. He also ranked first in the college during that year and got awarded by the then Education Minister of Himachal Pradesh. In college years he tested waters in politics by becoming president of 'Students' Welfare Association'. Later on he did his B.Ed. from Government college of Education, Dharamshala.

After completion of Education he got position of 'TGT' and taught in various government schools in Kullu district from 1973 till 1993. His first school where he taught as TGT was Government Middle school, shangarh in Banjar valley and his last school as a teacher was GSSS Bhunter.

Family
Khimi Ram Sharma was married to Late. Smt Leela Devi and they have four children Sanjeev Kumar, Anju Sharma, Sheetal Sharma and Nayan Sharma and two daughters in law. He also has 3 grandsons.

Politics
Khimi Ram Sharma is a leader who emerged during Atal Bihari Vajpayee era and Khimi with other leaders like Dhumal were ones who first played a huge role in making First Majority BJP Government in Himachal Pradesh. Khimi Ram Sharma's entry in politics was in 1999 and in 2000 he contested his first election for Zila parishad member and won and later in 2000 he was elected to the position of Chairman of Zila Parishad, Kullu. In 2003 he got ticket to contest election from Banjar assembly constituency from BJP and he won the election and in 2007 he again won the election from Banjar and in 2007 he was elected unanimously as Deputy Speaker of Vidhan Sabha. In 2009, he was elected as BJP chief of Himachal Pradesh. In 2011, he became member of state cabinet and served as Forest Minister of Himachal Pradesh. He is also a confidant of Dr. Prem Kumar Dhumal.

In 2012 election he lost to Late Sh. Karan Singh and in 2017 due to party politics and change in leadership in BJP at national level and at state level Khimi Ram and later many big leaders were sidelined by BJP and in recent elections even Dr. Prem Kumar Dhumal was used as party face but later he was also sidelined but these leaders respectfully accepted decisions of the party.

On 1 September 2021, Khimi Ram Sharma made a big announcement by organising a meeting where he said that his supporters want him to contest from Banjar for the upcoming Assembly elections.

On 12 July 2022, Khimi Ram Sharma joined the Indian National Congress.

References
https://www.outlookindia.com/national/himachal-pradesh-ex-bjp-chief-khimi-ram-joins-congress-news-208582

https://indianexpress.com/article/cities/delhi/ex-bjp-himachal-pradesh-chief-khimi-ram-congress-8024405/

https://hindi.news18.com/news/himachal-pradesh/shimla-breaking-news-himachal-bjp-former-state-president-khimi-ram-joins-congress-in-delhi-hpvk-4385493.html

https://www.timesnownews.com/india/former-himachal-pradesh-state-bjp-president-khimi-ram-sharma-joins-congress-party-article-92822758/amp

https://youtu.be/w3bQ4rJ3Xso

External links

https://myneta.info/hp2012/candidate.php?candidate_id=380
https://www.tribuneindia.com/news/himachal/former-bjp-chief-khimi-ram-keen-to-contest-from-banjar-305364
https://www.amarujala.com/shimla/himachal-assembly-election-ex-minister-khimi-ram-can-fight-election-as-independent-candidate
https://www.hindustantimes.com/chandigarh/khimi-ram-sworn-in-as-cabinet-minister-in-himachal/story-aUzB5YL6Fw1lLC685pfuRP.html
http://archive.indianexpress.com/news/shanta-2-ministers-stay-away-as-khimi-ram-elected-bjp-chief/575208/https://www.tribuneindia.com/news/himachal/former-bjp-chief-khimi-ram-keen-to-contest-from-banjar-305364
https://thenewshimachal.com/2012/02/governor-administered-oath-to-khimi-ram/
https://www.tribuneindia.com/2010/20100204/himachal.htm
https://www.youtube.com/watch?v=miQQ2yqMTdU
https://www.amarujala.com/shimla/bjp-co-incharge-tandon-reached-the-house-of-angry-former-minister-khimi-ram
http://news.satyapaljain.com/2010/02/khimi-ram-re-elected-himachal-bjp-chief.html
https://www.topnews.in/law/khimi-ram-continue-himachal-bjp-chief-26076

Deputy Speakers of the Himachal Pradesh Legislative Assembly
People from Kullu district
Year of birth missing (living people)
Living people
21st-century Indian politicians
Bharatiya Janata Party politicians from Himachal Pradesh
Himachal Pradesh MLAs 2003–2007
Himachal Pradesh MLAs 2007–2012


title: Corynophora argentifascia

text:
Corynophora argentifascia is a moth in the family Crambidae. It was described by George Hampson in 1919. It is found in Australia, where it has been recorded from Western Australia.

References

Crambinae
Moths described in 1919


title: Corynophora torrentellus

text:
Corynophora torrentellus is a moth in the family Crambidae. It was described by Edward Meyrick in 1879. It is found in Australia, where it has been recorded from Queensland.

The wingspan is about 30 mm. The forewings are dark brown with white longitudinal stripes.

References

Crambinae
Moths described in 1879


title: Don Davis (defensive tackle)

text:
Donald Earl Davis (born December 16, 1943 - March 8, 2018) was a former American football defensive tackle who played one season with the New York Giants of the National Football League (NFL). He was drafted by the Giants in the second round of the 1966 NFL Draft. Davis was also drafted by the San Diego Chargers in the first round of the 1966 AFL Draft. He played college football at Los Angeles State and attended Santa Ana High School in Santa Ana, California

External links
Just Sports Stats
Fanbase profile

2018 deaths
1943 births
American football defensive tackles
Cal State Los Angeles Diablos football players
New York Giants players
Players of American football from Santa Ana, California


title: Culladiella acacia

text:
Culladiella acacia is a moth in the family Crambidae. It was described by Schouten in 1993. It is found in Kenya.

References

Crambinae
Moths described in 1993


title: Culladiella anjai

text:
Culladiella anjai is a moth in the family Crambidae. It was described by Schouten in 1993. It is found in Ivory Coast and Nigeria.

References

Crambinae
Moths described in 1993


title: Culladiella generosus

text:
Culladiella generosus is a moth in the family Crambidae. It was described by Edward Meyrick in 1936. It is found in the Democratic Republic of the Congo.

References

Crambinae
Moths described in 1936


title: Culladiella sinuimargo

text:
Culladiella sinuimargo is a moth in the family Crambidae. It was described by George Hampson in 1919. It is found in South Africa.

References

Endemic moths of South Africa
Crambinae
Moths described in 1919


title: Culladiella subsinuimargo

text:
Culladiella subsinuimargo is a moth in the family Crambidae. It was described by Stanisław Błeszyński in 1970. It is found in Sudan.

References

Crambinae
Moths described in 1970


title: Cypholomia amphiaula

text:
Cypholomia amphiaula is a moth in the family Crambidae. It was described by Edward Meyrick in 1934. It is found in the Democratic Republic of the Congo.

References

Crambinae
Moths described in 1934


title: Suzy Shortland

text:
Suzy Shortland (born 23 January 1974) is a former New Zealand female rugby union and sevens representative. She played at the 1998 and 2002 Women's Rugby World Cup.

Shortland was a member of the first official New Zealand women's sevens team, who took part in the 2000 Hong Kong Sevens. She also played at the 2001 Hong Kong Sevens.

References

1974 births
Living people
New Zealand women's international rugby union players
New Zealand female rugby union players
Female rugby sevens players
New Zealand women's international rugby sevens players


title: Cypholomia crypsibela

text:
Cypholomia crypsibela is a moth in the family Crambidae. It was described by Edward Meyrick in 1934. It is found in the Democratic Republic of the Congo.

References

Crambinae
Moths described in 1934


title: Cypholomia drosocapna

text:
Cypholomia drosocapna is a moth in the family Crambidae. It was described by Edward Meyrick in 1933. It is found in the Democratic Republic of the Congo.

References

Crambinae
Moths described in 1933


title: Cypholomia leptodeta

text:
Cypholomia leptodeta is a moth in the family Crambidae. It was described by Edward Meyrick in 1933. It is found in the Democratic Republic of the Congo.

References

Crambinae
Moths described in 1933


title: Diadexia anchylocrossa

text:
Diadexia anchylocrossa is a moth in the family Crambidae. It was described by Turner in 1924. It is found in Australia.

References

Crambinae
Moths described in 1924


title: Diadexia argyropasta

text:
Diadexia argyropasta is a moth in the family Crambidae. It was described by Turner in 1911. It is found in Australia, where it has been recorded from the Northern Territory.

References

Crambinae
Moths described in 1911


title: Diadexia parodes

text:
Diadexia parodes is a moth in the family Crambidae. It was described by Turner in 1905. It is found in Australia.

References

Crambinae
Moths described in 1905


title: Larry Meyer

text:
Larry Meyer is currently an Independent Director for a few retailers. He has been a consultant or in interim positions to companies including Forever 21 and FashionNova. His most recent position of CEO of UNIQLO USA,  a division of Japanese conglomerate Fast Retailing ended in December 2016.
Meyer  joined UNIQLO as  COO for the US in January  2013; he was previously Executive Vice President and Chief Financial Officer at Forever 21. His work history includes Toys R Us and PepsiCo.

References

Businesspeople from New York (state)
American chief financial officers
American chief operating officers
American retail chief executives
American chief executives of manufacturing companies
Living people
Year of birth missing (living people)


title: Atom (infantry fighting vehicle)

text:
The ATOM is a heavy 8×8 infantry fighting vehicle (IFV) jointly developed by the Russian company Petrel (a division of Uralvagonzavod) and the French company Renault Trucks. The vehicle is established on the basis of the French Véhicule blindé de combat d'infanterie (VBCI) IFV which is produced by Renault. The prototype of the ATOM was first unveiled during the 2013 Russian Arms Expo at Nizhny Tagil, equipped with a unique fighting module.

On 8 April 2014, Volvo (the parent company of Renault Trucks) froze the joint project of Renault Trucks with Uralvagonzavod. Renault Trucks required consent from the Swedish government to install the engines for the vehicle and were declined because of "uncertainty" according to the Swedish side. The project of cooperation with Uralvagonzavod came under harsh criticism after the 2014 Russian invasion of Ukraine and annexation of its Crimean peninsula. On 18 June 2014, a spokesman for Renault Trucks told IHS Jane's that the program remains frozen, despite contradicting claims given by Rosoboronexport deputy director general Igor Sevastianov.

After the withdrawal of Renault, UVZ continued the project alone. It was planned to make an appearance at the Russian Arms Expo in September 2015.

Design
The ATOM is based on a modified chassis of the French 8×8 VCBI featuring an automatic gearbox and transmission with independent suspension. The chassis, drive with independent suspension, and fire control system are developed and implemented by Renault Trucks while the artillery turret gun is designed by Petrel. In the front of the vehicle, the driver's compartment is located on the left side and power pack on the right side. In the center, the combat compartment is located. The crew consists of three people and eight passengers can be carried. The hinged ramp at the rear of the chassis and four hatches located on the roof serve as an entry and exit point for the vehicle's crew and passengers. The volume of the interior passenger compartment is 10.7 cubic meters.

The ATOM can be equipped with reactive armor and slat armor. Depending on the configuration, this vehicle has up to 5 levels of ballistic protection. The vehicle's armour is expected to provide protection up to STANAG 4569 level 5 which means it is protected against 25 mm armor-piercing projectiles. The same machine can be equipped with CBRN protection against weapons of mass destruction. An active protection system and laser warning devices can also be installed.

The only weapon the ATOM prototype possesses is a 57 mm BM-57 automatic gun. This rifled autocannon is a modification of the Soviet 57 mm S-60, developed by the company Petrel. This high caliber autocannon has an effective range of 6 km and fires at a rate of 120–140 rds/min. The turret traverses 360° across the azimuth and has an elevation range between −8° and +70°. 80–100 rounds are carried within the turret with an additional 100 stowed away. The 57 mm automatic cannon provides engagement of light armoured and soft targets, ATGM crews, and even aerial targets (UAVs, precision-guided munitions, aircraft and helicopters). It takes 1–3 seconds to change the type of munition for the cannon.

Variants
The ATOM IFV will be offered in several variants to meet the requirements of future customers. These variants include: a troop transport vehicle which was shown at the RAE-2013, an infantry combat vehicle armed with a 120 mm mortar or anti-tank missile launchers, an ambulance, a breakdown vehicle, and an armored police vehicle. Certain versions are also designed to be amphibious and air-droppable via Il-76.

References

External links

ATOM on manufacturer official website

Infantry fighting vehicles of Russia
Infantry fighting vehicles of France
Military vehicles introduced in the 2010s
Armoured fighting vehicles of the post–Cold War period
Uralvagonzavod products
Eight-wheeled vehicles
Wheeled infantry fighting vehicles
Infantry fighting vehicles of the post–Cold War period


title: Epichilo irroralis

text:
Epichilo irroralis is a moth in the family Crambidae. It was described by George Hampson in 1919. It is found in Kenya.

References

Endemic moths of Kenya
Crambinae
Moths described in 1919


title: Epichilo obscurefasciellus

text:
Epichilo obscurefasciellus is a moth in the family Crambidae. It was described by Joseph de Joannis in 1927. It is found in Mozambique.

References

Endemic fauna of Mozambique
Crambinae
Moths described in 1927
Moths of Sub-Saharan Africa
Lepidoptera of Mozambique


title: Epichilo parvellus

text:
Epichilo parvellus is a moth in the family Crambidae. It was described by Émile Louis Ragonot in 1889. It is found in India.

References

Crambinae
Moths described in 1889


title: Epichilo vartianae

text:
Epichilo vartianae is a moth in the family Crambidae. It was first described by Stanisław Błeszyński in 1965. It is found in Pakistan.

References

Crambinae
Moths described in 1965


title: Eurhythma callipepla

text:
Eurhythma callipepla is a moth in the family Crambidae. It was described by Turner in 1915. It is found in Australia, where it has been recorded from the Northern Territories.

The wingspan is about 12 mm. The forewings are dark-fuscous with snow-white markings. The hindwings are white with a pale-fuscous line.

References

Crambinae
Moths described in 1915


title: Eurhythma latifasciella

text:
Eurhythma latifasciella is a moth in the family Crambidae. It was described by Turner in 1904. It is found in Australia.

References

Crambinae
Moths described in 1904


title: Eurhythma argyphea

text:
Eurhythma argyphea is a moth in the family Crambidae. It was described by Turner in 1913. It is found in Australia, in the Northern Territory.

The wingspan is about 12 mm. The forewings are snow-white with a dark-fuscous streak on the costa and a median fascia with a  dark-fuscous costal half. The dorsal half is orange ochreous. There is an orange-ochreous subterminal fascia, suffused with dark-fuscous towards the apex, bounded by a waved dark-fuscous line. There is also a white dot on the costa before the apex, a white streak on the termen with a fuscous terminal edge. The hindwings are grey.

References

Crambinae
Moths described in 1913


title: Eurhythma cataxia

text:
Eurhythma cataxia is a moth in the family Crambidae. It was described by Turner in 1913. It is found in Australia, where it has been recorded from the Northern Territory.

The wingspan is 9–10 mm. The forewings are snow-white with pale ochreous-fuscous fasciae. The hindwings are pale-grey.

References

Crambinae
Moths described in 1913


title: Eurhythma epargyra

text:
Eurhythma epargyra is a moth in the family Crambidae. It was described by Turner in 1913. It is found in Australia, where it has been recorded from the Northern Territories.

The wingspan is about 10 mm. The forewings are reddish-brown with silvery white fasciae. The hindwings are brown-whitish with two fine fuscous lines.

References

Crambinae
Moths described in 1913


title: Eurhythma polyzelota

text:
Eurhythma polyzelota is a moth in the family Crambidae. It was described by Turner in 1913. It is found in Australia, where it has been recorded from the Northern Territories.

The wingspan is about 10 mm. The forewings are white with dark-fuscous fasciae partly edged with blackish. The hindwings are grey.

References

Crambinae
Moths described in 1913


title: Eurhythma xuthospila

text:
Eurhythma xuthospila is a moth in the family Crambidae. It was described by Turner in 1913. It is found in Australia, where it has been recorded from the Northern Territories.

The wingspan is 12–13 mm. The forewings are blackish-fuscous with orange-ochreous spots. There is a subbasal spot on the dorsum extending across the disc, as well as a large roundish spot on the mid-dorsum, a triangular spot on the costa and a smaller spot on the tornus. The hindwings are dark-fuscous.

References

Crambinae
Moths described in 1913


title: Toroidal Fusion Core Experiment

text:
The Toroidal Fusion Core Experiment (TFCX) was a US design study for a tokamak fusion experiment in the mid 1980s.

It was intended to achieve ignition using long burns of over 100 seconds. It could have used superconducting coils to create a 10 Tesla magnetic field.
Designed for an nt ~ 3x1020 and ion energy ~ 10-20keV, it was never built.

References

Tokamaks


title: Flavocrambus aridellus

text:
Flavocrambus aridellus is a moth in the family Crambidae. It was described by South in 1901 in the Transactions of the Entymological Society of London. It is found in China (Hubei, Shensi).

References

Crambinae
Moths described in 1901


title: Flavocrambus melaneurus

text:
Flavocrambus melaneurus is a moth in the family Crambidae. It was described by George Hampson in 1919. It is found in India (Punjab).

References

Crambinae
Moths described in 1919


title: Flavocrambus picassensis

text:
Flavocrambus picassensis is a moth in the family Crambidae. It was described by Stanisław Błeszyński in 1965. It is found in the Russian Far East (Amur, Ussuri, Askold, southern Ural).

References

Crambinae
Moths described in 1965


title: Flavocrambus striatellus

text:
Flavocrambus striatellus is a moth in the family Crambidae. It was described by John Henry Leech in 1889. It is found in Japan (Honshu) and Korea.

References

Crambinae
Moths described in 1889


title: Niccolò di Buonaccorso

text:
Niccolò di Buonaccorso, also Niccolò di Niccolò di Buonaccorso or Bonaccorso, (active 1355 – 1388) was an Italian painter and one of the most prominent Sienese painters of the 14th century.  The small body of his work that survives shows the artist's highly refined miniaturist technique.  The artist was also briefly involved in local politics.

Life
Very little is known about this painter.  It is believed his father was the painter Buonaccorso di Pace (fl c. 1348–c. 1362).  In 1355 Niccolò di Buonaccorso enrolled in the Guild of Sienese painters.

In May and June 1372 and in March and April 1376 the artist served in the government of Siena.  In 1381 he was elected honorary Gonfaloniere in the parish of San Martino.

Niccolò di Buonaccorso was commissioned to paint the capello over the high altar of Siena Cathedral in 1376 and a panel of the prophet Daniel for an altar in the Cathedral in 1383.

Work

Only two signed works by the artist are known. One of these is The Marriage of the Virgin (National Gallery), which is one of a series of panels, perhaps a triptych. The other is a polyptych (now fragmented), which is dated 1387.

The artist's style is close to that of the Sienese masters of the Trecento, such as Jacopo di Mino del Pellicciaio whom he resembles in his capacity to represent space through illusionistic techniques. Other influences are Ambrogio Lorenzetti and Pietro Lorenzetti and the traditions of Simone Martini.

The artist demonstrates a sharp style and an exceptionally refined technical ability.  His work shows a certain repetitiveness in the figures.

References

Further reading
 Miklòs Boskovitz, Su Niccolò di Bonaccorso, Benedetto di Bindo and Sienese painting in the early fifteenth century, Comparison, 1980.
 Pia Palladino, Art and devotion to Siena after 1350: Luca di Tommè, Nicolò di Buonaccorso, Timken Museum of Art, 1998.
 Juliet Dini, Five Centuries of Sienese painting (from Duccio to the Birth of the Baroque), Thames & Hudson, 1998.
 (see index; plate 14-15)

External links

Year of birth unknown
Year of death unknown
14th-century Italian painters
Italian male painters
Italian politicians


title: Gadira acerella

text:
Gadira acerella is a moth in the family Crambidae. It was first described by Francis Walker. It is endemic to New Zealand and is found throughout the country. The species inhabits native forest from sea level up to subalpine altitudes. Larvae are assumed to feed on lichen or moss. Adults are on the wing from October until March, are active at night and are attracted to light. This species is distinctively patterned and coloured and is said to resemble a bird dropping at rest. The colouring also assists to camouflage the moth when it rests against lichen.

Taxonomy
This species was first described by Francis Walker in 1866 using specimens collected in Nelson by T. R. Oxley. In 1875, thinking they were describing a new species, Cajetan von Felder and Alois Friedrich Rogenhofer named this species Botys mahanga. This name was synonymised by Edward Meyrick in 1883. In 1928 George Hudson discussed and illustrated this species in his book The butterflies and moths of New Zealand. D. E. Gaskin, in 1973, discussed this synonym but incorrectly spelt the epithet as mehanga. The male holotype is held at the Natural History Museum, London.

Description

Walker described the female of the species as follows:

This species is distinctively patterned and coloured.

Distribution
This species is endemic to New Zealand and is found throughout the country. It is regarded as being fairly common.

Habitat and hosts
This species inhabits native forest and can be found at altitudes from sea level up to subalpine. The larvae of this species are assumed to feed on lichen or mosses. Larvae have been observed on lichen covered rocks.

Behaviour

The life history of this species is currently unknown. Adults are on the wing from October until March. They are active at night and are attracted to light. This species rests with its wings together over its body in a steep V shape. The adults of the species have frequently been observed resting on lichen covered rocks and fences. Hudson was of the opinion that the raised scales and colouring on the forewing caused an at rest adult to resemble a bird dropping. It has also been suggested the raised scales and colouring on the forewing are disruptive and ensures the adult moth blends in with lichens upon which the moth prefers to rest.

References

Crambinae
Moths described in 1866
Moths of New Zealand
Endemic fauna of New Zealand
Taxa named by Francis Walker (entomologist)
Endemic moths of New Zealand


title: Gadira leucophthalma

text:
Gadira leucophthalma, the beaked moss moth, is a moth in the family Crambidae. It is endemic to New Zealand. It is found in the south eastern side of the South Island down to Banks  Peninsula. G. leucophthalma inhabits the foredunes of coastal areas. The larval host is unknown but it has been hypothesised that the larvae feed on moss. The adult moths are day flying although some specimens have been trapped at night via light traps. Adults are commonly on the wing from March to April. This species has been classified as Nationally Vulnerable by the Department of Conservation.

Taxonomy
This species was first described by Edward Meyrick in 1882 from specimens collected in the Port Hills near Lyttelton and named Thinasotia leucophthalma. Thinasotia was a misspelling by Meyrick of the genus Thisanotia. Meyrick gave a more detailed description of the species in 1883. In 1895 George Hampson placed this species within the genus Talis. This placement was followed by Meyrick in 1913, George Vernon Hudson in 1928, and in 1930 by Alfred Philpott, who studied the male genitalia of the species. In 1973 David E. Gaskin assigned the species to the genus Gadira. The lectotype specimen of this moth is held at the Natural History Museum, London.

Description

Meyrick described this species as follows:

This species is visually very similar to Gadira petraula but it can be distinguished as G. leucophthalma is slightly larger and the edges of its forewings are more lightly coloured. Both G. leucophthalma male and females have variable colour patternation on their wings. The females have variable wing length.

Distribution

G. leucophthalma is endemic to New Zealand. It is found south eastern side in the South Island on the   Along with its type location of Lyttelton hills, this species has also been collected on Mount Gray, on Kaitorete Spit, and on Banks Peninsula, all in Canterbury. G. leucophthalma is also recorded as being present at Cloudy Bay.

Biology and behaviour
Meyrick originally collected adults of the species in March but subsequently took it in December. Specimens have also been collected in November. However it is more commonly seen from March to April. The species is a day flying moth although some specimens have been trapped at night with UV light.

Habitat
G. leucophthalma prefers to inhabit foredunes. The species has also been found to inhabit areas of bristle-grass with moss present.

Host plants
The host plants of this species is unknown although it has been hypothesised that the larvae feed on moss.

Conservation status
This species has the "Nationally Vulnerable" conservation status under the New Zealand Threat Classification System.

References

Crambinae
Moths described in 1882
Moths of New Zealand
Taxa named by Edward Meyrick
Endemic fauna of New Zealand
Endangered biota of New Zealand
Endemic moths of New Zealand


title: Gadira petraula

text:
Gadira petraula is a species of moth in the family Crambidae. This species is endemic to New Zealand and is only found in mid Canterbury. G. petraula inhabits coastal, montane and low alpine rock sites. The larvae live in rock crevices in a silk shelter from which they emerge to feed. Their host plants are moss or lichens. The adult female is flightless and the male is on the wing in March. This species is classified as "At Risk, Naturally Uncommon" by the Department of Conservation. The 2010 and 2011 Christchurch earthquakes destroyed much of this species preferred habitat. Rock climbers cleaning rocks of the larval host plants are also a threat to the survival of this species.

Taxonomy
This species was first described by Edward Meyrick in 1882 using specimens he collected on the Lyttleton Hills and named Scenoploca petraula. In 1883 Meyrick gave a much more detailed description of the species. George Hudson discussed and illustrated this species under that same name in his 1928 publication The Butterflies and Moths of New Zealand. In 1973 David Edward Gaskin placed this species within the genus Gadira. The lectotype specimen is held at the Natural History Museum, London.

Description

Meyrick described the larvae of this species as follows:

Hudson described the adult moths of the species as follows:
The adults of this species are very similar to that of Gadira leucophthalma however G. petraula is slightly smaller and their forewing dorsum has a grey and black pattern in contrast to the more whitish grey in G. leucophthalma. Another distinguishing feature is that the female of G. petraula is short winged.

Distribution
This species is endemic to New Zealand. This species is only known from Mid Canterbury. The record of this species from Stephens Island is as a result of a misidentification and the record from Australia likely results from Meyrick gifting one of his New Zealand specimens to an Australian collector.

Biology and behaviour
The adult female of this species is flightless. The males have been recorded on the wing in March. Adults have also been found mid October to up to December depending on the altitude of the habitat in which the moths live. It has been hypothesised that there are likely a succession of generations of the moth within a calendar year.

Host species and habitat

The larvae of G. petraula feed on moss or lichens growing on volcanic rocks. They live in crevices, creating a shelter of silk from which they emerge to feed. This species preferred habitat is coastal, montane, and low alpine rocky sites.

Conservation status
This species has been classified as having the "At Risk, Naturally Uncommon" conservation status under the New Zealand Threat Classification System. Both the habitat and type locality of this species is at risk due to urbanisation. The 2010-2011 Christchurch earthquakes destroyed or damaged much of this species habitat. Another threat is the cleaning of rock faces by rock climbers.

References

External links

Image of larva webbing

Crambinae
Moths described in 1882
Endemic fauna of New Zealand
Moths of New Zealand
Taxa named by Edward Meyrick
Endangered biota of New Zealand
Endemic moths of New Zealand


title: Gargela albidusa

text:
Gargela albidusa is a moth in the family Crambidae. It was described by Shi-Mei Song, Fu-Qiang Chen and Chun-Sheng Wu in 2009. It is found in Shaanxi, China.

References

Crambinae
Moths described in 2009
Moths of Asia


title: Gargela bilineata

text:
Gargela bilineata is a moth in the family Crambidae. It was described by Shi-Mei Song, Fu-Qiang Chen and Chun-Sheng Wu in 2009. It is found in Sichuan, China.

References

Crambinae
Moths described in 2009
Moths of Asia


title: Gargela distigma

text:
Gargela distigma is a moth in the family Crambidae. It was described by Shi-Mei Song, Fu-Qiang Chen and Chun-Sheng Wu in 2009. It is found in Fujian, China.

References

Crambinae
Moths described in 2009
Moths of Asia


title: Gargela furca

text:
Gargela furca is a moth in the family Crambidae. It was described by Shi-Mei Song, Fu-Qiang Chen and Chun-Sheng Wu in 2009. It is found in Sichuan, China.

References

Crambinae
Moths described in 2009
Moths of Asia


title: Gargela fuscusa

text:
Gargela fuscusa is a moth in the family Crambidae. It was described by Shi-Mei Song, Fu-Qiang Chen and Chun-Sheng Wu in 2009. It is found in Xizang, China.

References

Crambinae
Moths described in 2009
Moths of Asia


title: Gargela hainana

text:
Gargela hainana is a moth in the family Crambidae. It was described by Shi-Mei Song, Fu-Qiang Chen and Chun-Sheng Wu in 2009. It is found in Hainan, China.

References

Crambinae
Moths described in 2009
Moths of Asia


title: Gargela hastatela

text:
Gargela hastatela is a moth in the family Crambidae. It was described by Shi-Mei Song, Fu-Qiang Chen and Chun-Sheng Wu in 2009. It is found in Sichuan, China.

References

Crambinae
Moths described in 2009
Moths of Asia


title: Gargela minuta

text:
Gargela minuta is a moth in the family Crambidae. It was described by Shi-Mei Song, Fu-Qiang Chen and Chun-Sheng Wu in 2009. It is found in Taiwan.

References

Crambinae
Moths described in 2009
Moths of Taiwan