text:
Page:EB1911 - Volume 02.djvu/474

 There can only be further enumerated a few of the more important buildings erected in England during the later years of the 19th century, and mention made of the general course which architecture has taken in regard to special classes of buildings. The Natural History Museum (Plate XI., fig. 120), completed in 1881 by Alfred Waterhouse, may stand as a type of the taste for the employment of terra-cotta, with all its dangerous facilities in ornamental detail, of which that architect specially set the example. Detail is certainly overdone here, but the building is strikingly original; a point not to be overlooked in these days of architectural copying. The Imperial Institute, the result of a competition among six selected architects, represents also a type of architecture which its architect, T. E. Collcutt, maybe said to have matured for himself, and which has been extensively imitated; a refined variety of free classic, always quiet and delicate in detail, though perhaps rather wanting in architectonic force. The next great architectural competition was that for the completion of the South Kensington Museum, the bare brick exterior of which, waiting for architectural completion, had long been a national disgrace. The competition produced some fine and striking designs, some of them perhaps more so than the selected one by Sir Aston Webb, whose fine plan, however, justified the selection. Another competition which excited general interest was that in 1894, for the rebuilding on a country site of Christ’s Hospital schools, also gained by Aston Webb (in collaboration with Ingress Bell), by a design which, in its arrangement of schoolhouses in detached blocks (fig. 101), but in a symmetrical grouping, opened up a new idea in public-school planning, and struck a blow at the picturesque but insanitary quadrangle system. Among notable public buildings of the period ought to be mentioned Norman Shaw’s New Scotland Yard, built in a style neither classic nor Gothic, but partaking of the elements of both (Plate X., fig. 119). A competition in 1908 for the design of the new county hall for the London County Council, to be “English Renaissance” in style, was won by a young architect, till then unknown, Mr Ralph Knott.

In recent years there has been a great movement for building town halls; towns rather vying with each other in this way. Of late nearly all of these have been carried out in some variety of free classic. Among the more important in point of scale is that of Sheffield, by E. W. Mountford (1856–1908) (fig. 102); among smaller ones, those of Oxford, by H. T. Hare (fig. 103); and Colchester, by John Belcher, are particularly good examples of recent architecture of this class, the former distinguished also by an exceptionally good plan. The merit of excellent planning also belongs to Aston Webb and Ingress Bell’s Birmingham law courts, one of the modern terra-cotta buildings of somewhat too florid detail, though picturesque as a whole. Among public halls the M‘Ewan Hall at Edinburgh, completed in 1898 from the designs of Sir Rowand Anderson, deserves mention as one of the most original and most carefully designed of recent buildings in Great Britain.

The various new buildings erected in connexion with the university of Oxford, those by T. G. Jackson (b. 1835) especially, form an important incident in modern English architecture. Mr Jackson succeeded to a remarkable degree in designing new buildings which are in harmony with the old architecture of the university city; sometimes perhaps a little too imitative of it, but at any rate he has the credit of having added rather

title: Page:EB1911 - Volume 02.djvu/474


text: Dictionary of National Biography, 1901 supplement/Boehm, Joseph Edgar

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text: Dictionary of National Biography, 1901 supplement/Bolton, Francis John


text: Dictionary of National Biography, 1901 supplement/Bonar, Horatius


text: Dictionary of National Biography, 1901 supplement/Booth, William (1390?-1464)


text: Dictionary of National Biography, 1901 supplement/Borton, Arthur


text: Dictionary of National Biography, 1901 supplement/Boucicault, Dion


text: Dictionary of National Biography, 1901 supplement/Bowen, Charles Synge Christopher


text: Dictionary of National Biography, 1901 supplement/Bowen, George Ferguson


text:
Page:Tales of two countries.djvu/106

92 voice, laugh and gesticulate so that his stiff black hair fell over his forehead; and then the merry ladies shrank from him, and called him the "chimney-sweep."

—As the sentry paces up and down in the beleaguered fortress, he sometimes hears a strange sound in the silent night, as if something were rustling under his feet. It is the enemy, who has undermined the outworks, and to-night or tomorrow night there will be a hollow explosion, and armed men will storm in through the breach.

If Charles had kept close watch over himself he would have heard strange thoughts rustling within him. But he would not hear—he had only a dim foreboding that some time there must come an explosion.

—And one day it came.

It was already after business hours; the clerks had all left the outer office, and only the principals remained behind.

Charles was busily writing a letter which he wished to finish before he left.

Alphonse had drawn on both his gloves and buttoned them. Then he had brushed his hat until it shone, and now he was walking up and down and peeping into Charles's letter every time he passed the desk.

They used to spend an hour every day before dinner in a café on the great Boulevard, and Alphonse was getting impatient for his newspapers.

title: Page:Tales of two countries.djvu/106


text: Dictionary of National Biography, 1901 supplement/Bowman, William


text:
Page:Tales of two countries.djvu/107

Rh "Will you never have finished that letter?" he said, rather irritably.

Charles was silent a second or two, then he sprang up so that his chair fell over: "Perhaps Alphonse imagined that he could do it better? Did he not know which of them was really the man of business?" And now the words streamed out with that incredible rapidity of which the French language is capable when it is used in fiery passion.

But it was a turbid stream, carrying with it many ugly expressions, upbraidings and recriminations; and through the whole there sounded something like a suppressed sob.

As he strode up and down the room, with clenched hands and dishevelled hair, Charles looked like a little wiry-haired terrier barking at an elegant Italian greyhound. At last he seized his hat and rushed out.

Alphonse had stood looking at him with great wondering eyes. When he was gone, and there was once more silence in the room, it seemed as though the air was still quivering with the hot words. Alphonse recalled them one by one, as he stood motionless beside the desk.

"Did he not know which was the abler of the two?" Yes, assuredly! he had never denied that Charles was by far his superior.

"He must not think that he would succeed in winning everything to himself with his smooth

title: Page:Tales of two countries.djvu/107


text:
Page:Tales of two countries.djvu/108

94 face." Alphonse was not conscious of ever having deprived his friend of anything.

"I don't care for your cocottes," Charles had said.

Could he really have been interested in the little Spanish dancer? If Alphonse had only had the faintest suspicion of such a thing he would never have looked at her. But that was nothing to get so wild about; there were plenty of women in Paris.

And at last: "As sure as to-morrow comes, I will dissolve partnership!"

Alphonse did not understand it at all. He left the counting-house and walked moodily through the streets until he met an acquaintance. That put other thoughts into his head; but all day he had a feeling as if something gloomy and uncomfortable lay in wait, ready to seize him so soon as he was alone.

When he reached home, late at night, he found a letter from Charles. He opened it hastily; but it contained, instead of the apology he had expected, only a coldly-worded request to M. Alphonse to attend at the counting-house early the next morning "in order that the contemplated dissolution of partnership might be effected as quickly as possible."

Now, for the first time, did Alphonse begin to understand that the scene in the counting-house had been more than a passing outburst of passion; but this only made the affair more inexplicable.

title: Page:Tales of two countries.djvu/108


text: Dictionary of National Biography, 1901 supplement/Boycott, Charles Cunningham


text: Dictionary of National Biography, 1901 supplement/Boyd, Andrew Kennedy Hutchison


text: Dictionary of National Biography, 1901 supplement/Brabourne, Baron


text: Dictionary of National Biography, 1901 supplement/Brackenbury, Charles Booth


text: Dictionary of National Biography, 1901 supplement/Brackenbury, Robert


text: Dictionary of National Biography, 1901 supplement/Bradlaugh, Charles


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/121

CANTO I.] concluded, at the distance of thirty miles from Cintra, with which place they had not the slightest connection, political, military, or local. Yet Lord Byron has sung that the convention was signed in the Marquis of Marialva's house at Cintra" (Napier's History of the War in the Peninsula, i. 161). The "suspension of arms" is dated "Head Quarters of the British Army, August 22, 1808." The "Definitive Convention for the Evacuation of Portugal by the British Army" is dated "Head Quarters, Lisbon, August 30, 1808." (See Wordsworth's pamphlet Concerning the Relations of Great Britain, Spain, and Portugal, etc., 1809, App. pp. 199-201. For sentiments almost identical with those expressed in stanzas xxiv., xxv., see ibid., p. 49, et passim.)]

5.

The extent of Mafra is prodigious; it contains a palace, convent, and most superb church. The six organs are the most beautiful I ever beheld, in point of decoration: we did not hear them, but were told that their tones were correspondent to their splendour. Mafra is termed the Escurial of Portugal.

[Mafra was built by D. João V. The foundation-stone was laid November 7, 1717, and the church consecrated October 22, 1730. (For descriptions of Mafra, see Southey's Life and Correspondence, ii. 113; and Letters, 1898, i. 237.)]

6.

As I found the Portuguese, so I have characterised them. That they are since improved, at least in courage, is evident.

[The following "Note on Spain and Portugal," part of the original draft of Note 3 (p. 86), was suppressed at the instance of Dallas: "We have heard wonders of the Portuguese lately, and their gallantry. Pray Heaven it continue; yet 'would it were bed-time, Hal, and all were well!' They must fight a great many hours, by 'Shrewsbury clock,' before the number


text: Dictionary of National Biography, 1901 supplement/Bradley, Edward


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/116

104 “Fetched the letters?”

Mr. Pappleworth gave a chew to his gum.

“Yes.”

“Copied ’em?”

“No.”

“Well, come on then, let’s look slippy. Changed your coat?”

“No.”

“You want to bring an old coat and leave it here.” He pronounced the last words with the chlorodyne gum between his side teeth. He vanished into darkness behind the great parcel-rack, reappeared coatless, turning up a smart striped shirt-cuff over a thin and hairy arm. Then he slipped into his coat. Paul noticed how thin he was, and that his trousers were in folds behind. He seized a stool, dragged it beside the boy’s, and sat down.

“Sit down,” he said.

Paul took a seat.

Mr. Pappleworth was very close to him. The man seized the letters, snatched a long entry-book out of a rack in front of him, flung it open, seized a pen, and said:

“Now look here. You want to copy these letters in here.” He sniffed twice, gave a quick chew at his gum, stared fixedly at a letter, then went very still and absorbed, and wrote the entry rapidly, in a beautiful flourishing hand. He glanced quickly at Paul.

“See that?”

“Yes.”

“Think you can do it all right?”

“Yes.”

“All right then, let’s see you.”

He sprang off his stool. Paul took a pen. Mr. Pappleworth disappeared. Paul rather liked copying the letters, but he wrote slowly, laboriously, and exceedingly badly. He was doing the fourth letter, and feeling quite busy and happy, when Mr. Pappleworth reappeared.

“Now then, how’r’ yer getting on? Done ’em?”

He leaned over the boy’s shoulder, chewing, and smelling of chlorodyne.

“Strike my bob, lad, but you’re a beautiful writer!” he exclaimed satirically. “Ne’er mind, how many h’yer done? Only three! I’d ’a eaten ’em. Get on, my lad, an’ put numbers on ’em. Here, look! Get on!”

Paul ground away at the letters, whilst Mr. Pappleworth


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/117

Rh fussed over various jobs. Suddenly the boy started as a shrill whistle sounded near his ear. Mr. Pappleworth came, took a plug out of a pipe, and said, in an amazingly cross and bossy voice:

“Yes?”

Paul heard a faint voice, like a woman’s, out of the mouth of the tube. He gazed in wonder, never having seen a speaking-tube before.

“Well,” said Mr. Pappleworth disagreeably into the tube, “you’d better get some of your back work done, then.”

Again the woman’s tiny voice was heard, sounding pretty and cross.

“I’ve not time to stand here while you talk,” said Mr. Pappleworth, and he pushed the plug into the tube.

“Come, my lad,” he said imploringly to Paul, “there’s Polly crying out for them orders. Can’t you buck up a bit? Here, come out!”

He took the book, to Paul’s immense chagrin, and began the copying himself. He worked quickly and well. This done, he seized some strips of long yellow paper, about three inches wide, and made out the day’s orders for the work-girls.

“You’d better watch me,” he said to Paul, working all the while rapidly. Paul watched the weird little drawings of legs, and thighs, and ankles, with the strokes across and the numbers, and the few brief directions which his chief made upon the yellow paper. Then Mr. Pappleworth finished and jumped up.

“Come on with me,” he said, and the yellow papers flying in his hands, he dashed through a door and down some stairs, into the basement where the gas was burning. They crossed the cold, damp storeroom, then a long, dreary room with a long table on trestles, into a smaller, cosy apartment, not very high, which had been built on to the main building. In this room a small woman with a red serge blouse, and her black hair done on top of her head, was waiting like a proud little bantam.

“Here y’are!” said Pappleworth.

“I think it is ‘here you are!’ ” exclaimed Polly. “The girls have been here nearly half an hour waiting. Just think of the time wasted!”

“You think of getting your work done and not talking so much,” said Mr. Pappleworth. “You could ha’ been finishing off”


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/118

106 “You know quite well we finished everything off on Saturday!” cried Polly, flying at him, her dark eyes flashing.

“Tu-tu-tu-tu-terterter!” he mocked. “Here’s your new lad. Don’t ruin him as you did the last.”

“” repeated Polly. “Yes, we do a lot of ruining, we do. My word, a lad would take some ruining after he’d been with you.”

“It’s time for work now, not for talk,” said Mr. Pappleworth severely and coldly.

“It was time for work some time back,” said Polly, marching away with her head in the air. She was an erect little body of forty.

In that room were two round spiral machines on the bench under the window. Through the inner doorway was another, longer room, with six more machines. A little group of girls, nicely dressed and in white aprons, stood talking together.

“Have you nothing else to do but talk?” said Mr. Pappleworth.

“Only wait for you,” said one handsome girl, laughing.

“Well, get on, get on,” he said. “Come on, my lad. You’ll know your road down here again.”

And Paul ran upstairs after his chief. He was given some checking and invoicing to do. He stood at the desk, labouring in his execrable handwriting. Presently Mr. Jordan came strutting down from the glass office and stood behind him, to the boy’s great discomfort. Suddenly a red and fat finger was thrust on the form he was filling in.

“Mr. J. A. Bates, Esquire!” exclaimed the cross voice just behind his ear.

Paul looked at “Mr. J. A. Bates, Esquire” in his own vile writing, and wondered what was the matter now.

“Didn’t they teach you any better than that while they were at it? If you put ‘Mr.’ you don’t put ‘Esquire’—a man can’t be both at once.”

The boy regretted his too-much generosity in disposing of honours, hesitated, and with trembling fingers, scratched out the “Mr.” Then all at once Mr. Jordan snatched away the invoice.

“Make another! Are you going to send that to a gentleman?” And he tore up the blue form irritably.

Paul, his ears red with shame, began again. Still Mr. Jordan watched.

“I don’t know what they do teach in school. You’ll have


text:
Page:Sons and Lovers, 1913, Lawrence.djvu/119

Rh to write better than that. Lads learn nothing nowadays, but how to recite poetry and play the fiddle. Have you seen his writing?” he asked of Mr. Pappleworth.

“Yes; prime, isn’t it?” replied Mr. Pappleworth indifferently.

Mr. Jordan gave a little grunt, not unamiable. Paul divined that his master’s bark was worse than his bite. Indeed, the little manufacturer, although he spoke bad English, was quite gentleman enough to leave his men alone and to take no notice of trifles. But he knew he did not look like the boss and owner of the show, so he had to play his role of proprietor at first, to put things on a right footing.

“Let’s see, what’s your name?” asked Mr. Pappleworth of the boy.

“Paul Morel.”

It is curious that children suffer so much at having to pronounce their own names.

“Paul Morel, is it? All right, you Paul-Morel through them things there, and then——”

Mr. Pappleworth subsided on to a stool, and began writing A girl came up from out of a door just behind, put some newly pressed elastic web appliances on the counter, and returned. Mr. Pappleworth picked up the whitey-blue kneeband, examined it, and its yellow order-paper quickly, and put it on one side. Next was a flesh-pink “leg.” He went through the few things, wrote out a couple of orders, and called to Paul to accompany him. This time they went through the door whence the girl had emerged. There Paul found himself at the top of a little wooden flight of steps, and below him saw a room with windows round two sides, and at the farther end half a dozen girls sitting bending over the benches in the light from the window, sewing. They were singing together “Two Little Girls in Blue.” Hearing the door opened, they all turned round, to see Mr. Pappleworth and Paul looking down on them from the far end of the room. They stopped singing.

“Can’t you make a bit less row?” said Mr. Pappleworth. “Folk’ll think we keep cats.”

A hunchback woman on a high stool turned her long, rather heavy face towards Mr. Pappleworth, and said, in a contralto voice:

“They’re all tom-cats then.”

In vain Mr. Pappleworth tried to be impressive for Paul’s benefit. He descended the steps into the finishing-off room,


text: Page:History of the Spanish Conquest of Yucatan and of the Itzas.pdf/253


text: Page:History of the Spanish Conquest of Yucatan and of the Itzas.pdf/252


text:
Garuda Emblem Act, BE 2534 (1991)

Subordinate laws

 * Rules

พระราชบัญญัติเครื่องหมายครุฑพ่าห์ พ.ศ. ๒๕๓๔

title: Garuda Emblem Act, BE 2534 (1991)


text:
Category:Garuda Emblem Act, BE 2534 (1991)

th:หมวดหมู่:พระราชบัญญัติเครื่องหมายครุฑพ่าห์ พ.ศ. ๒๕๓๔


text:
Translation:Rules of the Office of the Prime Minister on Creation or Use of Garuda Emblem in State Affairs, BE 2544 (2001)

Whereas the Garuda Emblem Act, BE 2534 (1991), subjects the creation or use of the Garuda Emblem for the purpose of the state affairs to the rules laid down and published in the Government Gazette by the Council of Ministers; Now, therefore, the Council of Ministers, by virtue of section 5 of the Garuda Emblem Act, BE 2534 (1991), does hereby issue the following rules:

These Rules shall be cited as the "Rules of the Office of the Prime Minister on Creation or Use of Garuda Emblem in State Affairs, BE 2544 (2001)".

These Rules shall come into force as from the day following the date of its publication in the Government Gazette.

In these Rules:

"State agency" means a ministry, bureau, department, government agency called otherwise and having departmental status, provincial government agency and local government agency under the law on national government organisation, and includes any other state agency which serves the Government and is not a state enterprise;

"Create (the Garuda Emblem)" means to create the body, picture, figure or symbol of the Garuda Emblem;

"Use (the Garuda Emblem)" means to use the Garuda Emblem for the purpose of the state affairs, and includes using the created Garuda Emblem for the same purpose.

A state agency may create the Garuda Emblem only when the matter or purpose for which the creation is to be made is permitted by a law, regulation, ordinance, announcement or rule. In so creating, the state agency shall adhere to the design provided by the Bureau of the Royal Household.

A state agency shall use the Garuda Emblem for the purpose of the state affairs or in pursuance of the requirements of the laws, regulations, ordinances, announcements or rules concerned.

In using the Garuda Emblem according to paragraph 1, the state agency shall pay regard to the appropriate, regular and suitable or unsuitable application, attachment or decoration of the Emblem which is one of the seals of the state and is considered sacrosanct.

In creating or using the Garuda Emblem under Rules 4 and 5, a state agency responsible therefor or dealing therewith shall bear the duty to supervise, monitor and secure the compliance with the purpose of the state affairs or with the requirements of the laws, regulations, ordinances, announcements or rules concerned.

In cases any person creates or uses the Garuda Emblem without authorisation, the state agency under paragraph 1 shall seriously prosecute him pursuant to section 13 of the Garuda Emblem Act, BE 2534 (1991).

The Permanent Secretary of the Office of the Prime Minister shall be in charge of these Rules and be empowered to render decisions and interpretations concerning the execution of these Rules.


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/76

42 XXVII.

So deemed the Childe, as o'er the mountains he

Did take his way in solitary guise:

Sweet was the scene, yet soon he thought to flee,

More restless than the swallow in the skies:

Though here awhile he learned to moralise,

For Meditation fixed at times on him;

And conscious Reason whispered to despise

His early youth, misspent in maddest whim;

But as he gazed on truth his aching eyes grew dim.

XXVIII.

To horse! to horse! he quits, for ever quits

A scene of peace, though soothing to his soul:

Again he rouses from his moping fits,

But seeks not now the harlot and the bowl.

Onward he flies, nor fixed as yet the goal

Where he shall rest him on his pilgrimage;


text:
Author:Ali ibn al-Husayn Zayn al-'Abidin

Works

 * The Sermon of Ali ibn Husayn in Damascus
 * Al-Sahifa al-Sajjadiyya
 * Treatise on Rights


text:
Translation:Garuda Emblem Act, BE 2534 (1991)

Phra Bat Somdet Phra Paraminthra Maha Bhumibol Adulyadej is graciously pleased to proclaim that: Whereas it is desirable to bring into existence a law on Garuda Emblem; Be it enacted by the King's most Excellent Majesty, by and with the advice and consent of the National Legislative Assembly, as follows:

This Act shall be cited as the "Garuda Emblem Act, BE 2534 (1991)".

This Act shall come into force as from the day following the date of its publication in the Government Gazette.

The parts of all other laws, regulations, ordinances, announcements and rules which deal with or are contrary to or inconsistent with the provisions of this Act shall be replaced by this Act.

In this Act:

"Garuda Emblem" means the emblem depicting the Khrut, Phra Khruttha Phaha or Phra Khrut Pha, irrespective of its gesture and irrespective of whether or not it is also accompanied by any texts, pictures or other symbols;

"Warrant" means a written certificate issued by the Prime Minister to a business body, confirming that it is subject to His Majesty the King, after it receives the royal assent under section 10;

"Warrant emblem" means the Garuda Emblem which a business body is entitled to use upon receiving a warrant.

The creation or use of the Garuda Emblem for the purpose of the state affairs shall be governed by the rules issued and published in the Government Gazette by the Council of Ministers.

The creation or use of the Garuda Emblem for the purpose of the Crown affairs shall be durante bene placito regis.

The creation or use of the Garuda Emblem in any other case than that mentioned in section 5 or 6 shall be governed by the criteria set forth in a royal decree.

The making of applications for warrant, other qualifications of the applicants, as well as the creation or use of the warrant emblems shall be governed by the criteria set forth in a royal decree.

A business body entitled to apply for a warrant must be of the following qualifications:

(1)	 Being a legal person and carrying out business deserving a warrant;

(2)	 Possessing good economic status and not incurring insolvency;

(3)	 Carrying out one's own business with good faith and without breaching to the law or the public order or good morals;

(4)	 Being otherwise qualified pursuant to the royal decree issued under section 8.

If, after due examination, the Bureau of the Royal Household finds that any business body applying for a warrant ought to be granted a warrant, it shall forward the application to the King for his royal assent. Upon such royal assent, the Prime Minister shall issue a warrant to the applicant and publish a notice thereof in the Government Gazette.

In cases it appears that any business body to which a warrant has been issued lacks any of the qualifications set forth in section 9, the Prime Minister shall revoke the warrant having been issued to it by virtue of section 10 and the business body in question shall no further be entitled to the warrant and its emblem.

The revocation under paragraph 1 shall be published the Government Gazette.

Any person who contravenes or fails to abide by the royal decree under section 7 or 8 shall be liable to imprisonment for not more than six months, or a fine of not exceeding three thousand baht or both.

Any person who, without authorisation, creates or uses the Garuda Emblem, a warrant or a warrant emblem, in order to deceive another into believing that he is entitled to do so, shall be liable to imprisonment for not more than one year, or a fine of not exceeding six thousand baht or both.

Pending issuance of the rules of the Council of Ministers under section 5 or a royal decree under section 7 or 8, the creation or use of the Garuda Emblem or warrant emblems shall continue to be governed by the relevant laws, regulations, ordinances, announcements and rules, to the extent that they are not contrary to or inconsistent with the provisions of this Act.

Any person who has been permitted by the King to use the Garuda Emblem or a warrant emblem before the coming into force of this Act shall continue to so use, to the extent not contrary to or inconsistent with the provisions of this Act.

Any state enterprise which has used the Garuda Emblem before the coming into force of this Act shall give written notice of such use to the Prime Minister within thirty days from the coming into force of this Act, and shall completely cease to use it within two years from the coming into force of this Act.

The Prime Minister shall be in charge of this Act.

 * Prime Minister.
 * Prime Minister.

The grounds for promulgation of this Act are as follows: Since the Garuda Emblem, one of the seals of the state, has widespread been used as a symbol of the government service and the business bodies under His Majesty the King to the extent that it is now recognised by the general public, it is expedient to regulate the use of the Garuda Emblem for more orderliness. It is therefore necessary to enact this Act.


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/77

CANTO I.] And o'er him many changing scenes must roll

Ere toil his thirst for travel can assuage,

Or he shall calm his breast, or learn experience sage.

XXIX.

Yet Mafra shall one moment claim delay,N5

Where dwelt of yore the Lusians' luckless queen;

And Church and Court did mingle their array,

And Mass and revel were alternate seen;


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/78

44 Lordlings and freres—ill-sorted fry I ween!

But here the Babylonian Whore hath built

A dome, where flaunts she in such glorious sheen,

That men forget the blood which she hath spilt,

And bow the knee to Pomp that loves to varnish guilt.

XXX.

O'er vales that teem with fruits, romantic hills,

(Oh, that such hills upheld a freeborn race!)

Whereon to gaze the eye with joyaunce fills,

Childe Harold wends through many a pleasant place.

Though sluggards deem it but a foolish chase,

And marvel men should quit their easy chair,

The toilsome way, and long, long league to trace,

Oh! there is sweetness in the mountain air,

And Life, that bloated Ease can never hope to share.

XXXI.

More bleak to view the hills at length recede,

And, less luxuriant, smoother vales extend:

Immense horizon—bounded plains succeed!

Far as the eye discerns, withouten end,

Spain's realms appear whereon her shepherds tend

Flocks, whose rich fleece right well the trader knows—

Now must the Pastor's arm his lambs defend:

For Spain is compassed by unyielding foes,

And all must shield their all, or share Subjection's woes.


text:
Page:EB1911 - Volume 02.djvu/475

 extensively to Oxford without spoiling it; while his school buildings in different parts of the country have a refinement and domesticity of feeling which is the true note of school architecture. Among buildings of an educational class, the move in technical education has led to the erection of a good many large polytechnic and similar institutions, which in many cases have been well treated architecturally; the Northampton Institute at Clerkenwell (fig. 104), by Mountford, being perhaps one of the boldest and most effective of recent public buildings. In the building of hospitals and asylums much has been done, and great progress made in the direction of hygienic and practical planning and construction, but the tendency has been (perhaps rightly) towards making this practical efficiency the main consideration and reducing architectural treatment to the simplest character. St Thomas’s hospital at Lambeth exemplifies the treatment of hospital architecture at the commencement of the last quarter of the 19th century; the separate pavilion system had been already adopted on practical grounds, but the building is treated in a sumptuous architectural style, as if representing so many detached mansions—a treatment which would now be deprecated as an expenditure foreign to the main purpose of the building. One recent hospital, however, that at Birmingham, by W. Henman, combining architectural effect with the latest hygienic improvements, was the first large hospital in Great Britain in which the system of mechanical ventilation was completely and consistently carried out.

In theatre building there has been an immense improvement in regard to planning, ventilation and fireproof construction, but little to note in an architectural sense, since theatres in England are never designed by eminent architects, the financial and practical aspects being alone considered.

In domestic architecture the tendency has been to quit picturesque irregularity for a more formal and more dignified treatment. Such a house as Norman Shaw’s “Cragside,” built in the earlier part of our period (fig. 105), however its picturesque treatment may still be admired, would hardly be built now on a large scale; its architect himself has of late years shown a preference for a symmetrical and regular treatment of house architecture sometimes to the extent of making the mansion look too like a barrack. In street architecture, however, the tendency has been towards a more characteristic and more picturesque treatment; nor is there any class of building in which the improvement in English architecture has been more marked and more unquestionable. Many of the new residential streets in the west end of London present a really picturesque ensemble, and many shops and other commercial street buildings have been erected with admirable fronts from the designs of some of the best architects of the day. Norman Shaw’s building at the corner of St James’s Street and Pall Mall was one of the first, and is still one of the best examples of modern street architecture, though surpassed by the same architect’s more recent building opposite, at the south-west angle of St James’s Street—one of the finest and most monumental examples of street architecture in London. Among other examples may be cited T. E. Collcutt’s London City & Midland Bank in Ludgate Hill (fig. 106) and R. Blomfield’s narrow house-front in Buckingham Gate (fig. 107). The introduction of sculpture in street fronts is also beginning to receive attention; and a simple house-front recently erected in Margaret Street, London, from the design of Beresford Pite (fig. 108), is an excellent example of the use of sculpture in

title: Page:EB1911 - Volume 02.djvu/475


text:
Translation:Garuda Emblem Act, BE 2534 (1992)

Phra Bat Somdet Phra Paraminthra Maha Bhumibol Adulyadej is graciously pleased to proclaim that: Whereas it is desirable to bring into existence a law on Garuda Emblem; Be it enacted by the King's most Excellent Majesty, by and with the advice and consent of the National Legislative Assembly, as follows:

This Act shall be cited as the "Garuda Emblem Act, BE 2534 (1991)".

This Act shall come into force as from the day following the date of its publication in the Government Gazette.

The parts of all other laws, regulations, ordinances, announcements and rules which deal with or are contrary to or inconsistent with the provisions of this Act shall be replaced by this Act.

In this Act:

"Garuda Emblem" means the emblem depicting the Khrut, Phra Khruttha Phaha or Phra Khrut Pha, irrespective of its gesture and irrespective of whether or not it is also accompanied by any texts, pictures or other symbols;

"Business body" means a body established for the purpose of undertaking any business under the name of 'partnership', 'shop', 'company' or other similar name, whether or not being a legal person;

"Warrant" means a written certificate of royal assent issued to a person or business body, confirming that the named person or business body is permitted by the King to use the Garuda Emblem in the specified business;

"Warrant emblem" means the Garuda Emblem below which appears the phrase 'Doi Dai Rap Phra Boromma Rachanuyat' or the phrase in a foreign language as may be determined by the Bureau of the Royal Household, and which a person or business body is entitled to use upon receiving a warrant.

The creation or use of the Garuda Emblem for the purpose of the state affairs shall be governed by the rules issued and published in the Government Gazette by the Council of Ministers.

The creation or use of the Garuda Emblem for the purpose of the Crown affairs shall be durante bene placito regis.

The creation or use of the Garuda Emblem in any other case than that mentioned in section 5 or 6 shall be governed by the criteria set forth in a royal decree.

The making of applications for warrant, other qualifications of the applicants, as well as the creation or use of the warrant emblems shall be governed by the criteria set forth in a royal decree.

A person or business body entitled to apply for a warrant must be of the following qualifications:

(1)	 Possessing good economic status and not incurring insolvency;

(2)	 Carrying out one's own business with good faith and without breaching to the law or the public order or good morals;

(3)	 Being otherwise qualified pursuant to the royal decree issued under section 8.

An application for a warrant shall directly be filed with the Bureau of the Royal Household. If, after due examination, the Bureau finds that the applying person or business body is qualified under section 9 and ought to be granted a warrant, it shall forward the application to the King for his royal assent. Upon such royal assent, the Prime Minister, in his capacity as the Commander of the Bureau of the Royal Household, shall issue a warrant to the applicant and publish a notice thereof in the Government Gazette.

A warrant is personal to the person to whom it is issued. The right to a warrant and to use its emblem shall be extinguished when:

(1)	 The Bureau of the Royal Household recalls the warrant for the reason that the person or business body to whom or which it has been issued:

(1)	 (a)	 Dies;

(1)	 (b)	 Ceases to undertake the business grounding the right to the warrant in question;

(1)	 (c)	 Transfers the said business to another person; or

(2)	 The Bureau of the Royal Household revokes the warrant by virtue of section 11 bis, paragraph 2.

Upon occurrence of the event under section 11 (1), the Bureau of the Royal Household shall, by recall, direct the person or business body to whom or which the warrant in question has been issued by the Prime Minister by virtue of section 10, an heir or the transferee, as the case may be, to return the warrant within a specified period of time.

If, following the action under paragraph 1, the Bureau of the Royal Household does not receive the warrant within the specified period, or if, after due examination, the Bureau finds that any person or business body to whom a warrant has been issued lacks any of the qualifications under section 9 or has the qualification grounding the right to the warrant changed in such a considerable manner, or if there arise other reasonable grounds for revocation, the Bureau of the Royal Household shall refer the matter to the King for his royal assent. Upon such royal assent, the Prime Minister shall revoke the warrant in question which he has issued by authority of section 10.

Upon the Bureau of the Royal Household's receipt of a warrant returned pursuant to paragraph 1 or upon the Prime Minister's revocation of a warrant according to paragraph 2, a notice thereof shall be published in the Government Gazette.

Any person who contravenes or fails to abide by the royal decree under section 7 or the royal decree on creation or use of warrants under section 8 shall be liable to imprisonment for not more than six months, or a fine of not exceeding three thousand baht or both.

Any person who, without authorisation or following the extinguishment under section 11, creates or uses the Garuda Emblem, a warrant or a warrant emblem, in order to deceive another into believing that he is entitled or still entitled to do so, or any person who fails to return the warrant recalled under section 11 bis, paragraph 1, shall be liable to imprisonment for not more than one year, or a fine of not exceeding six thousand baht or both.

Pending issuance of the rules of the Council of Ministers under section 5 or a royal decree under section 7 or 8, the creation or use of the Garuda Emblem or warrant emblems shall continue to be governed by the relevant laws, regulations, ordinances, announcements and rules, to the extent that they are not contrary to or inconsistent with the provisions of this Act.

Any person who has been permitted by the King to use the Garuda Emblem or a warrant emblem before the coming into force of this Act shall continue to so use, to the extent not contrary to or inconsistent with the provisions of this Act.

Any state enterprise which has used the Garuda Emblem before the coming into force of this Act shall give written notice of such use to the Prime Minister within thirty days from the coming into force of this Act, and shall completely cease to use it within two years from the coming into force of this Act.

The Prime Minister shall be in charge of this Act.

 * Prime Minister.
 * Prime Minister.

The grounds for promulgation of this Act are as follows: Since the Garuda Emblem, one of the seals of the state, has widespread been used as a symbol of the government service and the business bodies under His Majesty the King to the extent that it is now recognised by the general public, it is expedient to regulate the use of the Garuda Emblem for more orderliness. It is therefore necessary to enact this Act.


text:
Category:Anand Panyarachun

th:หมวดหมู่:อานันท์ ปันยารชุน

title: Category:Anand Panyarachun


text:
Translation:Garuda Emblem Act (No. 2), BE 2535 (1992)

Phra Bat Somdet Phra Paraminthra Maha Bhumibol Adulyadej is graciously pleased to proclaim that: Whereas it is desirable to amend the law on the Garuda Emblem; Be it enacted by the King's most Excellent Majesty, by and with the advice and consent of the National Legislative Assembly, in its capacity as the National Assembly, as follows:

This Act shall be cited as the "Garuda Emblem Act (No. 2), BE 2535 (1992)".

This Act shall come into force as from the day following the date of its publication in the Government Gazette.

The provisions of section 4 of the Garuda Emblem Act, BE 2534 (1991), shall be repealed and replaced by the following:

""

"'Garuda Emblem' means the emblem depicting the Khrut, Phra Khruttha Phaha or Phra Khrut Pha, irrespective of its gesture and irrespective of whether or not it is also accompanied by any texts, pictures or other symbols;"

"'Business body' means a body established for the purpose of undertaking any business under the name of 'partnership', 'shop', 'company' or other similar name, whether or not being a legal person;"

"'Warrant' means a written certificate of royal assent issued to a person or business body, confirming that the named person or business body is permitted by the King to use the Garuda Emblem in the specified business;"

"'Warrant emblem' means the Garuda Emblem below which appears the phrase 'Doi Dai Rap Phra Boromma Rachanuyat' or the phrase in a foreign language as may be determined by the Bureau of the Royal Household, and which a person or business body is entitled to use upon receiving a warrant.'"

The provisions of sections 9, 10 and 11 of the Garuda Emblem Act, BE 2534 (1991), shall be repealed and replaced by the following:

""

"A person or business body entitled to apply for a warrant must be of the following qualifications:"

"(1)	 Possessing good economic status and not incurring insolvency;"

"(2)	 Carrying out one's own business with good faith and without breaching to the law or the public order or good morals;"

"(3)	 Being otherwise qualified pursuant to the royal decree issued under section 8."

""

"An application for a warrant shall directly be filed with the Bureau of the Royal Household. If, after due examination, the Bureau finds that the applying person or business body is qualified under section 9 and ought to be granted a warrant, it shall forward the application to the King for his royal assent. Upon such royal assent, the Prime Minister, in his capacity as the Commander of the Bureau of the Royal Household, shall issue a warrant to the applicant and publish a notice thereof in the Government Gazette."

""

"A warrant is personal to the person to whom it is issued. The right to a warrant and to use its emblem shall be extinguished when:"

"(1)	 The Bureau of the Royal Household recalls the warrant for the reason that the person or business body to whom or which it has been issued:"

"(1)	 (a)	 Dies;"

"(1)	 (b)	 Ceases to undertake the business grounding the right to the warrant in question;"

"(1)	 (c)	 Transfers the said business to another person; or"

"(2)	 The Bureau of the Royal Household revokes the warrant by virtue of section 11 bis, paragraph 2.'"

The following shall be inserted in the Garuda Emblem Act, BE 2534 (1991), as its section 11 bis:

""

"Upon occurrence of the event under section 11 (1), the Bureau of the Royal Household shall, by recall, direct the person or business body to whom or which the warrant in question has been issued by the Prime Minister by virtue of section 10, an heir or the transferee, as the case may be, to return the warrant within a specified period of time."

"If, following the action under paragraph 1, the Bureau of the Royal Household does not receive the warrant within the specified period, or if, after due examination, the Bureau finds that any person or business body to whom a warrant has been issued lacks any of the qualifications under section 9 or has the qualification grounding the right to the warrant changed in such a considerable manner, or if there arise other reasonable grounds for revocation, the Bureau of the Royal Household shall refer the matter to the King for his royal assent. Upon such royal assent, the Prime Minister shall revoke the warrant in question which he has issued by authority of section 10."

"Upon the Bureau of the Royal Household's receipt of a warrant returned pursuant to paragraph 1 or upon the Prime Minister's revocation of a warrant according to paragraph 2, a notice thereof shall be published in the Government Gazette.'"

The provisions of sections 12 and 13 of the Garuda Emblem Act, BE 2534 (1991), shall be repealed and replaced by the following:

""

"Any person who contravenes or fails to abide by the royal decree under section 7 or the royal decree on creation or use of warrants under section 8 shall be liable to imprisonment for not more than six months, or a fine of not exceeding three thousand baht or both."

""

"Any person who, without authorisation or following the extinguishment under section 11, creates or uses the Garuda Emblem, a warrant or a warrant emblem, in order to deceive another into believing that he is entitled or still entitled to do so, or any person who fails to return the warrant recalled under section 11 bis, paragraph 1, shall be liable to imprisonment for not more than one year, or a fine of not exceeding six thousand baht or both.'"

 * Prime Minister.
 * Prime Minister.

The grounds for promulgation of this Act are as follows: The entrepreneurs without legal personality should also be entitled to apply for the warrants and to use the warrant emblems in their own business, whilst the warrants should be personal to the persons to whom they are issued, pursuant to the original customs. It is therefore necessary to enact this Act.


text: Dictionary of National Biography, 1885-1900/Norwich, John de


text: Dictionary of National Biography, 1885-1900/Norwich, Ralph de


text: Dictionary of National Biography, 1885-1900/Norwich, Robert


text: Dictionary of National Biography, 1885-1900/Norwich, Walter de


text: Dictionary of National Biography, 1885-1900/Norwood, Richard


text: Dictionary of National Biography, 1885-1900/Norwych, George


text: Dictionary of National Biography, 1885-1900/Notary, Julian


text: Dictionary of National Biography, 1885-1900/Nothelm


text: Dictionary of National Biography, 1885-1900/Nott, George Frederick


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/79

CANTO I.] XXXII.

Where Lusitania and her Sister meet,

Deem ye what bounds the rival realms divide?

Or ere the jealous Queens of Nations greet,

Doth Tayo interpose his mighty tide?

Or dark Sierras rise in craggy pride?

Or fence of art, like China's vasty wall?—

Ne barrier wall, ne river deep and wide,

Ne horrid crags, nor mountains dark and tall,

Rise like the rocks that part Hispania's land from Gaul:

XXXIII.

But these between a silver streamlet glides,

And scarce a name distinguisheth the brook,

Though rival kingdoms press its verdant sides:

Here leans the idle shepherd on his crook,

And vacant on the rippling waves doth look,

That peaceful still 'twixt bitterest foemen flow;

For proud each peasant as the noblest duke:

Well doth the Spanish hind the difference know

'Twixt him and Lusian slave, the lowest of the low.N6


text: Dictionary of National Biography, 1885-1900/Nott, John


text: Dictionary of National Biography, 1885-1900/Nott, Thomas


text: Dictionary of National Biography, 1885-1900/Nott, William


text: Dictionary of National Biography, 1885-1900/Nottingham, William of


text: Dictionary of National Biography, 1885-1900/Notton, William de


text: Dictionary of National Biography, 1885-1900/Nourse, Edward


text: Dictionary of National Biography, 1885-1900/Nourse, Timothy


text: Dictionary of National Biography, 1885-1900/Novello, Vincent


text: Dictionary of National Biography, 1885-1900/Nowell, Alexander


text: Dictionary of National Biography, 1885-1900/Nowell, Increase


text: Dictionary of National Biography, 1885-1900/Nowell, Laurence


text: Dictionary of National Biography, 1885-1900/Nowell, Thomas


text: Dictionary of National Biography, 1885-1900/Nower, Francis


text: Dictionary of National Biography, 1885-1900/Noye, William


text: Dictionary of National Biography, 1885-1900/Nugent, Charles Edmund


text: Dictionary of National Biography, 1885-1900/Nugent, Christopher (d.1731)


text: Dictionary of National Biography, 1885-1900/Nugent, Christopher (d.1775)


text: Dictionary of National Biography, 1885-1900/Nugent, George


text: Dictionary of National Biography, 1885-1900/Nugent, John


text: Dictionary of National Biography, 1885-1900/Nugent, Lavall


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/122

88 of their slain equals that of our countrymen butchered by these kind creatures, now metamorphosed into 'Caçadores,' and what not. I merely state a fact, not confined to Portugal; for in Sicily and Malta we are knocked on the head at a handsome average nightly, and not a Sicilian or Maltese is ever punished! The neglect of protection is disgraceful to our government and governors; for the murders are as notorious as the moon that shines upon them, and the apathy that overlooks them. The Portuguese, it is to be hoped, are complimented with the 'Forlorn Hope,'—if the cowards are become brave (like the rest of their kind, in a corner), pray let them display it. But there is a subscription for these (they need not be ashamed of the epithet once applied to the Spartans); and all the charitable patronymics, from ostentatious A. to diffident Z., and £1 1s. 0d. from 'An Admirer of Valour,' are in requisition for the lists at Lloyd's, and the honour of British benevolence. Well! we have fought, and subscribed, and bestowed peerages, and buried the killed by our friends and foes; and, lo! all this is to be done over again! Like Lien Chi (in Goldsmith's Citizen of the World), as we 'grow older, we grow never the better.' It would be pleasant to learn who will subscribe for us, in or about the year 1815, and what nation will send fifty thousand men, first to be decimated in the capital, and then decimated again (in the Irish fashion, nine out of ten), in the 'bed of honour;' which, as Serjeant Kite says [in Farquhar's Recruiting Officer, act i. sc. 1], is considerably larger and more commodious than 'the bed of Ware.' Then they must have a poet to write the 'Vision of Don Perceval,' and generously bestow the profits of the well and widely printed quarto, to rebuild the 'Backwynd' and the 'Canongate,' or furnish new kilts for the half-roasted Highlanders. Lord Wellington, however, has enacted marvels; and so did his Oriental brother, whom I saw charioteering over the French flag, and heard clipping bad Spanish, after listening to the speech of a patriotic cobler of Cadiz, on the event of his own entry


text:
Author:Edouard Jérôme Récéjac

Works

 * Essai sur les Fondements de la Connaissance Mystique. (Paris, 1897)

title: Author:Edouard Jérôme Récéjac


text:
Page:EB1911 - Volume 02.djvu/476

 connexion with ordinary street architecture. It is significant of the increased attention accorded to street architecture, that the most important architectural event in England at the very close of the 19th century, was the outlay of £2000 by the London County Council, in fees to eight architects for designs for the front of the proposed new streets of Kingsway and Aldwych. The idea was to treat these streets as comprehensive architectural designs with a certain unity of effect. Unfortunately this idea was abandoned for merely commercial reasons, it being feared that there would be a difficulty in letting the sites if tenants were required to conform their frontages to a general design. In the case of Aldwych, which is a crescent street, this decision was fatal. A crescent loses all its effect unless treated as a complete and symmetrical architectural design.

The competition for the Queen Victoria Memorial, consisting of a processional road from Whitehall to Buckingham Palace, culminating in a sculptural trophy in front of the palace, attracted a great deal of attention in 1901. Of the five invited competitors—Sir Aston Webb (b. 1849), T. G. Jackson, Ernest George (b. 1839), Sir Thomas Drew (b. 1838), and Sir Rowand Anderson (b. 1834) the two latter representing Ireland and Scotland respectively,—Sir Aston Webb’s design was selected, and unquestionably showed the best and most effective manner of laying out the road, as well as a very pleasing architectural treatment of the semicircular forecourt in front of the palace, with pavilions and fountain-basins symmetrically spaced; but some of this was subsequently sacrificed on grounds of economy. The building, a triumphal arch flanked by pavilions, forming the entry to the processional road from Whitehall, is a dignified design.

In France, still the leading artistic nation of the world, the art of architecture has been in a most flourishing and most active state in the most recent period. It is true that there is not the same variety as in modern English architecture, nor have there been the same discussions and experiments in regard to the true aim and course of architecture which have excited so much interest in England; because the French architects, unlike the English, know exactly what they want. They have a “school” of architecture; they adhere to the scholastic or academic theory of architecture as an art founded on the study of classic models; and on this basis their architects receive the most thorough training of any in the world. This predominance of the academic theory deprives their architecture, no doubt, of a good deal of the element of variety and picturesqueness; a French architect pur sang, in fact, never attempts the picturesque, unless in a country residence, and then the results are such that one wishes the attempt had not been made. But, on the other hand, modern French architecture at its best has a dignity and style about it which no other nation at present reaches, and which goes far to atone for a certain degree of sameness and repetition in its motives; and living under a government which recognizes the importance of national architecture, and is willing to spend public money liberally on it (with the full approbation of its public), the French architects have opportunities which English ones but seldom enjoy—the predominant aim with a British government being to see how little they can spend on a public building. The two great Paris exhibitions of 1889 and 1900 may be regarded as important events in connexion with architecture, for even the temporary buildings erected for them showed an amount of architectural interest and originality which could be met with nowhere else, and which in each case left its mark behind it, though with a difference; for while in the 1889 exhibition the main object was to treat temporary structures—iron and concrete and terra-cotta—in an undisguised but artistic manner, in those of the 1900 exhibition the effort was to create an architectural coup d’œil of apparently monumental structures of which the actual construction was disguised. In spite of some eccentricities the amount of invention and originality shown in these temporary buildings was most remarkable; but fortunately the exhibition left something more permanent behind it in the shape of the two art-palaces and the new bridge over the Seine. The two palaces are triumphs of modern classic architecture; the larger one (by MM. Thomas, Louvet and Deglane) is to some extent spoiled by the apparently unavoidable glass roof, the smaller one, by M. Girault, escapes this drawback, and, still more refined than its greater opposite, is one of the most beautiful buildings of modern times; the central portion is shown in Plate XIV., fig. 130. The architectural pylons, with their accompanying sculpture, which flank the entries to the bridge, are worthy of the best period of French Renaissance. Thus much, at least, has the 1900 exhibition done for architecture.

title: Page:EB1911 - Volume 02.djvu/476


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/123

CANTO I.] into that city, and the exit of some five thousand bold Britons out of this 'best of all possible worlds' [Pangloss, in Candide]. Sorely were we puzzled how to dispose of that same victory of Talavera; and a victory it surely was somewhere, for everybody claimed it. The Spanish despatch and mob called it Cuesta's, and made no great mention of the Viscount; the French called it theirs (to my great discomfiture,—for a French consul stopped my mouth in Greece with a pestilent Paris Gazette, just as I had killed Sebastiani 'in buckram,' and King Joseph 'in Kendal green'),—and we have not yet determined what to call it, or whose; for, certes, it was none of our own. Howbeit, Massena's retreat [May, 1811] is a great comfort; and as we have not been in the habit of pursuing for some years past, no wonder we are a little awkward at first. No doubt we shall improve; or, if not, we have only to take to our old way of retrograding, and there we are at home."—Recollections of the Life of Lord Byron, 1824, pp. 179-185.]

7.

Count Julian's daughter, the Helen of Spain. Pelagius preserved his independence in the fastnesses of the Asturias, and the descendants of his followers, after some centuries, completed their struggle by the conquest of Grenada.

[Roderick the Goth violated Florinda, or Caba, or Cava, daughter of Count Julian, one of his principal lieutenants. In revenge for this outrage, Julian allied himself with Musca, the Caliph's lieutenant in Africa, and countenanced the invasion of Spain by a body of Saracens and Africans commanded by Tarik, from whom Jebel Tarik, Tarik's Rock, that is, Gibraltar, is said to have been named. The issue was the defeat and death of Roderick and the Moorish occupation of Spain. A Spaniard, according to Cervantes, may call his dog, but not his daughter, Florinda. (See Vision of Don Roderick, by Sir W. Scott, stanza iv. note 5.)]


text: 1911 Encyclopædia Britannica/Puma

title: 1911 Encyclopædia Britannica/Puma


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/80

46 XXXIV.

But ere the mingling bounds have far been passed,

Dark Guadiana rolls his power along

In sullen billows, murmuring and vast,

So noted ancient roundelays among.

Whilome upon his banks did legions throng

Of Moor and Knight, in mailéd splendour drest:

Here ceased the swift their race, here sunk the strong;

The Paynim turban and the Christian crest

Mixed on the bleeding stream, by floating hosts oppressed.

XXXV.

Oh, lovely Spain! renowned, romantic Land!

Where is that standard which Pelagio bore,

When Cava's traitor-sire first called the band

That dyed thy mountain streams with Gothic gore?N7

Where are those bloody Banners which of yore

Waved o'er thy sons, victorious to the gale,


text: 1911 Encyclopædia Britannica/Strikes and Lock-outs


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/81

CANTO I.] And drove at last the spoilers to their shore?

Red gleamed the Cross, and waned the Crescent pale,

While Afric's echoes thrilled with Moorish matrons' wail.

XXXVI.

Teems not each ditty with the glorious tale?

Ah! such, alas! the hero's amplest fate!

When granite moulders and when records fail,

A peasant's plaint prolongs his dubious date.

Pride! bend thine eye from Heaven to thine estate,

See how the Mighty shrink into a song!

Can Volume, Pillar, Pile preserve thee great?

Or must thou trust Tradition's simple tongue,

When Flattery sleeps with thee, and History does thee wrong?

XXXVII.

Awake, ye Sons of Spain! awake! advance!

Lo! Chivalry, your ancient Goddess, cries,

But wields not, as of old, her thirsty lance,

Nor shakes her crimson plumage in the skies:

Now on the smoke of blazing bolts she flies,

And speaks in thunder through yon engine's roar:


text:
Author:Ignatius of Loyola

Works

 * Spiritual Exercises
 * Constitutions
 * Autobiography
 * Spiritual Diary
 * Directives Concerning the Spiritual Exercises

 * "Anima Christi", often misattributed to Ignatius, authorship unknown

title: Author:Ignatius of Loyola


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/82

48 In every peal she calls—"Awake! arise!"

Say, is her voice more feeble than of yore,

When her war-song was heard on Andalusia's shore?

XXXVIII.

Hark!—heard you not those hoofs of dreadful note?

Sounds not the clang of conflict on the heath?

Saw ye not whom the reeking sabre smote,

Nor saved your brethren ere they sank beneath

Tyrants and Tyrants' slaves?—the fires of Death,

The Bale-fires flash on high:—from rock to rock

Each volley tells that thousands cease to breathe;

Death rides upon the sulphury Siroc,

Red Battle stamps his foot, and Nations feel the shock.

XXXIX.

Lo! where the Giant on the mountain stands,

His blood-red tresses deepening in the Sun,

With death-shot glowing in his fiery hands,

And eye that scorcheth all it glares upon;

Restless it rolls, now fixed, and now anon

Flashing afar,—and at his iron feet


text:
Author:Diego Laynez

Works

 * Disputationes Tridentinae (1886)

title: Author:Diego Laynez


text:
Author:Marcel Bouix

Works

 * Œuvres de Sainte Térèse. (Three volumes: Paris, 1852-54-56)

title: Author:Marcel Bouix


text:
Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 2.djvu/83

CANTO I.] Destruction cowers, to mark what deeds are done;

For on this morn three potent Nations meet,

To shed before his Shrine the blood he deems most sweet.

XL.

By Heaven! it is a splendid sight to see

(For one who hath no friend, no brother there)

Their rival scarfs of mixed embroidery,

Their various arms that glitter in the air!

What gallant War-hounds rouse them from their lair,

And gnash their fangs, loud yelling for the prey!

All join the chase, but few the triumph share;

The Grave shall bear the chiefest prize away,

And Havoc scarce for joy can number their array.

XLI.

Three hosts combine to offer sacrifice;

Three tongues prefer strange orisons on high;


text: 1911 Encyclopædia Britannica/Wright, Silas


text: 1911 Encyclopædia Britannica/Wright, Joseph


text:
Author:Daniello Bartoli

Works

 * Della vita e dell'istituto di s. Ignatio. (1650)

title: Author:Daniello Bartoli


text: 1911 Encyclopædia Britannica/Wright, Chauncey


text: 1911 Encyclopædia Britannica/Wright, Carroll Davidson


text: Author:Andrew Jackson Davis

title: Author:Andrew Jackson Davis


text:
Page:A New Survey of the West Indies or The English American his Travel by Sea and Land.djvu/7

''He Divine Providence hath hitherto so ordered my life, that for the greatest part thereof I have lived (as it were) in exile from my native Country: which happened, partly, by reason of my Education in the Romish Religion, and that in forein Universities; and partly, by my entrance into Monastical Orders. For twelve years space of which time, I was wholly disposed of in that part of America called New Spain, and the parts adjacent. My difficult going thither not being permitted to any, but to those of the Spanish Nation; my long stay there; and lastly my returning home, not only to my Countrey, but to the true knowledge and free profession of the Gospels Purity, gave me reason to conceive, That these great mercies were not appointed me by the Heavenly Powers, to the end I should bury my Talent in the earth, or hide my light under a bushel, but that I should impart what I there saw and knew to the use and benefit of my English Countrey-men: And which I held my self obliged unto, because in a manner nothing hath been written of'' Rh


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 these Parts for these hundred years last past, which is almost ever since the first Conquest thereof by the Spaniards, ''who are contented to lose the honour of that wealth and felicity they have there since purchased by their great endeavours, so they may enjoy the safety of retaining what they have formerly gotten, in peace and security. In doing whereof I shall offer no Collections, but such as shall arise from mine own Observations, which will as much differ from what formerly hath been hereupon written, as the Picture of a person grown to Mans estate, from that which was taken of him when he was but a Child; or the last hand of the Painter, to the first or rough draught of the Picture. To my Country-men therefore I offer a New World, to be the subject of their future Pains, Valour and Piety, desiring their acceptance of this plain but faithful Relation of mine, wherein the English Nation may see what wealth and honour they have lost by the oversight of King'' Henry VII. who living in peace and abounding in riches, did notwithstanding unfortunately rejet the offer of being first Discoverer of America, and left it to Ferdinando of Aragon, who at the same time was wholly taken up by the Wars, in gaining of the


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text: Category:History of Guatemala

title: Category:History of Guatemala


text:
Author:Philip Ainsworth Means

Works

 * History of the Spanish Conquest of Yucatan and of the Itzas (1917)

title: Author:Philip Ainsworth Means


text:
Page:EB1911 - Volume 02.djvu/477

 1911 Britannica-Architecture-Hôtel de Ville.png

At the beginning of the last quarter of the 19th century stands one of the most important of modern French buildings, the Paris hôtel de ville, commenced shortly after the war, from the designs of MM. Ballu and Deperthes, planned on an immense scale, and on the stateliest and most monumental lines: the plan is given in fig. 109. The central block is, externally, a restoration of the old hôtel de ville, the remainder carried out in an analogous but somewhat more modern style. The interior has been the scene of sumptuous pictorial decoration, in which all the first artists of the day were employed—unfortunately in too scattered a manner and on no predominant or consistent scheme. One of the most characteristic architectural efforts of the French has consisted in the erection of the various smaller hôtels-de-ville or mairies, in the city and suburban districts of the capital; as at Pantin, Lilas, Suresnes and in various arrondissements within the city proper (Plate XIII., fig. 127). Nothing shows the quality of modern French architecture better, or perhaps more favourably, than this series of district town halls; all have a distinctly municipal character and a certain family resemblance of style amid their diversity of details; all are refined specimens of pre-eminently civilized architecture. Among the greater architectural efforts of France is the immense block of the new Sorbonne, by M. Nénot, a building sufficient in itself for an architectural reputation. Among smaller French buildings of peculiar merit may be mentioned the Musée Galliera, in the Trocadéro quarter of Paris, designed by M. Ginain—a work of pure art in architecture such as we should nowadays look for in vain out of France; the École de Médecine, by the same refined architect (fig. 110); and the chapel in rue Jean Goujon (Guilbert), erected as a memorial to the victims of the bazaar fire, again a notable instance of a work of pure thought in architecture—a new conception out of old materials. The new Opéra Comique (Bernier) should also be mentioned, the rather disappointing result of a competition which excited great interest at the time. Street architecture has been carried out of late in Paris in a sumptuous style, with great stone fronts and a profusion of carved ornament, such as we know nothing of in England; and though there is a rather monotonous repetition of the same style and character throughout the new or newly built streets, it is impossible to deny the effect of palatial dignity they impart to the city. In the matter of country houses the French architect is less fortunate; when he attempts what he regards as the rural picturesque, his good taste seems entirely to desert him, and the maison de campagne is generally a mere riot of gimcrack bargeboards and finials. In Paris, the taste for the contortions of what is called art nouveau has led to the erection, here and there, of ugly and eccentric fronts with preposterous ornamental details; but the invasion of this element is only partial and will probably not prove other than a passing phase.

The great military success of Germany in 1870, and the founding of the German empire, gave, as is usual in such crises, a decided impetus to public architecture, of which the central and most important visible sign is the German Houses of Parliament (Plate IX., fig. 117), by Paul Wallot (b. 1841), whose design was selected in a competition. There is something essentially German in the quality of this national building; classic architecture minus its refinement. The detail is coarse; the finish of the end pavilions of the principal front absolutely unmeaning—mere architectural rodomontade; the central cupola of glass and iron, on a square plan, probably the ugliest central feature on any great building in Europe; and yet there is undeniable power about the whole thing; it is the characteristic product of a conquering nation not reticent in its triumph. The new cathedral at Berlin, by Julius Raschdorff (b. 1823), is the other most important German work of the period (fig. 111); a building very striking and unusual in plan, but absolutely commonplace in its architectural detail; school classic of the most ordinary type, without even any of those elements of originality which are to be found in the Houses of Parliament. A curious feature in the plan (fig. 112) is that the building, alone of any cathedral we can recall, has its principal general entrance at the side, the end entrance being reserved for a special imperial cortège on special occasions, the cathedral also serving the second purpose of an imperial mausoleum. Theatre building has been carried on very largely in Germany, and among its productions the Lessing theatre at Berlin (fig. 113) (Hermann von der Hude and Julius Hennicke, d. 1892) is a favourable example of German

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text: Handbook of Western Australia/Part 3

title: Handbook of Western Australia/Part 3


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 THE DEWEY TRIUMPHAL ARCH


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 FARRAGUT AT MOBILE BAY


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 SHERIDAN'S RIDE


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A. D. 1038.]

, or Canute the Strong, had never resigned his pretensions to the crown of England; and the country was only spared the horrors of a civil war by the death of the late king. Under pretence of visiting the widowed queen in Flanders, he had assembled a fleet of sixty ships, his real intention being to make a descent upon England. The news of Harold's death induced him at once to set sail He shortly afterwards entered London in triumph, and was acknowledged king without opposition.

The first act of Hardicanute's government afforded his subjects a bad prognostic of his future conduct. He was so enraged at Harold for depriving him of his share of the


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 classic at its best, besides being, like most modern German theatres, very well planned (fig. 114). Hamburg has had its new municipal buildings (Grotjan), a florid Renaissance building with a central tower, showing in its general effect and grouping a good deal of Gothic feeling. Mention may also be made of the Imperial law courts (Reichsgerichtsgebäude) at Leipzig, designed by Ludwig Hoffmann (b. 1852) and finished in 1895, a building with no more charm about it, externally, than the Berlin Parliament Houses, but with some good interior effects. The new post offices in Germany have been an important undertaking, and are, at all events, buildings of more mark than those in England. There has also been a great deal of new development in street architecture, which shows an immense variety, and a constantly evident determination to do something striking, but we find in it neither the dignity of Parisian street architecture nor the refinement of modern London work; there is an element of the bombastic about it.

No modern building on the European continent is more remarkable than the Brussels law courts (Plate XI., fig. 121) from the designs of Joseph Poelaert (1816–1879), an original genius in architecture, who had the good fortune to be appreciated and given a free hand by his government. The design is based on classic architecture, but with a treatment so completely individual as to remove it almost entirely from the category of imitative or revival architecture; somewhat fantastic it may be, but as an original architectural creation it stands almost alone among modern public buildings. In Vienna the scholastic classic style has been retained with much more purity and refinement than in the German capital, and the Parliament Houses (Plate IX., fig. 116), by Theophil Hansen (1813–1891), if they show no originality of detail, have the merit of original and very effective grouping. Budapest, on the other hand, which has almost sprung into existence since 1875 as the rival of the Austrian capital, has erected a great Parliament building of florid character (Plate IX., fig. 115), in a style in which the Gothic element is prevalent, though the central feature is a dome. The plan (see fig. 92) is obviously based on that of the Westminster building, the exterior design, however, has the merit of clearly indicating the position of the two Chambers as part of the architectural design, the want of which is the one serious defect of Barry’s noble structure. In Italy modern architecture is at a very low ebb; the one great work of this period was the building of the façade to the Duomo at Florence, from the design of de Fabris, who did not live to see its completion. As the completion in modern times of a building of world-wide fame, it is a work of considerable interest, and, on the whole, not unworthy of its position; that it should harmonize quite satisfactorily with the ancient structure was hardly to be expected. It was probably the completion of this façade which led the city of Milan to start a great architectural competition, in the early ’eighties, for the erection of a new façade to its celebrated cathedral, not because the façade had never been completed, but because it had been spoiled and patched with bad 18th-century work. The ambition was a legitimate one, and the competition, open to all the world, excited the greatest interest; but the young Italian architect, Brentano, to whom the first premium

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 was awarded, died shortly afterwards, and other causes, partly financial, led to the postponement of the scheme, though it is understood that there is still an intention of carrying out Brentano’s design under the direction of the official architectural department of the city.

In summing up the present position of modern architecture, it may be said that architecture is now a more cosmopolitan art than it has been at any previous period. The separate development of a national style has become in the present day almost an impossibility. Increased means of communication have brought all civilized nations into close touch with each other’s tastes and ideas, with the natural consequence that the treatment of a special class of building in any one country will not differ very materially from its treatment in another; though there are nuances of local taste in detail, in manner of execution, in the materials used. And the civilized countries have almost with one consent returned, in the main, to the adoption of a school of architecture based on classic types. The taste for medievalism is dying out even in Great Britain, which has been its chief stronghold.

What course the future of modern architecture will take it is not easy to prophesy. What is quite certain is that it is now an individual art, each important building being the production, not of an unconsciously pursued national style, but of a personal designer. As far as there is a ruling consensus in architectural taste, this will tend to become, like dress and manners, more and more cosmopolitan; and it seems probable that it will be based more or less on the types left us by Classic and Renaissance architecture. There are, however, two influences which may have a definite effect on the architecture of the near future. One of these is the possible greater rapprochement between architecture and engineering, of which there are already some signs to be seen; architects will learn more of the kind of structural problems which are now almost the exclusive province of the engineer, and there will be a demand that engineering works shall be treated, as they well may be, with some of the refinement and expression of architecture. The other influence lies in the closer connexion, which is already taking place, between architecture and the allied arts, so that an important building will be regarded and treated as a field for the application of decorative sculpture and painting of the highest class, and as being incomplete without these. It is in this closer union of architecture with the other arts that there lies the best hope for the architecture of the future.

.—The literature of architecture as a modern art is limited, the most important publications of recent times being mainly devoted to the study and illustration of ancient architecture. The following, however, may be named:—James Fergusson, History of Modern Architecture (2nd ed., London, 1873); T. G. Jackson, Modern Gothic Architecture (London, 1873); J. T. Micklethwaite, Modern Parish Churches (London, 1874); E. R. Robson, School Architecture (London, 1874); J. J. Stevenson, House Architecture (London, 1880); E. E. Viollet-le-Duc, How to Build a House (London, 1874); Lectures on Architecture (London, 1881); H. C. Burdett, Hospitals and Asylums of the World (London, 1892–1893); Professor Oswald Kuhn, Krankenhäuser (Stuttgart, 1897); E. O. Sachs, Modern Opera-Houses and Theatres (London, 1897–1899); E. Wyndham Tarn, The Mechanics of Architecture (London, 1893); R. Norman Shaw, R.A., T. G. Jackson, R.A., and others, Architecture, a Profession or an Art (London, 1892); W. H. White, The Architect and his Artists (London, 1892); Architecture and Public Buildings in Paris and London (London, 1884); H. H. Statham, Architecture for General Readers (London, 1895); Modern Architecture (London, 1898); Herrmann Muthesius, Die englische Baukunst der Gegenwart (Berlin and Leipzig, 1900); Der Architekten Verein zu Berlin, Berlin und Seine Bauten (Berlin, 1896). The real literature of modern architecture, however, is to be found mainly in the articles and illustrations in the best periodical architectural publications of various countries. Among these Italy has none worth mention, and France, with all her architectural enthusiasm, has had no first-class architectural periodical since the extinction, about 1890, of the Revue générale de l’architecture, conducted for more than fifty years by the late César Daly, and in its day the first periodical of its class in the world. Among the best periodical publications are: The Architectural Record (quarterly), (New York); The Architectural Review (monthly), (Boston); the Allgemeine Bauzeitung (quarterly), (Vienna); the Berlin Architekturwelt (monthly), (Berlin); The Builder (weekly), (London); La Construction moderne (weekly), (Paris).

ARCHITRAVE (from Lat. arcus, an arch, and trabs, trabem, a beam), an architectural term for the chief beam which carries the superstructure and rests immediately on the columns. In the ordinary entablature it is the lowest of the three divisions, the other two being the frieze and the cornice (see ). The term is also applied to the moulded frame of a doorway. ARCHIVE (Lat. archivum, a transliteration of Gr. , an official building), a term (generally used in the plural “archives”), properly denoting the building in which are kept the records, charters and other papers belonging to any state, community or family, but now generally applied to the documents themselves (see ). ARCHIVOLT (from Lat. arcus, an arch, and volta, a vault), an architectural term applied to the mouldings of an architrave, when carried round an arched opening. ARCHON (, ruler), the title of the highest magistrate in many ancient Greek states. It is only in Athens that we have any detailed knowledge of the office, and even in this one case the evidence presents problems of the first importance which are incapable of decisive solution. There is no doubt that the archons represented the ancient kings, whose absolutism, under conditions which we can only infer, yielded in process of time to the power of the noble families, supported no doubt by the fighting force of the state. As to the process by which this change was effected there are two accounts. Traditionally, the monarchy after the death of Codrus (? 1068 ) gave place to the life archon whose tenure of office was limited afterwards to ten years and then to one year. Aristotle’s  (q.v.) speaks of five stages: (1) the institution of the polemarch who took over the military duties of the king; (2) the institution of the archon to relieve the king of his civil duties; (3) the tenure of office was reduced to ten years (? 752 ); (4) the office was taken from the “royal” clan and thrown open to all Eupatridae (? 712 ); (5) office was made annual, and to the existing three offices were added the six thesmothetae whose duty it was to record judicial decisions. The value of this latter account is, of course, debatable, but it is at least compatible with the general trend of development from hereditary absolutism, civil, military and religious, in the person of the “king,” to a constitutional oligarchy. The change was clearly effected by the devolution of the military and civil powers of the king to the polemarch and the archon, while the archon basileus (or king) retained control of state religion. It is equally clear that owing to the predominating importance of civil affairs, the archon became the chief state official and gave his name to the year (hence archon eponymus). It should be noticed that the analogy which has often been suggested between the early history of the archonship at Athens, and such cases as the mayors of the palace in French history, or the tycoon (shogun) and mikado in Japanese history, is misleading. In these cases it is the old royal house that retains the royal title and the semblance of power, while the real authority passes into new hands. In Athens, the new civil office is vested in the old royal family, while the old title along with its religious functions is transferred. The early history of the thesmothetae is not clear, but this much is certain that there is no adequate reason for supposing, as many historians do, that in early times, they, with the three chief archons, constituted a collective or collegiate magistracy. It is true Thucydides (i. 126) states that, in the time of the Cylonian conspiracy (? 632 ), “the nine archons were (i.e. collectively) the principal officials,” but at the same time the responsibility for the action then taken attached to the Alcmaeonidae alone, because one of their number, Megacles, was at that time the archon (i.e. responsibility was personal, not collective). Again, the Constitution of Athens says that down to Solon’s time the archons had no official residence, but that afterwards they used the Thesmotheteion. It is a reasonable inference from this statement that the thesmothetae had previously sat together apart from the superior archons and that it was only after Solon that collegiate responsibility began.

Evolution of the Office.—The history of the democratization of the archonship is beset with equal difficulty. In the early days,

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