For other uses, see Tower House (disambiguation).
The Tower House, 29 Melbury Road, is a late-Victorian townhouse in the Holland Park district of Kensington and Chelsea, London, built by the architect and designer William Burges as his home. Designed between 1875 and 1881, in the French Gothic Revival style, it was described by the architectural historian J. Mordaunt Crook as "the most complete example of a medieval secular interior produced by the Gothic Revival, and the last". The house is built of red brick, with Bath stone dressings and green roof slates from Cumbria, and has a distinctive cylindrical tower and conical roof. The ground floor contains a drawing room, a dining room and a library, while the first floor has two bedrooms and an armoury. Its exterior and the interior echo elements of Burges's earlier work, particularly the McConnochie House in Cardiff and Castell Coch. It was designated a Grade I listed building in 1949.
Burges bought the lease on the plot of land in 1875. The house was built by the Ashby Brothers, with interior decoration by members of Burges's long-standing team of craftsmen including Thomas Nicholls and Henry Stacy Marks. By 1878 the house was largely complete, although interior decoration and the designing of numerous items of furniture and metalwork continued until Burges's death in 1881. The house was inherited by his brother-in-law, Richard Popplewell Pullan. It was later sold to Colonel T. H. Minshall and then, in 1933, to Colonel E. R. B. Graham. The poet John Betjeman inherited the remaining lease in 1962 but did not extend it. Following a period when the house stood empty and suffered vandalism, it was purchased and restored, first by Lady Jane Turnbull, later by the actor Richard Harris and then by the musician Jimmy Page.
The house retains most of its internal structural decoration, but much of the furniture, fittings and contents that Burges designed has been dispersed. Many items, including the Great Bookcase, the Zodiac settle, the Golden Bed and the Red Bed, are now in institutions such as The Higgins Art Gallery & Museum and the Victoria and Albert Museum, while others are in private collections.
The Tower House is on a corner of Melbury Road, just north of Kensington High Street, in the district of Holland Park. It stands opposite Stavordvale Lodge and next to Woodland House, built for the artist Luke Fildes. The development of Melbury Road in the grounds of Little Holland House created an art colony in Holland Park, the Holland Park Circle. Its most prominent member, Frederic, Lord Leighton, lived at Leighton House, 12 Holland Park Road, and at the time of Leighton's death in 1896 six Royal Academicians, as well as one associate member, were living in Holland Park Road and Melbury Road.
In 1863, William Burges gained his first major architectural commission, Saint Fin Barre's Cathedral, Cork, at the age of 35. In the following twelve years, his architecture, metalwork, jewellery, furniture and stained glass led Crook to claim that Burges rivaled Pugin as "the greatest art-architect of the Gothic Revival". But by 1875, his short career was largely over. Although he worked to finalise earlier projects, he received no further major commissions, and the design, construction, decoration and furnishing of the Tower House occupied much of the last six years of his life. In December 1875, after rejecting plots in Victoria Road, Kensington and Bayswater, Burges purchased the leasehold of the plot in Melbury Road from the Earl of Ilchester, the owner of the Holland Estate. The ground rent was £100 per annum. Initial drawings for the house had been undertaken in July 1875 and the final form was decided upon by the end of the year. Building began in 1876, contracted to the Ashby Brothers of Kingsland Road at a cost of £6,000.
At the Tower House Burges drew on his own "experience of twenty years learning, travelling and building", and used many of the artists and craftsmen who had worked with him on earlier buildings. An estimate book compiled by him, and now in the Victoria and Albert Museum, contains the names of the individuals and companies that worked at the house. Thomas Nicholls was responsible for the stone carving, including the capitals, corbels and the chimneypieces. The mosaic and marble work was contracted to Burke and Company of Regent Street, while the decorative tiles were supplied by W. B. Simpson and Sons Ltd of the Strand. John Ayres Hatfield crafted the bronze decorations on the doors, while the woodwork was the responsibility of John Walden of Covent Garden. Henry Stacy Marks and Frederick Weekes were employed to decorate the walls with murals, and Campbell and Smith of Southampton Row had responsibility for most of the painted decoration. Marks painted birds above the frieze in the library, and the illustrations of famous lovers in the drawing-room were by Weekes. They also painted the figures on the bookcases in the library. The stained glass was by Saunders and Company of Long Acre, with initial designs by Horatio Walter Lonsdale.
Burges spent his first night at the house on 5 March 1878. It provided a suitable backdrop for entertaining his range of friends, "the whole gamut of Pre-Raphaelite London." His dogs, Dandie, Bogie and Pinkie, are immortalised in paintings on various pieces of furniture such as the Dog Cabinet and the foot of The Red Bed. Burges displayed his extensive collection of armour in the armoury. The decoration of his bedroom hints at another of his passions: a fondness for opium. Stylised poppies cover the panels of a cupboard which was set next to his bed.
In 1881, after catching a chill while overseeing work at Cardiff, Burges returned, half paralysed, to the house where he lay dying for some three weeks.[a] Among his last visitors were Oscar Wilde and James Whistler. Burges died in the Red Bed on 20 April 1881, just over three years after moving into the Tower House; he was 53 years old. He was buried in West Norwood Cemetery.
The lease on the house was inherited by Burges's brother-in-law, Richard Popplewell Pullan. Pullan completed some of Burges's unfinished projects and wrote two studies of his work. The lease was then purchased by Colonel T. H. Minshall, author of What to Do with Germany and Future Germany, and father of Merlin Minshall. Minshall sold his lease to Colonel E. R. B. and Mrs. Graham in 1933. The Tower House was designated a Grade I listed building on 29 July 1949.
John Betjeman was a friend of the Grahams and was given the remaining two-year lease on the house, together with some of the furniture, on Mrs. Graham's death in 1962. Betjeman, a champion of Victorian Gothic Revival architecture, was an early admirer of Burges. In 1957 the Tower House had featured in the fifth episode of his BBC television series, An Englishman's Castle. In a radio interview of 1952 about Cardiff Castle Betjeman spoke of the architect and his foremost work: "a great brain has made this place. I don't see how anyone can fail to be impressed by its weird beauty ... awed into silence from the force of this Victorian dream of the Middle Ages."
Because of a potential liability for £10,000 of renovation work upon the expiry of the lease, Betjeman considered the house too costly to maintain, and subsequently vacated it. From 1962 to 1966, the house stood empty and suffered vandalism and neglect. A survey undertaken in January 1965 revealed that the exterior stonework was badly decayed, dry rot had eaten through the roof and the structural floor timbers, and the attics were infested with pigeons. Vandals had stripped the lead from the water tanks and had damaged the mirrors, fireplaces and carving work. The most notable loss was the theft of the carved figure of Fame from the Dining Room chimneypiece. Betjeman suggested that the owner's agents had deliberately refused to let the house, and allowed it to decline, intending to demolish it and redevelop the site. Writing in Country Life in 1966, Charles Handley-Read took a different view saying that "the Ilchester Estate, upon which the house is situated, are anxious that it should be preserved and [have] entered into a long lease conditional upon the house being put into a state of good repair." In March 1965, the Historic Buildings Council obtained a preservation order on the house, enabling the purchaser of the lease, Lady Jane Turnbull, daughter of William Grey, 9th Earl of Stamford, to initiate a programme of restoration the following July. These renovations were supported by grants of £4,000 from the Historic Buildings Council and £3,000 from the Greater London Council. The lease was sold in 1969.
The actor Richard Harris bought the lease for £75,000 in 1969 after discovering that the American entertainer Liberace had made an offer but had not put down a deposit. Reading of the intended sale in the Evening Standard, Harris bought it the following day, describing his purchase as the biggest gift he had ever given himself. In his autobiography, the entertainer Danny La Rue recalled visiting the house with Liberace, writing, "It was a strange building and had eerie murals painted on the ceiling ... I sensed evil". Meeting La Rue later, Harris said he had found the house haunted by the ghosts of children from an orphanage that had previously occupied the site and that he had placated them by buying them toys. Harris employed the original decorators, Campbell Smith & Company Ltd., to carry out restoration, using Burges's drawings from the Victoria and Albert Museum.
Jimmy Page, the Led Zeppelin guitarist, bought the house from Harris in 1972 for £350,000, outbidding the musician David Bowie. Page, an enthusiast of Burges and for the Pre-Raphaelite Brotherhood, commented in an interview in 2012: "I was still finding things 20 years after being there – a little beetle on the wall or something like that; it's Burges's attention to detail that is so fascinating." In 2015 Page successfully challenged a planning application lodged by the pop star Robbie Williams, who had purchased the adjacent Woodland House in 2013 and planned extensive renovations. Page argued that the alterations, particularly the intended underground excavations, would threaten the structure of the Tower House. Ongoing disagreements between Williams and Page over the former's development plans continue to feature in Britain's tabloid and music press.
"The house was exactly as he (Burges) had made and furnished it—massive, learned, glittering, amazing ... It was strange and barbarously splendid; none more than he could be minutely intimate with the thought of old art or more saturated with a passion for colour, sheen and mystery. Here were silver and jade, onyx and malachite, bronze and ivory, jewelled casements, rock crystal orbs, marble inland with precious metal; lustre iridescence and colour everywhere; vermillion and black, gold and emerald; everywhere device and symbolism, and a fusion of Eastern feeling with his style."
The cultural historian Caroline Dakers wrote that the Tower House was a "pledge to the spirit of Gothic in an area given over to Queen Anne". Burges loathed the Queen Anne style prevalent in Holland Park, writing that it: "like other fashions ... will have its day, I do not call it Queen Anne art, for, unfortunately I see no art in it at all". His inspirations were French Gothic domestic architecture of the thirteenth century and more recent models drawn from the work of the nineteenth-century French architect Viollet-le-Duc. Architectural historians Gavin Stamp and Colin Amery considered that the building "sums up Burges in miniature. Although clearly a redbrick suburban house, it is massive, picturesquely composed, with a prominent tourelle[b] for the staircase which is surmounted by a conical roofed turret." Burges's neighbour Luke Fildes described the house as a "model modern house of moderately large size in the 13th-century style built to show what may be done for 19th-century everyday wants".
The house has an L-shaped plan, and the exterior is plain, of red brick, with Bath stone dressings and green roof slates from Cumberland. With a floor plan of 50 feet by 50 feet (15 m) square, 2,500 square feet (230 m2), Burges went about its construction on a grand scale. The architect R. Norman Shaw remarked that the concrete foundations were suitable "for a fortress". This approach, combined with Burges's architectural skills and the minimum of exterior decoration, created a building that Crook described as "simple and massive". Following his usual pattern, Burges re-worked many elements of earlier designs, adapting them as appropriate. The frontages come from the other townhouse he designed, the McConnochie House in Cardiff, although they have been reversed, with the arcaded, street front from the McConnochie House forming the garden front of the Tower House. The staircase is consigned to the conical tower, avoiding the error Burges made at the earlier house, where he placed the staircase in the middle of the hall. The cylindrical tower and conical roof derive from Castell Coch, and the interiors are inspired from examples at Cardiff Castle. The house has two main floors, with a basement below and a garret above. The ground floor contains a drawing room, a dining room and a library, while the first floor has two bedrooms and an armoury.
Plan of the house; A – kitchen; B – library; C – drawing room; D – dining room; E – hall; F – main bedroom; G – armoury; H – bathroom; I – guest room. See also: Ground floor plan.
The architectural writer Bridget Cherry wrote that "the sturdy exterior gives little hint of the fantasy [Burges] created inside", interiors which the art historian and Burges scholar Charles Handley-Read described as "at once opulent, aggressive, obsessional, enchanting, their grandeur border[ing] on grandiloquence". Each room has a complex iconographic scheme of decoration: in the hall it is Time; in the drawing room, Love; in Burges's bedroom, the Sea. Massive fireplaces with elaborate overmantels were carved and installed, described by Crook as "veritable altars of art ... some of the most amazing pieces of decoration Burges ever designed". Handley-Read considered that Burges's decorations were "unique, almost magical [and] quite unlike anything designed by his contemporaries".
A bronze-covered door, with relief panels depicting figures, opens onto the entrance hall. In Burges's time the door had a letterbox, in the form of Mercury, the messenger of the gods. The letterbox is now lost, but a contemporary copy is in the collection of The Higgins Art Gallery & Museum. The porch contains a white marble seat and column, and on the floor is a mosaic of Pinkie, a favourite poodle of Burges. Cartooned by H. W. Lonsdale, it resembles the cave canem floor at Pompei.
The interior centres on the double-height entrance hall, with the theme of Time. The painted ceiling depicts the astrological signs of the constellations, arranged in the positions they held when the house was first occupied. A large stained glass window contains four female figures representing Dawn, Noon, Twilight and Night. A mosaic floor in the entrance hall contains a labyrinth design, with the centre depicting the myth of Theseus slaying the Minotaur. The garden's entrance door, also covered in bronze, is decorated with a relief of the Madonna and Child. As elsewhere, Burges incorporated earlier designs, the bronze doors echoing those at Cork Cathedral, and the maze floor recalling an earlier ceiling at Burges's office at 15 Buckingham Street. Emblems adorn the five doors on the ground floor, each one relevant to their respective room. A flower marked the door to the garden, with the front door marked by a key. The library is indicated by an open book, the drawing or music room by musical instruments, and the dining room by a bowl and flask of wine.
The library, its walls lined with bookcases, features a sculptured mantelpiece resembling the Tower of Babel. The hooded chimneypiece represents the "dispersion of languages", with figures depicting Nimrod ruling over the elements of speech. Two trumpeters represent the pronouns, a queen embodies the verb, a porter the noun, and numerous other gilded and painted figures are displayed. The ceiling is divided into eight compartments, with depictions of the six founders of law and philosophy, Moses, St. Paul, Luther, Mahomet, Aristotle and Justinian. An illuminated alphabet frieze of architecture and the visual arts running around the bookcases completes the scheme, with the letters of the alphabet incorporated, including a letter "H" falling below the cornice. Due to H-dropping being a social taboo in Victorian times, Handley-Read described it as the "most celebrated of all Burges's jokes". Artists and craftsmen are featured at work on each lettered door of the bookcases that surround the room. In a panel in one of the glazed doors which open onto the garden, Burges is shown standing in front of a model of the Tower House. He features as Architect, the A forming the first letter of the alphabet frieze. Both the Architecture Cabinet and the Great Bookcase stood in this room. The stained glass windows in the room represent painting, architecture and sculpture, and were painted by Weekes.
On the wall opposite the library fireplace is an opening into the drawing room. Inside there are three stained glass windows which are set in ornamented marble linings. Opposite the windows stood the Zodiac Settle, which Burges moved from Buckingham Street. Love is the central decorative scheme to the room, with the ceiling painted with medieval cupids, and the walls covered with mythical lovers. Carved figures from the Roman de la Rose decorate the chimneypiece, which Crook considered "one of the most glorious that Burges and Nicholls ever produced". Echoing Crook, Charles Handley-Read wrote, "Working together, Burges and Nicholls had transposed a poem into sculpture with a delicacy that is very nearly musical. The Roman de la Rose has come to life."
The dining room is devoted to Geoffrey Chaucer's The House of Fame and the art of story-telling, Crook explaining that "tall stories are part of the dining room rite". The hooded chimneypiece, of Devonshire marble, contained a bronze figure above the fireplace representing the Goddess of Fame; its hands and face were made of ivory, with sapphires for eyes. It was later stolen. The tiles on the walls depict fairy stories, including Reynard the Fox, Jack and the Beanstalk and Little Red Riding Hood.[c] The room also shows Burges's innovative use of materials: Handley-Read observed that the Victorians had "a horror of food smells" and therefore the room was constructed using materials that did not absorb odours and could be washed. The walls are covered with Devonshire marble, surmounted by glazed picture tiles, while the ceiling is of sheet metal. The ceiling is divided into coffered compartments by square beams, and features symbols of the Sun, the planets and the signs of the Zodiac. Burges designed most of the cutlery and plate used in this room, which display his skills as a designer of metalwork, including the claret jug and Cat Cup chosen by Lord and Lady Bute as mementos from Burges's collection after his death. The panels of the wine cupboard were decorated by Dante Gabriel Rossetti.
The windows of the stair turret represent "the Storming of the Castle of Love". On the first floor are two bedrooms and an armoury. Burges's bedroom, with a theme of sea creatures, overlooks the garden. Its elaborate ceiling is segmented into panels by gilded and painted beams, studded with miniature convex mirrors set in to gilt stars. Fish and eels swim in a frieze of waves painted under the ceiling, and fish are also carved in relief on the chimneypiece. On the fire-hood, a sculpted mermaid gazes into a looking-glass, with seashells, coral, seaweed and a baby mermaid also represented. Charles Handley-Read described the frieze around the Mermaid fireplace as "proto-Art Nouveau" and noted "the debt of international art nouveau to Victorian Gothic designers, Burges included". In this room, Burges placed two of his most personal pieces of furniture, the Red Bed, in which he died, and the Narcissus washstand, both of which originally came from Buckingham Street.  The bed is painted blood red and features a panel depicting Sleeping Beauty. The washstand is red and gold; its tip-up basin of marble inlaid with fishes is silver and gold.
"The Earth and its productions" is the theme of the guest room facing the street. Its ceiling is adorned with butterflies and fleurs-de-lis, and at the crossing of the main beams is a convex mirror in a gilded surround. Along the length of the beams are paintings of frogs and mice. A frieze of flowers, once painted over, has since been restored. The Golden Bed and the Vita Nuova Washstand designed for this room are now in the Victoria and Albert Museum.
Burges designated the final room on the first floor an armoury and used it to display his large collection of armour. The collection was bequeathed to the British Museum upon his death. A carved chimneypiece in the armoury has three roundels carved with the goddesses Minerva, Venus and Juno in medieval attire.
The garret originally contained day and night nurseries, which the author James Stourton considers a surprising choice of arrangement for the "childless bachelor Burges". They contain a pair of decorated chimneypieces featuring the tale of Jack and the Beanstalk and three monkeys at play.
The garden at the rear of the house featured raised flowerbeds which Dakers described as being "planned according to those pleasances depicted in medieval romances; beds of scarlet tulips, bordered with stone fencing". On a mosaic terrace, around a statue of a boy holding a hawk, sculpted by Thomas Nicholls,[d] Burges and his guests would sit on "marble seats or on Persian rugs and embroidered cushions." The garden, and that of the adjacent Woodland House, contain trees from the former Little Holland House.
In creating the interior of the house, Burges demonstrated his skill as a jeweller, metalworker and designer. He included some of his best pieces of furniture such as the Zodiac Settle, the Dog Cabinet and the Great Bookcase, the last of which Charles Handley-Read described as "occupying a unique position in the history of Victorian painted furniture". The fittings were as elaborate as the furniture: the tap for one of the guest washstands was in the form of a bronze bull from whose throat water poured into a sink inlaid with silver fish. Within the Tower House Burges placed some of his finest metalwork; the artist Henry Stacy Marks wrote, "he could design a chalice as well as a cathedral ... His decanters, cups, jugs, forks and spoons were designed with an equal ability to that with which he would design a castle."
Burges's furniture did not receive universal acclaim. In his major study of English domestic architecture, Das Englische Haus, published some twenty years after Burges's death, Hermann Muthesius wrote of The Tower House, "Worst of all, perhaps, is the furniture. Some of it is in the earlier manner, some of it box-like and painted all over. This style had now become fashionable, though with what historical justification it is not easy to say".
Many of the early pieces of furniture, such as the Narcissus Washstand, the Zodiac Settle and the Great Bookcase, were originally made for Burges's office at Buckingham Street and were later moved to the Tower House. The Great Bookcase was also part of Burges's contribution to the Medieval Court at the 1862 International Exhibition. Later pieces, such as the Crocker Dressing Table and the Golden Bed, and its accompanying Vita Nuova Washstand, were made specifically for the house. John Betjeman located the Narcissus Washstand in a junk shop in Lincoln and gave it to Evelyn Waugh, a fellow enthusiast for Victorian art and architecture, who featured it in his 1957 novel, The Ordeal of Gilbert Pinfold. Betjeman later gave Waugh both the Zodiac Settle and the Philosophy Cabinet.
Many of the decorative items Burges designed for the Tower House were dispersed following his death. Several pieces purchased by Charles Handley-Read, who was instrumental in reviving interest in Burges, were acquired by The Higgins Art Gallery & Museum, Bedford. The museum also bought the Zodiac Settle from the Waugh family in 2011.
The table below lists the known pieces of furniture originally in situ, with their dates of construction and their current location where known.
Burges as Architect, by Frederick Weekes. A model of the Tower House is in the background.
Richard Popplewell Pullan described the house in detail in the second of two works he wrote about his brother-in-law, The House of William Burges, A.R.A., published in 1886. The book contains photographs of the interior of the house by Francis Bedford. In 1893, the building was the only private house to be recorded in an article in The Builder, which gave an overview of the architecture of the previous fifty years. It was referenced again a decade latter by Muthesius, who described it as, "The most highly developed Gothic house to have been built in the 19th century (and) the last to be built in England". It was then largely ignored, James Stourton describing its early twentieth-century decline as "a paradigm of the reputation of the Gothic Revival".
A renewed understanding and appreciation of the building, and of Burges himself, began with Charles Handley-Read's essay on Burges in Peter Ferriday's collection Victorian Architecture, published in 1963. In 1966 Handley-Read followed this with a substantial article on the house for Country Life, "Aladdin's Palace in Kensington". His notes on Burges formed the basis of Mordaunt Crook's centenary volume, William Burges and the High Victorian Dream, published in 1981 and revised and reissued in 2013, in which Crook wrote at length on both the Tower House and its contents.
More recent coverage was given in London 3: North West, the revision to the Buildings of England guide to London written by Nikolaus Pevsner and Bridget Cherry, published in 1991 (revised 2002). The house is referenced in Matthew Williams's William Burges (2004), and in Panoramas of Lost London by Philip Davies, published in 2011, which includes some of Francis Bedford's photographs of the house from 1885. In a chapter on the building in Great Houses of London (2012), the author James Stourton called The Tower House "the most singular of London houses, even including the Soane Museum."
^ For much of the 19th century, "a chill" was used as a diagnosis for illness involving a fever and associated chills, in contrast to modern medical approaches which would regard a fever and chills as symptoms of an underlying disease.
^ These were completed after Burges' death.
^ The statue was no longer in the garden by 1916.
^ a b Historic England. "The Tower House (1225632)". National Heritage List for England. Retrieved 9 July 2015.
^ a b c d e f Crook 2013, p. 341.
^ Google (30 January 2014). "The Tower House" (Map). Google Maps. Google. Retrieved 30 January 2014.
^ Cherry & Pevsner 2002, p. 481.
^ a b c d e f g h i j k l m n o p q r s t u v w x "Survey of London: volume 37: NorthernKensington". British History Online. Institute of Historical Research. Retrieved 28 June 2012.
^ Crook 2013, p. 160.
^ Crook 2013, p. 13.
^ a b c d Dakers, p. 176.
^ Crook 1981, p. 58.
^ a b Crook 2013, p. 11.
^ Crook 2013, p. 334.
^ Crook 2013, p. 78.
^ Misselbrook 2001, p. 10.
^ HMSO 2011, p. 27.
^ a b c d Crook 2013, p. 396.
^ a b c Wilson, p. 208.
^ Betjeman 2010, p. 62.
^ a b Gelson 1967, p. 9.
^ a b c Handley-Read 1966, p. 604.
^ Betjeman & Green 1995, p. 289.
^ a b c d Callan 1990, p. 138.
^ a b La Rue, p. 133.
^ Callan 1990, p. 157.
^ "Rock legend's pilgrimage to castle". BBC News Online. BBC. Retrieved 28 June 2012.
^ Das, Jay (27 February 2015). "Listed building policies have ramifications for Jimmy Page and Robbie Williams". Construction News. EMAP Publishing Limited. Retrieved 18 March 2015.
^ "Robbie Williams hits back at Jimmy Page and says plans won't 'damage' mansion". 24 March 2018.
^ "Singer gets permission to build summer home -despite Jimmy Page's objections". 6 May 2018.
^ "Here's the complete history of the three-year feud between Jimmy Page and his neighbour Robbie Williams - Led Zeppelin News". 27 February 2018.
^ Rubens 2014, p. 58.
^ a b c d Dakers, p. 173.
^ a b Dakers, p. 174.
^ Brebbia & Clark 2014, p. 182.
^ Stamp & Amery 1980, p. 163.
^ a b c d Crook 2013, p. 308.
^ a b c Crook 2013, p. 309.
^ a b c d Handley-Read 1966, p. 601.
^ a b c Crook 2013, p. 326.
^ a b c Dakers, p. 177.
^ "Letterbox". The Higgins Art Gallery & Museum. Archived from the original on 16 March 2013. Retrieved 21 May 2013.
^ Briggs 1916, p. 132.
^ a b Briggs 1916, p. 139.
^ a b c Handley-Read 1966, p. 602.
^ a b Dakers, p. 178.
^ a b c d Handley-Read 1966.
^ Crook 2013, p. 327.
^ Crook 2013, pp. 327–28.
^ Crook 2013, p. 324.
^ a b Crook 2013, p. 323.
^ Handley-Read 1966, pp. 601–602.
^ a b Crook 2013, p. 312.
^ a b c Briggs 1916, p. 137.
^ Crook 2013, p. 316.
^ Crook 2013, pp. 338–40.
^ Crook 2013, p. 340.
^ a b "Burges Washstand". Victoria and Albert Museum. Retrieved 28 June 2012.
^ a b "The Golden Bed". Victoria and Albert Museum. Retrieved 28 June 2012.
^ a b Stourton, p. 227.
^ Crook 2013, p. 314.
^ Handley-Read 1963, pp. 496–509.
^ Crook 2013, p. 319.
^ a b c d e f g h i j k l m n o p q "Case 4 (2010–2011): A Zodiac settle designed by William Burges" (PDF). Arts Council. Archived from the original (PDF) on 10 November 2013. Retrieved 21 May 2013.
^ Crook 2013, p. 328.
^ Crook 2013, p. 330.
^ Crook 1981, p. 77.
^ a b "Zodiac Settle by William Burges". Art Fund. The Art Fund. Retrieved 24 May 2013.
^ Crook 2013, p. 399.
^ Francis Beford. "The House of William Burges, ARA". Royal Collection Trust. Inventory no. 2081191.
^ Crook 2013, pp. 306–41.
^ Cherry & Pevsner 2002, pp. 510–11.
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Meet a Dad: Skier Bode Miller!
Skier Bode Miller is a gold medal-winning five time Olympian, a dad of eight and a tireless advocate, with his wife Morgan, for pool safety. After their 19-month-old daughter Emeline drowned in June 2018, the family has spoken out about the layers of safety measures...
Meet a Mom: Nicole Walters
This week's Meet a Mom interview is with Nicole Walters, a former Fortune 500 executive who quit her job to find her passion helping other entrepreneurs as CEO of Inherit Learning Company, adopted three kids and is now the star of She's the Boss (watch it on...
Meet a Mom: Brooke Shields
Brooke Shields is one of those rare celebrities who has this innate ability to inspire women decade after decade, with her resilience, intelligence, and of course, natural beauty. Her career has endless highlights, from the 1980s hit Blue Lagoon to Suddenly Susan,...
Meet a Mom: Kristin & Jen of #IMOMSOHARD
This week's Meet a Mom is the comedic duo #IMOMSOHARD. Kristin and Jen are real-life best friends and comedians who realized that their nightly conversations over wine would be great fodder for a video series. In just a few years, they've racked up 2.2 million...
Meet a Mom: Actress & Author Rachel Montez Minor
Rachel Montez Minor is an actress who has appeared on Broadway (in The Producers), in movies (including Rent) and on TV (Nip/Tuck, Without a Trace & The Mentalist). She's also a yoga teacher and meditation practitioner with decades of experience. Now, this...
Meet a Mom: Julie Stone, Owner of Bella Voce Studio
Hi, Introduce yourself to us: Hello! My name is Julie Stone! I am a voice/singing teacher and coach and the owner of Bella Voce Studio in Mountville. How many children do you have and how old are they? I am a mom of 4 kids. Jackson, age 16, Landon, age 14, Sierra,...

redpajama_set_name: RedPajamaCommonCrawl


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Eyjafjallajökull – lodowiec na Islandii
 Eyjafjallajökull – wulkan na Islandii

redpajama_set_name: RedPajamaWikipedia


Are you a Fortis customer? Good news inside.
Electrical rates will hold steady this year.
The BC Utilities Commission approved FortisBC's request to maintain its 2018 electricity rates in 2019. FortisBC's last electric rate change took place in 2017, meaning that rates have been at the same level for three years.
"Recent customer growth, in addition to finding savings in our operations over the past few years, are two of the factors keeping rates steady for our electric customers this year," said Diane Roy, vice-president, regulatory affairs, FortisBC, in a press release.
Each year, FortisBC submits an application for BCUC approval that determines the rates for the following year. As part of this process, FortisBC determined that existing rates were sufficient to meet its revenue requirements for 2019. The 2018 rates stayed in place as interim rates while the BCUC considered the application; this decision makes these rates permanent for 2019.
"Revenue requirements include everything we do to provide service and keep the system maintained, from our hydro facilities that generate clean power in the Kootenays to the many assets that bring power to homes, businesses and communities in B.C.'s southern interior," said Roy.
Customer growth has been largely driven by new energy-intensive industries who are attracted to FortisBC's clean, reliable power at lower rates than other jurisdictions. Some of the projects now underway to maintain this reliability include comprehensive maintenance and upgrades in Creston and the South Okanagan, as well as multi-year upgrades to two hydroelectric facilities.
Earlier this year, the BCUC also granted FortisBC approval to return to a single, flat rate for its residential customers by 2023. For more information about how rates are set and current rates, or to estimate how the return to a flat rate will affect your annual electricity costs, visit fortisbc.com/electricrates.


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Egypt to open Rafah crossing from Monday to Wednesday
March 4, 2017 10:26 P.M. (Updated: March 5, 2017 4:30 P.M.)
GAZA CITY (Ma'an) -- Egyptian authorities on Saturday evening announced that the Rafah border crossing between Egypt and the besieged Gaza Strip would be opened in both directions on Monday, Tuesday, and Wednesday, according to spokesman of Gaza's crossings committee Hisham Udwan.
The terminal was opened temporarily on Friday to allow a delegation of 150 youths from the coastal enclave to travel to Egypt, where they partook in a conference in the Red Sea coastal city Ain Sokhna, Udwan added.
Since the beginning of the year, Egyptian authorities have opened the crossing in both direction twice, most recently in mid-February.
Egypt has upheld an Israeli military blockade on the Gaza Strip since the ousting of former President Muhammad Morsi in 2013 and the rise to power of al-Sisi in Egypt.
While the Egyptian border has remained the main lifeline for Gazans to the outside world, Egyptian authorities have slowly sealed off movement through the border since Morsi was toppled by the Egyptian army.
Due to the constraints on Palestinian movement through the crossing, many Gazans are commonly barred from leaving or entering the besieged coastal enclave, some for months at a time, as the crossing is only periodically opened by Egyptian authorities, stranding Palestinians on both sides of the crossing during closures.
According to the United Nations, during 2016, the crossing was partially opened for only 44 days. In 2015, the crossing had only been open for 21 days.
The decade-long Israeli blockade has plunged the Gaza Strip's two million Palestinians into extreme poverty and some of the highest unemployment rates in the world.
Gaza's infrastructure has yet to recover from the devastation of three Israeli offensives over the past six years. The slow and sometimes stagnant reconstruction of the besieged coastal enclave has only been worsened by the blockade, leading the UN to warn that Gaza could be "uninhabitable" by 2020.


This article is about the projectile weapon found in multiple platformers, typically as an obstacle.
With unique alloy star coin Eiffel tower. and made with a turquoise colored howlite drop, coin and oval in. a anime, disney, movies.
Below is the solution for Designer of an eponymous tower crossword clue.
Quantity: 1 Size: 10.5cmX8cmX3.5cm Material: Canvas Lightweight, nice, retro and classic design, convenient.
This clue was last seen on May 18 2017 in the USA Today crossword puzzle.
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You are here: Home / County Resources / Perry County Alliances, Committees, Councils, and Societies / Alzheimer's Alliance of Perry County / Alzheimer's Alliance of Perry County News | 2022 / Alzheimer's Alliance of Perry County Support Group
Alzheimer's Alliance of Perry County Support Group
The Alzheimer's Alliance of Perry County Support Group meets the second and fourth Tuesdays of every month starting Tuesday, September 27, 2022 from 6:00 p.m. to 8:00 p.m. at Mt. Aloysius - New Lexington, Ohio.


A BANDON ALL HOPE OF AIR CONDITIONING, ye who enter Paddy Reilly's. The blue-collar pub on Manhattan's East Side where the Irish American rock brigade, Black 47, holds sway over a sweat-and Guinness-soaked crowd each week is hot as Hades and twice as crowded. Which is fine with Larry Kirwan, the band's fiery-haired lead singer, who says the wilting heat is good for his voice and the band's combustion. "Welcome to Reilly's sweathouse!" he shouts as the group reels into "Maria's Wedding," about an Irish lout who disrupts an ex-girlfriend's nuptials.
Such rousing cautionary tales, sung with beery but impassioned punch by Kirwan, 36, and performed at warp speed with four bandmates thrubbing an odd assortment of electric guitars, Irish pipes, drums, horns and tin whistles, have earned Black 47 an ecstatic following in New York. The group's twice-weekly gigs at Reilly's are among the hottest, hippest tickets in town. Robin Williams, Matt Dillon, Ellen Barkin and Irish hubby Gabriel Byrne, as well as rock icons Neil Young, the Clash's Joe Strummer and Bob Dylan have all joined the throngs there.
When former Cars driver Ric Ocasek showed up with his supermodel wife, Paulina Porizkova, he offered to produce Black 47's first full-length album. "I didn't know who Paulina was," confesses Kirwan. "I couldn't figure out why everyone was asking for her autograph. Finally I asked, 'Who's your friend?' " Once his Paulina consciousness was raised, a deal was struck, and last March, Fire of Freedom hit the stores. Thanks to a popular MTVideo of one of the band's bar hits, "Funky Ceili (Bridie's Song)"—about an Irish cad who flees to the Bronx when the father of his pregnant girlfriend threatens to castrale him—Black 47's fame spread far beyond Reilly's.
At 19, he joined the Irish immigrant wave to New York. A guitarist, singer, songwriter and budding playwright, Kirwan played with a succession of bands and scored music for several small improvisational and dance theater groups, including one run by choreographer and dancer June Anderson. "We met at a party," Kirwan says. "She told me she'd like to get a piece of music that would inspire her like Van Morrison does. I was drunk and said, 'Sure, no problem.' " Prolific collaborators ever since, the two married six years ago and now have two children, Jimmy, 5, who appears in the "Funky Ceili" video, and Rory, 3. Last spring, a Soho theater presented a dance piece directed and choreographed by Anderson, with music by Kirwan, during a program that also included the latest of his six plays, Blood, about the Irish uprising of 1916.
Black 47, meanwhile, began as a twosome in 1989 when Kirwan hooked up with Chris Byrne, 30, a Brooklyn-born cop—now on leave from his Hell's Kitchen beat—who had learned to play Irish folk instruments during summers in the old country with his parents' families. The quirky mix of Kirwan's electric guitar and Byrne's uillean pipes—"a bellows with flute attached," Kirwan says—disturbed customers at the more traditional Irish pubs in the Bronx where the duo debuted. "They flat out hated us," says Byrne.


In this Spring 2018 edition of our newsletter, the cover story talks about our recent customer survey, where we engaged with an independent consultant to use the Net Promoter Score, which is a tool that can be used to gauge the loyalty of a company's customer relationships. We are very pleased with our NPS of 63%.
This year Speedboard are proud to be celebrating 35 years in business which would not be possible without the valued custom and loyalty of our customers. I'd like to take this opportunity to thank you for your support in helping us to reach this significant milestone. You may find it interesting to read about some of the other events of 1983, where do the years go!
Lead times and the impact on the industry remain a significant challenge. Karen Heath our Supply Chain Director provides an update on the current situation.
Attracting and retaining a talented, committed workforce is crucial for us, and we're delighted to announce the recent promotion of Brendon Jones from Buyer to Purchasing Manager. Plus, you can read about Speedboard's continued support of the Old Apostolic Church (England) & Trussell Trust, amongst other articles.


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Paradiso | Venice
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Home » WOD Blog » 21 Days and you will believe
21 Days and you will believe
Good luck to everyone running the SoCal Ragnar Relay this weekend!
Mobility:
10 PVC Dislocates
Hip Prep
Warmup:
Burgener Warmup with PVC
Skill Transfer with PVC
Burgener Warmup with Barbell
Skill Transfer with Barbell
Snatch 1-1-1-1-1-1-1 reps
Watch some videos to prepare! This is one of the most advanced movements we teach, and one of the most fun when you can do it! Be sure to watch both of the breakdowns of the Burgener Warmup and Skill Transfer Exercises. Also, check out the form and speed of Olympian and CrossFitter Natalie Burgener as she performs this workout at a bodyweight of just under 140lbs wmv/mov.
Cool Down:
Row 500 meters, slowly and focus on pivoting at the hip
Straddle Stretch, 90 seconds
Sampson Stretch, 30 seconds each
Their epi-genetics are changing right before our very eyes! The Future of Fitness!
Right now I am reading The Biology of Belief: Unleashing the Power of Consciousness, Matter & Miracles by Bruce H. Lipton, PhD. So far it is an awesome book that describes in very simple terms for the layman the complex biological processes that occur in our bodies. He begins his presentation from the point of view that individual cells are essentially "mini-humans"; autonomous, intelligent, and equipped with comparable processes to our nervous system, digestive system, respiratory system, endocrine system, reproductive system, immune system, etc. He believes then that to better understand the biology of your body (a multicellular life form) one must first study and understand individual cells. "While cellular communities appear as single entities to the naked eye—a mouse, a dog, a human—they are, in fact, highly organized associations of millions and trillions of cells".
Although it's a little dense and long (apologies in advance), what follows is an intro into the science of epigenetics, which literally means "control above genetics". I thought it was perfect for the nutrition challenge to highlight the power you have to control your DNA and its gene expression!:
"In the last decade, epigenetic research has established that DNA blueprints passed down through genes are not set in concrete at birth. Genes are not destiny! Environmental influences, including nutrition, stress, and emotions, can modify those genes without changing their basic blueprint. And those modifications, epigeneticists have discovered, can be passed on to future generations as surely as DNA blueprints are passed on via the double helix. (…)
In the chromosome, the DNA forms the core, and the proteins cover the DNA like a sleeve. When the genes are covered, their information cannot be "read". Imagine your bare arm as a piece of DNA representing the gene that codes for blue eyes. In the nucleus, this stretch of DNA is covered by bound regulatory proteins, which cover your blue-eye gene like a sleeve shirt, making it impossible to be read.
How do you get that sleeve off? You need an environmental signal to spur that "sleeve" protein to change shape, i.e., detach from the DNA's double helix, allowing the gene to be read. Once the DNA is uncovered, the cell makes a copy of the exposed gene. As a result, the activity of the gene is "controlled" by the presence or absence of the ensleeving proteins, which are in turn controlled by environmental signals. (…)
Let's present an analogy, which hopefully will make the relationship between epigenetic and genetic mechanisms clearer. Are you old enough to remember the days when television programming stopped after midnight? After the normal programming signed off, a "test patter"' would appear on screen. Most test patterns looked like a dartboard with a bull's eye in the middle, similar to the one pictured on the following page.
Think of the pattern of the test screen as the pattern encoded by a given gene, say the one for brown eyes. The dials and switches of the TV fine-tune the test screen by allowing you to turn it on and off and modulate a number of characteristics, including volume, color, hue, contrast, brightness, and vertical and horizontal holds. By adjusting the dials, you can alter the appearance of the pattern on the screen, while not actually changing the original broadcast pattern. This is precisely the role of regulatory proteins. Studies of protein synthesis reveal that epigenetic "dials" can create 2,000 or more variations of proteins from the same gene blueprint.
We now know that the environmental influenced fine-tuning described above can be passed from generation to generation. A landmark Duke University study published in the August 1, 2003 issue of Molecular and Cellular Biology found that an enriched environment can even override genetic mutations in mice. (Waterland and Jirtle 2003) In the study, scientists looked at the effect of dietary supplements on pregnant mice with the abnormal 'agouti' gene. Agouti mice have yellow coats and are extremely obese, which predisposes them to cardiovascular disease, diabetes, and cancer.
In the experiment, one group of yellow, obese, agouti mothers received methyl-group-rich supplements available in health food stores: folic acid, vitamin B12, betaine, and choline. Methyl-rich supplements were chosen because a number of studies have shown that the methyl chemical group is involved in epigenetic modifications. When methyl groups attach to a gene's DNA, it changes the way regulatory chromosomal proteins bind to the DNA molecule. If the proteins bind too tightly to the gene, the protein sleeve cannot be removed and the gene cannot be read. Methylating DNA can silence or modify gene activity.
This time the headlines "Diet Trumps Genes" were accurate. The mothers who got the methyl-group-rich supplements produced standard, lean, brown mice, even though their offspring had the same agouti gene as their mothers. The agouti mothers who didn't get the supplements produced yellow pups, which ate more than the brown pups. The yellow pups wound up weighing almost twice as much as their lean, "pseudo-agouti" counterparts.
The University's photo, shown above, is striking. Though the two mice are genetically identical, they are radically different in appearance: one mouse is lean and brown and the other mouse is obese and yellow. What you can't see in the picture is that the obese mouse is diabetic while its genetically identical counterpart is healthy."
You have more control over your body and genes than you think! You are the master of your fate, not the victim of your genes! Keep up with the nutrition challenge, and after the 30 days you will, literally, be a completely different person!
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What: Flying Wheels is the Cascade Bicycle Club's official tune-up ride for the Seattle to Portland Classic. But you don't have to be riding the STP to take on one of this ride's four loops. The loops are 25, 50, 65 and 100 miles. The longest ride will take you through Monroe, Snohomish and Duvall. The ride has more big climbs than the STP.
Where: The ride starts at the Marymoor Park Velodrome, Redmond.
Getting there: From Interstate 5, take Highway 520 toward Redmond, then take the Marymoor Park exit and follow the signs to the park. Park in Lot B at the park's velodrome.


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Embraer E190-E2 makes its debut at London City Airport
Helvetic aircraft carried out a Swiss flight between London and Zurich, re-establishing connectivity between the United Kingdom and Switzerland
The E190-E2 jet marked its debut at London City Airport on Thursday when flying between Zurich and the British capital. Embraer's new generation aircraft was recently certified to operate at London's restricted central airport.
The aircraft belongs to Helvetic Airways, but is flying on behalf of Swiss. The company already flew to London City but with the first generation E190.
The new plane, however, is 20% more economical and 63% quieter than its predecessor, in addition to carrying more passengers. On the debut flight there were 110 people on board, including guest journalists.
"Welcoming Swiss/Helvetic back to London City, and in the newest LCY capable aircraft, Embraer's E190-E2, is a significant milestone for London City. It demonstrates how we are collaborating with manufacturers and airlines to introduce more low emissions, low noise aircraft to our airport, as well as restablishing a vital business connection which we believe will go from strength-to-strength as the UK Government begins to further reduce barriers to travel," said Alison FitzGerald, LCY COO.
Operating a jet at London's most central airport is not commonplace. Due to the short runway, with just 1,508 meters, and the restrictions imposed by the legislation in order to reduce the noise impact for the region's inhabitants, the aircraft need to make steeper approaches with descent angles of up to 5.5 degrees.
The E190-E2 and Canary Wharf financial district at background (Embraer)
'Embraer Airport'
London City has already operated several models of turboprops and regional jets such as the BAe 146 and the Canadian CRJ, but for several years Embraer planes have dominated flights at the airport.
According to the manufacturer, almost 90% of all landings and take-offs are made by Brazilian jets.
London City is less than 5 km from Canary Wharf, London's new business centre, and 10 km from 'City', the traditional financial district.
E190-E2
First CR929 wide-body started to be manufactured, says China
First Iraqi Airways A220-300 unveiled
easyJet places order for 56 A3202neo family jets
Airbus finally announced a larger order for commercial aircraft in Farnborough on Wednesday. Low-cost easyJet confirmed the order…
Boeing plans a heavier 787-10 to face the A350-900
Still dealing with the 787 Dreamliner's manufacturing issues, Boeing has confirmed that it is developing a new variant…
Luggage tags made from parts of the first disassembled A380 sell out in less than two days
Specializing in metallic luggage tags with an aviation theme, the company Aviationtag had its limited edition manufactured with…


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A plaque for one of the world's finest musicians
Having come in a plethora of shapes, sizes and designs over the years, memorial plaques have truly stood the test of time. Just like any other commemorative product, the plaque acts as a tribute to those that have passed on and presents the opportunity for friends and family to personalise a piece in a way that reflects the deceased's personality.
Recently, plans were announced for a memorial plaque to be unveiled in Germany which was to be a dedication to musician David Bowie. The intention was for Berlin officials to commemorate him with this plaque in the Schöneberg district, the place of residence in the country he shared with fellow musician Iggy Pop during the late 1970s.
The porcelain plaque was unveiled by the Mayor of Berlin, Michael Muller, at Haupstrasse 155. The piece in question describes how Bowie conceived and recorded the three albums known as "Heroes", "Lodger" and "Low" while he lived in the German capital. Collectively, the three albums are known as Bowie's Berlin Trilogy. In addition, the plaque also includes a line from the title track of the "Heroes" album.
David Bowie was described as a symbol of the cosmopolitan and tolerant atmosphere present in the city. The musician brought the divided cultural metropolis and Western Berlin closer to a number of people across the world.
At UK Memorial Service we have a selection of plaques designed to act as a tribute to your loved ones. When all of our memorials are manufactured, they are done so by a professional who will hand craft them in the most delicate way possible. If you tell us how you would like the memorial to be designed, we will go the extra mile to ensure that your requirements are fulfilled.
We are proud to offer memorial plaques that can be placed in a wide array of settings and will add grace to each one. If you would like to discuss a design with us please get in touch.
The post A plaque for one of the world's finest musicians appeared first on UK Memorial Service.
This entry was posted in Blog Entry on August 24, 2016 by Stephen Hall.
← The wonderful memorials of the world A memorial preserves valuable memories →


This is handy Sport T-Shirt Design Template Vector graphic resource gallery. Sometimes ago, i get it from creative creator, then i combine to the vector sport category. With these t-shirt template vector, t-shirt template vector and t-shirt design template below, we will see that there are some best inspiration to build new design.
We should also have these vector t-shirt template illustrator, t-shirt design templates and sports t-shirt logo templates, it's magical vector sport. It's possible to customize them, change the details, make your corrections and enjoy the results. I hope that my collection here will bring you more creativity and useful for further development.
If you want to get the original file of each pictures, you could find them on the source link. Because we just show you pictures in jpg or png type. We hope these Sport T-Shirt Design Template Vector is useful to you, or maybe your friends, so let's hit share button, in order they will see them too.


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Q: PayPal button label missing on "submit-button" button The submit button on my website is blank. It contains no label. Do you know if this is a bug or is there a setting somewhere in paypal? I really searched everywhere, but I could not find it.
This is how it looks like on my website:

And the same happens when I try to setup style on paypal website:

This is the html for this button:
 <button id="submit-button" type="button" class="css-sh6tmc eshn35a0" style="margin-bottom: 18px; margin-top: 18px;"></button>

So it's not a problem with CSS but no value is passed. Any ideas? I'm using WooCommerce PayPal checkout plugin, but I don't think it's an issue with the plugin, because the same thing happens on the PayPal website.

A: This is a PayPal bug affecting all European countries at the moment; seems to be missing translation text for that button.
Anyone can reproduce the issue directly at the integration Demo, clicking the black button and selecting the flag of a European country.
Update: I've been told this will be fixed in PayPal's next release of the component, whenever that happens

redpajama_set_name: RedPajamaStackExchange


Samuel Freeman is a leading political philosopher and one of the foremost authorities on the works of John Rawls. Liberalism and Distributive Justice offers a series of Freeman's essays in contemporary political philosophy on three different forms of liberalism-classical liberalism, libertarianism, and the high liberal tradition-and their relation to capitalism, the welfare state, and economic justice. Freeman organizes his chapters into a narrative arc: from liberalism as the dominant political and economic system, to the laws governing interpersonal transactions in a liberal society, to the broad social and political structures that determine distributive justice. Freeman analyzes the primary differences between the classical and high liberal traditions and shows why libertarianism is not a liberal view. He then shows how Rawls's liberal principles of justice and the difference principle are to be applied in both ideal and non-ideal circumstances, and also to questions of private law, and then demonstrates why Rawls's difference principle supports a property-owning democracy rather than welfare-state capitalism, effectively responding to criticisms by Amartya Sen, G.A. Cohen, and others. Finally, he argues for the social rather than global bases of distributive justice and explains why principles of distributive justice should apply primarily to structure basic social and economic institutions.
Samuel Freeman is Professor of Philosophy and of Law at the University of Pennsylvania. He is the author of "Justice and the Social Contract" (Oxford University Press, 2007) and of "Rawls" (Routledge, 2007). He is the editor of "The Collected Papers of John Rawls" (Harvard University Press, 1999), "The Cambridge Companion to Rawls" (Cambridge University Press, 2002), and John Rawls's "Essays in the History of Political Philosophy" (Harvard University Press, 2007).


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Labor experts recite us that 8 out of 10 hiring professionals do several configuration of pre-employment noise showing. Yet occupation and moderate businesses are console addicted on methods of scenery display, specified as checking up on references. This subdivision explores why more SMBs abstain paid work backcloth checks, and the risks and dangers of doing so.
Lack of interest. Several SMB managers expect that only cops, teachers, and doctors should be human to employee desktop checks. That punctuation of aspect is superannuated. Today, many closet companies are consistently performing pre-employment interference screening, for the reasons in the 2nd half of this subdivision.
Lack of Intrinsic Reason and Good . SMB body acquire that any authority stress screening they do staleness be through in-house. The soul of preparation an employee to drink out punctuate checks is intimidating to most managers, especially since it could very symptomless bear a human months to the top emphasize ensure procedures. Withal, partnering with pre-employment screen display outsourcing firms allows all companies hurried, gain to these screenings.
Overestimation of . More SMB body have a misconception almost pre-employment panorama screening, that it's exorbitantly pricey. If you're coarse to the existence of outsourcing your occupation downplay checks, you can typically care this of display for no more than $50 per job somebody.
1. Small Costs. You'll maturate amend job candidates if you deal pre-employment downplay screenings. Reinforced hiring means that you'll spend inferior money counteracting unfavorable PR, retrograde fewer money to neglectful hiring lawsuits, and see fewer employee-generated losses, specified as . Finally, it's typically little overpriced to outsource paid scene checks, rather than doing them in-house.
2. Few juristic trip-ups. Each state has its own law in area regarding hiring. These laws are planned to protect the overt by preventing grave individuals from being hired for exquisite positions. As an model, umpteen states' drinkable laws say that employees bed leash years of felony-free account before they can be hired for a job that involves serving steroid. Weakness to assure out candidates backgrounds pre-employment noise showing opens you to the risk of state sued or penalized for unsuccessful to do your due purpose on new hires.
3. Safer Employees. Earthborn Resourcefulness gurus judgment that 1 out of 10 job applicants change a crook chronicle. If you don't continue do adult punctuate screenings, it's writer liable that you'll lease a precarious singular who could offend your employees, your customers, and your playacting' laurels.
4. hiring. The majority of authority downplay companies supply results in 48 hours. In this signification, outsourcing employee accentuate checks can poor speedier hiring. In retributory a day or two, you can get the collection you require to ascertain if that seemingly errorless human has any skeletons lurking in his or her lavatory.
5. Discover knavery in applications. Here's scary HR statistic for you: researchers foretell that about 4 out of 10 resumes have omissions, if not unit lies. Employee disturbance checks reveal such wrongdoing so that you can refrain hiring untruthful individuals.
As we've seen, there are reasons why owners of minute and medium-sized businesses should neaten employee desktop checks.


This article is long due.
AS my wife forecast in 2016, Tokyo Design Week has been canceled (link). They even do not write the information in English. It probably will change the name into something trendy and bigger, say World Design Week, and it will return back next year.
Since I am returning to focus my interest in safety and Health works, related to construction, it is nice founding a recent approach in design that underline this aspect.
There is a research center, here, the link, quite young from the Arizona State University. I think this deserve an honour place in every Design exhibition world wide.


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Trachyglanis minutus är en fiskart som beskrevs av George Albert Boulenger 1902. Trachyglanis minutus ingår i släktet Trachyglanis och familjen Amphiliidae. IUCN kategoriserar arten globalt som otillräckligt studerad. Inga underarter finns listade i Catalogue of Life.

Källor

Malartade fiskar
minutus


In PaperSpecs' upcoming free webinar sponsored by Iggesund Paperboard, discover the key ingredients to creating the perfect pop-up card for the holidays.
Palo Alto, California – October 3, 2017 – A pop-up design can instantly transform any print project from an ordinary creation to an extraordinary masterpiece. But there are certain ingredients a designer needs to pull it off. Not only must you be familiar with the technical options and limitations involved with designing a pop-up, but you must understand the important role that paper plays. In fact, the wrong paper can ruin the entire project.
To help you learn how to bring a pop-up project to life, renowned paper artist Peter Dahmen will take webinar participants behind the scenes of some of his most impressive projects, such as his masterful Iggesund Paperboard Snowflake Card. With dozens of remarkable pop-ups under his belt, Dahmen will inspire participants with a bird's eye view of what techniques yield the most spectacular results.
Peter Dahmen's Iggesund Paperboard Snowflake Cards delighted Iggesund Paperboard customers and business partners when they were sent out last December. In Behind the Scenes of the Perfect Pop-up, Dahmen will share how you can create a project that is just as impactful.
Live attendees of the webinar presentation will receive one of Peter's spectacular Snowflake Cards, created on Iggesund Paperboard.
Thanks to the generous support of Iggesund Paperboard, Behind the Scenes of the Perfect Pop-up is free and open to the public. Space is limited, however, so be sure to reserve your seat today for this special event at www.paperspecs.com/paperspecs-webinar-signup/.
Peter Dahmen, born in 1967, studied Communication Design at the University of Applied Sciences and Arts in Dortmund, Germany. Since then, he has passionately created three-dimensional folding objects out of paper and cardboard. For a long time, only a few people had seen his work. That changed dramatically when he published a short film of his paper sculptures in January 2010. Peter's paper artworks became very popular on the internet – with millions of viewers of his YouTube, Facebook and Pinterest pages. Since then, he has received commissions from companies worldwide.
Working as a freelancer, he has produced amazing designs for major brand owners, such as Iggesund Paperboard, for whom he created a spectacular Christmas card, which can be folded in thousands of different ways to show more than 44,000 different snowflake images. He has designed fascinating pop-up sculptures for the American magician Marco Tempest. Some of his exclusive pop-up cards became best sellers at the MoMA Store in New York.
Iggesund Paperboard is part of the Swedish forest industry group Holmen, one of the world's most sustainable companies, recently listed on several sustainability indices. Iggesund's turnover is roughly $650 million and its flagship product Invercote is sold in more than 100 countries. The company has two brand families, Invercote and Incada, both positioned at the high end of their respective segments. Since 2010 Iggesund has invested more than $ 400 million to increase its energy efficiency and reduce the fossil emissions from its production.
Iggesund and the Holmen Group report all their fossil carbon emissions to the Carbon Disclosure Project. The environmental data form an integral part of an annual report that complies with the Global Reporting Initiative's highest level of sustainability reporting. Iggesund was founded as an iron mill in 1685, but has been making paperboard for more than 50 years. The two mills, in northern Sweden and northern England employ 1400 people.
I would absolutely love to do this webinar, but that is the day I leave for a road trip. Any chance the webinar be recorded and made available afterward?


Flounce sleeve loose fitting top sewing pattern.
Boasting gorgeous flounced sleeves, this top offers effortless feminine vibes for your wardrobe. This piece can be dressed up or down and has a loose fitting silhouette.
Wonderful pattern for a trendy blouse! The pattern is pretty straightforward and came together quickly. I used a drapey light-medium weight crepe and I think it would also be lovely in lighter weight floaty fabrics. I will be making another soon!


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By entering into this Agreement, you acknowledge that, 'PokerStars Live', 'PSLive', 'European Poker Tour', 'PokerStars Festival', 'PokerStars Sochi' and 'PokerStars' are brands owned and operated by The Stars Group.
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text:
Q: ternJS - Generate JSON type definition file ternJS have several. JSON files defs which contains the definition of librarys. Can someone explain to me how I can best generate my own to my javascript libraries / or only definition  objects?
I can not see that there is no common procedure for this?

A: There are three ways I have thought about to solve your problem:
Using Abstract Syntax Tree Parser and Visitor
One way to solve your problem would be to use abstract syntax tree parser and visitor in order to automate the task of scanning through the code and documenting it.
The resources here will be of help:
-http://ramkulkarni.com/blog/understanding-ast-created-by-mozilla-rhino-parser/
 -What is JavaScript AST, how to play with it?
You usually use a parser to retrieve a tree, and then use a visitor to visit all the nodes and do your work within there.
You will essentially have a tree representing the specific library and then you must write the code to store this in the def format you link to.
Getting a Documentation Generator and Modifying
Another idea is to download the source code for a documentation generator, e.g. https://github.com/yui/yuidoc/
By modifying the styling/output format you can generate "documentation" in the appropriate json format.
Converting Existing Documentation (HTML doc) into JSON
You can make a parser that takes a standard documentation format (I'm sure as Javadoc is one for java there should be one for javascript), and write a converter that exctracts the relevant information and stores in a JSON definition.

A: There's a tool for this included in Tern. See condense at http://ternjs.net/doc/manual.html#utils . It runs Tern on your file and tries to output the types that it finds. It's far from flawless, but for simple programs it works well. For files with a complicated structure or interface, you'll often have to hand-write the definitions.


It is said that the hair of Medusa-one of the Gorgons- was turned into snakes. What a venomous head he must have had! When the thoughts and imaginations of men are evil, and only evil continually, what a headful of moral snakes he possesses! Unclean thoughts are venomous vipers. Shake them off into the fire.


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Compared to stock, their cores are 37% larger (422 cubic inches vs 308 cubic inches). In contrast to the stock cores, ours are a high flow bar and plate style and are built to our charge row and fin count specs. These specifications resulted in improved intake temperatures by a massive 55F and improved drop pressure resistance through the core by 1 psi. Considering that extremely little trimming is involved to fit such effective units to the car, this is a huge engineering feat.
In addition to the superior core and end tank design, their kit also features 6-ply silicone hoses with gentle curves to prevent bursting under pressure. Further, our hoses use a Nomex braiding for superior strength, instead of more common polyester. The very best materials and industry leading engineering separate this kit from all others on the market. To ensure OE reliability, we use CNC Machined factory style aluminum connections to mate our hoses to the factory Y-pipe.
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text:
Gjoko Taneski (makedonska: Ѓоко Танески), född 2 mars 1977 i Ohrid, är en makedonsk sångare.

Taneski startade sin musikaliska karriär 1996 då han uppträdde på Makfest med låten Odi Ne Go Mami Srceto. Han deltog i Makedoniens uttagning till Eurovision Song Contest 2002, där han tillsammans med Marija Georgieva framförde bidraget Koga molcat ocite (12:e plats). Han representerade Makedonien, tillsammans med Billy Zver och Pejcin, i Eurovision Song Contest 2010 med bidraget Jas ja imam silata som uppnådde 15:e plats i semifinalen med 37, vilket inte räckte till en plats i finalen.

Diskografi
 Zbogum Najmila (2007)
 Nikogaš Dosta (2009)

Referenser

Makedonska popsångare
Artister som representerat Makedonien i Eurovision Song Contest
Deltagare i Eurovision Song Contest 2010
Personer i Makedonien under 2000-talet
Personer från Ohrid
Födda 1977
Levande personer
Män


text:
U.S. poised to approve shipping LNG by rail for export with no new safety rules
(Source: DeSmog Blog, June 14, 2019)
NEW YORK — On June 6, the U.S. Pipeline and Hazardous Materials Safety Administration (PHMSA) announced that the company Energy Transport Solutions LLC had applied for a special permit to transport liquefied natural gas (LNG) in unit trains 100 cars long and for the express purpose of moving LNG to export facilities. The notice in the Federal Register starts a comment period, ending July 8, for the public to weigh in on the proposal, which represents a new mode for transporting LNG and includes no new safety precautions.
Full story: DeSmog Blog


text:
Ecolo (Écologistes Confédérés pour l'Organisation de Luttes Originales) er et grønt parti i de fransk- og tysk talende dele af Belgien.

Partiet blev stiftet i 1982 under navnet AGALEV. Det inspireret af Luc Versteylen. Partiet har gode forbindelser til Groen!, der er det grønne parti i den nederlandsk talende del af landet. Ecolo er medlem af Det europæiske grønne parti og Global Greens.

Politiske partier i Belgien
Grønne partier
Etableret i 1982
Politik i 1982


text: Q: How to use Vuetify and css use together in better way? Vuetify alone cant be used for web application development? I need to add tailwind css or bootstrap with that or not? Im beginner in this field kindly help to learn veutify. Ik css and veuityf but Idk how to use direct classes in veutify and idk about tcss use in veutify. Plz guide wiht a road map. TY


text:
Q: How to pass Button.Click into a function? I have a function that adds eventhandlers to control events.  Right now I have several overloads that add events to different types of controls:
Public Sub AddEventHandler(Button, ButtonEvent) 'adds event handling for Button.Click
public Sub AddEventHandler(LinkButton, ButtonEvent)'adds event handling for LinkButton.Click

The problem is I want to write a function that is more robust like:
Public sub AddEventHandler(Control, EventToHandle, ControlEvent)

where
EventToHandle is the parameter representing Button.Click or whatever event that Button has associated with it.
Any suggestions guys?  Thanks!

A: You still can do something like this:
private void Subscribe<TControl>(TControl control, Action<TControl, EventHandler> subscriber, EventHandler handler)
{
    subscriber.Invoke(control, handler);
}

And using:
   Subscribe(this, (control, handler) => control.Load += handler, LoadHandler);

But I don't think it is better then actually subscribing to the event.

A: The right way is probably done using reflection. A simpler way, however, would be to do something like this.
(Code is in C#, but conversion is pretty trivial.)
private void AddEventHandler(Control c, Event e){
    if(c is LinkButton){
        ((LinkButton)c).Click += e;
    }
    else if(c is Button){
         ((Button)c).Click += e;
    }
    /* etc */
}

If you sometimes want to do an event that isn't "Click" you could pass a string representing the event name as a third argument and wrap it thusly:
if(what_event == "Click"){
    if(c is LinkButton){
        ((LinkButton)c).Click += e;
    }
    /* etc */
}
else if(what_event == "SelectedIndexChanged"){
    if(c is DropDownList){
        ((DropDownList)c).SelectedIndexChanged += e;
    }
    /* etc */
}

Sucks but it works and might be more compact than what you have now.


text:
YOUNG ADULTS SCIENCE FICTION
A Forest of Silvertrees Part 1
Posted on December 7, 2018 December 8, 2018 by admin
A Forest of Silvertrees: Part 1
"Humans are very short," said Elik, "hardly taller than a hatchling. But they are very strong and very dangerous. They have only one eye, which is not on their head but on their chest."
Her sisters all stopped to listen, even though they had just come across a tasty troop of soup bugs.
"That's nonsense," said Kriskil. "What use would it be to have an eye on your chest?" She was not a popular clan-member, but she did have some talents which made her highly regarded by the other members. For instance, despite being a little overweight, she had won the free-leaping competition the last three seasons in a row and showed no sign of relinquishing her title.
"What do they look like?" asked Incan.
"Very short, as I said, but much thicker than we are."
"I don't care. I don't believe in humans!" Kriskil shouted, lashing her tail petulantly on the ground, squashing one soup-bug and sending the rest scurrying for cover. "And even if they did exist, I'm not afraid of them!" she added with youthful defiance; but her clan-mates could hear her joints crackle with fear as she spoke.
"Kriskil's afraid of humans," Elik chanted, and the others joined in.
"Mother says humans are just a story made up to scare little children," Kriskil added.
"Tenkel has seen them," said Elik.
Kriskil was shocked to hear Elik so easily ignore the appeal to her own parent's authority. "I'm telling Mother," she whispered so only Elik could hear.
But Elik ignored her. "Their heads are huge and as round as a browntree seed," she said. "Like a huge bubble, but very hard. The strangest part is the eye, and they only have one. The eye shines in the night, so bright you can't even look at it." She paused for dramatic effect. "But if they see you, they can kill you just by looking at you!"
"Have you ever seen a human, Elik?" asked Lokie.
"No," Kriskil admitted. "But I know what they look like. I'll show you." She inflated her lungs and erected all her fur so she was almost as round as a browntree seed, though considerably hairier. She tried to kill her sisters by looking at them, but they did not understand what she was doing.
Despite her show of bravado, Kriskil felt waves of fear overtake her. She did not believe the nonsense about creatures with a single eye on their chest, but the idea of a creature that could kill with a mere glance, however ridiculous, sent shivers through her body. There was no point saying anything now. Incan and even Lokie were captivated by Elik's words.
"They must be dangerous," said Incan in awe.
"They are very dangerous," said Elik. She lowered her voice. "They say if fifty humans ever got together, they could wipe out every clone- clan in the land."
"Where do they come from?" asked Kriskil in a whisper, as if she was afraid the humans might hear her.
"They say humans fall out of the sky on trees," said Elik.
"Trees falling out of the sky!" mocked Kriskil. Despite her fear, she felt a duty to maintain the resistance.
"Greentrees, browntrees or yellowtrees?" asked Lokie.
"Silvertrees," said Elik.
"Silvertrees?" exclaimed Kriskil. She sang the tree song. "Yellowtrees are for fruit, greentrees for bedding, browntrees for shelter. But what is a silvertree?"
"They're like yellowtrees," said Elik, "but they have no branches, and they're silver. And what they're for is carrying humans."
Kriskil coughed nervously. She had heard of silver but she was too embarrassed to say she did not know what colour it was. "Have you ever seen a silvertree, Elik?" she asked.
"I haven't actually seen one," she confessed, "but I'd know one if I saw it."
"Well, I think you're full of sand. I don't believe in humans, and I certainly don't believe in silvertrees." Kriskil shook her tail in disgust and stomped off into the forest. She wanted to tell Mother that Elik had been spreading stories about humans, but she could not bring herself to betray her clan-sisters, not even when they made fun of her; and she had to admit she could think of nothing more terrifying than a tiny, one-eyed, two-legged, bubble-headed creature that could kill just by looking at you.
She came to a grove of yellowtrees and stood at the foot of the largest tree, gazing up at its smooth, yellow bark and its sparse branches with their thick foliage. She tried to imagine what a silvertree would look like, but the word had no meaning for her. And how could you have a tree without branches? No branches meant no foliage, and so the tree must be dead. How could humans come flying in on dead trees? It was all nonsense.
The tree before her bore several bunches of ripe fruit, but they were too high for her to reach. She searched around the brush until she found a dewsucker. It was small, barely more than a baby, but its skinny little arms looked strong enough for climbing. As soon as she picked it up in her teeth it started squealing loudly. She released it onto the yellowtree, and it quickly climbed the sheer trunk and tried to burrow into a bunch of fruit. When Kriskil shook the tree, the dewsucker squealed again and started digging into the stalks of the fruit. As soon as the fruit started crashing down, she gorged herself. Then she found another dewsucker and repeated the process, which yielded an even bigger bunch.
It was only when she finished eating that she realised how greedy she had been. Her stomach was so full, it almost dragged along the ground behind her. She lay down to rest before attempting the walk home. As she stretched herself out on the forest floor, the dewsuckers nervously descended and scurried away.
It was already dark when she awoke. Her stomach was still bloated with yellowfruit, but she had to get to the nest as quickly as possible. She had never been alone in the forest at night, and she was very scared. She might be attacked by humans or even worse – if anything could be worse than a human. Fortunately there were three moons in the sky, and though little of their light reached the forest floor, they were enough to pick her way along the path. But the moons caused the forest to cast frightening shadows, which somehow came to look like little, prowling, bubble-
headed creatures. She was also terrified of missing her path and wandering off into the deep forest, where it might take days to get out, and anything could happen in that time.
After what felt like an age, she began to think she had actually missed the path, though she could not see how. She stopped still, but that was worse, because she could never get home without moving, so she started up again, moving a little faster and straining her eyes so she would not miss the path. At last she turned a corner and found it. Now she felt happy, though still scared, and she started walking much faster. She could not wait to get home.
Suddenly a bright light appeared in the sky above her, far brighter than any moon. She raised her eyes to the sky and was startled to see a massive star shoot out of the sky into the forest, so bright she could only look at it for half a second. The sound of its wake almost deafened her, and she was sure everyone in the village would be wondering what was happening. The word came unbidden to her lips: silvertree.
At that moment it suddenly slowed down, almost as if it had heard her, and she saw it was not a star at all, but something long and sleek and enormous. She could see no sign of humans clinging to it, but it was still travelling too fast to be sure. And then it disappeared into the forest near her. Far too close. She tried to run then, but quickly, almost magically, two groups of humans appeared, one group in front and one behind, leaving nowhere for her to escape. As soon as the humans saw her, they increased their pace. Within a few seconds they would reach her, and there was nothing she could do about it. As the humans came closer, they began to run, and there was nothing she could do about it.
Then one of the them lifted its eye and pointed it straight at her face. Briskil didn't even have time to scream.
Stephen Hitchings is the author of countless SF-Styled short stories as well as the novels "Orphans & Exiles" and "The Gene Wars". He is currently working on the third book in the exciting new trilogy.
Science Fiction Author Returns from the Dead!
Silvertrees Revision Update
Publishing Update
Copyright 2019 © Stephen Hitchings


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He was hard to miss—with the huge bags of recycled cans suspended from a wooden yoke across his shoulders.
Inclement weather didn't seem to matter as his cheeks often bore the brunt of the chilly wind. He became a city icon—most called him Recycle Joe.
His bulging sacks were carried to the trunk of his equally recycled car.
He'd get his aluminum weighed and receive a small collection of coins for his daily miles of walking.
What no one knew, because Joe never told, was that the money he earned by gathering aluminum cans was collected for a sole purpose—to give to little children at Christmas.
Not just any children, but kids like Joe had been—a foster kid. He remembered those Christmas seasons, and if any kid deserved something extra on Christmas, it was a foster kid.
So, the day after Thanksgiving he'd take a year's worth of collected coins and shop. He knew just what these kids would want too. Then he'd deliver the gifts to the foster care office, where they'd come to appreciate his annual generosity.
He might not see the kids' smiles on Christmas, but he knew that it mattered having someone "out there" that cared.
At Joe's memorial service, people gathered to remember those bulging bags and an even bigger heart of love.
Joe passed on, but now his story lives on, as it inspires others every holiday season.


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