text:
1963-09-20 - Three's Company
Summary: Come and knock at our door~
Related: NA
It has been an… eventful day for Liv. She had completely intended to go in to work today but, before she could even get dressed, got distracted by something out her window. So her work clothes were still laid out on her bed, abandoned in favor of her sword and armor, and out the window she'd gone, her motorcycle still parked in its usual spot outside.
That was hours ago.
Liv's return home is heralded by an entirely mundane jingling of keys in the lock and then she lets herself back in to the apartment, looking unhurt, but certainly like she's had a bit of a day. Even braided, her hair is in a state of utter disarray, and the scent of smoke and ozone wafts from her shoulders as she creeps inside as quietly and inobtrusively as she can.
Nothing to see here! Everything is fine, situation normal~
Not gonna get off that easy, Liv. Max is right there when she gets home, still wearing her coveralls from work, and she immediately gives Liv the once-over. And clearly does not like what she sees, arms folding as Liv receives what will, sometime in the 1990s, become kown as "The Marge". A thin frown and an irritated noise. Max is grateful for her job and does it… petty happily most days. Doesn't mean she loves cleaning up messes.
Still in her work-wear, Jack sits on the kitchen counter with her spoon in the tub of ice cream which she uses like an ice pick to lob off a piece of the dessert from the container. She stares at a file and underlines several words with a pen she holds between her fingers.
The spoon is held in her mouth and she scribbles with the pen gripped between her fingers. "Da calculations 're off — " she objects through a frozen mouth. "Makes no sense," her mouth warms as the ice cream is finally swallowed. "There's no way our power consumption skyrocketed that much. Seriously."
She scowls at Liv and wrinkles her nose, "Did you skip work or something?"
Liv freezes when she sees Max, her eyes going a bit wide. Maybe her vision is based on movement and if she just stays still…
…yeah, no. Liv just hangs her head and finishes coming inside, closing the door quietly behind herself. She'll just… lean over to the side so she can look past Max and towards Jack, instead. Because that's better. "Not… intentionally. But if they'd needed me, they would have called."
Max scrunches her nose, twists her lips to one side and peers— PEERS— at Liv, then just throws her arms in the air and plods back to the kitchen. She rummages in the fridge for a drink and sighs a little. "So. Where am I getting called in to work tomorrow?"
Jack's head cants to the side, "How do you unintentionally miss work? Like I miss work sometimes when I'm sick, which I guess is sort of not intentional, but is," she stares at the ceiling as she reasons through this, "because I choose not to go and to stay home in bed instead to let whatever plague pass…"
That's when Liv looks down long enough to remove the swordbelt openly slung around her waist, taking a wary couple of steps towards one of the bedrooms to stash it just inside the doorway. "There was a monster on the roof across the street. Someone had to do something."
Liv pauses and glances askance at Max, hesitating a moment before she just sighs. "59th and 6th. Mostly broken windows and some very focused fire damage."
Max squints in thought. 59th and 6th… that's… "HAH!" she says brightly, smacking her free hand palm-down on the countertop. "That's the exclusion zone. Whole place is a disaster— we're not touching it til that whatever-it-is clears out." A pause. "Though… boss wants me to go have a look." She turns on her mocking 'boss voice', waggling her head side to side. "I want to know what it's looking like and it's not like they'll hurt you, Maxine." She sticks out her tongue to register her opinion. "Well I want a pony. And a boss that can remember 'Max'. Guess we're both out of luck."
"That's a surefire way to get fired!" Jack digs into the ice cream again. Her lips purse lightly and she asks, "Did you cause any damage? Less of that is getting covered, you know." She wages her ice cream filled spoon, "I heard from Coleman that the cars effected around the Park by whatever that was aren't getting covered." She shovels the ice cream into her mouth. "'Course," she motions towards Max, "my boss says we still gotta go check 'em out." Her eyebrows lift and a single shoulder shrugs.
"I didn't!" Liv holds up both of her hands, giving Jack a wide-eyed look. "It was all the monsters! And, okay, maybe a homeless guy and this girl who came to help out," she adds in a very rapid, quiet mumble, as if hopeful that Jack will just overlook that last part. "But all I hit were the critters, I swear."
Because embedding your sword in the street to keep yourself from being blown away doesn't count, right? Right.
Liv aims herself towards the bathroom. She needs to see how bad her hair wound up and try to fix it. Ugh. "Let me know when you're going down there, both of you. I'll come along."
The… absurdity of the trio's home life, especially conversations of this nature done in total seriousness, rarely fails to make an impact on Max eventually. Today is no different, as she slowwwwwly cracks a smile, then giggles. "Yeah, sure," she allows, then raises her voice after the tall blonde. "But if you get called in, yer going! We can take care of ourselves!" She glances at Jack briefly. Well. Max can take care of themselves at least.
Jack's eyebrows lift higher on her forehead, "It'll… be fine." She casts a furtive glance towards Max and then shrugs again before calling back to Liv, "She's right! You need to go in to work. We need to pay these bills! It's important! That's all!" Her arms cross over her chest, "You went to work, right? I'd hate to have to find new roommates." Pause. "Or extra roommates. I'm not sharing my room, that's for darned sure."
"We're not going to miss any of the bills!" Liv's voice is a bit muffled, but she sounds… patient, bordering on exasperated. "It was one afternoon and they probably didn't even need me, Jack, stop worrying." After a pause, the faucet goes on. Ugh. Must rinse hands and face, at least. Gross.
Max gives Jack and injured look. She is wearing her work clothes, is she not? "'Course I did. I don't skip out of latenight drinking parties for my health, girl! I was out the door" Mrm. "wall at five."
Jack's eyes squint and her nostrils flare with a hint of irritation. "Good. But don't break anything. There's some damage in the hallway, and I'm pretty sure Tate is trying to find someone to blame it on. I'm not letting the super think it's us, thank you very much." Her lips press together tightly.
The faucet turns back off and, after a moment, Liv reappears, about halfway through peeling out of her armor. At least there's a tunic keeping her decent. "Yeah, I need a proper shower," she mutters quietly, making a beeline for her room to drop off armor and retrieve fresh clothes. What was that about damage in the hall? Nothing, nothing.
"Oh dear, sweet, lovely girl," Max chuckles. "I have never used the hallway. Except when we got the tour." she jerks her thumb at the exterior wall. "*That* wall. I was out that wall at five." She makes a face. "As I will be again tomorrow. Ugh."
"…riiiight," Jack works out quietly as her hands clasp lightly in front of her. "Maybe you should? I don't know. I'd rather not have anyone assume that we're messing up the building. We need the building to, you know… last. The rent is almost affordable, annnnnd the neighbours aren't bad…"
A moment later, Liv reappears in a bathrobe and naught else. At least she thought to close it before coming back out. "…no, you know what, I deserve a bath," she mumbles to herself, marching right back across the hall to the bathroom. "With bubbles and — Max, Jack, do we have wine? We deserve wine." She has no idea what either of them did today, but she sounds absolutely certain of this.
Max wads up a paper towel and throws it at Liv. "Go getcher bath, exhibitionist." Then she pushes off the counter, points both fingers at the window, and mouths at Jack "I'll go get us wine" as she phases through the wall. What, was someone suggesting she not do that? Nah, that's ridiculous, noone would do that.
"Deserve, or need?" Jack observes teasingly as she slaps the lid back on the ice cream. "I can run — " and then Max is through the wall. She begins to mutter to herself, "Go to New York, they said… it'll be a break from the everyday they said…" She hops off the counter and opens the fridge. "Well they weren't kidding about that," she mutters. "Welcome to apartment 911. Welcome to the freak show~"
_importedjacklivmaxsocial


text:
'Oh, and One More Thing...
Published Sept. 2, 2016
Thanks to our spectacular federal government looking the other way and not enforcing our existing immigration laws, (Obama even encouraged illegals to come across last year, remember?) we may not be able to keep undesirables from coming IN to our country. The good news is, there is something we can do to force some undesirables OUT. Full time Leftist zealot and part time singer Barbra Streisand has joined the list of whining celebrities threatening to leave America if Donald Trump is elected president.
That's right. So if you needed one more reason to vote for Trump, here it is. A vote for Trump is a vote to get Babs the hell out of here. This is enough to almost make me want to go out and buy Trump yard signs, wear "Make America Great Again" baseball caps, and dye my hair orange.
Streisand made the comments during an interview with Sydney-based journalist Michael Usher during an Australian news program broadcast last Sunday.
When asked why, Babs explained her reasoning in logical and meticulous detail by saying, "He (Trump) has no facts. I don't know, I can't believe it!" Then she went on to say, "I'm either coming to your country (Australia) if you'll let me in, or Canada." Tsk, tsk Barbra. Don't you know that threatening America's allies might lead to an international incident? What a great headline, "Funny Girl Goes Down-Under." Her career has been going down-under for years anyway, she might as well join it.
Hey, wouldn't it be funny if both those countries turner her down? Maybe she could move to Gitmo since Obama is clearing it out anyway. If that doesn't work out, there's always Syria. Since all the Syrians are moving out, there'd be plenty of room. Or maybe Babs would be happy in one of Hillary's favorite places, Benghazi, Libya. I mean, Malibu, Australia, Canada, or Benghazi...WHAT DIFFERENCE AT THIS POINT DOES IT MAKE?
I love how these entertainment industry libs always threaten to move out of the country if the candidate they don't like wins. I call it S.C.M.D.S. Spoiled Celebrity Melt Down Syndrome. Streisand is only the latest in a long line of Leftist celebrities who are packing their Louis Vuitton's to get the heck out of Dodge if Trump should win.
Among the other genius liberals who are ready to split are Lena Dunham, Chelsea Handler, Samuel L. Jackson, Miley Cyrus, Rosie O'Donnell, Cher, Jon Stewart, Raven Symone, Natasha Lyonne, Omari Hardwick, Spike Lee, Chloë Sevigny, Eddie Griffin, George Lopez, Al Sharpton, Neve Campbell, and Whoopi Goldberg. In the case of Neve Campbell, it's no big deal for her to move to Canada since she was born and raised there.
In past elections, going back at least 16 years, we've had celebrities who stated for the record that they would leave the country if their chosen candidate didn't win. And guess what? No matter how those elections turned out, nobody actually left. Not a one. Which is too bad actually. I really wish these people would keep their promises.
So this "threatening to leave" rhetoric is nonsense. It's just a sneaky way of campaigning for their liberal candidate, that's all. Barbra Streisand knows damn well she isn't going anywhere if Trump wins, except maybe into a larger gated compound with additional armed guards. If Clinton wins however, Babs will no doubt return to her favorite White House haunt from Bill's term, the Lincoln bedroom.
Here's the thing, when you're in your 70's it's way past time to stop acting like a spoiled brat. Saying "If Hillary doesn't win, I'm going to move out of this country" sounds like the kid who threatens to hold her breath until she turns blue if she doesn't get everything that she wants. Hmmm. Maybe Streisand does that too.
So this song is dedicated to Barbra Streisand, one of the deepest thinkers of our time.
Rich Liberals.
Rich Liberals who need rich liberals.
Are the yuckiest people in the world
They're children, really stupid children
Possessing no grown-up pride
And zero common sense inside
Acting more like children than children.
Come on, Babs. Stop holding your breath already!
Comment by clicking here.
JWR contributor Greg Crosby, former creative head for Walt Disney publications, has written thousands of comics, hundreds of children's books, dozens of essays, and a letter to his congressman. He's been a JWR contributor since 1999.
© 2019 Greg Crosby

redpajama_set_name: RedPajamaCommonCrawl


Welcome to my website and blog! I'll be doing my best to post at least once a week either with project progress, tutorials, shop talk, or other random tangents that come up! Please follow my Facebook and Instagram accounts for more frequent images of works currently on the bench or in the vise!
Music has always been a massive source of inspiration and creative fuel for me. I often find myself lost in albums and playlists while working in my studio. Rock and blues tend to be my favorite genres and no one did it better than the late Stevie Ray Vaughn. The way he could make a single set of 6 strings sound as if there were two, even three, talented guitar players on stage will never cease to amaze me. Nearly 15 years ago, while listening to his song "Life by the Drop" I had the idea for this painting.
It would start with a stylized variation of a well worn Sunburst Fender Stratocaster. I wanted a white pick guard to set off from the flat black background, and also being a fan of Kenny Wayne Shepard, who played a Strat similar to SRV's "Number One", it seemed fitting. I wanted this to be a bold painting, starting first with the sheer size of the canvas, which I chose to be a large panel of aircraft grade aluminum I acquired from reject piles from a major airplane manufacturer. Being heavy into automotive arts and pinstriping during this period, I chose various automotive paints and On-Shot Sign painters enamel. It started by spraying a flat black background. The rest of the painting, in it's entirety was carefully completed via brushwork, no airbrushing.
I've loved this painting since I completed it back in 2005, and it has adorned my studio or living space since then. I'm releasing it for sale to another fan of the musical arts. You can find the listing in the Shop section of my website, here. If you have any questions about this painting, my other works, or having a custom piece commisioned, please feel free to contact me.
Most techniques and things I do that even border on a "signature style" have resulted as a once experimental notion during a family or friends project, or from spare time in the shop spent tinkering around with left over materials. The hammered copper inlays I've been doing as of late are no exception to this. Not to say it hasn't been done before, I'm sure it has, but I hadn't ever seen it, and thought it could be cool. And I just happened to have a sheet of copper, as well as some copper wire to play with, so why not!
The first one I created was the Arta River trips knife. This was a more personal project for a dear friend of my husband, so I had that extra creative freedom that comes with the "family discount" 😂. The large ARTA letters, I did in copper sheet, and the smaller River Trip letters were done with wire. The only problem was, the copper sheet I had on hand was far too thick for sheet inlay. So...what to you do when you live in the woods in the middle of nowhere and don't have the correct thickness material or a rolling mill? Go viking on it! Hammers, a hydraulic press in the equipment yard, some plates of steel to squish it between, an anvil, and a torch,...because, any reason to use a torch is a good reason. After a couple hours of bashing around on the copper, courtesy of my husband, the copper was acceptable, and might I add exceptionally consistent in thickness despite our crude techniques.
Once I got the cavities excavated and the teeth created, the inlay went swimmingly after a bit of mods to the "teeth" to make them a bit heartier than they usually are for my finer work. The small letters with wire were a beast at best, and a lesson that I'll be sticking to larger spaces if possible and sheet for this technique when using copper as the inlay material. I also made several different tools for the pneumatic handpiece to create the hammered look, but after doing about 3-4 knives using this technique, I've decided there's no substitute for an actual hammer on the copper, plus it's much more tactilely pleasing to create the texture that way. One must be very careful not to ping and damage the surrounding steel though.
After the second and third knives I did in this style I have the technique down pat and it's at an enjoyable pace. I really love this look and the process of creating it. A little hammer and chisel work, a dash of jewelers saw, some fine detailing and viola! This style looks great for ranch brands, as there's something undeniable about the culture of the great American "west" and ranching in general that copper tones, and rustic textures seem to compliment.
If you're reading this blog and are interested in commissioning a hammered copper design for yourself or a loved one, please reference COPPERBLOG in the checkout process for free shipping. You can visit my Shop section, to purchase a Byrd knife with a brand or logo, or work with me on your specifics and I'll set up a custom order link for you after chatting about your project. You can contact me at melissa@melissamstudios.com with any questions or ideas. Since the year is flying by and we're in to August already I like to remind my clients that due to the time consuming nature of hand work, my Holiday orders schedule typically causes me to close my books to holiday orders by mid-late October, so get your requests in sooner than later! Last year, I had to stop taking additional orders in September in order to ship all projects by their deadlines. There is always the option of gift certificates as well, which I honor for any items I list in my shop, or towards custom orders as well.
Thanks for reading and for your interest in my work!
Progress shot taken through the microscope at low magnification.
Out of the Vise: Custom Engraved Pendant on...Aluminum? Yes.
Custom Engraved Pendant on Aluminum.


text:
def TempK(theta,pres,pref=100000.):
    """Inverts Theta function."""

    try:
	minpres=min(pres)
    except TypeError:
	minpres=pres

    if minpres<2000:
	print "WARNING: P<2000 Pa; did you input a value in hPa?"

    return theta*(pres/pref)**(Rs_da/Cp_da)

def GammaW(tempk,pres,e=None):
    """Function to calculate the moist adiabatic lapse rate (deg C/Pa) based
    on the temperature, pressure, and rh of the environment.

    INPUTS:
    tempk (K)
    pres (Pa)
    RH (%)

    RETURNS:
    GammaW: The moist adiabatic lapse rate (Dec C/Pa)
    """

    tempc=tempk-degCtoK
    es=SatVap(tempc)
    ws=MixRatio(es,pres)

    if e is None:
	# assume saturated
	e=es

    w=MixRatio(e,pres)

    tempv=VirtualTempFromMixR(tempk,w)
    latent=Latentc(tempc)

    A=1.0+latent*ws/(Rs_da*tempk)
    B=1.0+Epsilon*latent*latent*ws/(Cp_da*Rs_da*tempk*tempk)
    Rho=pres/(Rs_da*tempv)
    Gamma=(A/B)/(Cp_da*Rho)
    return Gamma

def Density(tempk,pres,mixr):
    """Density of moist air"""

    virtualT=VirtualTempFromMixR(tempk,mixr)
    return pres/(Rs_da*virtualT)

def VirtualTemp(tempk,pres,e):
    """Virtual Temperature

    INPUTS:
    tempk: Temperature (K)
    e: vapour pressure (Pa)
    p: static pressure (Pa)

    OUTPUTS:
    tempv: Virtual temperature (K)

    SOURCE: hmmmm (Wikipedia)."""

    tempvk=tempk/(1-(e/pres)*(1-Epsilon))
    return tempvk

def VirtualTempFromMixR(tempk,mixr):
    """Virtual Temperature

    INPUTS:
    tempk: Temperature (K)
    mixr: Mixing Ratio (kg/kg)

    OUTPUTS:
    tempv: Virtual temperature (K)

    SOURCE: hmmmm (Wikipedia). This is an approximation
    based on a m
    """

    return tempk*(1.0+0.6*mixr)

def Latentc(tempc):
    """Latent heat of condensation (vapourisation)

    INPUTS:
    tempc (C)

    OUTPUTS:
    L_w (J/kg)

    SOURCE:
    http://en.wikipedia.org/wiki/Latent_heat#Latent_heat_for_condensation_of_water
    """

    return 1000*(2500.8 - 2.36*tempc + 0.0016*tempc**2 - 0.00006*tempc**3)

def SatVap(tempc,phase="liquid"):
    """Calculate saturation vapour pressure over liquid water and/or ice.

    INPUTS:
    tempc: (C)
    phase: ['liquid'],'ice'. If 'liquid', do simple dew point. If 'ice',
    return saturation vapour pressure as follows:

    Tc>=0: es = es_liquid
    Tc <0: es = es_ice

    RETURNS: e_sat  (Pa)

    SOURCE: http://cires.colorado.edu/~voemel/vp.html (#2:
    CIMO guide (WMO 2008), modified to return values in Pa)

    This formulation is chosen because of its appealing simplicity,
    but it performs very well with respect to the reference forms
    at temperatures above -40 C. At some point I'll implement Goff-Gratch
    (from the same resource).
    """

    over_liquid=6.112*exp(17.67*tempc/(tempc+243.12))*100.
    over_ice=6.112*exp(22.46*tempc/(tempc+272.62))*100.
    # return where(tempc<0,over_ice,over_liquid)

    if phase=="liquid":
	# return 6.112*exp(17.67*tempc/(tempc+243.12))*100.
	return over_liquid
    elif phase=="ice":
	# return 6.112*exp(22.46*tempc/(tempc+272.62))*100.
	return where(tempc<0,over_ice,over_liquid)
    else:
	raise NotImplementedError

def MixRatio(e,p):
    """Mixing ratio of water vapour
    INPUTS
    e (Pa) Water vapor pressure
    p (Pa) Ambient pressure

    RETURNS
    qv (kg kg^-1) Water vapor mixing ratio`
    """

    return Epsilon*e/(p-e)

def MixR2VaporPress(qv,p):
    """Return Vapor Pressure given Mixing Ratio and Pressure
    INPUTS
    qv (kg kg^-1) Water vapor mixing ratio`
    p (Pa) Ambient pressure

    RETURNS
    e (Pa) Water vapor pressure
    """

    return qv*p/(Epsilon+qv)

def VaporPressure(dwpt):
    """Water vapor pressure
    INPUTS
    dwpt (C) Dew Point Temperature (for SATURATION vapor
	     pressure use tempc)

    RETURNS
    e (Pa) Water Vapor Pressure

    SOURCE:
    Bolton, Monthly Weather Review, 1980, p 1047, eq. (10)
    """

    return 611.2*exp(17.67*dwpt/(243.5+dwpt))

def DewPoint(e):
    """ Use Bolton's (1980, MWR, p1047) formulae to find tdew.
    INPUTS:
    e (Pa) Water Vapor Pressure
    OUTPUTS:
    Td (C)
      """

    ln_ratio=log(e/611.2)
    Td=((17.67-ln_ratio)*degCtoK+243.5*ln_ratio)/(17.67-ln_ratio)
    return Td-degCtoK

redpajama_set_name: RedPajamaGithub


text:
Two injured in Paris attack near the former offices of Charlie Hebdo
By Henry Samuel 25 September 2020 • 3:36pm
Terror struck central Paris on Friday after a man wielding a meat cleaver seriously injured two people outside the former offices of Charlie Hebdo three weeks into the trial over the 2015 massacre at the magazine.
Around midday, screams erupted in Paris' 11th arrondissement as two journalists on a cigarette break in the street were set upon by a suspect who police sources said was an 18-year old from Pakistan known to security services but not for radicalisation.
They said he claimed responsibilty for the attack, which is being treated as terrorism.
"The principal assailant has been arrested and a second suspect is currently being detained for questioning," according to Jean-François Ricard, the Paris anti-terror prosecutor.
The prime suspect was caught after fleeing into the nearby metro. The second was arrested with blood on his clothes on the steps of Bastille opera.
French police officers cordon off the scene Credit: GEOFFROY VAN DER HASSELT /AFP
The stabbing took place yards from the spot where 12 people, including some of France's most celebrated cartoonists, were killed in the January 7, 2015, attack by Islamist gunmen.
Friday's victims, a man and a woman who were said to be in a serious but not life-threatening condition, worked for documentary film company Premieres Lignes, according to founder Paul Moreira.
"It's somebody who was in the road with a meat cleaver who attacked them in front of our offices. It was chilling," he said, adding that they appeared to have been targeted "at random".
A neighbour said she saw blood on the ground and people pulling a wounded woman away into a building. Workers repairing the road told her "a dark-skinned man randomly hit a lady with a big butcher's knife" in front of a mural that serves as a memorial to victims of the 2015 attack.
Schools in the area immediately went into lockdown, and half a dozen nearby metro stations were closed.
Rushing to the scene, Jean Castex, the French prime minister, issued a "resolute" pledge to fight terror "in all its forms".
He also noted the "symbolic site" of the attack, "at the very moment where the trial into the atrocious acts against Charlie Hebdo is under way."
Firefighters were seen rushing injured individuals into ambulances Credit: ALAIN JOCARD /AFP
In the dock are 14 alleged accomplices of the perpetrators of the January 2015 attack by brothers Said and Cherif Kouachi - killed shortly afterwards -and claimed by a branch of al Qaeda.
A female police officer was killed the next day, followed by four men in a hostage-taking at a Jewish supermarket by gunman Amedy Coulibaly, also killed in a police assault.
The trial in Paris resumed on Friday following a day's pause after a suspect's coronavirus test came back negative.
Charlie Hebdo sparked fury among Muslims around the world by publishing cartoons of the Prophet Mohammed, and in a defiant gesture ahead of the trial this month, it reprinted the caricatures on its front cover.
That prompted a call by Al Qaeda to once again target the magazine, whose current address is kept secret for security reasons.
Last week, Charlie Hebdo's head of HR, Marika Bret, was given ten minutes to vacate her home after police received credible death threats. She was told she could not return.
More than 100 French news outlets on Wednesday called on people to support Charlie Hebdo, taking aim against the "enemies of freedom."
In a Twitter post, the magazine expressed its "support and solidarity with its former neighbours... and the people affected by this odious attack".
The January 2015 murders heralded a wave of Islamist violence that has left 258 people dead, including 90 at the Bataclan concert hall, only 200 yards from Friday's stabbing.
François Hollande, former French president, said: "Once again, freedom is the target of this barbarity."
European Council President tweets support
The president of the European Council, Charles Michel, sent a message of support to France.
"All my thoughts are with the victims of this act of cowardly violence. Terror has no place on the territory of Europe," the former Belgian premier wrote in a tweet. "Full solidarity with the French people during this new ordeal."
Nouvelle attaque à l'arme blanche devant les anciens locaux de #CharlieHebdo.
Toutes mes pensées vont aux victimes de cet acte de violence lâche.
La terreur n'a pas de place sur le territoire européen.
Pleine solidarité avec le peuple français dans cette nouvelle épreuve.
— Charles Michel (@eucopresident) September 25, 2020
French authorities give statements
"The principle assailant has been arrested and a second suspect is currently being detained for questioning," according to Jean-François Ricard, the Paris anti-terror prosecutor.
Regarding the condition of the injured: "Their lives are not in danger, thank the Lord," said Jean Castex, the Prime Minister. He confirmed the two victims were journalists who were on a cigarette break at the time.
Mr Castex also issued a "resolute" pledge to fight terrorism "in all its forms".
He added the incident "took place in a symbolic place just as the trial of the perpetrators of the awful attacks on Charlie Hebdo is taking place".
School lockdown now lifted
Police have lifted the lockdown of local schools following the arrests.
Some 125 schools had been confined in the 3rd, 4th and 11th arrondissements.
Jean Castex, the French prime minister, and interior minister Gérald Darminin, are currently at the scene of the attacks, along with the mayor of Paris, Anne Hidalgo.
French Prime Minister Jean Castex (C), French Interior minister Gerald Darmanin (C-L) and the Mayor of Paris Anne Hidalgo (C-R) arrive at the scene Credit: ALAIN JOCARD /AFP
One attacker 'born in Pakistan'
One of the attackers was born in Pakistan, according to French Radio Europe 1
First arrested suspect 'born in 2002'
The suspect arrested with blood on his clothes on the steps of Bastille opera was born in 2002, says BFMTV.
The suspect is believed to be 18 years old.
Second suspect arrested 'on metro'
The second suspect was arrested in the metro, according to BFM TV.
One eyewitness told RTL that the assailant dropped his weapon - an axe or meat cleaver - at the Richard Lenoir metro entrance before making his escape.
Armed police swarmed have been deployed Credit: IAN LANGSDON/EPA-EFE/Shutterstock /Shutterstock
Charlie Hebdo trial 'suspended'
The Charlie Hebdo trial was suspended minutes after the attack, according to reports, although it is unclear if the suspension had anything to do with the incident.
Suspect will be questioned over 'terrorism'
The suspected attacker, who has been arrested, will be questioned over "attempted murder related to terrorism" and "conspiracy with terrorists," the anti-terror prosecutors office said.
First suspect arrested 'did not match' witness description
According to a police source cited by France Info, the first suspect arrested with blood on his clothes "didn't correspond to eyewitness descriptions of the assailant".
People run towards security forces at the scene Credit: CHARLES PLATIAU /REUTERS
Second suspect arrested
A second suspect has now been apprehended by police, according to local media.
Police treating incident as 'terrorist attack'
Police are treating the attack as terrorist as the anti-terror prosecutor has taken control of the case.
Al-Qaeda 'threatened attacks' on Charlie Hebdo
Al-Qaeda recently threatened Charlie Hebdo with fresh attacks.
In its publication One Ummah it said the magazine would be mistaken if it believed the 2015 attack was a 'one off', after the magazine printed the 'contemptible caricatures' in a defiant issue that marked the start of the trial in Paris of suspected accomplices in the attack.
Latest pictures from the scene
A general view as police officers investigate the scene of an incident near the former offices of French magazine Charlie Hebdo Credit: GONZALO FUENTES /REUTERS
A police car blocks the Bastille roundabout in Paris Credit: GEOFFROY VAN DER HASSELT /AFP
Police officers have been conducting an investigation at the scene Credit: GONZALO FUENTES /REUTERS
Witnesses describe attacker
At around 12.30pm local time, police arrested a suspect with "blood on his clothes".
According to witnesses cited by Le Parisien, a suspect was wearing a sleeveless puffer jacket.
"Thousands" of pupils are currently confined in five schools that have been shut and barricaded in the area. Retirement homes have also been shut, along with all local shops.
Police now say only two injured
Paris police have now said that only two people, a man and a woman, have been injured in the attack, rather than four.
The victims work for the production company Première Lignes, which is in the same building as the former offices of Charlie Hebdo, and whose staff filmed the Kouachi brothers as they fled the scene after their murderous attack on the satirical magazine in January 2015. The company, which had recently made a film on jihadists, said it had not received any direct threats.
A member of staff Première Ligne told BFM TV: "It happened extremely quickly. A man with a sort of axe attacked people outside the building. He didn't get inside. He ran off and the police arrived. We were forcibly evacuated from our offices."
According to the concierge of one local building: "My son was doing sport nearby when the attack happened. He heart people screaming and saw a man running away with a big knife. He saw an injured woman and a man. I was already living in the area five years ago. Naturally, these are traumatic memories."
Attack a poignant reminder of 2015
A woman walks past a mural commemorating the victims of the 2015 attack on the Charlie Hebdo offices in which 12 were killed Credit: THOMAS COEX /AFP
Witnesses describe horror from the scene
Witness accounts from the attack have begun filtering through.
"I was in my office. I heard screams in the road. I looked out of the window and saw a woman who was lying on the floor and had taken a whack in the face from what was possibly a machete," a witness told Europe 1 radio.
"I saw a second neighbour on the floor and I went to help."
A visibly upset witness is seen near the scene Credit: ALAIN JOCARD /AFP
Video shows large police presence
A large police presence has been deployed in Paris after four people were wounded in a knife attack near the former Charlie Hebdo offices.pic.twitter.com/KRA3txaZ2B
— talkRADIO (@talkRADIO) September 25, 2020
Video circulating on social media shows a sizeable police presence at the scene
No explosives found in suspect package
According to reports in France Info citing police sources, no explosives have been found in the package identified as suspect outside the scene
A French police officer secures the area Credit: GEOFFROY VAN DER HASSELT /AFP
Weapon found at scene
A blade was found at the scene, two police sources told Reuters. One described it as a machete, the other called it a meat cleaver.
Armed police were seen swarming the area Credit: GONZALO FUENTES /REUTERS
President of Paris region 'extremely shocked'
The critically ill victims have been transported to Paris' Pitié-Salpétrière hospital.
Valérie Péceresse, president of the Paris region, said she was "extremely shocked by the murderous attack" in "an arrondissement that has already paid a heavy price for terrorist violence."
The Bataclan concert hall, where 90 people died in November 2015, is a few yards down the road.
Armed officers were scene securing the area after several people were injured Credit: AFP/ALAIN JOCARD
Charlie Hebdo,


text:
Акусти́чний пиловло́влювач () — технологічний апарат для очищення запиленого газу (повітря) шляхом осадження тонкодисперсного пилу в звуковому або ультразвуковому полі.

Принцип роботи
Дія акустичного пиловловлювача базується на здатності звукових хвиль залучати до коливань дрібні частинки пилу, збільшуючи число їх зіткнень між собою. Це призводить до інтенсифікації процесів коагуляції та агломерації (укрупнення) часток пилу і випадання їх з повітряного потоку.

Акустичне поле створюється зазвичай газоструминним генератором.

Відокремлення укрупнених частинок може здійснюватися в окремому пиловловлювачі, наприклад, циклоні, послідовно сполученому з акустичним газоочисником.

Технічні характеристики
Акустичне очищення газів проводять при частоті коливань 2…50 кГц, інтенсивності звуку 0,1…0,3 Вт/см² і тривалості перебування газу в акустичному полі 1…4 с. Цей спосіб пиловловлення застосовується для тонкого очищення гарячих газів (до 550 °C), а також хімічно агресивних і вибухонебезпечних газів.

Акустичне пиловловлення ефективне при порівняно високій (1…5 г/м³ і більше) запиленості повітря, що очищається. При низькій запиленості ефект акустичної коагуляції є невисоким.

Переваги та недоліки
Пиловловлювальне устаткування акустичної дії відрізняються простотою і компактністю. Основні недоліки:
 висока витрата енергії (від 0,7 до 2 кВт·год на 1000 м³ газу);
 важкі умови праці обслуговчого персоналу (для випадку звукових частот).

Використання
Акустичне пиловловлення застосовується в закритих апаратах промисловості будівельних матеріалів, хімічної, гірничої промисловості,  тощо.

Див. також
 Пиловловлювач

Література
 Батлук В. А. Акустичні пиловловлювачі: моногр. / В. А. Батлук. — Львів: Афіша. 2000 . — 208 с. — ISBN 966-7760-12-X
 Білецький В. С., Смирнов В. О. Технологія збагачення корисних копалин. — Донецьк: Східний видавничий дім, 2003. — 272 с.
 Плановский, А. Н. Процессы и аппараты химической технологии / А. Н. Плановский, В. М. Рамм, С. З. Каган. — М.: Химия, 1967. — 847 с.

Очищення газових сумішей
Обладнання

redpajama_set_name: RedPajamaWikipedia


text:
Buccleuch Miniature
Mary Boleyn
Consort Necklace
Somerley Portrait
Mary Seymour
Lady Jane Grey
Katherine Howard
The Toledo Portrait
The Yale Miniature
Elizabeth I Tudor
The French Hood
1550's and 1560's
The Pagets
The Klabin Portrait
Lumley Collection
M Souch
Anglesey Abbey
Katherine Parr
Fantasy Portraits
Knowns
Mary Stuart II
Mary I Tudor
Fitzwilliam Portrait
Madresfield Court
Guildford Dudley
Huntington Portrait
Mary FitzAlan
The Chawton Portrait
Berry-Hill Portrait
Rotherwas Portrait
Portrait Sets
Hardwick Hall Set
The Cornwallis Set
Jane Shore
Anglesey Abbey 'Set'
Katherine Knyvett
Portraits – Page Two
Elizabeth FitzGerald, Countess of Lincoln
Called Frances de Vere, Actually Elizabeth FitzGerald, Countess of Lincoln
Called Lucy Neville, Actually Elizabeth FitzGerald, Countess of Lincoln
Elizabeth FitzGerald, Countess of Lincoln (c.1528-1590), attributed to Master of the Countess of Warwick, British, fl.1560s, National Gallery of Ireland
Called Frances de Vere, daughter of John de Vere, Earl of Oxford – Actually Elizabeth FitzGerald, Countess of Lincoln
Judith, Lady Jermyn, Boxted Hall (1575)
Judith Blagge, Lady Jermyn of Boxted Hall – Portrait of a Lady, thought to be Isabel Biddulph, née Gifford (c.1570-1575) by George Gower
The same woman?
«9. JUDITH, LADY JERMYN. H. and S. Body and face both full, hair dressed off the forehead, and jewelled tiara on top; small lace ruff. Dress: white with a baudekin pattern thereon; over it a black stomacher, and a black coat edged with a lace collar; four rows of gold chain round the neck. S. On panel. At top dexter corner, a coat of arms. Sable, a crescent between two mullets in pale, Jermyn; impaling, Argent, two bends gules, voided sable, the voids engrailed – for Blagge (Argent, two bends engrailed sable) – "Virtute contractum 1575."
Judith, daughter of Sir George Blagge and his wife Dorothy, daughter of William Badby. She married Sir Robert Jermyn of Rushbrooke. She died in 1614.» Portraits in Suffolk Houses (West) by Edmund Farrer (1848 – ?)
Text top left: Now thus, but like to change / and vade as dothe the floure / Whiche springe and bloomes full gay / and wytherethe in one houre. Portrait of a Lady, thought to be Isabel Biddulph, née Gifford (c.1570-1575) by George Gower – Wikipedia
According to the same Wikipedia article:
• By descent to Anthony J. Wright Biddulph, Burton Park, Petworth, Sussex
• His sale, Sotheby's, 9 December 1931, lot 31
• Lord Lee of Fareham (1868-1947)
• With Frank Partridge & Sons; sold 1 January 1939
• Sir Henry Price (1877-1963)
• Thence by descent
• With the Weiss Gallery, London, 2001
• Present whereabouts unknown
So the first known owner was Anthony J. Wright Biddulph, Burton Park, Petworth, Sussex, who got it by descent.
«Burton Park is a large estate held first by Gorings. Anne Goring, heiress of Sir Henry, married Richard Biddulph Esq. then Burton eventually passed to a Wright cousin from Essex who added the name Biddulph on inheriting. The house was originally a Tudor mansion but burnt down for the second time in 1826 and rebuilt.» Burton Park and West Sussex
«Henry Gage, Esq; fourth son of Sir John Gage, of Firle, Bart. (and younger brother to the said Sir Edward,) took to wife Henrietta Jermyn, daughter to Thomas, lord Jermyn, of Rushbrook, in Suffolk, and sister and coheir to Henry Jermyn, earl of Dover, by whom he had, Mary, a nun, and one son, John Gage, of Princethorp, in Norfolk, Esq;
Sir Thomas Gage, of Firle, Bart. (eldest son and heir of Sir John,) died about the year 1655, and having wedded Mary, eldest daughter and coheir of John Chamberlain, of Sherburn, in com. Oxon. Esq; (who, surviving him, was remarried to Sir Henry Goring, of Burton, in Sussex, Bart. and dying, 1694, was buried at Burton,)» The English Baronetage by Arthur Collins
Henrietta Jermyn was a direct descendant of Judith, Lady Jermyn. As none of her children had progeny (or appear to have married) (The History and Antiquities of Hengrave, in Suffolk by John Gage), it is entirely possible that a portrait inherited by her ended up with her sister-in-law Mary Chamberlain Gage Goring at Burton Park.
Catherine-Marie de Lorraine (18 July 1551 – 5 May 1596), Duchess of Montpensier?
Catherine-Marie de Lorraine (18 July 1551 – 5 May 1596), Duchess of Montpensier
Portrait of a Woman (c. 1560) by François Clouet – Barnes Foundation
Catherine de Lorraine Duchesse de Montpensier, Engraving (c.1830-50) – The Royal Collection | RCIN 615651
Elizabeth Knollys, née Howard (1586–1658), Viscountess Wallingford, Later Countess of Banbury, c.1618–1620, attributed to Daniel Mytens (c.1590–1647), English Heritage, Kenwood
Elizabeth Knollys, née Howard (1586–1658), Viscountess Wallingford, Later Countess of Banbury?
Elizabeth Knollys, née Howard (1586–1658), Viscountess Wallingford, Later Countess of Banbury, c.1618–1620, Daniel Mytens (c.1590–1647) (attributed to), English Heritage, Kenwood
Anglo-Flemish School, 16th Century PORTRAIT OF A LADY, HALF LENGTH IN A BLACK DRESS WITH A LACE-TRIMMED RUFF, 16th Century
The painting shares some detail in composition with the ones below, and appears to date from c.1620.
I would not have been surprised if they turned out to have been executed by the same painter.
Lady of the Boleyn Family, ca. 1620, attributed to Anthonis Mor
Lady Anne Clifford (1590–1676), Countess of Dorset, Later Countess of Pembroke and Montgomery
Lady of the Boleyn Family, ca. 1620, attributed to Anthonis Mor, Colchester and Ipswich Museums Service – gogmsite.net «This Boleyn wears a somber dress with the downturned ruff and back flared cuffs-engageantes characteristic of some dresses from about 1620.»
Lady Anne Clifford (1590–1676), Countess of Dorset, Later Countess of Pembroke and Montgomery, c.1620, British (English) School National Trust, Nostell Priory
Portrait of a Lady, Said to be Mary Queen of Scots (1542–87) by Circle of Robert Peake the Elder
Called 'Portrait of Katherine, Countess of Suffolk incorrectly idenitifed as Frances Howard' – Actually Lady Anne Clifford
Portrait of a Lady, Said to be Mary Queen of Scots (1542–87)
Circle of Robert Peake the Elder
Portrait Of Lady Anne Clifford, Countess Of Dorset And Countess Of Pembroke And Montgomery (1590-1676), c.1618; Circle Of Paul Van Somer (c.1577 - C.1621)
«Portrait of Katherine, Countess of Suffolk incorrectly idenitifed as Frances Howard; aged 39; half length to right; one hand on waist; wearing ruff, cap and dress with wide cuffs. 1814 Etching and engraving» The British Museum | 1872,0713.229
Portrait Of Lady Anne Clifford, Countess Of Dorset And Countess Of Pembroke And Montgomery (1590-1676) C.1618; Circle Of Paul Van Somer (c.1577 - C.1621) Selling Antiques Sold by: Titan Fine Art
Renée d'Anjou, marquise de Mézières (1550–bef.1586/1597)
Renée d'Anjou, marquise de Mézières? – Portrait of a Young Lady by Circle of Francois Clouet – Philip Mould
Renée d'Anjou, marquise de Mézières? – Portrait of a Lady in a Red Dress by Follower of Clouet – Christie's
Renée d'Anjou, marquise de Mézières (1550–bef.1586/1597) – Wikipedia
Portrait of a Young Lady by Circle of Francois Clouet – Philip Mould
Portrait of a Lady in a Red Dress by Follower of Clouet – Christie's
Maria of Parma by Circle of Anthonis Mor, c.1555
Maria of Portugal, Duchess of Parma (1538-1577)?
Maria of Parma by Circle of Anthonis Mor, c.1555, Flemish paintings in the Museu Nacional de Arte Antiga – Wikipedia
Maria of Portugal, Duchess of Parma (1538-1577)? – Circle of Pieter Pourbus Portrait of a Lady in a Fur-trimmed Gown
Clearly the same woman. I am not entirely sure that she really is Infanta Maria of Guimarães – Maria of Portugal, Duchess of Parma (1538-1577), though.
Called Amy Robsart
Called Queen Margarita (of Austria), Queen of Spain (1584–1611) but probably Anne of Austria (1549–1580)
Called Amy Robsart – This painting was once thought to be of the ill-fated first wife of Robert Dudley, but has since been discounted because she has the wrong fashions. It is clearly a copy of the same painting as the picture next to it.
Called Queen Margarita (of Austria), Queen of Spain (1584–1611) but probably Anne of Austria (1549–1580) – National Trust | NT 129835 «Oil painting on panel, Queen Margarita (of Austria), Queen of Spain (1584-1611), after Alonso Sánchez Coello (Benifairó de les Valls, Valencia, 1531/2 - Madrid 1588), 17th century. Half-length portrait of a young woman, turned slightly to the left, gazing at the spectator, her hair dressed on top with jewels and feathers, wearing a red bejewelled embroidered dress with lace ruff. Drop-pearl earrring. Dark background.»
Portrait of Margaret of Austria (1584-1611), Frans Pourbus (II) (rejected attribution), anonymous, c. 1600 – Rijksmuseum
Portrait of Queen Margaret of Austria by the workshop of Franz Pourbus the Younger – Dorotheum
This lady certainly isn't Anne of Austria (1549–1580).
Portrait of Margaret of Austria (1584-1611), Frans Pourbus (II) (rejected attribution), anonymous, c. 1600 oil on copper, h 28.5cm × w 22.4cm × d 0.3cm Rijksmuseum | SK-A-508
Portrait of Queen Margaret of Austria by the workshop of Franz Pourbus the Younger – «Lot No. 12 Workshop of Frans Pourbus the Younger (Antwerp 1569–1622 Paris) Portrait of Philip III of Spain, bust lenght, and Portrait of Margret of Austria, bust-lenght, both oil and panel, each 67 x 51 cm realized price €393,400.» Dorotheum
There is a similar one, also called Margarita de Austria, Queen of Spain, and a similar one called Isabella Clara Eugenia of Spain, Archduchess of Austria by Frans Pourbus the Younger.
Margarita de Austria, Queen of Spain
Isabella Clara Eugenia of Spain, Archduchess of Austria by Frans Pourbus the Younger
It is possible one or the other has been mislabelled as the other lady, but I would say that the odds of them being of one or the other of the two of them are pretty high. It is very possible that these are portraits of these two different women, simply dressed similarly.
A similar portrait of Isabella Clara Eugenia was given to Anne of Denmark (James I's Queen) in 1603 by the Ambassador of the Spanish Netherlands. (The Royal Collection)
In either case, they are not Anne of Austria (1549–1580), who predeceased these fashions by a few decades.
A portrait of Juan Téllez from 1630 of Margaret of Austria wearing a similar dress is at the University of Salamanca. loci et imagines imágenes y lugares 800 AÑOS DE PATRIMONIO DE LA UNIVERSIDAD DE SALAMANCA
La Reina Margarita de Austria by Juan Téllez, 1630 – Universidad de Salamanca
Margaret of Valois
Marguerite de Valois
Marguerite de Valois aka Reine Margot, daughter of Catherine de Médicis, sister of Henri III and wife of Henri IV
Unknown French Noblewoman – School of Clouet, 16th Century
Elisabeth of Austria, Queen of France, attributed to François Clouet, 1570
Called Lady Mary Fitzalan – Magdalen Dacre, Viscountess Montague?
Magdalen, Viscountess Montague (1538-1608), Manner of Antonis Mor (1517-1577)
Called Lady Mary Fitzalan – The Collection of the Duke of Norfolk
Magdalen, Viscountess Montague (1538-1608), Manner of Antonis Mor (1517-1577) – The Burghley Collections
«Magdalen was the daughter of William, Lord Dacre and the second wife of Anthony Browne, 1st Viscount Montague. A devout Catholic, she was a maid of honour at the marriage of Mary Tudor to Philip II of Spain in Winchester Cathedral. The Montagues were ancestors of Isabella Poyntz, wife of the 2nd Marquess of Exeter, and this portrait and its pair, were bought by the 2nd Marquess in 1844. They are now thought to have been painted posthumously in the 17th or 18th Century.
Antonis Mor, a Dutch portrait painter, was much sought after by the Courts of Europe.»
Anthony Browne, 1st Viscount Montague (1526-1592), Manner of Antonis Mor
Thomas Howard, 4th Duke of Norfolk
Queen Mary I of England (1516 - 1558), 17th century (painted), After Anthonis Mor – Victoria and Albert Museum
Anthony Browne, 1st Viscount Montague (1526-1592), Manner of Antonis Mor (1517-1577)
«Anthony Browne, an ancestor of Isabella Poyntz, wife of the 2nd Marquess of Exeter, was created 1st Viscount Montague in 1554. He was one of the peers who sat at the trial of Mary, Queen of Scots in 1587. This painting, and its pair, were bought by the 2nd Marquess in 1844 and are now thought to be posthumous portraits dating from the 17th or 18th Century, based on lost originals.»
Anthony Browne, 1st Viscount Montague (1526-1592), Manner of Antonis Mor (1517-1577) – The Burghley Collections
The pendant to the portrait of Magdalen Dacre, Viscountess Montague (1538-1608).
Thomas Howard, 4th Duke of Norfolk – The companion portrait to the one of 'Mary FitzAlan' above.
The 'Mary FitzAlan' Portrait in Purple – Believed to be due to a printing technique of a post card
Mary I (1516-1558), c.1800-65, After Anthonis Mor – RCIN 406156
At least the first one of these, the one in the Victoria and Albert Museum, is probably from the same studio as the one that produced the paintings of Magdalen Dacre and 'Mary FitzAlan' above.
Queen Mary I of England (1516 - 1558) – Victoria and Albert Museum
This nineteenth-century portrait of Mary I derives from the same source as RCIN 404739 and shows the Tudor Queen resting her hand on a chair and holding a handkerchief in her left hand.
Painted for Queen Victoria as part of a set of royal portraits at St James's Palace.»
Mary I (1516-1558), c.1800-65, After Anthonis Mor – The Royal Collection | RCIN 406156
Portrait of a Tudor Lady in a Rich Costume, Flemish School, early 1570's
Portrait of a Young Lady, 1560, by Caterina van Hemessen
Regina Streun, née von Tschernembl
It's possible these are all the same woman, Regina Streun, née von Tschernembl. Certainly I think the first two portraits were painted by the same artist.
«Both the artist and the sitter for this jewel-like painting are, as yet, unknown. Once thought to be Mary Tudor, her cousin, Mary, Queen of Scots has also been suggested. However, the subject is, most probably, a high-born Flemish lady circa 1570.»
Portrait of a Tudor Lady in a Rich Costume, Flemish School, early 1570's – The Burghley Collections
Portrait of a Young Lady, 1560, by Caterina van Hemessen – Wikipedia
Portrait of a Young Lady, 1560, by Caterina van Hemessen – The Baltimore Museum of Art
Portrait of a Young Lady, 1560, by Caterina van Hemessen – The New York Times
Regina Streun, née von Tschernembl, was the second wife of Reichard Streun von Schwarzenau (1538 – 1600).
«Regina Streun, geb. von Tschernembl Dieses Bild: 014135 Kunstwerk: Deckfarbenmalerei ; Folge ; Porträt ; Wien Dokumentation: 1575 ; 1585 ; Wien ; Österreich ; Wien ; Kunsthistorisches Museum ; IN 9691 ; fol. 611»
Portrait of lady, half-length, in white bejewelled dress and headress by circle of Frans Pourbus the Younger
Portrait of lady, half-length, in white bejewelled dress and headress by circle of Frans Pourbus the Younger – Bonhams
Margaretha von Holzhausen, 1565
Portrait of a Lady, Traditionally Identified as Mary Tudor (1496-1533), by a Follower of Anthonis Mor – Actually Margaretha von Holzhausen?
Margaretha von Holzhausen, 1565 – Städel Museum
Portrait of a Lady, Traditionally Identified as Mary Tudor (1496-1533), by a Follower of Anthonis Mor. «By descent in the Hesketh family, Heslington Hall, Yorkshire, to Anne, daughter and co-heir of Thomas Hesketh of Heslington (d. 1708), who married in 1692 Lieutenant Colonel James Yarburgh (d. 1728) of Snaith Hall, Yorkshire» – Sotheby's
Actually Margaretha von Holzhausen? As grown? The lady has the same little chipmunk cheeks and her other features as the girl Margaretha von Holzhausen.
The Gripsholm Portrait
Archduchess Maria of Austria, Duchess of Jülich-Cleves-Berg
The Gripsholm Portrait, thought to be Elizabeth by ? – Actually Archduchess Maria of Austria, Duchess of Jülich-Cleves-Berg?
Archduchess Maria of Austria, Duchess of Jülich-Cleves-Berg in 1554 – Kunsthistorisches Museum Vienna
I am wondering if the Gripsholm Portrait, rather than portraying Queen Elizabeth I of England, is not of Archduchess Maria of Austria (1531–1581), Duchess of Jülich-Cleves-Berg, daughter of Holy Roman Emperor Ferdinand I from the House of Habsburg and Anna of Bohemia and Hungary.
Certainly this is not Elizabethan fashion. The flat little hat is typical Austrian fashion for the time, more specifically typical Austrian fashion for the unhappy daughters of Ferdinand I, Holy Roman Emperor from the House of Habsburg. They are all pictured with it at some point. The straight shapeless gown that does not conform to the contours of the body and the almost too-big overcoat are perfectly in keeping with this style as well. Maria was born on the 15th of May 1531, which means that the portrait would have been painted between the 15th of May 1561 and 16th of May 1562.
1563 Gripsholm portrait thought to be Elizabeth by ? (Gripsholm Slott - Strängnäs, Södermanland Sweden)
Gripsholm Castle – Since Gustav Vasa, Gripsholm has belonged to the Swedish Royal Family and was used as one of their residences until the 18th century. It is now a museum, but it is still considered to be a palace at the disposal of the King and as such it is part of the Crown palaces in Sweden.
The current King of Sweden is directly descended from Maria of Austria (1531–1581), Duchess of Jülich-Cleves-Berg is at least five ways. Through her daughter Marie Eleonore, she was ancestor of Marie Louise of Hesse-Kassel, wife of John William Friso, Prince of Orange therefore ancestor of all the current European monarchs.
This shows how the Swedish King, Carl XVI Gustaf of Sweden, is descended from Marie Louise of Hesse-Kassel, herself the descendant of Maria of Austria (1531–1581), Duchess of Jülich-Cleves-Berg.
An even earlier link between the desendants of Maria of Austria (1531–1581), Duchess of Jülich-Cleves-Berg and the Swedish Royal family was the marriage between Maria Eleonora of Brandenburg (11 November 1599 – 28 March 1655) and King Gustav II Adolph of Sweden. She was Queen of Sweden as the consort of King Gustav II Adolph, the great-granddaughter of Maria of Austria and the mother of Queen Christina of Sweden.
In fact, Gripsholm Castle was the dower residence of Maria Eleonora of Brandenburg as the widow of Gustav Adolph of Sweden, she lived there from 1636 until 1640. In May 1625 she had also given birth to a stillborn son at Gripsholm Castle.
Queen Christina was determined to never marry, and when she abdicated, she left the throne to her cousin Charles X Gustav of Sweden, also a descendant of Maria of Austria (1531–1581), Duchess of Jülich-Cleves-Berg. She was his great-grandmother as well.
His bloodline held the throne until 1751, when Adolf Frederick from the House of Holstein-Gottorp ascended the throne.
He too was a direct lineal ascendant of Maria of Austria (1531–1581), Duchess of Jülich-Cleves-Berg.
Adolf Frederick's grandson Gustav IV Adolf of Sweden married another direct descendant of Maria of Austria (1531–1581), Duchess of Jülich-Cleves-Berg, Frederica of Baden.
Adolf Frederick's bloodline held the throne until 1818. The next king was Jean-Baptiste Jules Bernadotte, the first monarch of the present royal family. In a series of dynastic marriages the Bernadottes would marry into the old bloodlines. Sophia of Nassau (1836–1913) who married Oscar II of Sweden, Victoria of Baden (1862–1930) who married Gustaf V of Sweden, and Princess Sibylla of Saxe-Coburg and Gotha (1908–1972) who married Prince Gustaf Adolf, Duke of Västerbotten, were all direct lineal descendants of Maria of Austria (1531-1581), Duchess of Jülich-Cleves-Berg.
Since writing the above, I have come across a photograph of the portrait in a better resolution. It was in fact painted in 1563, making the identification as Elizabeth I Tudor give more sense, as she was naturally precisely 30 years old in 1563.
The fashions are still entirely wrong, however, and I still don't believe that it's her.
When researching this portrait I also considered Catherine Jagiellon (1 November 1526 – 16 September 1583), who was Queen of Sweden at this time, her two sisters, with whom she was close, Anna (18 October 1523 – 9 September 1596) and Sophia (13 July 1522 – 28 May 1575), and her sister-in-law Catherine of Austria (15 September 1533 – 28 February 1572), Queen of Poland, with whom she and her sister Anna were close.
Now, knowing with certainty that the lady was 30 years old in 1563 naturally eliminates both Maria of Austria (1531-1581), Duchess of Jülich-Cleves-Berg and Catherine Jagiellon (1526–1583), Queen of Sweden (and her two sisters) as the sitter.
In 1556, when her sister Sophia married and left for Germany and her mother departed for Italy, Catherine Jagellion and her sister Anna were moved to the Palace of Vilnius by their brother Sigismund II Augustus of Poland, to ensure a royal presence in Lithuania. Their stay in Vilnius was described as happy, living in a palace and a court strongly influenced by the Italian Renaissance: Catherine and Anna were allowed to compose their own separate households, and socialized with the aristocracy. In Vilnius too resided Catherine of Austria, Queen of Poland, their sister-in-law.
It seems that the three women became close. All three had Vilnius as their main place of residence until October 1562 and the wedding of Catherine Jagiellon to Duke John of Finland.
Catherine of Austria was sent to Radom in April 1563 by her 40-year-old husband Sigismund II Augustus of Poland. He sought to obtain annulment of the marriage as he wanted to marry for the fourth time and secure a male heir.
At the same time, between 1563 and 1567, Catherine Jagiellon and her husband John was imprisoned by his brother King Eric XIV in Gripsholm Castle. John's son Sigismund, later the King of Poland and Sweden, was born in Gripsholm Castle on the 20th of June 1566.
Catherine's captivity was a lenient one, however, and if a portrait had been sent to her as a gift at this point she would no doubt have been allowed to receive it. King Eric XIV had no desire to offend either Catherine's family.
It was a time of great turmoil for both Catherines, as well as being shortly after they had been separated in October 1562, after six years as friends and family in each other's close vicinity. Catherine of Austria, Queen of Poland must have been worried both for her own future and quite possibly for the safety of Catherine Jagellion, Queen of Sweden in her captivity.
People have done stranger things under such circumstances than to send a portrait of themselves to be remembered by, as a solace in the form of an offering of remembered friendship and familial love in a difficult situation, and in order to confirm bonds of kinship.
Catherine of Austria (1533–1572), Queen of Poland was also the two years younger sister of Maria of Austria (1531–1581), Duchess of Jülich-Cleves-Berg.
Above is outlined very clearly how the Gripsholm Portrait if a portrait of the childless Catherine of Austria could have come to Sweden by way of inheritance through the descendants of her sister Maria, if it were not in fact a gift to her treasured sister-in-law Catherine Jagiellon (1526–1583), who was Queen of Sweden and actually living at Gripsholm Castle in 1563.
Catherine of Austria (15 September 1533 – 28 February 1572), Queen of Poland
The Gripsholm Portrait of a lady who was 30 years old in 1563, just like Catherine of Austria, Queen of Poland was
Ross Harrison Snow
I don't disagree with you hypothesis regarding the portrait of Judith Jermyn, but the Henrietta Maria Jermyn who married Henry Gage was the sister to Thomas, Lord Jermyn.
It is this portrait you are thinking of? http://www.gogmsite.net/new-content/1657-henrietta-jermyn-by-co-2.html It is very beautiful.
There is quite a large portrait of Henrietta Gage nee' Jermyn held in the Ipswich Museum. It was originally at Rushbrooke Hall, but sold in the 1919 sale of the estate.
Yes, unlike the text by Arthur Collins quoted above, her father appears to have been plain Thomas Jermyn, Member of Parliament. Her brother was Thomas Jermyn, 2nd Baron Jermyn
(https://en.wikipedia.org/wiki/Thomas_Jermyn,_2nd_Baron_Jermyn), and her grandfather was Sir Thomas Jermyn of Rushbrooke, Suffolk (https://en.wikipedia.org/wiki/Thomas_Jermyn_(died_1645)).
It looks like The Tau cross derives from the Egyptian Ankh and basically they are wearing it around their necks, life rebirth, salvation mirror. sun.Stonehenge looks like it is made up of Ts to form c
are wearing the symbol on effigies at Ingham church Norfolk and Henry StanleyD1528 at Hillingdon Middlesex.Countess Jacquline of Hainaut and husband Frank Borsele are also wearing the insignia others
These Queens could of been members of the order and i think the Tau cross is a symbol of the Holy Trinity also.These pendants could of been reliquaries.Lady margaret de Bois and Roger de bois
I think the Tau cross that they are wearing could be linked to the(knights) order of St Anthony, Mary 1st collar looks like it may represent the knotted girdle/waist cord of st Anthony .


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Trinity Investments, Walton Street, Oaktree JV acquires Hilton resort in Mexico
by Victoria Rosenthal |
May 9, 2018 11:10am
Hilton Los Cabos Beach & Golf Resort, Mexico. Photo credit: Hilton
Private real estate investment firm Trinity Investments, real estate investment firm Walton Street Capital and investment manager Oaktree Capital Management have formed a joint venture to acquire the Hilton Los Cabos Beach & Golf Resort in Los Cabos, Mexico for an undisclosed sum.
The 375-room Hilton Los Cabos Beach & Golf Resort is in the Cabo Real master development on the San Jose-San Lucas corridor at the tip of the Baja California peninsula. The oceanfront resort recently emerged from a multi-million-dollar renovation that gave it a "hotel within a hotel" concept called La Vista Club, which opened in 2016 with 66 guestrooms.
This investment project and tourist development in Los Cabos is, according to the Secretary of Tourism of Mexico, Enrique de la Madrid, "an additional proof of the confidence of entrepreneurs and investors in our country and in the future of its tourism sector. Undoubtedly, projects like this place Mexico as a world class tourist destination, and contribute to increase the economic development of several regions, create thousands of new jobs and promote higher levels of wellbeing for Mexican families."
The Hilton hotel is Trinity's second investment in Mexico's gateway markets. Trinity developed the 160-suite Le Meridien Mexico City on the Paseo de la Reforma thoroughfare. In North America, the firm also invests in three hotels and resorts in Maui, Hawaii: the Makena Beach & Golf Resort, the Ritz-Carlton, Kapalua and the Westin Maui Resort & Spa.
"Purchasing the Hilton Los Cabos Beach & Golf Resort advances our proven strategy of acquiring well-located, high-quality assets with value-add upside in international markets that we know exceptionally well," Sean Hehir, president and CEO of Trinity, said in a statement.
Trinity's partner Walton Street has been investing in Mexico since 1998. The firm currently invests in the Antara Fashion Mall in Polanco, Mexico City.
Acquisitions Hotel Transactions Joint Venture Partnerships Hilton Mexico Trinity Investments Oaktree Capital Walton Street Capital North America Hawaii
Victoria Rosenthal
https://www.linkedin.com/in/victoria-e-rosenthal-686a0b78/


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CIM Student John Konopka Wins Emmy for Composing Score of Locally Produced Documentary
Cleveland Institute of Music alumni, faculty and staff have won many honors in the past, including several Grammy Awards. But it isn't every day that a current CIM student wins an Emmy, an award recognizing excellence in television.
That's why the Emmy won by audio engineer major and composition minor John Konopka (Egre/Fitch) is so extraordinary.
Konopka composed the soundtrack for "Celebrating the Comeback of the Burning River, 1969-2019", which won for best topical documentary at the 50th National Academy of Television Arts and Sciences Lower Great Lakes Chapter Emmy Awards on June 15. Produced by the Ohio Environmental Protection Agency (EPA), the nearly 13-minute film traces the 50 years since the Cuyahoga River infamously caught fire, prompting the introduction of the federal Clean Water Act and the river's remarkable transformation since then.
Konopka, who will be a junior at CIM in the fall, was asked to score the film by the producer who attends his church, Holy Rosary in Little Italy.
"She heard I was composing the score for a Reuters News documentary, so she asked if I would be willing to talk with the director at North Water Partners about scoring their film," Konopka said. "I sent him a few samples of my work and had a phone meeting with him, and at the end of the conversation he gave me the job."
For Konopka, the project had some challenges that he had to overcome during production. Due to some unforeseen circumstances, he was unable to get a cut of the film until a few days before his deadline to turn in the music. But all turned out well in the end.
"Luckily the deadline ended up being pushed back a few extra days which gave me a little more time to mix and polish the score," he said. "I enjoyed the challenge of composing with such a tight deadline, but it wasn't ideal, especially since it was going to be my first released project."
As for his professional goals, Konopka, son of CIM viola faculty member Stanley Konopka, would like to make a career of scoring documentaries and TV shows, and to own and run a studio.
"I love mixing and recording, and I am very open to pursuing the many possible career options in the audio engineering realm," he said. "However, I've always had a passion for composing, and recently I've developed a love for scoring films. I knew coming into CIM that audio recording and engineering are critical skills for any soundtrack composer."
And it looks like Konopka is off to a great start.


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Voters fill in their ballots at a polling station at Town Hall in Sydney, Saturday, July 2, 2016. After years of political turmoil, Australians head to the polls with leaders of the nation's major parties each promising to bring stability to a government that has long been mired in chaos. (AP Photo/Rick Rycroft) (AP)
What US election officials could learn from Australia about boosting voter turnout
Not every country is plagued by rules that limit voters' participation in elections, as is common in the U.S.
Steven Mulroy
This article was originally published on The Conversation.
Not every country is plagued by rules that limit voters' participation in elections, as is common in the United States.
In the past five years, restrictions on voting and voter registration purges have limited the number of Americans eligible to cast ballots.
In addition, the U.S. is the only major democracy that still allows politicians to draw their own district lines, an often-criticized conflict of interest in which public officials essentially pick their voters, rather than the voters picking their officials. That computer-aided gerrymandering of electoral districts reduces the number of districts with competitive races, contributing to low voter turnout.
Perhaps the fundamental problem, though, is that the system yields results the people don't actually want. Twice in the last two decades, U.S. voters chose a president, George W. Bush and Donald Trump, who got fewer votes than his rival, Al Gore and Hillary Clinton.
All these problems are avoidable and don't happen in countries that have different voting laws. Perhaps the best example is Australia, a country which is culturally, demographically and socioeconomically similar to the U.S. In my book "Rethinking U.S. Election Law," written while I lived and studied their system Down Under, I outline many of the ways Australia has solved voting quandaries that persist in the U.S.
Mandatory voting, made easy
Australia's most strikingly different law requires voting. All Australians must register to vote and actually cast a ballot. Not voting means a small fine (AU$20, or about US$14) will be imposed.
Australians don't have to actually vote for a candidate: They can leave it blank, write in "none of the above" or even draw a picture – but they do have to turn in a ballot. As a result, Australia enjoys voter registration and turnout rates over 90%.
Voting is easier in Australia than in the U.S.. All voters can cast their ballots by mail, vote in person ahead of Election Day or show up to the polls on Election Day itself – which is always on a Saturday, when most people are off from work.
A different way of counting
Australia's vote-counting rules are also different in important ways.
For its House elections, Australia uses what is called "preferential voting," a form of ranked-choice voting.
Voters are allowed to rank their candidates in order of preference – 1st, 2nd, 3rd and so on. If a candidate's first-choice votes add up to a majority of the overall ballots cast, that candidate wins, just like in any other system.
If no one wins a majority of the votes cast, the candidate with the fewest first-choice votes is eliminated and their supporters' votes are redistributed according to these voters' second choices. This process of eliminating candidates and redistributing those candidates' supporters continues until one candidate has a majority.
This system eliminates what is at times called the "spoiler" problem in U.S. elections, where too many similar candidates split the majority's vote, allowing a less-preferred candidate to win with a minority of the votes cast. For instance, in 2000, people could have voted for Ralph Nader while also showing that they would have preferred either of the other two candidates for president, Al Gore or George W. Bush.
Independent redistricting
Even with ranked-choice voting, any system where a single representative is elected for each district is vulnerable to gerrymandering. The lines can be drawn to give one party more seats than its mathematical vote share warrants.
To reduce that problem, Australia's election districts are drawn by the Australian Electoral Commission, a politically independent commission of nonpartisan technical experts.
It's well respected for being nonpartisan, with a good track record of keeping politics out of the redistricting process.
But even the Australian Electoral Commission isn't perfect. As I detail in my book, like-minded people naturally cluster together in communities. That creates what some scholars have called "unintentional gerrymandering." In the U.S., for example, Democratic voters overconcentrated in urban areas are unavoidably consolidated into districts with large Democratic supermajorities. That partially explains why, until recently, Republicans controlled the Virginia state legislature for years, even as Democrats won all the statewide and presidential elections.
One way to fix the problem of gerrymandering – whether intentional or otherwise – is to move away from the concept of "winner-take-all" elections, in which 51% of the votes yields 100% of the power. In that system, significant minority voting blocs end up with no representation, leading to frustration and alienation.
For legislative elections, one potential solution could be proportional representation, in which a party earning 30% of the vote receives approximately 30% of the seats available. Rather than "winner take all," this is "majority takes most, and minorities take their fair share."
Proportional representation systems don't have single-member districts, like having one congressperson per congressional district. Rather, representatives are elected either at-large or in multi-member districts. With districting eliminated, gerrymandering becomes impossible. Australia uses this system for its Senate, using a different form of ranked-choice voting called the single transferable vote.
Like the single-winner ranked-choice voting used in Australia's House, if no candidate wins enough first-place votes to get a seat, weaker candidates are eliminated and their votes transferred to others based on second and third choices. But single transferable vote systems also reallocate what might be called "surplus" votes of winning candidates – extra votes beyond what candidates need to actually win – to ensure a more proportionate result.
Proportional representation allows third parties to thrive, giving voters more choices. Australia offers a natural experiment between methods: For the last half-century, Australian voters nationwide have chosen single-member House representatives and used proportional representation to elect its Senate.
The result is that the Green Party consistently gets about 10% of the national vote, but zero seats in the House. However, in the Senate it gets about 10% of the seats, giving it a voice in the legislative debate. The difference is the move from winner-take-all in the House to proportional representation in the Senate. In addition, major parties vie to get second-choice support from Green Party backers, so the Greens' concerns have real influence over national policies.
All these ideas – voting by mail, early voting, Saturday voting, ranked-choice voting, an independent redistricting commission and proportional representation – make Australia's democracy more inclusive and representative than in the U.S.
MORE FROM Steven Mulroy
Australian Politics Elections The Conversation
Check out this article! https://www.salon.com2020/01/14/what-us-election-officials-could-learn-from-australia-about-boosting-voter-turnout-partner/