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Traverse, "Unsanctioned Wanderings: Capturing the Vagrant in Romantic Prints"
Visuality's Romantic Genealogies
About this Volume
Kelley and Casid, "Introduction: Visuality's Romantic Genealogies"
Thomas, "Representing Paris: History and Actuality at the London Panoramas"
Wood, "Brazilian Romantic Satire on the Peripheries of Photo-Realism: the Case of Angelo Agostini"
Rarey, "Camera Lucida Mexicana: Travel, Visual Technologies, and Contested Objectivities"
Kriz, "Turner's Slavers, Race, and the Ridiculous Human Fragment"
Raymond Williams and Romanticism
The Sundry Faces of Nineteenth-Century Anglo-Jewish Literature
Keats in Popular Culture
Latin American Afterlives
The Futures of Shelley's Triumph
Mary Wollstonecraft Even Now
On the 200th Anniversary of Lord Byron's Manfred: Commemorative Essays
Romanticism and Affect Studies
Romanticism and the Rights of the Negative
The Prose of Romanticism
New Work on German Romanticism
English Romanticism in East Asia
Multi-Media Romanticisms
Minimal Romanticism
Romantic Systems
Percy Shelley and the Delimitation of the Gothic
The Politics of Shelley: History, Theory, Form
Romantic Materialities
Tragedy, Translation, and Theory: In Honor of Thomas J. McCall
Stanley Cavell and the Event of Romanticism
Romantic Antiquarianism
An Interview with Anne Mellor
Romantic Numbers
Romanticism and Biopolitics
Romanticism, Forgery, and the Credit Crunch
Robert Bloomfield: The Inestimable Blessing of Letters
Romanticism and Disaster
Circulations: Romanticism and the Black Atlantic
John Thelwall: Critical Reassessments
Romantic Frictions
Romantic Fandom
Editing And Reading Blake
The Sublime and Education
Romantic Psyche and Psychoanalysis
Secularism, Cosmopolitanism, and Romanticism
Utopianism and Joanna Baillie
Philosophy and Culture
"Soundings of Things Done": The Poetry and Poetics of Sound in the Romantic Ear and Era
Romanticism and the New Deleuze
Romanticism and Buddhism
Romantic Gastronomies
Sullen Fires Across the Atlantic: Essays in Transatlantic Romanticism
Geoffrey Hartman and Harold Bloom: Two Interviews
Romanticism and Patriotism: Nation, Empire, Bodies, Rhetoric
Historicizing Romantic Sexuality
Gothic Technologies: Visuality in the Romantic Era
Romanticism and Opera
Legacies of Paul de Man
Romanticism and the Insistence of the Aesthetic
Digital Designs on Blake
Romantic Libraries
'Ode on a Grecian Urn': Hypercanonicity and Pedagogy
Romanticism and Contemporary Poetry and Poetics
Frankenstein's Dream
Once, Only Imagined
Finding Romantic Commonplaces: A Dialogue with Jerome Christensen
Romanticism & Contemporary Culture
Romanticism and Ecology
Reading Shelley's Interventionist Poetry, 1819-1820
Romanticism and Complexity
The Containment and Re-deployment of English India
Re-reading Box Hill: Reading the Practice of Reading Everyday Life
Schelling and Romanticism
The 'Honourable Characteristic of Poetry': Two Hundred Years of Lyrical Ballads
Romanticism and Philosophy in an Historical Age
Irony and Clerisy
Romanticism and the Law
Romantic Passions
The Last Formalist, or W.J.T. Mitchell as Romantic Dinosaur
Early Shelley: Vulgarisms, Politics, and Fractals
Romanticism and Conspiracy
Unsanctioned Wanderings: Capturing the Vagrant in Romantic Prints
Lucy Kimiko Hawkinson Traverse
"[. . .] their movement cannot be captured in a picture, nor can the meaning of their movements be circumscribed in a text"
-Michel de Certeau, The Practice of Everyday Life
1. Epitomized by Caspar David Friedrich's Wanderer Watching a Sea of Fog (c. 1817-18), and the Wordsworthian peripatetic, the gentlemanly or artistic wanderer is integral to the Romantic imagination. Wandering lies at the heart of picturesque sightseeing, blank verse poetry, specimen collecting, and the Romantic cultivation of self. However, these forms of sanctioned wandering exist against a backdrop of less desirable movements that, nonetheless, inform, color, and at times literally converge with, the endorsed amblings of the inquisitive artist-gentlemen. Unsanctioned forms of wandering existed on a spectrum of criminality, which at times included peddlers, actors, shepherds, discharged soldiers, beggars, orphaned children, gypsies, sailors, highwaymen, pirates, and ultimately, as Toby Benis has argued, "anyone on the road without adequate cause" (2). These disparate groups, while often meticulously differentiated, were also increasingly amalgamated as vagrants through a series of common burdens and discriminatory practices, resulting from changing Poor Laws, licensing, and Vagrancy Acts in the eighteenth and early nineteenth centuries.
2. It is not my aim or desire to reproduce here an exhaustive catalog of wandering types. Rather, I hope to sketch some of the strategies of representation used to capture the vagrant body in print. And further, to tease out some of the tensions and slippages between the text as material object and the roaming body it seeks to arrest. To do this I will examine a selection of British Romantic prints, all bound in books published in London in the first two decades of the nineteenth century (1800-1820). Some of these texts explore a signal category of wanderer (e.g., the urban beggar in the case of John Thomas Smith's Vagabondiana, or, Anecdotes of mendicant wanderers through the streets of London [London, 1817], or the gypsy in the case of Heinrich Moritz Gottlieb Grellmann's Dissertation on the Gipseys [London, 1807]) while others assemble a variety of eccentric persons, among which can be found wandering types (e.g., James Caulfield's Portraits, Memories, and Characters, of Remarkable Persons [London, 1819], or G.H. Wilson's The Eccentric Mirror [London, 1806]). The prints discussed are chosen because they represent different strategies of resistance to the project of containment or arrest, strategies which include signifying in ways that resist the cataloging missions of the text/author, critiquing the text as material object and commodity, representing stasis as a potentially political act, and encouraging the reader/viewer to be cognizant of their complicity in processes of erasure.
3. The rich body of scholarship interested in Romantic vagrancy tends to focus primarily on Wordsworth's representation of and engagement with the itinerant poor. The hope of this project is to explore how a more sustained survey of contemporaneous visual representations might alter and expand our understanding of Romantic vagrancy and its relationship both to the artist's construction of self and the (supposedly) static image. This project resists the impulse to treat as a given the print's stasis, or to accept prints as a default medium used in the absence of alternative representational technologies. In highlighting the tension of wandering as a space-time practice and the apparent stasis of the published print, I do not mean to suggest that Romantic moving-picture technologies (such as P.J. de Loutherbourg's Eidophusikon, exhibited in London in 1781) would have offered a more accurate, neutral, or appropriate means of representing acts of unsanctioned wandering. Rather, by examining prints that represent wanderers we are able to explore instances of resistance that complicate a binary understanding of the moving and the still. Prints may seem to "arrest" or "make still" the wandering impulse, but they also reproduce and disseminate the vagrant body. In this way, prints allow for the movement of images even if they are not typically considered "moving images."
4. The Romantic era saw the displacement of many people as a result of enclosure, clearances, and revolutions. As Anne Wallace has argued, the resultant increase in pedestrian mobility, not only in the form of those exiled from common lands and sent adrift, but also in the form of "deliberate excursive walking, especially by the relatively well-to-do and educated," meant increased contact between those wandering for spiritual or artistic refinement and those made mobile out of economic necessity (166). Such contacts feature prominently in the poetry and prose of the Romantic period, as authorial wanderers frequently encounter members of the wandering class, finding cause to celebrate, condemn, or identify with those traversing the landscape in less orthodox ways.
5. While it may be problematic to assemble such divergent groups into a single category, a series of late eighteenth- and early nineteenth-century laws and ordinances worked to consolidate the wandering poor and to place them in a particular relationship to a wage- and settlement-based economy, which, I would argue, gave them a distinct class status. Since 1662, poor relief had been largely based on a system of parish charity that took "settlement" (defined as birth, long-term residence, or employment in a given community) as a prerequisite for assistance (22-23, 29). The wandering poor were inherently disqualified from such assistance, as they were not settled and were thus not the responsibility of any particular parish. Furthermore, this system of localized assistance increased hostilities towards the unsettled, as those forced to pay the poor rate were invested in limiting any additional burden on parish funds. Tales of transporting pregnant women in labor over parish lines, the destruction of cottages, and the forced eviction of unwanted dependents suggest (with possible hyperbole) some of the strategies used to decrease the pauper population and its concomitant costs (Lloyd 122; Olsen 23). For the nomadic poor this meant continually enforced movement. Unwilling to take on additional charity cases, many communities set laws restricting the number of days vagrants could camp within parish limits. Simultaneously, a series of Vagrant Laws made the very act of continuous, unsettled movement a criminal offense. Thus, an ironic and illogical system was produced whereby nomadic persons were (through local ordinances) required to move regularly, yet by conforming to these laws they subjected themselves to a variety of state-sanctioned punishments, including whipping, imprisonment, and forced labor (Mayall 258).
6. If, as Celeste Langan has argued, vagrancy functions as both the paradigm of Romantic movement and thought, and as the structural analogy by which we understand the liberal subject, how does this liberalism relate to the materiality of the book, particularly the encyclopedic volumes of types which both contain and mimic the movements of their subjects (Langan 27)? While wandering may be integral to Romantic thought and action, so too is the desire to capture, record, and classify. Indeed, the most immediately apparent discontinuity in prints of wandering types centers on the tension between mobility and stasis. These are persons defined by their unauthorized movement, and yet, to record them as distinct personalities or types requires a degree of arrest. Thus, we find a collection of images organized around a verb that is largely unrepresented. These figures sit, stand, crouch, pose, gesture, and occasionally step, but they do not seem to wander.
7. A print of Margaret Finch, "Queen of the Gypsies at Norwood," from James Caulfield's Portraits, Memories, and Characters, of Remarkable Persons is particularly striking in its apparent stasis (figure 1). As "Queen of the Gypsies," Finch is unequivocally a representative of a wandering people, and we are told that she has spent her life "traversing the whole of England, in the double capacity of gipsy and thief." However, in this image we find Finch boulder-like in her squat immobility and groundedness. Having adopted the custom "of sitting on the ground with her chin resting on her knees," the author explains, Finch's sinews became "so contracted, that she could not extend herself or change her position" (Caulfield, Portraits, 247-249). In this way, Finch becomes almost hyperbolically immobile, her body calcifying into a stationary lump. Thus fixed, she becomes a site of pilgrimage, a cause for wandering rather than its practitioner, as "persons from the highest rank and quality to that of the lowest class in life" clog the roads leading to Norwood, hoping to see the "singularity of her figure" and benefit from the "fame of her fortune-telling" (Caulfield, Portraits, 247-249). Her spatial movement restricted, she remains an embodiment of temporal roving, as she is believed to possess the ability to see into the future.
8. As Michael Kramp has argued, the figure of the deformed and repulsive gypsy hag was a Romantic type constructed to undercut the "threat to heterosexual and labor (re)production" posed by the late eighteenth-century trope of Gypsy femininity as aggressively sexual. The old fortune-teller, the "antithesis of sexual allure," does not endanger heteronormativity, or pose the threat of miscegenation (Kramp, Reconceptualization, 1339). In her decrepit and static state, Margaret Finch becomes an attraction rather than an attractor, and yet, this depiction also exceeds its presumed project to simply re-present a "type".
9. Though unwanted by Norwood (Caufield complains that Surry and Kent are especially "pestered" and "plundered" by gypsies), Margaret Finch appears defiant in her stasis (Caulfield 247-249). The cave-like structure that she inhabits seems to have grown up around her, mimicking her contours and naturalizing her place in the landscape. Her face, the nose of which has been drawn in more dramatic profile than the eyes and mouth, seems to hover between a frontal and side view, and concomitantly between a specific likeness and an attempt at physiognomic typing. Her direct stare confronts the viewer, even as her pronouncedly arched and elongated nose distracts from the specificity of this address by calling upon ethnic stereotypes meant to signal her eastern origins and status as "domestic other" (Nord 5).
10. Bolstering the potential defiance of this address are details that would signal her irreverence to the Romantic reader. In addition to the predictable advice regarding hard work, religious devotion, and frugality, the poor were often advised to avoid unnecessary dependents, such as pets. In a 1795 article in The Times, we find a curious preoccupation with dogs as signifiers of excess (qtd. in Olsen 21-22). Dogs are presented as luxuries that may be afforded the rich, but are so impractical for the poor that their retention disqualifies their owners from charitable assistance. The presence of not just one, but two dogs solidifies Finch's status as undeserving of—even defiant toward—charitable aid. Likewise signaling Finch's "excess" are her tobacco pipe and drink. [1]
11. Though Margaret Finch dies in 1740, anchored to a Norwood hovel by a decrepit body, through the reproduction and dissemination of this print, she regains a measure of spatial and temporal movement, persisting through time and "traversing the whole of England" once again. Here, the print seems not to "arrest" or "capture" the subject so much as record an act of defiant immobility—stasis as a political act, in the face of discriminatory laws and practices. The boulder-like solidity of Finch's form, enveloped by the landscape and seemingly immovable, suggests an insubordinate persistence.
12. Refusing a teleological and hierarchicalizing narrative, recent scholarship purposes a greater degree of ambiguity, reciprocity, and oscillation between still and moving images. More importantly, such work critically rethinks the implications of stasis. Resisting an easy alignment of stasis with death, or a confusion of "rigor with rigor mortis," Karen Beckman and Jean Ma advocate the "recursive temporality of the 'still moving' " (5, 11). Beckman and Ma are particularly concerned with the political potential of the recursive and hope that it may provide an alternative to conceptualizing collective political agency solely in terms of "movement" (14). Attempting to forge a model of productive recursive activity, recent scholarship stresses the double meaning of "still," which may be used to connote an arrest or immobility as well as a persistence or continuation. Significantly, if taken in the latter sense, "the still is on the side of becoming and moving rather than in strict opposition with it" (Kaplan 221). It is this tension or doubleness within "the still" that Jean-Luc Nancy has explored in relation to the logic of concealment (31-47). In a like vein, Jean Baudrillard has interrogated stasis that is not static in diverse instances of "freezing," arguing that such "immobility is not an inertia, but a paroxysm which boils movement down into its opposite" (67). Whereas Nancy purposes a understanding of (the) "still" which is implicated in movement, Baudrillard insists that even if the still is understood as the antithesis of movement, it cannot be carelessly aligned with inaction or apathy. Rather, it is a particularly concentrated, dense, or "intense" extraction of that movement.
13. An inaugural plate in Heinrich Moritz Gottlieb Grellmann's Dissertation on the Gipseys (figure 2), may offer an instance of one such dense freeze. Arrested in the moment of taking a step, a gypsy woman of elongated stature moves from light to shade with an infant and small child. The varied positions of eyes and bodies gives the figure group a varied directionality that seems to work against the suggestion of movement in a particular direction. At the same time, the woman's movement from light to dark within the hillside scene suggests a true spatial movement through a landscape that is more than a token backdrop. In combination, these aspects of composition and lighting give the scene the odd effect of appearing both spontaneous and posed. A coin in the woman's outstretched hand (though vaguely delineated) is marked by the simple cross-and-dot pattern of a medieval two- or four-pence (Fleetwood 34-35). [2] Though ostensibly meant to signal that the woman has received alms, this numismatic anachronism also complicates the temporality of the scene. In conjunction with the figures' ahistorical dress, the coin suggests a temporal as well as spatial unrootedness, which stands in tension with the print's claim to have captured a specific moment. In this way, the print seems to present its subjects as simultaneously caught in the act of wandering and performing the act with choreographed exaggeration, and thus gives us a particularly dense extraction of the act that is both specific and symbolic. While acknowledging that anachronistic details fit comfortably with primitivizing constructions of Gypsies as unchanging and timeless, we can still recognize a resistant potential between the supposed temporality of the ethnographic sketch (the claim to have captured) and suggestions of a deeper, un-moored time within the image.
14. The ethnographic project of containment and classification may be further undermined by the book as material object. Many of the books dedicated to vagabonds, gypsies, and others of the wandering class become themselves strangely nomadic texts. Even a work as seemingly focused as Grellmann's Dissertation on the Gipseys is notably sprawling and fragmented in its execution. Illustrations are clearly appropriated from other contexts, and gesture more towards their disparate origins than a cohesive narrative. Even the frontispiece, an engraving of a pirate and wanderer by James Heath (1757-1834), apparently after a painting by Richard Corbould (1757-1831) or one of his sons (figure 3), [3] seems to have been appropriated from another context (as the unrelated volume and page numbers below the caption suggest). Thus, an image intended to introduce a focused treatise on a single topic (gypsies), instead conflates gypsies with other wandering types (pirates) and encourages the viewer to think of other mediums and published contexts for the image at hand. Unfolding pages cut to different sizes, interspersed with plates illustrating themes only tangentially related to the argument of the text, continually push the reader out of the confines of the book to imagine additional sources, narratives, and paths of inquiry. While Grellmann's text strives to categorize, re-present, and define gypsies in a systematic fashion, its format and diverse content continually undermine this agenda.
15. Even in seemingly more cohesive ethnographic projects, competing desires to generalize and particularize stand in tension. In Vagabondiana, or, Anecdotes of mendicant wanderers through the streets of London, John Thomas Smith strives to depict the "wanderers" of London, but in order to obtain portraits "drawn from life" he must arrest his roaming subjects. Thus, a vagrant like "Black Joe" (Joseph Johnson) (figure 4) is identified by the specific address of his supposed encounter with Smith, "N4 Chandos Street, Convent Garden." Ironically, however, this specific location is not articulated in the print, the background of which consists only of non-descript shading. Smith undertakes the seemingly contradictory task of assembling subjects that are both unique and representative. Organized around abstract qualities such as "industriousness," the text produces as archive of distinct "types" valued for their perceived role as representatives of larger categories. "Black Joe" is taken to represent both the black urban poor (he is one of only two characters in the book identified by a racial signifier) and the particularly creative or ingenious beggar. Thus, Johnson is represented as both a unique subject and a type, and as both emplaced and de-contextualized.
16. Smith explains that Johnson, imaged with a crutch and cane, has sustained wounds rendering "him incapable of doing further duty on the ocean." However, as a "consequence of his having been employed in the merchant's service only," Johnson is "not entitled to the provision of Greenwich," and "having no claim to relief in any parish" must glean a living on the streets. Though the elaborate model ship, which Johnson wears affixed to a simple cylindrical cap, is described by Smith simply as evidence of especially creative beggary inspired by his former life as a sailor, between text and image other narratives surface. The author explains that Johnson animates his model ship "by a bow of thanks, or a supplicating inclination to a drawing room window," thus simulating the "appearance of sea-motion" (33). Johnson's decision to masquerade as an aquatic vessel may stem from his time as a sailor (one of many, primarily lower-class, occupations available to black Britons in the late eighteenth and early nineteenth century), and yet the juxtaposition of a black man and large ship during a time of heated debate surrounding slavery also resonates on other levels.
17. At the time of this sketch, the British slave trade had (ostensibly) been abolished, but slavery itself was still rampant. Additionally, ships held the threat of deportation, as London officials concocted solutions to the "problem" of the city's black poor, an effort that culminated in an attempt to ship London's impoverished blacks to a colony in Sierra Leone (Gerzina 142-173). Though unexplored by Smith, the context of the trans-Atlantic slave trade and the possible threat of deportation are difficult to repress. Although we are assured that Johnson's gestures are "supplicating," his performance carries a political edge, an edge that may or may not have been registered by the women taking sugar in their tea as Johnson theatrically "sailed" past their drawing room windows.
18. The fact that Smith's Vagabondiana could itself enter such drawing rooms, becoming a sort of guidebook to the eccentric characters that passed, further complicates the project of "capturing" Johnson's likeness. Smith's impulse to record his own meanderings through sketches of fellow wanderers could be read as an act of violence by which the implied movement of the author/illustrator is privileged, while the subject's movement is arrested or denied. By assembling an encyclopedic volume of vagrant types, Smith simulates the act of wandering using the conceit of "happening upon" beggars in their native environs and making "sketches taken from life". Arguably, the disassociative perusing offered by such texts could function as safe supplement for more radical movement.
19. Romantic sightseeing and landscape texts were likewise invested in simulating the act of wandering in potentially problematic ways. In Humphrey Repton's Fragments on the Theory and Practice of Landscape Gardening, the enclosure of common lands and the clearance of undesirables is enacted with the simple lift of a page (Harrison 46). In "View from my own cottage, in Essex" (figure 5), the concluding hand-colored aquatint from Repton's final treatise and memoir, we find a view of the artist's own yard. Framed by two large trees, Repton's view is molested by the traffic of public thoroughfares, which lie just beyond his low lattice fence. More troubling still is the one-eyed, one-armed, one-legged vagrant who leans against this fence. Disabled, elderly, and seemingly exhausted, the man's mournful eye, long face, and hunched weariness, echoed by the long shadow he casts, seem intended to win our sympathy as viewers. Behind him, in a meager triangle of public green, flocks of ducks scavenge for food, perhaps underscoring the beggar's own reliant state. Repton's solution to the aesthetic problem posed by these vagrant scavengers (the beggar as well as the birds) is simple erasure. Lifting the half page reveals an "improved" garden, in which the formerly common green is appropriated and privatized with the use of handsome shrubbery. Plantings and trellises further obscure undesirable aspects of his surroundings (such as the butcher shop) and the beggar disappears altogether. In a final—almost perverse—gesture, Repton offers an empty chair (near the shade of a tree), but only after that weary traveler so clearly in need of such a comfort has been completely expunged. In this way, the "before" and "after" design of Repton's over-slip illustrations work to justify both the enclosure of common land and the removal of unwanted persons on aesthetic grounds (pun intended).
20. While the reader/viewer is made potentially complicit in the act of erasure by lifting the page of Repton's book, it is a process that can be reversed (the vagrant body can be reinserted into the landscape by replacing the over-leaf). Arguably, the nature of "before" and "after" views depend on a certain back and forth comparison between the two images. While the "before" and "after" images are valued differently and their sequencing is meant to suggest improvement and progress, fully appreciating the extent and specificity of the renovation requires that the reader/viewer refer back to the original scene. Likewise resistant to the process of erasure is the inclusion of such a memorable and explicitly damaged body (bearing three distinct wounds), the removal of which is difficult to excuse as an ethically neutral act.
21. This is not to assume that the injured vagrant is necessarily seeking aid. Certainly, many wandering poor practiced trades and had strategies for living off the land, and were explicitly not looking for charitable assistance or long-term residency in a parish. However, their forced—and simultaneously criminalized—nomadism made almost any action dangerous and suspect. Those who preferred, or were forced into, continual movement were faced with the additional difficulty of navigating lives on rapidly dwindling common lands. In "View from my own cottage, in Essex" we see enclosure on a small scale, as Repton appropriates the apparently public triangle of green for his own purposes, thus alienating both the beggar and the scavenging birds.
22. Enclosure, the privatization of communal grounds, greatly restricted both the movement and the resources of the wandering poor. The process of consolidating and enclosing commons, wastelands, and open fields into private holdings demarcated by fences, walls, hedgerows, or trenches originated in the late medieval period, but experienced an unprecedented surge in England between 1793 and 1815 (McCalman 496). In many regions the process of enclosure eroded customary rights, including the right to graze animals, gather wood (estover), fish (piscary), cut peat (turbary), and glean wheat or produce left after the harvest (Janowitz 155). Like the agricultural laborers that depended on access to common lands to supplement their meager incomes, for members of nomadic or wandering classes attempting to live off the land, the loss of these customary rights severely affected their ability to subsist. Such rights are explicitly flaunted in an introductory plate from Grellmann's Dissertation on the Gipseys (figure 6), in which a group of encamped gypsies flaunt their estover and piscary rights.
23. This depiction of potential theft is exacerbated by the tense relationship between the book as commodity and the vagrant body's supposed exclusion from commodity circulation. The Gypsy "thirst for glittering Gold" described in Dissertation on the Gypsies is echoed in the glittering crest and gold-coated pages of the book itself, reminding the reader that the artfully-bound volume which collects and contains these observations may itself be an object both coveted and stolen. In this way, the text, which delineates a particular relationship between the Gypsy and personal property, participates in this construction by making the possibility of theft more immediate to the reader—you hold in your hand something that is simultaneously described as desirable to the "dangerous" gypsy vagrant. Thus, the text itself seems to speak the threat of theft.
24. While vagrants were often differentiated by degree of perceived criminality, I maintain that considering groups as seemingly disparate as beggars, gypsies and highway-men under the umbrella of a threatening un-rootedness helps to clarify how even the most explicitly criminal of these could be appropriated by artists as models, objects of meditation, or catalysts for expressions of empathy, longing, and admiration.
25. The competing modes of representation we see in "The Trwe [sic] Effigies of James Whitney, the Notorious Highwayman" (figure 7) from James Caulfield's Portraits, Memories and Characters of Remarkable Persons (1819), speak to an ambivalence toward the Romantic criminal wanderer as well as to a conflation of artistic and criminal types. Though decidedly a criminal—defined (in part) by his roaming, un-rooted movement—Whitney is here seen as a leisured artist or writer dressed as though seated in his study. Comparable images abound in seventeenth- and eighteenth-century portraiture, attesting to what fashion historian Aileen Ribeiro describes as the "well-established, (even hackneyed) convention for artists, men of letters and musicians to be painted in loose gowns" (34). James Maubert's 1695 portrait of John Dryden (poet, critic, and author of heroic verse) and a 1689-90 portrait of Robert Boyle (after J. Kerseboom) are but two examples of the long tradition upon which Whitney's "portraitist" draws. However, the engraver clearly plays against these associations as well. Though the dressing gown is understood as comfortable domestic attire for the gentleman who works at home (or, more specifically, the gentleman who does not work, but has pursuits or improves himself at home), it is here coupled not with the usual slippers and study, but with markers of Whitney's outdoor livelihood: his boots and hat. Further parodying the convention, Whitney directs our gaze not to his accomplishments or objects of study, as we often find in similar images of learned men, but rather to the shackle on his left ankle, underscoring his captivity and criminality. Whitney signifies as both artist-gentlemen and notorious outlaw, and thus the image, while static, moves the viewer along (at least) two separate channels of association. [4] Thus, the conflation of types inevitably leaches out through competing vocabularies of representation—a process echoed by the fugitive pigments that, with time, leak across the page, allowing the figure to move once again as a ghostly remnant. Though all aging prints are subject to this chemical instability, there is something particularly haunting about this effect in relation to the nomadic body seemingly captured within the text.
26. Whitney's "arrest" seems particularly pronounced as he is both literally imprisoned and figuratively captured by the text. Yet, images of cages, prisons, and captives often functioned to inversely signal ideas of physical and mental liberty in eighteenth-century art. As Lorenz Eitner argues, unlike the allegorical representations of previous centuries, the Romantics turned away from the Goddesses of Liberty and Phrygian caps of Baroque art, toward more indirect representations of Liberty, primarily signaled through images of its antithesis. [5] Compassion for prisoners, images that underscore the pathos of enchainment, sensational tales of prison escapes, and a general public sympathy for the incarcerated seem to pervade the period. Likewise, Eitner points out that "the prisoner's plight became a favorite metaphor of the isolation or persecution of artists by society" (37). Thus, the importance of liberty is underscored by images that depict its absence: the bound captive, the long-suffering prisoner. Similarly, perhaps, static portraits of wandering types call to mind the mobility they negate.
27. The representation of "Victor, the Savage of Aveyron," (figure 8) in G.H. Wilson's Eccentric Mirror provides another instance of a wandering body both literally and figuratively captured, but makes more explicit the role of text in that arrest. Having wandered the woods unsupervised for many years, Wilson relates, Victor is finally caught by three sportsmen in 1798. Wilson tells us that they find "a disgusting slovenly boy, affected with spasmodic, and frequently with convulsive motions, continually balancing himself like some of the wild animals in the menagerie" (5). And yet, in the portrait that introduces the story, we see the clean, almost classical torso of a boy poised and fully contained within an elaborate set of framing devices. Though supposedly a child of the wilderness, in this likeness, nature is sent to the margins, contained and domesticated in two entwined cornucopias that pour down their bounty as decorative flanking. Far from a threatening or enveloping wilderness, this vegetation is contained and merely ornamental. However, the portrait, in which he is groomed but still naked, introduces an ambiguous temporality. Is this "Victor" before or after his capture?
28. In a panel below, "Victor" is shown seated with a tutor learning his alphabet. Above, a stylus, paper, and alphabetic flashcards reiterate the theme of literacy. To the right, a badminton racket and birdie indicate a strategy for channeling his "sporadic" movement into organized sport. Together, these symbols suggest the disciplining of the mind and body. However, they also underscore the fraught relationship between the nomadic body and the text as a conduit of literacy, suggesting that "Victor" must be made literate in order to understand his own process of domestication. That is, he must be brought into literacy in order to recognize his own place in the text—a process underscored by the mirror-like quality of the medallion that contains his likeness and the way his gaze is directed at the facing page, on which the narrative of his life commences. The scene may narrate the process by which "Victor" will come to understand his own imprisonment within the text, but it also holds out the possibility of future self-representation.
29. As a strategy of tying language to static forms that can thus be (at least in some sense) "owned," the printed word seems inherently at odds with the itinerant subject it strives to depict. The historiated initials (figure 9) that populate John Thomas Smith's Vagabondiana speak to the anxieties surrounding mobility in relation to the written word as property, and suggest acts resistant to reductive classifications. The small human figures that entwine themselves around inauguratory letters molest, steal, and vandalize the words used to describe them in subtly subversive ways, suggesting that language—even written language—is never stable. The movement of these embodied letters may also speak to what Michel de Certeau has called the "parallelism between linguistic and pedestrian enunciation," whereby walking (understood as analogous to the speech act) produces the possibilities it executes (99). Thus, walking, as a space of enunciation, can make certain possibilities "exist as well as emerge" (98). Likewise, the man who entwines his body with the inauguratory letter of the word "Beggary" simultaneously presents and performs the word that seeks to classify him. That is, he performs a sort of linguistic theft.
30. The tensions registered here between nomadic bodies and the texts that strive to anchor them are furthered complicated by the changing understandings of texts as intellectual property during the Romantic period. Emerging from a Kantian understanding of original genius as antithetical to the spirit of imitation, [6] Wordsworth, Coleridge, and other major literary figures of the period argued for a distinction between original labor and original genius (Saint-Amour 30-31). Ironically, as Paul Saint-Amour argues, "the Romantic conception of authorship revolted against the very market conditions—mechanical reproduction, textual commodification, logics of equivalency, labor-based copyright laws—that had made authorship professionally viable in the first place" (31). Imbedded within this idea was the belief that the artist was ahead of his time. In the words of Saint-Amour, the Romantic conception of Genius "was earliness personified: not only did geniuses do things before anyone else, they antedated even their own comprehensibility and consumability" (32). The Romantic roots of what would solidify into a more self-conscious conception of the avant-garde as the century progressed is worth underscoring as it coincides with changing understandings of intellectual property and copyright law.
31. Between 1814 and 1842, copyright protection was expanded from 14 to 42 years, and the first posthumous copyright law was enacted, protecting a work for 7 years after the author's death. A major catalyst for these extensions was the argument, put forth by Wordsworth and others, that true artistic genius could not be understood in its own time and thus required a postmortem window, during which its value could finally be recognized (Saint-Amour 32). While the idea of artistic genius far precedes the nineteenth century, the concern that this genius was unlikely to be sufficiently appreciated during the artist's own lifetime, that the artist was "out of synch" with his contemporaries (explicitly not co-temporaneous), seems a peculiarly Romantic preoccupation, and is suggestively imbricated with assumptions about the vagrant as having an eccentric relationship to time. Gypsies, and to a lesser extent other wandering types, were consistently assumed to have prophetic powers, as countless representations of gypsy fortune telling and divination attest. Thus, in addition to a sort of spatial eccentricity, members of the wandering class were often presumed to have a temporal eccentricity.
32. The origins and lineage of vagrants were often (temporally as well as geographically) obscured. Grellmann's Dissertation, for instance, spends an entire chapter attempting to determine from what country Gypsies originate and at precisely what date they came to be in England. By definition without land or title, vagrants were by and large excluded from the city and parish records that would give them a clear place in hegemonic time (further obscuring questions of origin and lineage). Perhaps a reflection of this ambiguity, the wandering figure is often constructed as a timeless, prophetic figure. [7]
33. Through changing copyright laws we find Romantic authors insisting on their lack of contemporanaiety and an attendant need for temporal freedom (through the prolonged life of their works). In this argument for a proto-avant garde I see a sort of temporal wandering, a feeling of disrootedness from one's own era, a belief that artistic production is not of one time or place, but roams—not unlike those vagrant bodies with whom the Romantic artist so readily identifies. However, we should also note a certain paradox operating within this forced alliance. The Romantic conception of original genius, as a less tangible and heavily mythologized alternative to original labor (understood as industrial and solid), ostensibly resists the labor-based copyright laws it helps to enact—laws concerned with the production and distribution of texts as private commodities.
34. To state this contradiction more precisely, at the same time that Romantic artists take the wandering, property-less subject as a model for creative production, they advocate for intellectual property laws that draw increasingly rigid boundaries around the intellectual-as-commodity. Concomitant, then, with the land enclosures that help to further dispossess the wandering class, we find a series of intellectual or literary enclosures that privatize texts, removing them from the public domain. As an added insult, these texts frequently contain representations (either literary or visual) of wandering bodies, which they twice alienate: both in their representational arrest, and through their commoditization and privatization as texts operating within a capitalist economy and under the protection of copyright monopolies. And yet, despite this double gesture of appropriation and enclosure, the vagrant body is not wholly confined. Repeatedly, we see it surface, resist, and question the parameters of its enclosure.
Baudrillard, Jean. "Cool Memories." The Cinematic. Ed. David Campany. Cambridge, Mass.: MIT Press, 2007. 67.
Beckman, Karen, and Jean Ma, eds. Still Moving: Between Cinema and Photography. Durham, North Carolina: Duke UP, 2008.
Benis, Toby. Romanticism on the Road: The Marginal Gains of Wordsworth's Homeless. New York: St. Martin's Press, Inc., 2000.
Caulfield, James. Portraits, Memories, and Characters, of Remarkable Persons. London: H.R. Young and T.H. Whitely, 1819.
De Certeau, Michel. The Practice of Everyday Life. Trans. Steven F. Rendall. Berkeley: U of California P, 1984.
Eitner, Lorenz. "Cages, Prisons, and Captives in Eighteenth-Century Art." Images of Romanticism: Verbal and Visual Affinities. Ed. Karl Kroeber and William Walling. New Haven: Yale UP, 1978. 13-38.
Fleetwood, William. "An Appendix to Chronicon Preciosum: Containing An Historical Account of Coins." Chronicon Preciosum: or, An Account of English Gold and Silver Money. London: Printed for T. Osborne, 1745. 1-55.
Gerzina, Gretchen. Black London: Life Before Emancipation. New Brunswick, New Jersey: Rutgers UP, 1995.
Glajar, Valentina and Domnica Radulescu, eds. "Gypsies" in European Literature and Culture: Studies in European Culture and History. New York: Palgrave Macmillan, 2008.
Grellmann, Heinrich Moritz Gottlieb. Dissertation on the Gipseys. London: William Ballintine, 1807.
Harrison, Gary. Wordsworth's Vagrant Muse: Poetry, Poverty, and Power. Detroit: Wayne State UP, 1994.
Hawes, Derek and Barbara Perez. The Gypsy and the State: The Ethnic Cleansing of British Society. Bristol: SAUS Publications, 1995.
Janowitz, Anne. "Land." An Oxford Companion to the Romantic Age: British Culture 1776-1832. Ed. Iain McCalman, et al. Oxford: Oxford UP, 1999. 152-161.
Jarvis, Robin. Romantic Writing and Pedestrian Travel. New York: St. Martin's Press, 2000.
Kant, Immanuel. Critique of Pure Judgment, trans. J. H. Bernard. New York: Hafner Press, 1951.
Kaplan, Louis. "Aleph Beat: Wallace Berman Between Photography and Film." Still Moving: Between Cinema and Photography. Eds. Karen Beckman and Jean Ma. Durham, North Carolina: Duke UP, 2008. 196-225.
Kramp, Michael. "The Romantic Reconceptualization of the Gypsy: From Menace to Malleability." Literature Compass 3 June (2006): 1334-1350.
Langan, Celeste. Romantic Vagrancy: Wordsworth and the Simulation of Freedom. Cambridge: Cabridge UP, 1995.
Lloyd, Sarah. "Poverty." An Oxford Companion to the Romantic Age: British Culture 1776-1832. Ed. Iain McCalman, et al. Oxford: Oxford UP, 1999. 114-125.
Mayall, David. Gypsy Identities, 1500-2000: From Egipcyans and Moon-men to the Ethnic Romany. New York: Routledge, 2004.
McCalman, Iain, et al. An Oxford Companion to the Romantic Age: British Culture, 1776-1832. Oxford: Oxford UP, 1999.
Nancy, Jean-Luc. "Concealed Thinking." A Finite Thinking. Ed. Simon Sparks. Stanford, California: Stanford UP, 2003. 31-47.
Nord, Deborah Epstein. Gypsies & the British Imagination, 1807-1930. New York: Columbia UP, 2006.
Olsen, Kirstin. Daily Life in 18-Century England. Westport, Connecticut: Greenwood Press, 1999.
Peltz, Lucy. "Corbould, Henry (1787–1844)." Oxford Dictionary of National Biography. Ed. H. C. G. Matthew and Brian Harrison. Online ed. Lawrence Goldman. Oxford: OUP, 2004. Web. 14 Mar. 2009
Repton, Humphrey. Fragments on the Theory and Practice of Landscape Gardening. London: J. Taylor, 1816.
Ribeiro, Aileen. The Gallery of Fashion. Princeton, New Jersey: Princeton UP, 2000.
Saint-Amour, Paul. Copywrights: Intellectual Property and the Literary Imagination. New York: Cornell UP, 2003.
Smith, John Thomas. Vagabondiana, or, Anecdontes of Mendicant Wanderers Through the Streets of London. London: A. Arch, 1817.
Wallace, Anne. Walking, Literature, and English Culture: The Origins and Uses of Peripatetic in the Nineteenth Century. New York: Oxford UP, 1993.
Wilson, G.H. The Eccentric Mirror. London: James Cundee, 1806-1807.
[1] The accompanying text suggests that a "mug of beer" may be had "at the place generally called the Gipsy-house" (Caulfield 247-249). BACK
[2] Coins with a similar pattern on the obverse of the monarch's profile were minted between the reigns of Richard I and Henry VII (c. 1189-1509). Choosing to show the back of the coin further obscures the temporal as a coin's face changes with each new reign. BACK
[3] Richard Corbould (1757-1831) had two sons, George Corbould (1786-1846) and Henry Corbould (1787-1844). Richard Corbould married Charlotte Heath, a daughter of the Heath family of engravers and their eldest son, George, apprenticed with James Heath (Peltz). BACK
[4] The "gentlemen thief" was a salient category in the Romantic imagination, exemplified by the "Prince of Pickpockets," George Barrington (1755-1804), a trained actor and London's most notorious and celebrated thief. Although arrested repeatedly, Barrington was often (supposedly) released on account of his "gentlemanly demeanor and eloquence," testifying to the slippage between the categories he embodied (McCalman 417). BACK
[5] There are, of course, notable exceptions (e.g., Delacroix's Liberty Leading the People, 1830) however, Eitner persuasively argues that, in general, the Romantic period sees a movement away from this type of overt allegory. BACK
[6] As put forth in the Critique of Pure Judgment (1790). See, for example, Kant 150-51. BACK
[7] A popular subject in art of the preceding centuries, the gypsy fortune-teller gained renewed cultural currency in the beginning of the nineteenth century with Sir Walter Scott's Guy Mannering, or, The Astrologer, published in 1815. The novel's ambiguous hero, Meg Merrilies, a tempestuous gypsy, and one of the most memorable literary gypsies of the era, famously divines young Harry Bertram's horoscope. Not only were illustrations of this scene well known through the various prints of Scott's novel, the figure of Meg Merrilies became the popular subject of paintings and poetry, including John Keats' "Meg Merrilies," of 1818. BACK


text:
The Most Expensive Cars Featured In Fast And The Furious Franchise
By Odometer Team
The Fast and Furious movie series has captivated generations of viewers over the past two decades. Whether it was the cars, the characters, the storyline, or just stuff blowing up, people found so many reasons to enjoy this franchise. With the series being centered around cars, we have compiled a list of the Top 10 most expensive cars used throughout the movies.
#10 – 1970 Dodge Challenger ($70,000)
Coming in at number 10 we have the mean looking 1970 Dodge Challenger from 2 Fast 2 Furious. Its orange paint job with black racing stripes give it the classic look that is easily recognizable and instantly loved. At $70,000, this bad boy would be breaking the bank for most people, but is the cheapest car on this list by a mile.
#9 – 2000 Acura NSX ($84,000)
2 Fast 2 Furious brought us another… interesting looking car in the Acura NSX. Although not everybody agrees about the look of the car, it packed some serious punch for $84,000 and added something different than the normal muscle to the movie.
#8 – 2014 Audi R8 – ($155,000)
Furious 7 brought fans a TON of cool cars to the Fast franchise. This cheapest of the expensive cars was the gorgeous Audi R8 displayed immense power and beauty. When it was new, the R8 was coming out at $155,000!
#7 – 2007 Aston Martin DB9 – ($175,000)
Aston Martin's have always been viewed as an amazing example of performance meeting luxury. From James Bond to Transformers, Aston Martin cars have been there and stunned the audience. At $175,000 the DB9 showcased the classic Aston Martin classy performance vibe that we know and love in Fast and Furious 6.
#6 – 1969 Chevrolet Yenko Camaro ($220,000)
We finally broke the $200,00 point, but we're only at #6! For the price of a house the '69 Chevy Yenko Camaro looked absolutely MEAN in 2 Fast 2 Furious. It's a pillar of American Muscle and is iconic to the Fast franchise.
#5 – 2012 Lexus LF-A ($375,000)
Coming in at just around 10% of our top car, the Lexus LF-A from Fast Five was briefly featured and didn't have a huge impact on the storyline. Even though its film time wasn't long, this car looked smoking hot and earned its way onto our list.
#4 – 2014 Eagle Speedster: Jaguar E Type ($1,000,000)
Money money money, MONEY! The 2014 Eagle Speedster: Jaguar E Type gave Fast and Furious 6 a beautiful, classic looking car. Because Eagle customizes cars, they require customers to get individual quotes for their vehicle, with each vehicle being completely custom, we don't know the exact price that this car cost new. However, Simon Cowell of America's Got Talent purchased this vehicle at a charity auction for $1,000,000.
#3 – 2011 Bugatti Veyron ($1,900,000)
Coming in at number 3 is the Bugatti Veyron. This car was, at one point, the most expensive supercar in the world – with good reason, too. The Veyron is FAST and the Fast franchise was able to show it off in Furious 7 alongside some other great cars. The beauty of the Veyron is sometimes questioned, but the performance makes up for that department. At $1.9 million this is a car only the rich and famous could hope to afford.
#2 – 2010 Koenigsegg CCX-R ($3,000,000)
Along with the Bugatti Veyron and our number 1 car, the Koenigsegg CCX-R is featured in Furious 7. The CCX-R is probably one of the most expensive cars that the average consumer has never heard of. Koenigsegg only released four of these $3 million beauties and the Fast franchise was lucky enough to get their hands one for the movie.
#1 – 2013 W Motors Lykan Hypersport ($3,400,000)
The number 1 most expensive car in the Fast and Furious series is the 2013 Lykan Hypersport. This car sounds AMAZING and is the most expensive car featured in the series at almost three and a half million dollars! The $3.4 million price tag – or 1.6 million Grande Starbucks Coffees – seems like an obscene amount of money, but when you see pictures of this car and hear it, it makes it all worth it. It looks like it's straight out of the future and is one of the coolest looking cars in the world.
The Fast and Furious franchise has shown us some of the coolest, meanest, and sleekest cars from around the world and will continue to serve as a go-to movie series for car lovers and action lovers for years to come. Although the average person may never be able to afford one of the cars from the top half of our list they can still be inspired by the beauty of these cars. And hey, we can still dream, right?

redpajama_set_name: RedPajamaCommonCrawl


Sometimes all you really want for a musical number is for a descant (or obbligato) on one verse, or for a brief musical interlude between verses. That's what this page is for!
I made this for our Primary Program for 2015. It's a flute descant to go along with the song for the last verse to give it some extra umph and show off our children's talents! I also wrote out the soprano and alto staffs of the song for two of the children who play violin. You can see the combined version in Religious Arrangements to see how that turned out! But for just a descant, this is the place.
I created this as a way to make a musical break between verses 3 and 4 of the song so that I could turn to bring in the congregation for the last verse.
Quick disclaimer–although the entire descant is written here, I ONLY wrote the descant part that goes with the chorus. The rest of it (for the verses) is the same descant from the Children's Songbook. I just wanted everyone to be aware of that. I have a violinist who is playing the descant for us when we sing this with the Primary kids along with my choral arrangement, and she felt weird just stopping at the chorus, so I wrote an additional descant that moves along into the chorus. The sound file isn't exactly accurate, as my music composition software apparently doesn't honor DC al Fine in its midi playback and also doesn't follow my first/second ending brackets, so, just use your imagination! (Update 5/1/2015) Also, I've been informed that I put a wrong note in there somewhere. I haven't fixed that yet. It sounds good, but I just thought I'd clarify that it is slightly different from the Children's Songbook. At least until I fix it!
We used this on the last verse as a flute descant along with our ward choir, and it was so beautiful! It could also be used as a soprano (1st and 2nd soprano) descant. It's so high that you really only need one or two people on it–it'll carry very well over the rest of the choir.


Fin-fan coolers are heat exchangers, as their name suggests, and are some times simply referred to as, " fin fans". Some plants refer to them as exchangers with no further description.
For years the maintenance of these devices has been an expensive and an on going problem. The fins that conduct the heat away from the product are fragile, thin, and usually aluminum. They bend when people walk on them. They swell and lose their conductivity when the wrong chemicals are used to clean them. They become clogged with dirt and debris from surrounding processes, unpaved bases, oil mist lubricators and a number of other environmental situations that might exist near the site.
In the past owners have attempted to hydro-blast them. The high pressure water stream collapses the fins, the man running the blast gun collapses the fins walking on them, and if the coils are stacked in enough layers the water stream disperses before it ever does its work on the offending clogs. If the fins are collapsed, the air can not move over the coils and move the heat. The objective of the fin fan cooler is diminished or lost completely.
Others have tried to use foams and soaps to loosen the dirt and oil and wash it away. These chemicals dry on the fins and become a part of the problem and often attack the aluminum causing it to become brittle and eventually break away, or worse yet, react with the metal and cause it to swell until the air flow is virtually cut off and conductivity is lost. Aluminum does not get along well with caustics and phosphates. As is demonstrated in the thermo-pictures below. Our process returns the fan cooler to its design capacity. The chemicals we use are not reactive with the aluminum or admiralty that might be used in the coil tubes themselves. We use high volume, low pressure wash streams that will not bend the fins and there is no need to get out and walk on the coils.
In short, we have an efficient cleaning system that enhances the effectiveness of the cooler.


Well what can I say, not a lot happened this week. A lot more errands to run, and a lot more things to do to close this transfer. We had MLC last week and it was really good. We set goals for the year of 2017 and tried to see where we could improve as a mission. As a mission last year we had 1818 baptisms, which beat last years record of 1796, and we did it with half as many missionaries :). Yeah we reeaally pushed ourselves this year, and as a result, we saw some pretty great miracles. For the upcoming transfers President wants to focus on some other areas that haven't received much attention so we should be seeing some results really soon.
Like I said it was a pretty long week, and a lot of things going on at once, but nothing really worthy of mentioning. After my long week, it was Friday night, after countless hours of standing up or driving, we had a break. After pondering about the week in the office, I turned to my companion and said, "we need to go and see someone". He said "who do you want to see?" After calling about 3 different investigators or recent converts they all said they were busy and would have to wait until next week. I was a little bit disappointed, but then I turned to one last phone number in my phone. I turned to my companion and said "what about Vanessa? Perfect." So I called her then what do you know she was very available and really wanted to see us. She was baptized clear back in June, and has been coming to church ever since, but sometimes leaves the country so she hasn't been around for some time. In our previous appointment with her we challenged her to read the entire Book of Mormon in a year, kind of like you guys! To our disappointment we found she hadn't been reading at all. So we took the whole hour with her just reading from the Book of Mormon. As we were reading questions arose, and I could just see the light coming from her eyes as she read. The chapter had answered many questions that she had, and reading with her gave her a new spark and desire to continue on her own. I'm grateful for the Book of Mormon and the power that it has. I'm even more grateful to be a witness everyday of the power and influence that it has in others lives.


Tougher EU rules to fight dumped and subsidised imports from third countries were voted on by MEPs on Wednesday 16 November. For the first time, EU trading rules will require trading partners outside the EU to meet international social and environmental standards, so as to prevent dumping. The aim is to step up protection for EU jobs and businesses against unfairly cheap imports from third countries that interfere heavily in the economy. Trade unions are invited to give input on decisions on trade defence measures.
What Parliament endorsed Wednesday was an informal agreement on the new rules struck by MEPs and Council negotiators on 3 October. It backed the deal by 554 votes against 48, with 80 abstentions.
"We have been working hard to achieve this result but it was worthwhile: for the first time ever we now have a legal tool to fight social dumping. It is an important step towards a fair global level playing field", said Luis Colunga, Deputy General Secretary of industriAll Europe.


Football Drops Homecoming Game to McDaniel | The Gettysburgian.
McDaniel College shutout the Gettysburg Bullets on Homecoming. Though the defense stood strong all game, the Bullets offense could not get going in the 25-0 loss.
The Gettysburg Offense struggled all game long. The Bullets managed only 33 rushing yards and 90 passing yards, in addition to turning the ball over four times.
At quarterback, sophomore Ryan Finley made his first career start. He finished with 90 yards on 14 completions. Senior Johnny Davis led receivers with 49 yards on 3 catches, while senior Chase Fee added 5 catches for 30 yards.
The defense was on the field for most of the game, racking up 40 minutes of play time on 83 plays and stingily giving up 350 yards. Coach Kevin Burke said that he thinks the defense was playing better than it looked like in the stat column.
On defense, sophomore Jack Humphries and senior Jake Skinner led the team with 14 tackles. Senior Logan Aikey also added 12 tackles, 1.5 tackles for loss, and a forced fumble. For the defensive backs, sophomore Thomeir Richardson tallied 3 tackles, 1 pass break up, and an interception.
It was a long day for the Gettysburg offense as they got off to a slow start. On the first drive, Finley missed his receiver deep behind the defense.
"It's early. You have got to move on. You want to hit that shot, you practice it, you try to get it," Coach Burke said, commenting on the missed opportunity.
The first half was about field position and defense. McDaniel's punter Joey Cornwell put the Gettysburg offense way back in their own territory with a 71-yard punt to Gettysburg's 2-yard line. Gettysburg punted after a 9-yard drive, and McDaniel followed with a 13-play drive resulting in a field goal to go up 3-0 with 3:08 left in the first quarter.
To begin the second quarter, McDaniel stopped Gettysburg and put together a 7-play, 70-yard drive capped off by a 4-yard run for a touchdown. Just 18 seconds later, Gettysburg quarterback Finley fumbled on the ensuing possession, and McDaniel got the ball back.
But the Green Terror didn't have the ball back for more than a minute before Thomeir Richardson jumped a curl route and tipped the ball to himself for the interception.
"He lets you do a lot of different things on defense. He plays the ball extremely well in the air," Coach Burke said of Richardson. Both defenses did their job as the half closed with McDaniel up 9-0.
The Gettysburg offense barely saw the field in the second half as the offense totaled 6:16 minutes of possession, amassing 6 drives totaling 42 yards.
The defense held off McDaniel for two solid drives to start the half. But with 4:58 left in the third, McDaniel's running back Isaac Murray broke free for 20 yards and scored to increase the lead to 16-0.
With 5:16 left on the clock in the fourth quarter, the Gettysburg defense forced a 4th and 5. McDaniel's quarterback Tyler Palermiti connected with Aaron Grant for 28 yards to continue the drive. On the next play, John Chamberlain ran it in for a 4-yard touchdown to make it 23-0 McDaniel.
Minutes later, McDaniel finished off Gettysburg with a 2-yard sack for a safety to end the game 25-0.
Gettysburg will look to turn their season around this Saturday, playing a conference game away at Moravian at 1:00 pm.


text:
Q: Hybris Solr Indexing failing I have been indexing for quite a long time but now I am not able to do so. I keep on getting the following error.

INFO  [Thread-80] (00002SB6) [SolrIndexerJob] Started indexer cronjob.
  ERROR [Thread-80] (00002SB6) [Job] Caught throwable de/hybris/platform/solrfacetsearch/config/IndexConfig
  java.lang.NoClassDefFoundError: de/hybris/platform/solrfacetsearch/config/IndexConfig
          at ma.glasnost.orika.generated.Orika_FacetSearchConfig_FacetSearchConfig_Mapper45623933135018$4.mapAtoB(Orika_FacetSearchConfig_FacetSearchConfig_Mapper45623
  933135018$4.java)
          at ma.glasnost.orika.impl.mapping.strategy.UseCustomMapperStrategy.map(UseCustomMapperStrategy.java:67)
          at ma.glasnost.orika.impl.MapperFacadeImpl.map(MapperFacadeImpl.java:735)
          at ma.glasnost.orika.impl.MapperFacadeImpl.map(MapperFacadeImpl.java:714)
          at ma.glasnost.orika.impl.ConfigurableMapper.map(ConfigurableMapper.java:150)
          at de.hybris.platform.solrfacetsearch.config.impl.DefaultFacetSearchConfigService.getConfiguration(DefaultFacetSearchConfigService.java:51)
          at de.hybris.platform.solrfacetsearch.indexer.cron.AbstractIndexerJob.getFacetSearchConfig(AbstractIndexerJob.java:70)
          at de.hybris.platform.solrfacetsearch.indexer.cron.SolrIndexerJob.performIndexingJob(SolrIndexerJob.java:49)
          at de.hybris.platform.multicountry.solr.indexer.cron.impl.MulticountrySolrIndexerJob.performIndexingJob(MulticountrySolrIndexerJob.java:73)
          at de.hybris.platform.solrfacetsearch.indexer.cron.AbstractIndexerJob.perform(AbstractIndexerJob.java:40)
          at de.hybris.platform.servicelayer.internal.jalo.ServicelayerJob.performCronJob(ServicelayerJob.java:38)
          at de.hybris.platform.cronjob.jalo.Job.execute(Job.java:1390)
          at de.hybris.platform.cronjob.jalo.Job.performImpl(Job.java:814)
          at de.hybris.platform.cronjob.jalo.Job.performImpl(Job.java:732)
          at de.hybris.platform.cronjob.jalo.Job.perform(Job.java:644)
          at de.hybris.platform.servicelayer.cronjob.impl.DefaultCronJobService.performCronJob(DefaultCronJobService.java:86)
          at de.hybris.platform.solrfacetsearchbackoffice.wizards.BaseSolrIndexerWizardStep$WizardCronJobAsyncOperation.execute(BaseSolrIndexerWizardStep.java:158)
          at com.hybris.cockpitng.engine.impl.DefaultWidgetInstanceManager$1.getResult(DefaultWidgetInstanceManager.java:206)
          at com.hybris.cockpitng.engine.operations.ResultLongOperation.execute(ResultLongOperation.java:52)
          at com.hybris.cockpitng.engine.operations.LongOperation.run(LongOperation.java:205)
          at java.lang.Thread.run(Thread.java:748)

Not sure which change is causing this issue.
Tried to setup new fresh hybris suite still the same issue. Followed hybris answers which mentioned to perform ant clean all and server startup, didn't work. Created new index and then performed indexing still the same. I am able to open solr admin but not able to index anything.
Any help would be really appreciated.

A: Just restarted the server. It worked for me!

redpajama_set_name: RedPajamaStackExchange


text:
Outdoor ice rink and giant snow globe at Santa run
Sign up for Oxford Santa run for Helen & Douglas House
By Sophie Grubb @OxMailSophieG Reporter covering Abingdon
SANTAS will career through an inflatable igloo tunnel and a crackling 'fire zone' at Oxford's most festive fun run.
The sight of hundreds of Santas dashing through the streets has become an iconic part of the city's Christmas calendar, courtesy of Helen & Douglas House.
Next week, the Oxford hospice's revamped Santas on the Run fundraiser will return, renamed as the Frosty 5k.
This time it will take place at University Parks and participants can enjoy an 'event village' including an outdoor ice rink and a giant snow globe.
It takes place on Saturday, December 7 and hundreds of people have signed up so far, but Friday at midday is the cut-off for people to sign up in advance.
The course covers four zones – an igloo lined with masses of icicle lights, a fog tunnel, a fire zone with simulated flames and crackling sounds, and a snow zone with 15 metres of inflatable snow people.
ALSO READ: Pictures from last year's Santas on the Run
Among those taking part will be Mark Fry, his wife Jo and their children – six-year-old Joseph, three-year-old Elliott and 18-month-old Emily.
The couple's first born child, Charlie, died at the hospice in 2012, aged just 17 days.
Mr Fry, who lives near Swindon, said: "This is just our little bit of help to give back for the huge amount they gave Jo, our families, friends and myself.
"The service they gave us was nothing short of remarkable - they allowed us to make the most of our time with him."
The family spent 12 days at the hospice in Magdalen Road, before Charlie died of a bowel condition.
Mr Fry will also be talking on stage at the event, about their experience.
He added: "Staff were always around if we needed help - not just with Charlie, but for us too.
"They fed us three meals a day, did our laundry and nothing was ever too much trouble.
"They allowed us to focus on Charlie, with simple things like reading him Thomas the Tank Engine stories or taking him out in his pram along Cowley Road.
"Whatever we needed, no matter how big or small or the time of day, they would have got it for us."
He encouraged people to support the hospice, which relies almost entirely on donations to run.
ALSO READ: Pictures from hospice's new Bubble Rush run
The on-site 'event village' will be open between 10am and 3pm, packed with activities including an outdoor ice rink and rides including a swing boat and chair-o-plane.
Participants can have their photo taken in a snow globe, get their face or beard painted with glitter, or warm up with a drink of luxury hot chocolate or a fresh crepe.
The course is completely wheelchair and buggy-friendly and people are welcome to walk, jog or run.
Hazel Bedford from Helen & Douglas House said: "This is one of our biggest fundraisers of the year and a great festive event for all the family to take part in.
"By taking part, you will help create magical Christmas memories for the local children we care for, and ensure that we are there to work alongside local families like Mark's on their difficult and exhausting journey, physically and emotionally, every step of the way.'
The 11am start time is already sold out but there are still places on the midday start time.
People can also come along on the day to sign up at 10am.
Sign up by visiting helenanddouglas.org.uk/event/frosty-5k before lunchtime on Friday or call 01865 799150.
Independent shops hope for footfall boost from West Way
Academy is edging closer to trust takeover after 'inadequate' rating
Hunt for car vandal who caused 'significant damage'
'Ban yellow coats': here are your top comments of the week
PICTURES: West Way from opening day to demolition
Town council asks for PLANNING PERMISSION to put tables and chairs in market place
MUMS WANTED to become firefighters
Air ambulance called to a 'medical emergency' at leisure centre


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Home > urban > Buy the Land And Cultivate in Different World > CH 210
Buy the Land And Cultivate in Different World CH 210
C210: A CAPABLE WOMAN
The two new members of the Heavenly Four, Aeshma and Leviasa, are temporarily staying at our farm.
Aeshma has gotten enough spotlight lately, so it's time we talk about Leviasa and her capabilities next.
Glasya is being hounded by the elves upon her visit to our farm.
I didn't know what was going on at first, but as I listened to their exchange, I gradually began to understand.
"Demon Queen!"
"When are you going to start selling our work"
The elves are in a storm of protest against Glasya, the second Demon Queen, led by Aileron the pottery group leader, and Mieral the woodwork group leader.
Our elven artisans are divided into such a fashion.
Why are these two flaring up at a queen so discourteously, you ask
Months ago, they said they wanted to sell their works to the outside world after being inspired by Batemy's clothes selling like mad in the Demon Capital.
In fact, the leather goods made by Maelga's team and the glasswork made by Poel's team were sold by Mrs.
Astres through Shax and are now recording steady sales.
The pottery made by Aileron's group and the woodwork made by Mieral's group hasn't been sold at all despite being fellow artisans.
Why is that
Glasya, another queen like Mrs.
Astres, interrupted, "It's not fair that only Astres is doing this! Let me do it too!"
By distributing superior farm articles under Mrs.
Astres' name, her reputation from the entire demon race will also rise.
Worried about being outclassed as a queen, Mrs.
Glasya interjected.
After several discussions, it was decided that the four types of products produced by the elves would be split-released to the market.
Astres is in charge of Maelga's leather goods and Poel's glass goods.
Similarly, Mrs.
Glasya is in charge of Aileron's pottery and Mieral's woodworks.
That should be enough to explain the gist of things.
This is where light and darkness split for the elves.
"Maelga and Poel's works are already out in the market! But what about ours!"
"They're piling up from your side, aren't they Why aren't you selling them Sell them right this instant!!!"
There you have it.
Both Mieral and Aileron have no modesty even though they're talking to a queen.
As expected of former, anti-authority bandits.
"…Now, now.
Calm down and listen."
Glasya also seems to have become more composed than when she was a Heavenly One.
She continues to talk with befitting solemnity.
"Your colleagues' works under Astres' intermediary are selling like hotcakes, but the works you entrusted to me are not appearing on the market at all, so I can understand why you're angry.
But I have a reason for that."
"We weren't expecting you to say that… It's not like we blame you alone for it…"
"Well, it's actually because I haven't been doing anything that nothing's ever happening."
"So it's YOUR fault after all!!!"
They're so energetic.
I'll tell you the reason why so you'll understand!"
"Fine! Let's hear it!"
They're feeling desperate now.
"It rings true that this intermediary business has a rivalry aspect between me and Astres with our title as queen on the line."
"I-I see…"
"The world will think of the one who sells more as the better Demon Queen! I'm not going to let her beat me! She's my destined enemy since our times as Heavenly Ones!!!"
Hence, Mrs.
Glasya must use a different method to win against Mrs.
Astres.
In other words, she won't be using Shax's intermediary services.
If she imitated her, it's only natural that Mrs.
Astres, who already had actual results, would make a more lasting impression.
The only way for Mrs.
Glasya to achieve a surprising victory is to use another route and create a bigger boom than her rival.
"…I tried fumbling around for a new route, but I couldn't find any."
"Whatever! Give back our works! We'll have Miss Astres sell them for us instead!"
"Don't be ridiculous! If you do that, I'll lose miserably! My pride cannot allow thaaaat!!!"
And now they start scuffling.
Why can't she just put her stubbornness aside and sell them normally
Watching their behavior, I let out a sigh.
"You're a completely useless woman as always, Queen Glasya," says Leviasa, Mrs.
Glasya's successor as a Heavenly One.
"I'll find you a route to sell their crafts if you'd like."
"You will!"
"I can't say for sure until I see the actual products, though.
Well, it should be fine if it's nothing too extreme.
Elven handicrafts are luxury items, anyway."
"All right! Everything's in your hands now, Leviasa!"
She leaves all the hard work to her subordinate without any second thoughts.
"I don't care anymore as long as it's not Glasya!"
"Please! We leave our works to you!"
The elves also agreed immediately, putting everything into Leviasa's custody.
"Queen Glasya has risen to the rank of a Heavenly One almost entirely on her merits in combat," says Leviasa calmly.
"Even though the Malicious-Holy Sword is a family heirloom, she's just from a branch family with a low ranking.
Nonetheless, she has had a staggering career fighting her way through the infantry, defeating countless heroes, rising through the ranks, and finally being promoted as one of the Heavenly Four."
Though her voice is calm, you can somewhat feel an underlying bragging tone to it.
She must respect and admire her superior a lot.
"Hence, she lacks the skills to handle such practical matters outside the battlefield.
That's where I come in as her aide."
In other words, she's good at this kind of negotiation.
I'd feel sorry for Aileron and Mieral if they don't get what they rightfully deserve soon, so please do something about this.
"So, the items are…tableware and wooden statues"
The two leaders went into the warehouse where they store their works.
"Most of the samples we gave to Glasya are roughly like these."
"I can't really tell what's good or bad about these items, but I feel like they have a certain overwhelming air to them!" says Leviasa, looking at the wooden statue made by Mieral.
"This is a statue of Hades, yes"
"I knew it.
I could tell for some reason!"
…Well, I suppose so.
After all, that wooden statue was based on the real Hades, the God of the Underworld who was summoned some time ago!
Of course, it's going to look like him!
"The mysterious air that emanates from this statue makes you think that if the real Hades were to descend, he'd look exactly like this."
"Right Haha…"
I couldn't help but let out an awkward laugh.
I know someone who would be willing to pay a fortune for something like this.
I'll visit them tomorrow."
"You're going to sell these directly!"
"The fewer intermediaries, the better."
And so, she went back to the capital to do her negotiations.
The next day.
"Everything was sold out.
And over the target price."
"That was way too fast!"
She really is competent.


The Angus Barrett Fetlock Strap is designed to be used in conjunction with the Collar Strap or on its own to lift or tie something to the horse's leg, for example, with a long lead or line as a training aid for young horses.
The Fetlock Strap is lined with a thick layer of pure wool felt to reduce rubbing and bruising on the fetlock. Felt, rather than sheep-skin or other materials, is chosen because it is durable and less likely to collect burs, sand or mud. The D-rings at each end are solid stainless steel.
The Fetlock Strap is a very practical piece of equipment, which can be used on the near or off-side of the horse. This is an excellent product, which can be used in a variety of situations. Every horse trainer should have one.


Summon your inner artist and 'paint' with spring blooms as we explore the still life floral work of the great 17th and 18th century painters on March 31st from 1:00-3:00pm. In this exceptional workshop we will learn to create a dramatic compote arrangement with exotic and garden blooms. With the help of a professional photographer and a gorgeous set complete with period props, we will capture our creations. Shortly after the workshop you will have a file to print from! Tesoro Designer, Emily will be teaching the workshop and Paul, the owner will be arrange a baroque bountiful table laden with still life inspired foods, sweets, and wine! $175 per participant will include everything--the flowers, containers, tool usage, instruction, delectable treats, and complimentary local wines for our guests over 21. You can also enjoy 20% off anything in the shop on the day of the event.


Up in Arms About Pay Someone To Do My Biochemical Homework For Me?
What to Expect From Pay Someone To Do My Biochemical Homework For Me?
At present, you ought to focus in preparing for Exams. Consequently, once the exams are only around the corner, they feel scared, since they don't know the best places to begin, and what things to study. These common exams are specially designed to test particular qualities of student and are frequently called or since they create a lot of competition among students. You'll also have to take an English proficiency exam.
If you all are weak in a specific subject, you can approach your subject teacher with each other to find help, or search for a great tuition teacher to aid your group. The absolute most important subjects include arithmetic, general wisdom and essay writing. How and if you decide to approach the topic of your loss is all up to you.
A competition exam can end up being nerving and hard. Though there are 20 tests, a few of the tests are repeated but with a different array of coffees. Even if you complete the test, they often only communicate through the chat box and so ends your journey together. A liver function blood test is among the most typical tests to be carried out by a health care provider.
If you would like to see what kind of questions are going to be on the test, here are a few free (legal) resources for you instead of purchasing edutest's practice papers. Each question will have few paragraphs to spell out the scenario for an organization and after that explain what ought to be achieved. In this way, you are going to be very ready to answer each question and so project a bright personality to the interviewer. In case the question demands some minor assumptions, you are likely ok. It is asked merely to know more about your personality than actually seeking your personal details. To start with, a lot of people always ask me one main question. Besides hours, another important question is the work like.
You will never know, what time you're going to be done for the day. So its important to deal with the time which you have. Examination time doesn't mean that you've got to sit with your books for the full moment. Settle everything you'll need for the examination day.
There are lots of free online quizzes you may take to figure out which type you favor, but they're not required. You may attend this class online. Additionally, purchasing a book online, or buying the kindle edition of a book can be a lot cheaper.
Online career training is the thing to do. After the course ended I had to soldier on for a month or two before I felt prepared to return to my college and provide it another shot. If anything, online courses will merely hurt a students capacity to speak and interact with others in a means that will assist them within their life and career. Still, they are not the answer.
An initiative taken by Sundaram in the area of education by launching e-class which assists students to comprehend the field via animation based learning. Many students become involved in malpractice during examinations due to the fact that they doubt they can find a superb result without having a amicrochipa attached to their entire body. Large quantity of Chinese student can't get into college since they don't succeed in College Entrance Exam even should they have pass all subjects.
Teachers were permitted to reprimand students. A number of the teachers nowadays are scared of being tested on a yearly basis, and several of them should be, since they wouldn't pass. Apart from NMAT, there are additional requirements which you have to provide for you to be admitted in the Medical school, so much better to personally stop by every one of the Medical School's website to understand their requirements and application fees. A lot of colleges and universities in the U.S.A. state that if you are out of college for a decade, all your college credits you have earned become expired, meaning, you've got to begin all over again, as a freshman with 0 college credits.
Some students even regards themselves as having a magnetic brain with an extremely high retentive ability, but a lot of students are proved wrong by the results of the examination report. The student is going to be provided a general daily life topic and he is going to be requested to compose a given variety of words on this topic. A superb student should have faith he or she is going to be capable of making it in any examination should they've studied for quite a while in preparation for the examination.
On occasion, students have a tendency to forget the things that they have learned due to fear. It's given to all those students who need to acquire admission in any secondary school. Therefore, students will need to accomplish excellent scores in the examinations. They must understand that this is not the correct way of studying. Also, not many different students take this step, which means you are going to have the upper hand!


MANILA, Philippines - Fil-British Meredith Jones and Monica Therese Cruz downed their respective rivals to breeze through the second round of the Ajay Pathak Memorial Cup/ITF 14-Under Developmental Championship Division I Week 2 at the Rizal Tennis Center yesterday.
The eighth-seeded Jones, 14, walloped Yulla Kim of Uzbekistan, 6-3, 6-0, while Cruz, 13, smashed Phuong Nguyen Thu, 6-3, 6-1, in victories that made up for the losses of the other Filipina campaigners in the event sponsored by the ITF Grand Slam Development Fund and the Philippine Tennis Academy.
Jones, foiled in the quarters by Korean Jang Eunse, 1-6, 2-6, in last week's first leg of the event held in honor of the late Philta and ITF official Ajay Pathak, will next face Korean Park Mijeong, who trounced Hong Kong's Lam Wing Kiu, 6-3, 6-1.
Cruz, on the other hand, clashes with fifth pick Mihika Yadav of India, 6-1, 6-1.
Meanwhile, Rafaela Jean Villanueva, Janelle Carmela Llavore and Chrisyn Coleen Sioson dropped their respective matches and bowed out of the tournament backed by the Philippine Sports Commission, Technifibre Balls, Wilkins, Mariposa Foundation, Cebuana Lhuillier, Chowking and Trans-Asia Corp.
Villanueva, daughter of Philta vice president and Davis Cup administrator Randy, dragged Leila Azimova of Kyrgyzhtan to a deciding third set but lost steam, 4-6, 6-2, 2-6.
India's Sruta Kirti Gunuganti overpowered Llavore 6-0, 6-1, while Iran's Sadaf Vaziri Sadegh held off Sioson, 6-4, 6-4.
Boys' top seed and Week One winner Alberto Lim, Jr. drew a first round bye and will take on the winner between China's Jiang Xingsheng and Vietnam's Nguyen Dac Tien.
The 13-year-old Lim, who swept both the singles and doubles titles last week, vow to re-assert his might against practically the same field.
"Coach (Manny Tecson) told me that we're not here to gain experience but to win so I'm going all out to win," said Lim.


text:
Marine Corps: Path to Windows 10 unclear
The Marine Corps will comply with the Department of Defensewide order to update all Microsoft machines to Windows 10 by 2017 — but hasn't yet figured out how, a top marine said.
"Windows 10 is huge. It's going to have some significant security advantages for us," Ron Zich, executive assistant for command, control, communications and computers at the Marine Corps headquarters, said at an AFCEA NOVA luncheon.
"The Marine Corps is all in on getting it done. If you asked me today, 'Can we get there?' [The answer would be:] Absolutely. We just don't know how yet."
Last November, Defense Department Chief Information Officer Terry Halvorsen issued a memo to defense agencies and military branches to update their Microsoft-based operating systems to Windows 10 by Jan. 1, 2017. A further order is expected soon from Defense Secretary Ash Carter on the requirements for a Windows 10 secure host baseline.
"It is important for the Department to rapidly transition to Microsoft Windows 10 in order to improve our cybersecurity posture, lower the cost of IT, and streamline IT operating environment," Halvorsen wrote in his memo.
The issue for the Marine Corps, Zich explained, is the growing number of systems — he said it could be upward of 130,000 — that would need to be updated combined with the complexity of multiple interconnected networks and machines.
"Sounds simple enough, if I had to do it at home," Zich said. "But we've got 90,000 unclassified computers, probably another 30,000 tactical computers, we have programs and records, think of every sort of vehicle — everything is connected now, so how do I do this?"
This move was at the top of his list during his keynote presentation of IT-focused projects the corps is working on as part of its Seamless Marine Corps Enterprise Network, a centralized network-of-networks that ensures Marines are connected from garrison — that is, stateside — all the way to the battlefield, and everywhere in between. Marines CIO Brig. Gen. Dennis Crall said in November that his branch is focusing first and foremost on building out this network before integrating it with the defensewide network plan for the Joint Information Environment.
For the migration to Windows 10, the plan now is to "take the low-hanging fruit first," Zich said. "We get our lessons learned, and then we're going to start nibbling away at harder projects."
"We're moving out," he added. "We're going to do it."
Department of Defense (DOD), Departments, Marines


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[Foreclosed] 1898 Ijinkan in Kitanocho, Kobe
*Update: The property was withdrawn from the auction. This can occur when the creditor/s are either paid the outstanding debt or reach an agreement with the borrower.
The former Moore residence in Kobe's historic Kitanocho district will go up for public auction this month with bidding starting from 45.6 million Yen (442,000 USD).
The 2-storey western-style residence was built in 1898, with an extension to the rear added in 1980. It fronts onto Kitano Street, which is a popular spot for tourists.
Both the exterior and fence that face the street have been identified by Kobe City's Board of Education as traditional structures and any exterior alterations require permission (internal modifications, however, are allowed).
Kitano Street and the former Moore Residence on the right
Kitano Street
The Kobe Kitano Museum, also built in 1898, is located next door. This museum was originally the official residence for the US Consulate and was used by the US until 1978. It is now owned by Kobe City.
In 2012, the ruins of the former Bajaj Residence went up for public auction for the 9th time. The reserve was 65 million Yen. The property was sold and has since been demolished.
'Ijinkan' is the name given to the former residences of foreign settlers. As many as 200 ijinkan were built in the Kitano area between the Meiji period and early Showa period. The outbreak of WWII in 1939 saw many foreigners leave their residences in Kobe. Air-raids also led to the loss of a number of ijinkan and other historical buildings.
There were still a number of ijinkan remaining in the 1960s, but Japan's period of rapid growth in the 60's and 70's saw a number of these homes torn down to make way for urban development. The Kitanocho neighbourhood saw a rapid boost in popularity with tourists after television programs featured some of the historic homes in the late 1970s. From this point onwards, efforts were made to preserve what was left of the historic district.
In 1980, the Kitanocho neighbourhood was designated as an important traditional architecture preservation district and strict rules govern the colours and building designs that can be used in the area. The city may offer financial assistance to owners of historic homes in this area to help them maintain the walls, roofs and windows of their homes.
The 1995 Hanshin earthquake caused great damage to the remaining 30 ijinkan, but experts and volunteers from across the country came to help repair the homes.
The area is now a thriving tourist destination. Many of the ijinkan are open to the public, and a number of restaurants, boutiques and wedding chapels have opened up along the hillside streets.
Court evaluation: 56,980,000 Yen
Minimum bid: 45,584,000 Yen
Deposit to bid: 11,400,000 Yen
Bidding period: April 2 ~ April 9, 2014
Opening of bids: April 15, 2014
Land: 556.13 sqm
Building: 365 sqm
Construction: 2-storey wood frame
Annual fixed asset and city taxes: 713,900 Yen
2-9-3 Kitanocho, Chuo-ku, Kobe City, Hyogo Prefecture
Categories All, Foreclosed Properties, Historic Properties
Tags Historic properties in Japan, ijinkan, Japan Foreclosed Properties, Kobe, Kobe Kitanocho
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The 428-lot auction will be held online and at Bruneau's gallery in Cranston, Rhode Island.
CRANSTON, R.I. – A fine Chinese archaic bronze Gui ritual food vessel dating to the Ming Dynasty (1368-1644), or earlier, one of nearly 150 lots from the collection of George White, the longtime antique dealer and collector (and owner of Gem Furniture) out of Woonsocket, Rhode Island, is an expected headliner in Bruneau & Co. Auctioneers' next sale planned for April 6th.
Chinese Qing Dynasty porcelain fish bowl, 19th century or earlier, finely decorated, with an incised band of goldfish swimming amongst lily pads and lotus flowers (est. $2,000-$3,000).
Quinn's to Auction Fine Art and Furniture Washington D.C.


Here are some popular songs for sending someone off with best wishes.
Whether headed off on an adventure or leaving for a new job, these songs will help you say goodbye.
What are your goodbye song suggestions?
While our list certainly isn't all inclusive, we hope these songs at least offer you some comfort. Did we leave one of your favorites off the list? Let us know in a comment below!


Every year the OSTRALE – international exhibition of contemporary arts – is unifying young emerging artists with international established artists, whom express themselves in all kinds of artistical genres over an exhibition area of more than 20,000 sq. metres. Artists from all over the world will deal with the issue of the 10th edition of the exhibition addressed to "error: X".
OSTRALE´O16 is presenting itself under the theme error: X, a term, which we encounter in digital era, maybe more often than we like. The huge amount of information and opinions has grown together to a complex data jungle, which the next generation, armed with selfie sticks, while the home front [Heimatfront] happily posts pictures of their dinner. But there is also a reason for hope. The ubiquity of global networking is more directly than ever before. There is the idea of global togetherness, and the net is the tool, with which we can throw a stick into the spokes of the mill wheels of our time.
Determining quality characteristics and errors in art, is taken care by many man equally. It is the right time to analyse errors, to make a kind of "controlling" – in the arts and at the arts. Only one question remains – does the error has a certain kind of attractiveness to aspects of humanity, heart and courage. To adress the subject appropriately one could quote Savielly Tartakower: "Are only strong players allowed and able to make mistakes?" Is this freely transferable to our global world?
Looking outwards offers us the chance to bring own viewpoints and integrate them in an open discourse. From our point of view, creativity arises from the power of cultural identity, the global exchange, free open urban spaces, and empirical games in the arts. It's our intention to challenge and develop this, and one of our main objectivities is to view and present young contemporary art close to the established one. An international and open invitation and application process based on two steps creats the exhibition with the overall spirit of the theme error: X in mind.
€ 5 guided tour p.P.
Saturday and Sunday 2 p.m. and 5 p.m.


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Q: How to change previous elements on mouseover the current element? I'm trying to make some sort of a timeline. When I mouseover the content I'm changing that content color and the colors of the years and the bullet indicators. But I don't know how to keep previous elements(the year and the bullet) hightlighted when I go to second or third element for example. How to do that? If I'm not explaining myself clearly, I'm more than happy to explain it in another way if needed. What I have so far:

$('.tml_btn').on('mouseover', function() {
  $('.active_content').removeClass('active_content');
  $(this).addClass('active_content');
  var content_id = $(this).attr('id').replace('tml_btn_', '');
  $('.tml_el').removeClass('active_bullet');
  $('#tml_el_' + content_id).addClass('active_bullet');
});
.tml_content li {
  width: 20px;
}
.bullet {
  width: 20px;
  height: 20px;
  border-radius: 20px;
  background: #adadad;
  margin: 0 auto;
}
.tml_bar .tml_el {
  display: inline-block;
  margin-right: 50px;
  text-align: center;
}
.active_content {
  color: #3A9296;
}
.active_bullet {
  color: #3A9296;
}
.active_bullet .bullet {
  background: #3A9296;
}

content 1

content 2

content 3

content 4

2000

2006

2011

2016

A: You can use the prev or prevAll to get previous elements by selector:

$('.tml_btn').on('mouseover', function() {
  $('.active_content').removeClass('active_content');
  $(this)
    .addClass('active_content')
    .prevAll('.tml_btn')
    .addClass('active_content');
  var content_id = $(this).attr('id').replace('tml_btn_', '');
  $('.tml_el').removeClass('active_bullet');
  $('#tml_el_' + content_id)
    .addClass('active_bullet')
    .prevAll('.tml_el')
    .addClass('active_bullet');
});
.tml_content li {
  width: 20px;
}
.bullet {
  width: 20px;
  height: 20px;
  border-radius: 20px;
  background: #adadad;
  margin: 0 auto;
}
.tml_bar .tml_el {
  display: inline-block;
  margin-right: 50px;
  text-align: center;
}
.active_content {
  color: #3A9296;
}
.active_bullet {
  color: #3A9296;
}
.active_bullet .bullet {
  background: #3A9296;
}

content 1

content 2

content 3

content 4

2000

2006

2011

2016

A: I've found that working with index values is often simpler than parsing and reconstructing ID values. In this case, we get the index of the hovered element, then use it to select the related bullet and those with lower indices. We add 1 to the index due to the zero-based values.

$('.tml_btn').on('mouseover', function() {
    $('.active_content').removeClass('active_content');
    $('.tml_el').removeClass('active_bullet');

    $(this).addClass('active_content');
    var idx = $(this).index() + 1;

    for (var i = 0; i < idx; i++) {
        $('.tml_el').eq(i).addClass('active_bullet');
    }
});
.tml_content li {
  width: 20px;
}
.bullet {
  width: 20px;
  height: 20px;
  border-radius: 20px;
  background: #adadad;
  margin: 0 auto;
}
.tml_bar .tml_el {
  display: inline-block;
  margin-right: 50px;
  text-align: center;
}
.active_content {
  color: #3A9296;
}
.active_bullet {
  color: #3A9296;
}
.active_bullet .bullet {
  background: #3A9296;
}

content 1

content 2

content 3

content 4

2000

2006

2011

2016


Wilmington – Delaware State Police need your help identifying this man. The black male suspect depicted in the surveillance photo is linked to at least three separate robberies in the Wilmington and Claymont areas as well as one in Upland, Pennsylvania, police said.
The first of the three in Delaware occurred at the Walgreens located at 1508 Philadelphia Pike on July 13, 2016 at approximately 7:20 p.m., as a male suspect entered. Police said the suspect then approached a male clerk and implied that he was armed and then demanded cigarettes from the clerk. The clerk complied with the suspect's demands and turned over an undisclosed amount of cigarettes to him and the suspect then exited the business and was last seen fleeing in an unknown make and model vehicle, according to police, There were no injuries.
The second occurred at the Walgreens located at 802 Philadelphia Pike on July 30, 2016 around 11:42 a.m. when he entered the store and confronted two employees and demanded cash, officials said. Police said the employees complied and turned over an undisclosed amount of cash before he fled out of the store. The employees were not injured.
In a third incident that occurred earlier this morning around 9:30 a.m., Friday August 5, 2016, the suspect entered the Wawa located at 301 Ridge Road, Claymont, and approached the cashiers armed with an unknown type handgun, according to authorities. Police then say the suspect demanded cash from the registers and safe and the employees complied by turning over an undisclosed amount of cash. The suspect then fled in a silver Ford Focus that struck two civilian vehicles that were attempting to prevent his escape before fleeing northbound on Hickman Road, police said. No one was injured inside or outside the store as the suspect was escaping.