KING CHARLES THE FIRST was born in Scotland. It may perhaps surprise the reader that an English king should be born in Scotland. The explanation is this:??They who have read the history of Mary Queen of Scots, will remember that it was the great end and aim of her life to unite the crowns of England and Scotland in her own family. Queen Elizabeth was then Queen of England. She lived and died unmarried. Queen Mary and a young man named Lord Darnley were the next heirs. It was uncertain which of the two had the strongest claim. To prevent a dispute, by uniting these claims, Mary made Darnley her husband. ??They had it son, who, after the death of his father and mother, was acknowledged to be the heir to the English throne, whenever Elizabeth's life should end. In the meantime he remained King of Scotland. His name was James. He married a princess of Denmark; and his child, who afterward was King Charles the First of England, was born before he left his native realm.

The Federalist Papers are a series of 85 articles advocating the ratification of the United States Constitution. Seventy-seven of the essays were published serially in The Independent Journal and The New York Packet between October 1787 and August 1788. A compilation of these and eight others, called The Federalist, was published in 1788 by J. and A. McLean. The Federalist Papers serve as a primary source for interpretation of the Constitution, as they outline the philosophy and motivation of the proposed system of government. The authors of the Federalist Papers wanted to both influence the vote in favor of ratification and shape future interpretations of the Constitution. According to historian Richard B. Morris, they are an "incomparable exposition of the Constitution, a classic in political science unsurpassed in both breadth and depth by the product of any later American writer."

Lucrarea abordeaza teme majore ale politicii despre parlamentarism, parlament, parlamentari, care au suscitat si suscita si astazi aprige controverse, antrenand eforturi si pasiuni in toate mediile culturale si politice ale societatii in decursul vremilor.In analiza Discursurilor si dezbaterilor parlamentare, specialistii si nespecialistii au la dispozitie un bogat material arhivistic alaturi de presa timpului, rod al eforturilor parlamentarilor indiferent de sistemele de reprezentare existente in stat la un moment dat – unicameral sau bicameral.De semnalat in cuprinsul volumului este Mesajul Tronului, sustinut de Al.I. Cuza, alaturi de care intalnim maestri ai elocintei parlamentare romanesti cum ar fi M. Kogalniceanu, Titu Maiorescu, P.P. Carp, I.I.C. Bratianu, Take Ionescu, N. Iorga, O. Goga, N. Titulescu, A.C. Cuza, Al. Vaida-Voievod si multi altii.

Necesitatea acestei carti s-a impus in campul istoriografiei contemporane ca un raspuns ce se cerea stringent intr-un moment in care istoriografia in ansamblul ei a intrat intr-un serios impas girat si incurajat de predominanta agresiva si interferenta unor scoli si curente inconsistente, care de care mai zgomotoase, mai belicoase, mai ?originale“, concomitent cu intensificarea presiunii factorului politic (guverne, parlamente, tribunale, ong-uri etc).Tematica lucrarii o constituie evenimentele care au tulburat intreaga lume in perioada celui de-al Doilea Razboi Mondial.Studiile din aceasta carte au aparut sub semnatura celor mai prestigiosi istorici ai neamului nostru din aceasta perioada: acad. Dan Berindei, acad. Florin Constantiniu, prof. univ. dr. Gh. Buzatu (coordonatorul editiei), Stela Cheptea si multi altii.

Szép Versek 2012

Architecture of the Lower Rio Grande Valley: An Introduction

The Dance

A successful artist and art instructor, Melanie runs workshops and painting holidays both in the UK and abroad, teaching mainly in oils and acrylics. She is also a professional associate of the SAA and an exhibiting member of Guilford Art Society. Melanie has written several books, all published by Collins alongside a DVD with APV Films. Melanie's latest book, 30 minute Oils was published in February 2010. Melanie's website, www.melaniecambridge.com, gives details of her exhibitions and courses.

Jody Rosen lives in New York and is a regular contributor to Salon.com and The New York Times.

Simon Morrison is a professor of music at Princeton University, a contributor to the New York Times and the New York Review of Books, and the author of, most recently, The Love and Wars of Lina Prokofiev. He lives in Princeton, New Jersey.

Richard Webber is one of Britain's foremost show business journalists. He regularly contributes to various newspapers and magazines such as the Independent, the Mirror, Hello, Radio Times, My Weekly and Bella. He is also the author behind The Complete A-Z of Only Fools and Horses and Dad’s Army: The Complete Scripts.

Gitanjali

Royal Doulton Shaving Mugs

ARCHITECTURE seems to me to be the most wonderful of all the arts. We may not love it as much as others, when we are young perhaps we cannot do so, because it is so great and so grand; but at any time of life one can see that in Architecture some of the most marvellous achievements of men are displayed. The principal reason for saying this is that Architecture is not an imitative art, like Painting and Sculpture. The first picture that was ever painted was a portrait or an imitation of something that the painter had seen. So in Sculpture, the first statue or bas-relief was an attempt to reproduce some being or object that the sculptor had seen, or to make a work which combined portions of several things that he had observed; but in Architecture this was not true. No temples or tombs or palaces existed until they had first taken form in the mind and imagination of the builders, and were created out of space and nothingness, so to speak. Thus Painting and Sculpture are imitative arts, but Architecture is a constructive art; and while one may love pictures or statues more than the work of the architect, it seems to me that one must wonder most at the last. We do not know how long the earth has existed, and in studying the most ancient times of which we have any accurate knowledge, we come upon facts which prove that men must have lived and died long before the dates of which we can speak exactly. The earliest nations of whose Architecture we can give an account are called heathen nations, and their art is called Ancient or Heathen Art, and this comes down to the time when the Roman Emperor Constantine was converted to Christianity, and changed the Roman Capitol from Rome to Constantinople in the year of our Lord 328. The buildings and the ruins which still remain from these ancient times are in Egypt, Assyria, Persia, Judea, Asia Minor, Greece, Etruria, and Rome. Many of these have been excavated or uncovered, as, during the ages that have passed since their erection, they had been buried away from sight by the accumulation of earth about them. These excavations are always going on in various countries, and men are ever striving to learn more about the wonders of ancient days; and we may hope that in the future as marvellous things may be revealed to us as have been shown in the past. EGYPT: As we consider the Architecture of Egypt, the Great Pyramid first attracts attention on account of its antiquity and its importance. This was built by Cheops, who is also called Suphis, about 3000 years before Christ. At that distant day the Egyptians seem to have been a nation of pyramid-builders, for even now, after all the years that have rolled between them and us, we know of more than sixty of these mysterious monuments which have been opened and explored. Of all these the three pyramids at Ghizeh are best known, and that of Cheops is the most remarkable among them. Those of you who have studied the history of the wars of Napoleon I. will remember that it was near this spot that he fought the so-called Battle of the Pyramids, and that in addressing his soldiers he reminded them that here the ages looked down upon them, thus referring to the many years during which this great pyramid had stood on the border of the desert, as if watching the flight of Time and calmly waiting to see what would happen on the final day of all earthly things. There have been much speculation and many opinions as to the use for which these pyramids were made, but the most general belief is that they were intended for the tombs of the powerful kings who reigned in Egypt and caused them to be built.The pyramid of Cheops was four hundred and eighty feet and nine inches high, and its base was seven hundred and sixty-four feet square. It is so difficult to understand. CLARA ERSKINE CLEMENTAUTHOR OF "HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART," "PAINTERS, SCULPTORS, ENGRAVERS, ARCHITECTS AND THEIR WORKS," "ARTISTS OF THE NINETEENTH CENTURY"

Йшов четвертий р?к св?тово? в?йни. Втомлений под?ями генерал-лейтенант рос?йсько? ?мператорсько? арм?? Павло Петрович Скоропадський, нащадок старовинно? старшинсько? фам?л??, ще не знав, що стане гетьманом незалежно? Укра?нсько? Держави.??Епоха зм?н, яку самовбивчо наближали революц?онери вс?х мастей, перетворилася на апокал?псис, в?йну вс?х проти вс?х, але Скоропадському стало духу взяти на себе невдячну ношу державного буд?вництва. Спроба зак?нчилася ц?лковитим ? оч?куваним провалом, але окрем? починання гетьмана дотривали до наших дн?в: саме йому Укра?на завдячу?, наприклад, Академ??ю наук.

AUTHOR OF "POOR BOYS WHO BECAME FAMOUS," "GIRLS WHO BECAME FAMOUS," "STORIES FROM LIFE," "FAMOUS AMERICAN AUTHORS," "FAMOUS AMERICAN STATESMEN," "SOCIAL STUDIES IN?ENGLAND," "FROM HEART AND NATURE,"?"FAMOUS MEN OF SCIENCE," ETC. "Do not act as if you had ten thousand years to throw away. Death stands at your elbow. Be good for something while you live, and it is in your power." —Marcus Aurelius. "Every line, every road, every gable, every tower, has some story of the past present in it. Every tocsin that sounds is a chronicle; every bridge that unites the two banks of the river, unites also the crowds of the living with the heroism of the dead."The beauty of the past goes with you at every step in Florence. Buy eggs in the market, and you buy them where Donatello bought those which fell down in a broken heap before the wonder of the crucifix. Pause in a narrow by-street in a crowd, and it shall be that Borgo Allegri, which the people so baptized for love of the old painter and the new-born art. Stray into a great dark church at evening time, where peasants tell their beads in the vast marble silence, and you are where the whole city flocked, weeping, at midnight, to look their last upon the dead face of their Michael Angelo. Buy a knot of March anemones or April arum lilies, and you may bear them with you through the same city ward in which the child Ghirlandaio once played amidst the gold and silver garlands that his father fashioned for the young heads of the Renaissance. Ask for a shoemaker, and you shall find the cobbler sitting with his board in the same old twisting, shadowy street-way where the old man Toscanelli drew his charts that served a fair-haired sailor of Genoa, called Columbus." Florence, Shelley's "Smokeless City," was the ardently loved home of Michael Angelo. He was born March 6, 1475, or, according to some authorities, 1474, the Florentines reckoning time from the incarnation of Christ, instead of his birth. Lodovico Buonarotti, the father of Michael Angelo, had been appointed governor of Caprese and Chiusi, and had moved from Florence to the Castle of Caprese, where this boy, his second child, was born. The mother, Francesca, was, like her husband, of noble family, and but little more than half his age, being nineteen and he thirty-one. After two years they returned to Florence, leaving the child at Settignano, three miles from the city, on an estate of the Buonarottis'. He was intrusted to the care of a stone-mason's wife, as nurse. Living among the quarrymen and sculptors of this picturesque region, he began to draw as soon as he could use his hands. He took delight in the work of the masons, and they in turn loved the bright, active child. On the walls of the stone-mason's house he made charcoal sketches, which were doubtless praised by the foster-parents.

Leonardo Da Vinci, the many-sided genius of the Italian Renaissance, was born, as his name implies, at the little town of Vinci, which is about six miles from Empoli and twenty miles west of Florence. Vinci is still very inaccessible, and the only means of conveyance is the cart of a general carrier and postman, who sets out on his journey from Empoli at sunrise and sunset. Outside a house in the middle of the main street of Vinci to-day a modern and white-washed bust of the great artist is pointed to with much pride by the inhabitants. Leonardo's traditional birthplace on the outskirts of the town still exists, and serves now as the headquarters of a farmer and small wine exporter.Leonardo di Ser Piero d'Antonio di Ser Piero di Ser Guido da Vinci—for that was his full legal name—was the natural and first-born son of Ser Piero, a country notary, who, like his father, grandfather, and great-grandfather, followed that honourable vocation with distinction and success, and who subsequently—when Leonardo was a youth—was appointed notary to the Signoria of Florence. Leonardo's mother was one Caterina, who afterwards married Accabriga di Piero del Vaccha of Vinci. His BirthLeonardo Da Vinci, the many-sided genius of the Italian Renaissance, was born, as his name implies, at the little town of Vinci, which is about six miles from Empoli and twenty miles west of Florence. Vinci is still very inaccessible, and the only means of conveyance is the cart of a general carrier and postman, who sets out on his journey from Empoli at sunrise and sunset. Outside a house in the middle of the main street of Vinci to-day a modern and white-washed bust of the great artist is pointed to with much pride by the inhabitants. Leonardo's traditional birthplace on the outskirts of the town still exists, and serves now as the headquarters of a farmer and small wine exporter. His ArtLeonardo, whose birth antedates that of Michelangelo and Raphael by twenty three and thirty-one years respectively, was thus in the forefront of the Florentine Renaissance, his life coinciding almost exactly with the best period of Tuscan painting.Leonardo was the first to investigate scientifically and to apply to art the laws of light and shade, though the preliminary investigations of Piero della Francesca deserve to be recorded.He observed with strict accuracy the subtleties of chiaroscuro—light and shade apart from colour; but, as one critic has pointed out, his gift of chiaroscuro cost the colour-life of many a noble picture. Leonardo was "a tonist, not a colourist," before whom the whole book of nature lay open. His MindWe can readily believe the statements of Benvenuto Cellini, the sixteenth-century Goldsmith, that Francis I. "did not believe that any other man had come into the world who had attained so great a knowledge as Leonardo, and that not only as sculptor, painter, and architect, for beyond that he was a profound philosopher." Leonardo anticipated many eminent scientists and inventors in the methods of investigation which they adopted to solve the many problems with which their names are coupled. Among these may be cited Copernicus' theory of the earth's movement, Lamarck's classification of vertebrate and invertebrate animals, the laws of friction, the laws of combustion and respiration, the elevation of the continents, the laws of gravitation, the undulatory theory of light and heat, steam as a motive power in navigation, flying machines, the invention of the camera obscura, magnetic attraction, the use of the stone saw, the system of canalisation, breech loading cannon, the construction of fortifications, the circulation of the blood, the swimming belt, the wheelbarrow, the composition of explosives, the invention of paddle wheels, the smoke stack, the mincing machine! It is, therefore, easy to see why he called "Mechanics the Paradise of the Sciences."Leonardo was a SUPERMAN.

The Winter's Tale is a play by William Shakespeare, originally published in the First Folio of 1623. Although it was grouped among the comedies, some modern editors have relabelled the play as one of Shakespeare's late romances. Some critics consider it to be one of Shakespeare's "problem plays", because the first three acts are filled with intense psychological drama, while the last two acts are comedic and supply a happy ending. The play has been intermittently popular, revived in productions in various forms and adaptations by some of the leading theatre practitioners in Shakespearean performance history, beginning after a long interval with David Garrick in his adaptation called Florizel and Perdita (first performed in 1754 and published in 1756). The Winter's Tale was revived again in the 19th century, when the third "pastoral" act was widely popular. In the second half of the 20th century The Winter's Tale in its entirety, and drawn largely from the First Folio text, was often performed, with varying degrees of success. Short Summary of the Tale: John Fawcett as Autolycus in "The Winter's Tale" (1828) by Thomas Charles WagemanFollowing a brief setup scene the play begins with the appearance of two childhood friends: Leontes, King of Sicilia, and Polixenes, the King of Bohemia. Polixenes is visiting the kingdom of Sicilia, and is enjoying catching up with his old friend. However, after nine months, Polixenes yearns to return to his own kingdom to tend to affairs and see his son. Leontes desperately attempts to get Polixenes to stay longer, but is unsuccessful. Leontes then decides to send his wife, Queen Hermione, to try to convince Polixenes. Hermione agrees and with three short speeches is successful. Leontes is puzzled as to how Hermione convinced Polixenes so easily, and Leontes suddenly goes insane and suspects that his pregnant wife has been having an affair with Polixenes and that the child is a bastard. Leontes orders Camillo, a Sicilian Lord, to poison Polixenes. Camillo instead warns Polixenes and they both flee to Bohemia. Furious at their escape, Leontes now publicly accuses his wife of infidelity, and declares that the child she is bearing must be illegitimate. He throws her in prison, over the protests of his nobles, and sends two of his lords, Cleomenes and Dion, to the Oracle at Delphi for what he is sure will be confirmation of his suspicions. Meanwhile, the queen gives birth to a girl, and her loyal friend Paulina takes the baby to the king, in the hopes that the sight of the child will soften his heart. He grows angrier, however, and orders Paulina's husband, Lord Antigonus, to take the child and abandon it in a desolate place. Cleomenes and Dion return from Delphi with word from the Oracle and find Hermione publicly and humiliatingly put on trial before the king. She asserts her innocence, and asks for the word of the Oracle to be read before the court. The Oracle states categorically that Hermione and Polixenes are innocent, Camillo an honest man, and that Leontes will have no heir until his lost daughter is found. Leontes shuns the news, refusing to believe it as the truth. As this news is revealed, word comes that Leontes' son, Mamillius, has died of a wasting sickness brought on by the accusations against his mother. Hermione, meanwhile, falls in a swoon, and is carried away by Paulina, who subsequently reports the queen's death to her heartbroken and repentant husband. Leontes vows to spend the rest of his days atoning for the loss of his son and his queen.

This book, in affectionate tribute to the gallant courage, rugged indepen-dence and wonderful endurance of those adventurous souls who formed the vanguard of civilization in the early history of the Territory of Arizona and the remainder of the Great West, is DEDICATED TO JOHN H. CADY and?BASIL D. WOON ?/ ?PATAGONIA, ARIZONA, NINETEEN-FIFTEEN. When I first broached the matter of writing his autobiography to John H. Cady, two things had struck me particularly. One was that of all the literature about Arizona there was little that attempted to give a straight, chronological and intimate description of events that occurred during the early life of the Territory, and, second, that of all the men I knew, Cady was best fitted, by reason of his extraordinary experiences, remarkable memory for names and dates, and seniority in pioneership, to supply the work that I felt lacking. Some years ago, when I first came West, I happened to be sitting on the observation platform of a train bound for the orange groves of Southern California. A lady with whom I had held some slight conversation on the journey turned to me after we had left Tucson and had started on the long and somewhat dreary journey across the desert that stretches from the "Old Pueblo" to "San Berdoo," and said: "Do you know, I actually used to believe all those stories about the 'wildness of the West.' I see how badly I was mistaken." She had taken a half-hour stroll about Tucson while the train changed crews and had been impressed by the—to the casual observer—sleepiness of the ancient town. She told me that never again would she look on a "wild West" moving picture without wanting to laugh. She would not believe that there had ever been a "wild West"—at least, not in Arizona. And yet it is history that the old Territory of Arizona in days gone by was the "wildest and woolliest" of all the West, as any old settler will testify.

The dominant motives in Calderon's dramas are characteristically national: fervid loyalty to Church and King, and a sense of honor heightened almost to the point of the fantastic. Though his plays are laid in a great variety of scenes and ages, the sentiment and the characters remain essentially Spanish; and this intensely local quality has probably lessened the vogue of Calderon in other countries. In the construction and conduct of his plots he showed great skill, yet the ingenuity expended in the management of the story did not restrain the fiery emotion and opulent imagination which mark his finest speeches and give them a lyric quality which some critics regard as his greatest distinction. Of all Calderon's works, "Life is a Dream" may be regarded as the most universal in its theme. It seeks to teach a lesson that may be learned from the philosophers and religious thinkers of many ages—that the world of our senses is a mere shadow, and that the only reality is to be found in the invisible and eternal. The story which forms its basis is Oriental in origin, and in the form of the legend of "Barlaam and Josaphat" was familiar in all the literatures of the Middle Ages. Combined with this in the plot is the tale of Abou Hassan from the "Arabian Nights," the main situations in which are turned to farcical purposes in the Induction to the Shakespearean "Taming of the Shrew." But with Calderon the theme is lifted altogether out of the atmosphere of comedy, and is worked up with poetic sentiment and a touch of mysticism into a symbolic drama of profound and universal philosophical significance. LIFE IS A DREAM DRAMATIS PERSONAE Basilio King of Poland.Segismund his Son.Astolfo his Nephew.Estrella his Niece.Clotaldo a General in Basilio's Service.Rosaura a Muscovite Lady.Fife her Attendant. Chamberlain, Lords in Waiting, Officers,Soldiers, etc., in Basilio's Service. The Scene of the first and third Acts lies on the Polish frontier: of the second Act, in Warsaw. As this version of Calderon's drama is not for acting, a higher and wider mountain-scene than practicable may be imagined for Rosaura's descent in the first Act and the soldiers' ascent in the last. The bad watch kept by the sentinels who guarded their state-prisoner, together with much else (not all!) that defies sober sense in this wild drama, I must leave Calderon to answer for; whose audience were not critical of detail and probability, so long as a good story, with strong, rapid, and picturesque action and situation, was set before them. about author: Pedro Calderon de la Barca was born in Madrid, January 17, 1600, of good family. He was educated at the Jesuit College in Madrid and at the University of Salamanca; and a doubtful tradition says that he began to write plays at the age of thirteen. His literary activity was interrupted for ten years, 1625-1635, by military service in Italy and the Low Countries, and again for a year or more in Catalonia. In 1637 he became a Knight of the Order of Santiago, and in 1651 he entered the priesthood, rising to the dignity of Superior of the Brotherhood of San Pedro in Madrid. He held various offices in the court of Philip IV, who rewarded his services with pensions, and had his plays produced with great splendor. He died May 5, 1681. At the time when Calderon began to compose for the stage, the Spanish drama was at its height. Lope de Vega, the most prolific and, with Calderon, the greatest, of Spanish dramatists, was still alive; and by his applause gave encouragement to the beginner whose fame was to rival his own. The national type of drama which Lope had established was maintained in its essential characteristics by Calderon, and he produced abundant specimens of all its varieties. Of regular plays he has left a hundred and twenty; of "Autos Sacramentales," the peculiar Spanish allegorical development of the medieval mystery, we have seventy-three; besides a considerable number of farces.

A rock and roll nem csupán egy zenei m?faj, ?nem egy tánc”: maga az ?r?k fiatalság. Alkotás és feloldódás, amit nem magányos farkasoknak találtak ki. Csapatmunka, melyben zenész és hallgatósága egyaránt részt vesz. ?Mindenki itt van?” – kiáltja a sztár a színpadról, a t?meg pedig harsogva feleli: ?Mindenki!” Mert ahhoz, hogy egy dal megszülessen, hogy ezernyi torok visszhangozza az énekes mágikus szavait, valóban mindenkire szükség van. Az Azok a régi csibészek a hazai pop és rock legendáinak arcképcsarnoka. Csatári Bence t?rténész és Poós Zoltán író faggatja a popkultúra olyan ikonikus alakjait és nagyágyúit, mint Bródy János, Nagy Feró, Sz?rényi Levente, T?r?k ?dám, Pataky Attila, Zalatnay Sarolta és még sokan mások. Az interjúkból kirajzolódik a magyarországi rock and roll els? negyedszázadának íve Nógrádver?cét?l Londonig. A megszólalók mesélnek és mesélnek – a legvidámabb barakk k?nny?zenei szcénájáról, ?rületes bulikról, rend?rpofonokról és persze a rock and roll iránti olthatatlan szerelemr?l...