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 published on the subject of color, they either pertain exclusively to the purely scientific or technical aspects of the case or to the manufacturing industries, or are otherwise unsuited to the special purposes of the zoologist, the botanist and the mineralogist."

In the same book the Chapter on Principles of Color opens with the following sentences: "The popular nomenclature of colors has of late years, especially since the introduction of aniline dyes and pigments, become involved in almost chaotic confusion through the coinage of a multitude of new names, many of them synonymous, and still more of them vague or variable in their meaning. These new names are far too numerous to be of any practical utility, even were each one identifiable with a particular fixed tint. Many of them are invented at the caprice of the dyer or manufacturer of fabrics, and are as capricious in their meaning as in their origin; among them being such fanciful names as 'Zulu,' 'Crushed Strawberry,' 'Baby Blue,' 'Woodbine-berry,' 'Night Green,' etc., besides such nonsensical names as 'Ashes of Roses' and 'Elephant's Breath.' "

These extracts from this valuable and interesting book by an author of large experience are quoted here to emphasize the practical necessity for more definite color education based on analysis and nomenclature.

With the color wheel or color top, the colors of flowers and leaves as well as all other objects in nature and art may be analyzed and named, and the names definitely recorded in the terms of a nomenclature based on permanent standards.

The following list of flowers and leaves of plants and trees with their analyses in terms of our nomenclature is taken from a recently published paper entitled "On the Color Description of Flowers," by Prof. J. H. Pillsbury, to whom the writer is indebted for some of the earliest suggestions regarding the practical application of the scientific facts of color to color teaching, and also for valuable scientific work which he has done in-


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RV 362 (BUDDENBROOKS) invested it securely and not unprofitably. But then, what he had said, quite unblushingly and without embarrassment, to his wife, was this: “Tonerl”—he called her “Tonerl”—“Tonerl, that’s good enough for me. What do we want of more? I been working my hide off all my days; now I’d like to sit down and have a little peace and quiet, damned if I wouldn’t. Let’s rent the parterre and the second floor, and still we’ll have a good house, where we can sit and eat our bit of pig’s meat without screwing ourselves up and putting on so much lug. And in the evening I can go to the Hofbräu house. I’m no swell—I don’t care about scraping money together. I want my comfort. I quit to-morrow and go into private life.”

“Permaneder!” she had cried; and for the first time she had spoken hi3 name with that peculiar throaty sound which her voice always had when she uttered the name of Grünlich.

“Oh, shut up! Don’t take on!” was all he answered. There had followed, thus early in their life together, a quarrel, serious and violent enough to endanger the happiness of any marriage. He came off victorious. Her passionate resistance was shattered upon his urgent longing for “peace and quiet.” It ended in Herr Permaneder’s withdrawing the capital he had in the hop business, so that now Herr Noppe, in his turn, could strike the “and Company” off his card. After which Tony’s husband, like most of the friends whom he met around the table in the Hofbräu House, to play cards and drink his regular three litres of beer, limited his activities to the raising of rents in his capacity of landlord, and to an undisturbed cutting of coupons.

The Frau Consul was notified quite simply of this fact. But Frau Permaneder’s distress was evident in the letters which she wrote to her brother. Poor Tony! Her worst fears were more than realized. She had always known that Herr Permaneder possessed none of that “resourcefulness” of which her first husband had had so much; but that he would so entirely confound the expectations she had expressed to Mamsell

RV 362 (362)

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


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46 (5) A person commits an offence if the person—
 * (a) is given an app removal direction; and
 * (b) without reasonable excuse, fails to comply with any requirement of the direction,

whether in Singapore or outside Singapore.

(6) A person who is guilty of an offence under subsection (1) shall be liable on conviction—
 * (a) if the person is an individual, to a fine not exceeding $20,000 or to imprisonment for a term not exceeding 2 years or to both; or
 * (b) in any other case, to a fine not exceeding $500,000.

(7) A person who is guilty of an offence under subsection (2) or (4) shall be liable on conviction—
 * (a) if the person is an individual, to a fine not exceeding $20,000 or to imprisonment for a term not exceeding 12 months or to both and, in the case of a continuing offence, to a further fine not exceeding $100,000 for every day or part of a day during which the offence continues after conviction; or
 * (b) in any other case, to a fine not exceeding $1 million and, in the case of a continuing offence, to a further fine not exceeding $100,000 for every day or part of a day during which the offence continues after conviction.

(8) A person who is guilty of an offence under subsection (3) or (5) shall be liable on conviction to a fine not exceeding $20,000 for every day or part of a day that the person, without reasonable excuse, fails to comply with any requirement of the direction mentioned in that subsection, but not exceeding in total $500,000.

Offences of non-compliance with rectification notice or implementation directive

51.—(1) A person commits an offence if the person—
 * (a) is given a rectification notice; and


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RV 363 (BUDDENBROOKS) Jungmann on the eve of her betrothal—that he would so completely fail to recognize the duties he had taken upon himself when he married a Buddenbrook—that she had never dreamed.

But these feelings must be overcome; and her family at home saw from her letters how she resigned herself. She lived on rather monotonously with her husband and Erica, who went to school; she attended to her housekeeping, kept up friendly relations with the people who rented the parterre and the first storey and with the Niederpaur family in Marienplatz; and she wrote now and then of going to the theatre with her friend Eva. Herr Permaneder did not care for the theatre. And it came out that he had grown to more than forty years of age in his beloved Munich without ever having seen the inside of the Pinakothek.

Time passed. But Tony could feel no longer any true happiness in her new life, since the day when Herr Permaneder received her dowry and settled himself down to enjoy his ease. Hope was no more. She would never be able to write home to announce new ventures and new successes. Just as life was now—free from cares, it was true, but so limited, so lamentably “unrefined,”—just so it would remain until the end. It weighed upon her. It was plain from her letters that this very lowness of tone was making it harder for her to adapt herself to the south-German surroundings. In small matters, of course, things grew easier. She learned to make herself understood by the servants and errand-boys, to say “meaties” instead of “croquettes,” and to set no more fruit soup before her husband after the one he had called a “sickening mess.” But, in general, she remained a stranger in her new home; and she never ceased to taste the bitterness of the knowledge that to be a born Buddenbrook was not to enjoy any particular prestige in her adopted home. She once related in a letter the story of how she met in the street a mason’s apprentice, carrying a mug of beer in one hand and holding a large white radish by its tail in the other; who, waving his beer, said jovially: “Neighbour, can ye tell us the time?”

RV 363 (363)


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Rh :(b) without reasonable excuse, fails to comply with any requirement of the notice, whether in Singapore or outside Singapore.

(2) A person commits an offence if the person—
 * (a) is given an implementation directive; and
 * (b) without reasonable excuse, fails to comply with any requirement of the directive,

whether in Singapore or outside Singapore.

(3) A person who is guilty of an offence under subsection (1) or (2) shall be liable on conviction to a fine not exceeding $1 million and, in the case of a continuing offence, to a further fine not exceeding $100,000 for every day or part of a day during which the offence continues after conviction.

Offences of non-compliance with Part 6 orders

52.—(1) A person commits an offence if the person—
 * (a) is given a service restriction order; and
 * (b) without reasonable excuse, fails to comply with any requirement of the service restriction order,

whether in Singapore or outside Singapore.

(2) A person commits an offence if the person—
 * (a) is given an access blocking order; and
 * (b) without reasonable excuse, fails to comply with any requirement of the access blocking order,

whether in Singapore or outside Singapore.

(3) A person commits an offence if the person—
 * (a) is given an app removal order; and
 * (b) without reasonable excuse, fails to comply with any requirement of the app removal order,

whether in Singapore or outside Singapore.


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48 (4) A person who is guilty of an offence under subsection (1) shall be liable on conviction—
 * (a) if the person is an individual, to a fine not exceeding $20,000 or to imprisonment for a term not exceeding 12 months or to both and, in the case of a continuing offence, to a further fine not exceeding $100,000 for every day or part of a day during which the offence continues after conviction; or
 * (b) in any other case, to a fine not exceeding $1 million and, in the case of a continuing offence, to a further fine not exceeding $100,000 for every day or part of a day during which the offence continues after conviction.

(5) A person who is guilty of an offence under subsection (2) or (3) shall be liable on conviction to a fine not exceeding $20,000 for every day or part of a day that the person, without reasonable excuse, fails to comply with the access blocking order or app removal order (as the case may be), but not exceeding in total $500,000.

Offence of non-compliance with written notice under section 47 or 48

53.—(1) A person commits an offence if the person—
 * (a) is given a written notice under section 47 or 48; and
 * (b) without reasonable excuse, fails to comply with that written notice,

whether in Singapore or outside Singapore.

(2) A person who is guilty of an offence under subsection (1) shall be liable on conviction—
 * (a) if the person is an individual, to a fine not exceeding $5,000 or to imprisonment for a term not exceeding 6 months or to both; or
 * (b) in any other case, to a fine not exceeding $10,000.


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Rh Defences

54.—(1) It is not a defence to a charge for an offence under section 50, 52 or 53 that—
 * (a) the person is subject to a duty under any written law, any rule of law, any contract or any rule of professional conduct, that prevents or restricts the person from complying with a requirement of the Part 2 direction, the Part 6 order or the written notice under section 47 or 48, as the case may be; or
 * (b) the person has applied for a reconsideration of, or has appealed against, the Part 2 direction or the Part 6 order, as the case may be.

(2) It is not a defence to a charge for an offence under section 51 that—
 * (a) the person is subject to a duty of confidentiality or privacy imposed by any rule of law or a duty imposed by any contract or any rule of professional conduct, that prevents or restricts the person from complying with a requirement of the rectification notice, the implementation directive or the code of practice concerned, as the case may be; or
 * (b) the person has appealed against the decision to designate the person’s online service, the decision to give a code application notice to the person, a requirement of the implementation directive or a requirement of the code of practice concerned or a variation thereof, as the case may be.

(3) Without limiting the meaning of “reasonable excuse”, it is a defence to a charge for an offence under this Part (except in relation to a stop communication direction) if the accused proves, on a balance of probabilities, that—
 * (a) it was not reasonably practicable to do more than what was in fact done to comply with the Part 2 direction, rectification notice, implementation directive or Part 6 order, as the case may be; or


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RV 364 (BUDDENBROOKS) She made a joke of it, in the telling; yet even so, a strong undercurrent of irritation betrayed itself. You might be quite certain that she threw back her head and vouchsafed to the poor man neither answer nor glance in his direction. But it was not alone this lack of formality and absence of distinctions that made her feel strange and unsympathetic. She did not live deeply, it is true, into the life or affairs of her new home; hut she breathed the Munich air, the air of a great city, full of artists and citizens who habitually did nothing: an air with something about it a little demoralizing, which she sometimes found it hard to take good-humouredly.

The days passed. And then it seemed that there was after all a joy in store—in fact, the very one which was longed for in vain in Broad Street and Meng Street. For not long after the New Year of 1859 Tony felt certain that she was again to become a mother.

The joy of it trembled in her letters, which were full of the old childish gaiety and sense of importance. The Frau Consul, who, with the exception of the summer holiday, confined her journeyings more and more to the Baltic coast, lamented that she could not be with her daughter at this time. Tom and Gerda made plans to go to the christening, and Tony’s head was full of giving them an elegant reception. Alas, poor Tony! The visit which took place was sad indeed, and the christening—Tony had cherished visions of a ravishing little feast, with flowers, sweetmeats, and chocolate—never took place at all. The child, a little girl, only entered into life for a tiny quarter of an hour; then, though the doctor did his best to set the pathetic little mechanism going, it faded out of being.

Consul Buddenbrook and his wife arrived in Munich to find Tony herself not out of danger. She was far more ill than before, and a nervous weakness from which she had already suffered prevented her from taking any nourishment at all for several days. Then she began to eat, and on their departure, the Buddenbrooks felt reassured as far as her health

RV 364 (364)


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 cluding the exact location of the six color standards in the solar spectrum by their wave lengths:—

"With these standards to work from, I undertook to deter- mine the color analysis of certain of our common flowers. The following results, will, I think, be interesting to botanists. The numbers given indicate per cent, of color required to produce the hue of the flower : —

Common forsythia, F. viridissima : Pure spectrum yellow.

Fringed polygala, P. paucifolia : R. 48, V. 52.

Wistaria, W. frutescens, wings : R. 11, V. 89.

Wistaria, W. frutescens, standard : R. 9, V. 79, W. 12.

Flowering quince, Cydonia japonica : R. 95, V. 2, W. 3.

Wild cranesbill, Geranium maculatum : R. 28, V. 66, W. 6.

The variations of color in the early summer foliage is also interesting. The following analyses are for the upper side of fresh and well developed healthy leaves. It is not impossible that. a little attention to these variations in the color of foliage on the part of artists would save us the annoyance of some of the abominable green which we so often see in the pictures of artists of good reputation:—

White oak: Y. 7. 5, G. 11.5, N. 81.

Apple: Y. 5, G. 13, W. 2, N. 80.

Copper beech : R. 17, V. 2, N. 81.

Hemlock: Y. 2, G. 9, N. 89.

White pine : Y. 2. 5, G. 11, N. 86. 5.

White birch: Y. 5.5, G. 11. 5, W. 1, N. 82.

Hornbeam: Y. 5. 5, G. 12. 5, N. 82.

Shagbark hickory : Y. 4. 5, G. 9. 5, N. 86.

These analyses were made in a moderately strong diffused light with Maxwell disks of the standard hues referred to above."

These are but a few of the numerous flowers the colors of which may be perfectly imitated and consequently analyzed and named with the color wheel or the top. In fact for individual work in natural history the top is more convenient than


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50 :(b) there was no better practicable means than was in fact used.

Arrestable and bailable offences

55.—(1) Every offence as follows is arrestable and is non-bailable for the purposes of the Criminal Procedure Code 2010:
 * (a) an offence under section 50, 51 or 52;
 * (b) an abetment, or a conspiracy or an attempt to commit an offence mentioned in paragraph (a).

(2) Every offence as follows is bailable for the purposes of the Criminal Procedure Code 2010:
 * (a) an offence under section 53;
 * (b) an abetment, or a conspiracy or an attempt to commit an offence mentioned in paragraph (a).

Jurisdiction of courts

56.—(1) Where an offence under this Act is committed by a person outside Singapore, the person may be dealt with in respect of that offence as if it had been committed wholly within Singapore.

(2) Despite the Criminal Procedure Code 2010, a District Court or a Magistrate’s Court has jurisdiction to try any offence under this Act and has power to impose the full punishment for any such offence. PART 12 GENERAL Immunity

57.—(1) No person or officer, employee or agent of the person shall incur any civil or criminal liability under any written law or rule of law, or be liable for any breach of confidence or to any disciplinary action by a professional body, for doing or omitting to do any act, if the act is done or omitted to be done with reasonable care and in good faith and for the purpose of complying with or giving effect to—
 * (a) any Part 2 direction given to the person;


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RV 365 (BUDDENBROOKS) was concerned. But in other ways there was much reason for anxiety; for it had been all too plain, especially to the Consul’s observant eye, that not even their common loss would suffice to bring husband and wife together again.

There was nothing against Herr Permaneder’s good heart. He was truly shaken by the death of the child; big tears rolled down out of his bulging eyes upon his puffy cheeks and on into his frizzled beard. Many times he sighed deeply and gave vent to his favourite expression. But, after all, Tony felt that his “peace and quiet” had not suffered any long interruption. After a few evenings, he sought the Hofbräu House for consolation, and was soon, as he always said, “muddling along” again in his old, good-natured, comfortable, grumbling way, with the easy fatalism natural to him.

But from now on Tony’s letters never lost their hopeless, even complaining tone. “Oh, Mother,” she wrote, “why do I have to bear everything like this? First Grünlich and the bankruptcy, and then Permaneder going out of business—and then the baby! How have I deserved all these misfortunes?”

When the Consul read these outpourings, he could never quite forego a little smile: for, notwithstanding all the real pain they showed, he heard an undertone of almost comic pride, and he knew that Tony Buddenbrook, as Madame Grünlich or as Madame Permaneder, was and would remain a child. She bore all her mature experiences almost with a child’s unbelief in their reality, yet with a child’s seriousness, a child’s self-importance, and, above all, with a child’s power to throw them off at will.

She could not understand how she had deserved her misfortunes; for even while she mocked at her mother’s piety, she herself was so full of it that she fervently believed in justice and righteousness on this earth.

Poor Tony! The death of her second child was neither the last nor the hardest blow that fell upon her. As the year 1859 drew to a close, something frightful indeed happened.

RV 365 (365)


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 the wheel and sufficiently accurate for all practical purposes, while it is a very fascinating occupation for child or adult.

In the use of disks for analyzing colors it must be remembered that every material color is some quality of some color in the spectrum circuit, and therefore may be matched with not more than two standard disks, either alone or with white or black or both. If more than two color disks, besides white and black, are used they will neutralize each other more or less, and a neutral gray or a gray and some spectrum color will be the result. For example, 'if yellow and blue in nearly equal parts are introduced in connection with red and orange, the yellow and blue being nearly complimentary to each other will produce practically a neutral gray, and the result will be the same as if only red, orange, white and black were used.

Owing to the recent advances in the art of dyeing there are some textile goods which are too intense in color to be exactly imitated by the disk standards, but this fact need not prevent

a practical analysis of such colors, because by very slightly reducing with white the color to be examined the same color is retained, the modification making it, of course, somewhat lighter. Fig. 64, showing a small circle representing a disk of the material mounted on thick paper, illustrates this statement. Suppose we have a piece of rich brown cloth, so intense in color that when red, orange and black are combined in the proportions


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Rh :(b) any requirement of a code of practice applicable to the person;
 * (c) any rectification notice given to the person;
 * (d) any implementation directive given to the person;
 * (e) any Part 6 order given to the person; or
 * (f) any written notice under section 47 or 48 given to the person.

(2) No liability shall lie against a designated officer, the competent authority, an authorised officer, a police officer or an enforcement officer, the Secretary to the Reviewing Tribunals or a member of an Appeals Advisory Committee for anything done or intended to be done with reasonable care and in good faith in the execution or purported execution of this Act.

General exemption

58. The Minister may, by order in the Gazette, exempt any person or class of persons from all or any of the provisions of this Act, either generally or in a particular case and subject to the conditions that the Minister may impose.

Amendment of Schedules

59.—(1) The Minister may, by order in the Gazette, amend, add to or vary the Schedules.

(2) The Minister may, in an order under subsection (1), make provisions of a saving or transitional nature consequent on the enactment of the order that the Minister may consider necessary or expedient.

(3) All orders made under subsection (1) must be presented to Parliament as soon as possible after publication in the Gazette.

Regulations

60.—(1) The Minister may make regulations necessary or convenient to be prescribed for carrying out or giving effect to this Act.


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 of R. 22, 0. 16, N. 62, the material is still a little richer in color than can be made with the disks of the color wheel. If we introduce a small amount of white into the brown of the material we may hope to match it with the disks and this may be clone by cutting a bit of fairly heavy white paper in the form shown in the diagram and loosening the nut of the color wheel slightly, after which we insert the point of the triangle under the nut so that when tightened the white paper may be held in front of the brown disk, as in the illustration. Trim the outer end even with the disk and then rotate. If the effect of the white is too great trim off a little from the side of the white paper to make it narrower, until a perfect match is secured.

The small disk in rotation is then of the same color but not quite so intense as before, or in other words, is a very deep tint of the color. In this way the Nomenclature can be recorded as follows: Brown 95, W. 5, R. 22, O. 16, N. 62.

This result does not often occur, but the subject is noticed here in detail that no one may be in doubt when such cases do come to light, as they will sooner or later.

The aniline colors give some purples which are much more brilliant than either the violet or reel which otherwise should by combination produce them, so that with these standards they cannot be made, but must be reduced with white, or possibly with white and black.

If a color wheel is not available many of these experiments may be tried on the color top, but not as satisfactorily, because of the accuracy necessary in cutting so small a disk in a woven material. In using the top for analysis of all ordinary colors, the best plan is lay the material on a table or other level surface and spin the top on it. If quite an accurate test is desired the cardboard disk of the top may be trimmed clown to the size of the largest paper disk, so that there will be no intervening ring of light color to separate the color of the rotating disks from the material on which it is spun.

Practical applications of the color top are already being


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 made, as for example, in the selection of house furnishings. For this purpose disks of the top are combined at home to produce the desired colors to match the wood finishings and papers or draperies in a partially completed room, the top being used as a guide in preliminary selections of additional materials from the stores.

If a number of colors are required it is convenient to use several combinations of disks, each set being slightly gummed together. In this way standards for various colors with a top spindle for rotation in the salesroom may be carried in a very small space.

As every competent artisan must understand the use for which each implement is designed, in order to secure the best results with it, possibly a brief explanation of the principles on which the colors in the Bradley Educational Colored Papers are selected and classified may be of value. In the sample books of these colored papers there are four sections. The first section of the book, following the title leaf called "Pure Spectrum Scales" consists in part of the six standard colors, red, orange, yellow, green, blue and violet, with two intermediate hues between each two standards, which eighteen colors form the central vertical column in the Chart of Pure Spectrum Scales shown on Page 41.

In addition to these eighteen normal spectrum colors, there are two tints and two shades of each, thus producing eighteen spectrum scales of five tones, in which the normal colors as indicated in the central column aim to be the purest possible pigmentary expressions of the spectrum colors represented.

In determining the number of colors to adopt in the preparation of the papers enough have been selected to furnish types of all the colors in the spectrum, and also the hues between red and violet, but at the same time the number has been so restricted as to secure a reasonably simple nomenclature of the intermediate hues. A hue of a color is defined as the result of


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52 (2) Without limiting subsection (1), the regulations may—
 * (a) provide practical guidance or certainty in respect of any one or more of the requirements of a code of practice;
 * (b) provide for anything that may be prescribed under this Act;
 * (c) create offences which may be punishable with a fine not exceeding $5,000; and
 * (d) provide for such saving, transitional and other consequential provisions as the Minister considers necessary or expedient.

(3) All regulations made under this section must be presented to Parliament as soon as possible after publication in the Gazette. FIRST SCHEDULE Section 2(1) SPECIFIED OFFENCES AND SCAM OR MALICIOUS CYBER ACTIVITY OFFENCES PART 1 SPECIFIED OFFENCES 1. Offences under the Arms and Explosives Act 1913.

2. Offences under the Arms Offences Act 1973.

3. Offences under Part 11 of the Casino Control Act 2006.

4. Offences under the Chemical Weapons (Prohibition) Act 2000.

5. Offences under Part 2 of the Children and Young Persons Act 1993.

6. Offences under the Computer Misuse Act 1993.

7. Offences under the Corrosive and Explosive Substances and Offensive Weapons Act 1958.

8. Offences under Parts 6 and 7 of the Corruption, Drug Trafficking and Other Serious Crimes (Confiscation of Benefits) Act 1992.

9. Offences under the Dangerous Fireworks Act 1972.

10. Offences under the Explosive Substances Act 1924.

11. Offences under Parts 2 and 6 of the Gambling Control Act 2022.

12. Offences under the Guns, Explosives and Weapons Control Act 2021.


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Rh

FIRST SCHEDULE—continued 13. Offences under the Hijacking of Aircraft and Protection of Aircraft and International Airports Act 1978.

14. Offences under the Hostage-Taking Act 2010.

15. Offences under sections 57, 57B and 57C of the Immigration Act 1959.

16. Offences under the Infrastructure Protection Act 2017.

17. Offences under the Internal Security Act 1960.

18. Offences under Part 2 of the Intoxicating Substances Act 1987.

19. Offences under the Kidnapping Act 1961.

20. Offences under the Maintenance of Religious Harmony Act 1990.

21. Offences under the Maritime Offences Act 2003.

22. Offences under sections 14A, 14D, 20 and 27A of the Miscellaneous Offences (Public Order and Nuisance) Act 1906.

23. Offences under the Misuse of Drugs Act 1973.

24. Offences under sections 19, 25, 27, 47, 49 and 50 of the Moneylenders Act 2008 and rules made under section 93 of that Act to provide for the detection and prevention of money laundering or the financing of terrorism, or for the reporting of transactions suspected of involving money laundering or terrorism financing.

25. Offences under section 16(1)(e), (2) and (3) of the National Registration Act 1965. 26. Offences under the Official Secrets Act 1935.

27. Offences under Part 2 of the Organised Crime Act 2015.

28. Offences under Part 5 of the Passports Act 2007.

29. Offences under the Penal Code 1871 (except Chapters 5, 5A and 23).

30. Offences under the Precious Stones and Precious Metals (Prevention of Money Laundering and Terrorism Financing) Act 2019 (except Part 3).

31. Offences under the Prevention of Human Trafficking Act 2014.

32. Offences under Part 2 of the Protection from Harassment Act 2014.

33. Offences under the Public Order Act 2009 (except section 6A) and any regulations made under section 47(3)(a) of that Act.

34. Offences under the Public Order and Safety (Special Powers) Act 2018.

35. Offence under section 50 of the Registration of Births and Deaths Act 2021.


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54

FIRST SCHEDULE—continued 36. Offence under section 116 of the Road Traffic Act 1961.

37. Offences under sections 14 to 18 and 23 of the Societies Act 1966.

38. Offences under sections 3 and 4 of the Terrorism (Suppression of Bombings) Act 2007.

39. Offences under the Terrorism (Suppression of Financing) Act 2002.

40. Offences under the Terrorism (Suppression of Misuse of Radioactive Material) Act 2017.

41. Offences prescribed by regulations made under section 2(1) of the United Nations Act 2001.

42. Offences under the Vandalism Act 1966.

43. Offences under section 65 and Part 11 (except sections 170, 171, 173, 174 and 178) of the Women’s Charter 1961.

44. Offences under any written law relating to the unauthorised use, disclosure or communication of documents or information—
 * (a) under the control of a Singapore public sector agency (as defined in the Public Sector (Governance) Act 2018); or
 * (b) obtained by a Singapore public sector agency pursuant to written law.

45. An abetment, or a conspiracy or an attempt to commit an offence mentioned in items 1 to 44. PART 2 SCAM OR MALICIOUS CYBER ACTIVITY OFFENCES 1. Offences under the Computer Misuse Act 1993. 2. Offences under Chapters 12 and 18 and sections 383 to 389, 405 to 409, 415 to 420A and 424A of the Penal Code 1871.

3. An abetment, or a conspiracy or an attempt to commit an offence mentioned in items 1 and 2.


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Rh SECOND SCHEDULE Sections 2(1) and 19(1) OFFENCE GROUPS PART 1 SCAM OR MALICIOUS CYBER ACTIVITY OFFENCE GROUP 1. Offences under the Computer Misuse Act 1993.

2. Offences under Chapters 12 and 18 and sections 383 to 389, 405 to 409, 415 to 420A and 424A of the Penal Code 1871.

3. An abetment, or a conspiracy or an attempt to commit an offence mentioned in items 1 and 2. THIRD SCHEDULE Section 19(1)(b) PURPOSES OF SYSTEMS, PROCESSES OR MEASURES 1. To minimise the exposure of Singapore end-users of a designated provider’s service to scam or malicious cyber activities.

2. To verify the authenticity of accounts on a designated provider’s service, and detect and safeguard against—
 * (a) the creation of inauthentic accounts and misuse of accounts on a designated provider’s service;
 * (b) the misrepresentation of identity of any end-user of a designated provider’s service; and
 * (c) the misuse of any bots that conduct online activity on or through a designated provider’s service.

3. To receive information from Singapore end-users of a designated provider’s service on suspected scam or malicious cyber activities.

4. To facilitate information sharing between the competent authority and a designated provider on suspected scam or malicious cyber activities.

5. To act on information received from the competent authority and Singapore end-users of a designated provider’s service to proactively detect, prevent and disrupt scam or malicious cyber activities.

6. To facilitate criminal investigations into scam or malicious cyber activities, including the maintenance, preservation and provision of records.

7. To provide payment protection mechanisms for online payments (if any) conducted through a designated provider’s service.


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THIRD SCHEDULE—continued 8. To facilitate the administration of this Act by the competent authority, including the provision of relevant information to the competent authority, such as the following:
 * (a) details of systems, processes or measures taken or being considered by a designated provider to comply with Part 4 or against scam or malicious cyber activities;
 * (b) details of scam or malicious cyber activities encountered on a designated provider’s service and identification of new tactics observed.


text: Online Criminal Harms Act 2023

title: Online Criminal Harms Act 2023


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 the admixture of that color with a smaller quantity of another color; thus a hue of red approaching the orange is an orange hue of red, or an orange-red. If a small amount of red is added to orange the result is a red hue of orange, or a red-orange.

Therefore in selecting two hues between each two standards, rather than a larger number, the simplest nomenclature possible is secured, and one in which no mental effort is necessary to recall the color indicated by each symbol. For example, we have four colors indicated as R, OR, RO, O; red, orangered, red-orange, orange; or more extended, red, orange hue of red, red hue of orange, orange. Thus by using as symbols familiar terms, no effort of the memory is required to recall the color indicated by each symbol, as would necessarily be the case if there were a greater number of hues and therefore more arbitrary symbols.

The use of rotating color disks on the wheel and the top by which an infinite variety of intermediate hues can be made and accurately named by the pupils reduces the required number of papers to those types necessary for first primary work, and thus prepares the child for the use of pigments at an earlier age than would be possible without such color instruction.

The second section of the sample book contains white, black and grays as indicated on the separating fly leaf. In these the best pigmentary expression of black and white are furnished. In material colors as found in industrial products, there are various so-called blacks and whites. For black there are blueblack, green-black, and brown-black; and in white, cream-white and pearl-white. Cream- white is a yellow- white and pearl-white a blue-white. In fine white papers either blue, red or yellow is generally added to the pulp to counteract or cover up the gray tone of the natural material. The standard black here presented is the best possible pigmentary imitation of a very deep black hole, as for example, the projecting end of a large iron water or sewer pipe of considerable length buried in the ground, which is the blackest thing known.


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 The white is an imitation of new-fallen snow. Neither of these standards can be very nearly approached although we often hear of things as "white as snow" and as "black as night."

In the same group and following the black and white are two examples each of the four kinds of grays: Green gray, warm gray, cool gray and neutral gray. A pure white in shadow is the true neutral gray and a perfect imitation of this is made by the rotation of combined black and white disks on the color wheel. If to the black and white disks we add a blue disk we have cool grays. With red, orange or yellow the warm grays are produced, while the use of a green disk gives green grays. In the papers two tones of each gray are furnished.

The papers found in the first two sections comprise all the colors necessary for earliest primary color instruction, aud should become familiar to the children before explanation is made of the colors in the succeeding collections.

In the third section, designated "Broken Spectrum Scales" will be found a collection of gray colors or broken colors. As has before been stated, a broken color is a pure color mixed with a neutral gray. In the combination of pigmentary colors a tint of a color is the pure color mixed with white, a shade is the color mixed with black, and a broken color is a pure color mixed with both black and white, which is a neutral gray. Therefore if with red, for example, we mix a certain amount of a given neutral gray and call that the normal tone of a broken scale of red, for the tint in that scale we must mix with the standard red a lighter gray and for the shade a darker gray.

When a comparatively small quantity of neutral gray is combined with a pure color the result is a "gray color," as above described, because the color is quite definitely retained, but more or less modified by the gray. On the other hand, if a relatively small quantity of color is added to a neutral gray, the resulting color is properly called a "colored gray," because it is still a gray modified by color, and in this class we have warm grays, cool grays, etc., according to the color combined


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 with the gray. The gray colors are quite generally termed "broken colors" and this seems a very useful practice, "because it avoids the confusion of the somewhat similar terms "gray color" and "colored gray."

By reference to the Chart of Broken Spectrum Scales on Page 41 it will be seen that we have only twelve scales and but three tones in each scale, instead of eighteen scales and five tones, as in the pure scales, for which there is a good reason.

For educational purposes in the elementary grades, which is the only place where there is a legitimate use for colored papers, the steps in gradation of hue or tone must not be too short, and if the saturation or intensity of the normal colors in the several scales is reduced by adding gray, as in the broken colors, there is not the possibility for as many steps in either hues or tones without leaving those colors adjacent to each other too nearly alike. Therefore in the broken colors there are but thirty-six, instead of ninety, as in the pure scales.

The distinction between pure colors with tints and shades, and broken colors in various tones, should be made very plain to the children whenever the subject is brought to their notice, because it is a vital point in the classification of colors. Educationally this is one of the most objectionable features in the old red, yellow and blue theory of color composition, because no distinction is observed between pure and broken colors in classification. In the Bradley colored papers the distinction is made very decided for educational purposes, so that no one would for a moment tolerate the mixture of the normal colors from the pure scales with the normal colors from the broken scales in the formation of a spectrum.

This may be illustrated by a selection as follows: First lay in order the normal spectrum colors with the pure colors found in the first section of the sample book, thereby forming the central vertical column of Fig. 10. Then substitute for the orange, green and violet, those colors selected from the collection of broken colors, and the result will seem to render the


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 Plate 58 represents the trunk of what I believe to be the finest beech in Gloucestershire, which is known as "The Gladstone Beech," having been specially admired by the late Mr. Gladstone when staying at Cirencester House. It grows near Pinbury Park, formerly the seat of Sir Robert Atkyns, author of The History of Gloucestershire, and now the summer residence of Earl Bathurst. It measures about 110 feet high by 19 feet 9 inches in girth at the smallest part of the trunk, and though a very old tree, past its prime, is still a magnificent object. I am indebted for the negative to Mr. T.A. Gerald Strickland.


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 operation absurd, but it is the same in principle as the results produced in the attempt to form a spectrum by the combination of three primary pigments, reel, yellow and blue, because so produced the orange, green and violet, show by disk analysis from 54 to 80 per cent of black and white and are therefore as much broken as the corresponding colors in the papers of the broken scales, but not exactly the same in tone.

Those papers which are termed "Engine Colored Papers" are so named from the process of manufacture as distinguished from "coated papers" which comprise the first three sections of the book. In coated papers a white paper is covered with a coating of colored pigment "fixed" with a small amount of white gum, gelatine or glue, and in this way the pure color of the pigment is obtained. In the engine colored papers the color is mixed with the paper pulp in the process of making the paper. In a paper mill the tab or vat in which the pulp is kept stirred up and perfectly mixed is called the engine, and hence this technical term has been applied to such papers as are colored in the pulp. In this class of papers both sides are alike, and for this reason in some of the folding exercises these papers are preferred, also because they are thinner and tougher. Heretofore, it has been impossible to obtain engine colored papers in "families" or scales, but in this assortment the numbers from one to six, furnish six scales of three tones each, comprising the normal tones with tints and shades. Following these from seven to sixteen are a collection of unclassified colors including grays which are much used. All these can be analyzed and classified by the color wheel. Black and white complete this class. It is impossible to make any close approximation to a black in this class of papers, as when they are compared with the coated blacks the result is a very gray black, or very dark gray. All the colors in these papers from No. 1 A to No. 13 are quite light broken spectrum colors, but less broken than the coated papers designated as broken spectrum colors.


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 While great care has been bestowed on the original selection of the colors of all these above-described papers and every effort is constantly exercised to keep them the same from year to year, the subject is materially complicated by the guarantee required of the manufacturers that no arsenic colors shall be used in the preparation of any of the papers. This guarantee is strictly insisted on, because, while the writer has never been able to learn of any authentic case where a child has been injured by the use of plated or glazed papers, he believes that the opinions of parents and teachers should be respected in the matter, although the arsenic colors are often the most permanent and the aniline substitutes which are necessarily used belong to a class which is the most fugitive of all colors.

The line of colored papers now in use is the result of many experiments on the part of the writer and careful tests by experienced teachers for several years, and in its present condition affords but small indication of the time and care which has been expended on it. This has been inevitable, because the peculiar system on which the colors are based has been one of growth and the papers have been designed to afford the necessary material colors for this special scheme of instruction.

In preparing the tints and shades in the papers many experiments have been made to determine the true effect of light and shadow on each normal color, and then to imitate these effects in the papers.

All this is independent of the professional tricks which artists use to heighten their effects, some of which are legitimate, while others may be questionable on sound principles.

It is a common habit with artists to introduce very warm effects into all sunlight by the use of orange or yellow in the warm colors. This extreme tendency has been intentionally avoided in the preparation of these papers, however desirable or allowable it may be considered in heightening effects. So also in the shades as in the tints, the aim has been to keep all the tones of one color in the same scale, even though artists


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 often run the various tones of the same piece of color into two or three analogous scales.

It is the object of color education to train the eyes to see color wherever or however it may be produced, either by actual color reflection or contrasted effects, and in order that these effects may be understood as explained under Simultaneous Contrasts it is necessary that the prepared material be truthful to nature, the more so because these effects are sometimes greatly exaggerated by artists.

The question is constantly being asked by primary teachers, "What about Water Colors?" and any adequate consideration of the subject of color instruction in the public schools must include the possibilities of this, the simplest and the most practicable form in which pigmentary colors can be used in the schoolroom. Before educational colored papers were made water colors furnished the only available means for securing any systematic expression of color effects in the elementary grades of school work, and at one time a feeling was somewhat prevalent in various localities that it was profitable to give a box of water colors to a child with which to amuse himself without any very definite instruction, except to make pretty combinations, and often the opinion of the child as to which colors he preferred was counted of great value. There may, however, be some doubt at the present time regarding the value of such practice, and possibly those teachers who believe all things should be done decently and in order will choose, that, before using paints, the child shall have some instruction in color and such training as to be able to draw with either a pencil or brush a fairly good outline and to apply the color within these lines with a reasonable degree of neatness, and possibly with a definite idea of what he desires to represent.

Some teachers object to the use of water colors solely because they have not time to give them proper attention, while others neglect their use because they do not know what to do


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 with them. When the child is old enough to properly handle the colors, the use of the pencil and the brush may afford good manual training, combined with education in form and color. But the earliest color instruction must be based on such standards as afford the fullest and purest expressions which can be economically obtained, and these can now be secured more satisfactorily in colored papers than in any other medium, because it is only in the body colors used by fresco artists in house decorations that strong, pure effects can be obtained in water " colors. With the use of the colors put on the market in cakes or pans it is very difficult for even an expert colorist to produce a uniform surface of a color approximating the standards found in the papers.

In the fine arts the greatest beauty of water colors usually lies in the delicately tinted aquarelles which are admired by those best educated in color effects, but these gems of art have the same place in elementary color education that the purest specimens of poetry and prose have in elementary literary education, merely as examples of best expression, with which it is well for the pupils to become familiar long before they can even attempt to produce them.

Since the introduction of educational colored papers there has not been the great necessity for the very early use of pigments in primary color instruction which formerly existed, but the fact still remains that best harmonies cannot be produced in papers, because every surface of one color must be entirely flat, i. e. of the same hue and tone throughout, and it is well known that best color effects can be secured only when the color surfaces may be graded from one part to another.

Therefore, while colored papers are the most available for elementary color instruction, their use cannot be carried too far without loss of time, and when the limit of their highest usefulness has been reached then pigments in some form should be substituted for the papers or combined with them, and as early us drawings in color are required in connection with nature


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 study in the lower grades pigments of some kind must be introduced.

Oil colors, of course, are out of the question and pastels almost equally so, for although full colors may be produced in both these mediums, they are not suited to the use of young children, and at best are neither neat nor convenient, while colored pencils are entirely unsatisfactory in results. Therefore water colors seem to be better adapted to primary work than any other pigmentary material.

Owing to the fact that no water colors have ever been made from which close approximations to the six standard colors established in the educational papers can be selected, it is somewhat difficult for the children to make the transition from papers to pigments.

For example, carmine or vermilion, or both are furnished for red, in boxes of water colors, but as neither is the color the child has been taught to call red, and there is usually no orange, he is in doubt at the very start, and a similar difficulty exists in all the other colors. But for this there seems to be no remedy, unless in clue time water colors shall be manufactured from which colors approximating the standards can be. selected. With water colors corresponding to the standards, and a few dark browns and grays, or possibly only one each of the last two, the transition from papers to pigments will be very greatly simplified and the pigments may then be used with advantage very much earlier in the course. (See note on page 123.)

Of necessity the pupil must later be able to recognize any pigment he may meet and to classify it according to its color value and also to give it a definite name, other than the one by which it is sold.

More than one professional artist has already worked successfully from nature in oil colors with a pallette consisting of only close approximations to the six standard colors with white and a few grays. A person whose color perception has been trained by the use of the color disks in six standard colors with


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 colored papers to correspond, will undoubtedly be able to more truthfully reproduce the colors which he sees in nature, on the canvas or paper by means of such a pallette than if he had been taught by any other system and used the ordinary pigments.

The subject of color blindness has received much attention because of its practical importance in the affairs of our daily lives. The use of colored lights as signals on ships and railroads has necessitated very strict regulations regarding the employment of persons whose color vision is defective, and therefore in some states specialists have been employed by the state authorities to examine from time to time the school children regarding their perception of colors.

Possibly this condition of things may not at present be considered a serious reflection on the methods of color instruction, or lack of such instruction in our schools because it has become so common as to attract little attention. But if it were necessary for the same course to be pursued in any other department of our public education that fact would not fail to occasion very uncomplimentary remarks regarding the methods employed.

For example, if a state official were necessary to determine whether pupils are deaf or not after they have been through our grammar schools, and preliminary to accepting positions of responsibility, it would seem that something was wrong, and yet after a child has had instruction in color according to a logical system there should be no more necessity for an examination regarding his ability to properly distinguish colors than there should regarding his ability to hear.

Color blindness has quite generally been divided into three classes, red, green, and violet blindness, those afflicted with red blindness being most numerous, and the cases of violet blindness being very rare, if indeed there are any which may properly be so called.

This classification, known as the Holmgren system, seems to have been based on the Young-Helmholtz theory that all color


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Rh (1788-1852) was also a zealous champion among the Phosphorists, he too being one of the founders of Aurorabund. He gained his chief celebrity as controversialist, for his other works, a few stories and the novels "Familien Falkensvärd" and "Aurora Königsmark," have no great value.

Among the Phosphorists the following are yet to be mentioned: (1791-1844) was a somewhat gifted poet, whose idyls and descriptions of nature, are original and graceful. In his "Mollbergs Epistlar" and other bacchanalian poems he took Bellman for his model. His novel, "Nahum Frederik Bergströms Krönika" is one of the best in Swedish literature. (1790-1866) after having failed in his first youthful performance, a didactic poem, "Skapelsen" (the creation), published in 1846 the tragedy, "Erik XIV." The latter was soon followed by several other dramatic works, "Solen sjunker" (the sun sets), "Ur Karl XII's Ungdom" (Prom the youth of Charles XII), "Brödraskulden " (the brother's guilt), and "Erik XIV's son." All these plays, which are apparently imitations of Shakespeare, and which show here and there a spark of genius, have but little life and action, but contain many beautiful lyric passages. (1785-1854) wrote under the pseudonym fine descriptions of nature, with fine elegiac coloring, and teeming with romantic mysticism and idyllic genre-pictures. (1790-1870) wrote some very beautiful poems, and (1783-1849) some fine church songs.

The two following poets were no real Phosphorists, but still they belong essentially to this group. (1793-1823) is one of the strangest phenomena in Swedish poetry. He was chiefly lyric, and what he wrote in this field is a true picture of his own character as developed by


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 perceptions are the result of three primary effects in the eye, namely, red, green and violet, rather than on any analytical classification of actual experiments concerning color blindness. Color tests should be so arranged as to detect either a defect in the brain which renders it difficult for the pupil to remember the names of the several colors, or in the eye, by which he cannot see a difference between two dissimilar colors.

A person totally color blind would see in the solar spectrum a band of gray in various tones, and hence if a red and a green should seem to be of the same tone of gray he would call both either red or green, and after much experience would come to give color names to various tones of gray.

Such cases, however, are exceedingly rare, if in fact they exist. Other scientists and physiologists have doubted the truth of the claims made by both Holmgren and Helmholtz, and some have made extended experiments regarding color blindness which seem to oppose the Holmgren theory. In view of these conditions it does not seem necessary for a teacher in the elementary grades to attempt to grasp the situation very fully, and much less to aid in the solution of the problem. Very fortunately this is unnecessary, because in all the scientific tests proposed for adults nothing is accomplished which any primary school teacher will not be easily able to determine during the first two or three years of ordinary school work, if the modern system of color instruction is pursued.

There is no better material than colored papers for testing the color perceptions, and the exercises of selecting, matching and arranging the spectrum colors by means of the small color tablets generally in use in the first years of school are the very best that can be devised without regard to any of the abstract theories concerning either the cause or the possible classification of color blindness.

For some reason the most common form of color blindness occasions a confusion between red and green, as for example, we are told, by some people, that in picking wild strawberries in


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 Notes


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. Thanks, lady. I'll show it to you, if you like. Here…

. Oh! Terrible!

. What is it?

. Can't you see? A great gash, which circles her neck entirely, like a collar. Where did you get this scar?

. I did it myself; it was an accident!

. You cannot believe what she says. She met a stranger one night at the Casino two years ago; he was a foreigner, and they went out together—it was one of I don't know how many such adventures. The man was a professional gambler who had lost everything—we have plenty of them every season—and he determined to recoup himself at the expense of one of these unfortunate women, who, naturally, are not able to be too particular about the persons with whom they deal. As soon as he thought she was asleep, he ripped the lock off the drawer where he expected to find her valuables; but she awoke, and before she could cry out, he flung himself upon her to kill her; and he thought that he had killed her. The wound was a terrible one, as you see. He fled…

. But surely you were able to arrest him?

. The next morning, although she was in no condition to appear against him. They had been seen leaving the Casino together; they had been observed when they entered the house. We had no difficulty in apprehending the man.

. Needless to say he paid dearly for his exploit.

. You will not believe it, but when he was taken before this woman, she denied roundly that he was the


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 man with whom she had spent the night, or that he had attempted to kill her.

. Perhaps he was not. There may have been some mistake.

. There could be no doubt of it. He was the man. We found the jewels on him, and the money.

. In that case

. We were helpless. What could we do in the face of the uncontradicted testimony of such a witness?

. It's a lie, the whole story! It wasn't he. He didn't do it.

. Nonsense! We have the facts; we know why he did it. It seems incredible.

. No, I can understand; I can understand that sublime silence. That man had known how to make himself loved in one night.

. Lady!

. But what became of him? How did he repay her act of silence?

. He took ship for America. Since then her one idea has been to go to him. Whatever she earns, she saves toward the voyage. She is miserably poor, she is even obliged to beg, now that her earnings are insufficient.

. Is it possible? And all your illusion is to join him again? Speak frankly, my poor woman.

. Yes, all.

. All? [To ] It is in our power to make the memory of this moment even happier in our lives. The happiness of this poor creature lies in our hands.

. What do you mean?

. Nothing. You shall go to him, I promise you. [To the ] Bring me her address in the morning.


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380 the severe sufferings and cares that were his lot. At times he soars free from trouble far above the earth, with eyes and heart open to the harmony of creation; bathing in the glowing light of the ether he forgets all grief; but at other times goaded into rage by his tortures, he abandons himself to images and thoughts so repulsive "that even the æsthetics of the horrible have no name for them." Between these extremes—between heaven and hell—he moves with genuine poetic vigor and superiority, and he is a skilful master of form, so that his poems are on the whole very valuable, though many of them are obscure on account of the peculiar mystic-pantheistic musings which they contain. His first great work was the epic poem, "Wladimir den store," which is characterized by vivid descriptions. His other similar works, "Blenda," "Gunlög," and others were never completed. Among his dramas we would particularly mention the religious tragedy, "Martyrerne," in which in a most thrilling manner he has conceived and carried out the idea of life as a punishment and a suffering. In his drama, "Riddartårnet" (the knight's tower), the diction is gorgeous, while the theme is not well adapted for the stage. The tragedy in antique style, "Bacchantorna," and those in antique form with Old Norse motives, "Visbur" and "Sigurd Ring," are more attractive, though the gnostic principles of the poet are displayed in "Visbur" and "Sigurd Ring" in so prominent a way as to injure the dramatic effect. Striking scenes are found in the plays, "Glädjeflicken i Rom" (the pleasure girl in Rome) and "Kärlek aften dödenKärleken efter döden [sic]" (Love after death). The most original of his works is the half philo- sophical and half religious cycle of poems, "Liljor i Saron" (1820), in which he sets forth his views of the human soul as a prisoner in the halls of the princes of the world, and longing for the heavenly splendor, whence it came. Several of these sublime poems belong to the most beautiful ornaments of Swedish literature. Many of his short poems are


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. What is she talking about? It's a lie. You are laughing at me

. Stop! Do you know with whom you are speaking? Down on your knees, and beg pardon! And away with you!

. Oh, lady! Lady! I kiss your hand… I am going! Going! It is my voyage! I shall never get there, I know that; it would be too much happiness. I shall die on the journey!

. No, you won't. You will find him and he will kill you. And this time he will make a good job of it.

. Find him? He can kill me then if he wants to; I am willing.

. If he really kills you and they catch him, you won't be able to save him then like you did last time.

. Oh, yes, I will! Because I have a letter, and it will be suicide. And he will be saved! I have planned it all beforehand.

. What an extraordinary woman!

. Did you ever see anything to equal it?

. Oh! If passion and madness were never to sweep through our souls, what would be the value of life?

. Perhaps I had best remain with Your Highnesses?

. No, no; it is quite unnecessary. Ah!… thank you. And good night.

. Under no circumstances. I cannot accept anything.

. Remember to send me her address in the morning.

. At your service.


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. As you see, we are known. Our presence here is no secret.

. Where shall we go where we may cease to be what we are? Among these people, upon the uttermost edge of society, we fancied that we were forgotten. But the gendarme reminds us that he is in the secret; he is watching over us, to protect us.

. It cannot be helped; you heard what he said. These people are dangerous.

. People are dangerous everywhere; the whole world is like this, and so are our own souls—the eternal struggle of life, force against force, the hand of those who seek to live their own lives as individuals in the name of human instinct, against the hand of those who would maintain the social fabric in the common name of all. On the one side the criminal, on the other the police; and in the great world as in this little world, all the classes which do duty as police, with their codes afof [sic] morals, their sacrosanct dignities and their laws, are able to accomplish no more in their fight with the classes which we call criminal, than we see them do here; they impart an air of gayety to the dance, which seems to be respectable under the paternal eye of the police, while in reality the dancers are doing nothing but plotting and scheming to outwit them. The very life of these people is to outwit the police. How would any human life be possible if we were not able to outwit the social laws?

. I am amazed to hear you talk. How is it that you were permitted reading so radical, so subversive at the Court of Suavia?

. Does it sound as if it were reading to you? No, the ideas are my own. I feel as I do because I have never allowed myself to be frightened by any truth, and I have never become so enamored of any, that I have been


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Rh very excellent, especially those in which he has imitated the style of the popular ballad.

(1794-1828), whose real name was Erik Sjöberg, was the son of a poor laborer. Too proud to accept charities as he called them, he declined all offered assistance, and he satisfied his thirst for knowledge by his own efforts, as for instance doing menial work in the country during the vacations. While thus tending the cattle his favorite poet, Virgil, was always his faithful companion. His studies were frequently interrupted for want of means, and he was forced to seek employment as family tutor. But he conquered all obstacles and took the doctor's degree in philosophy. This did not materially improve his circumstances, and he continued to struggle with poverty and want. This, in connection with a physical malady, which he had gotten in his infancy, developed in him that fondness for seclusion and meditation which he had in common with Stagnelius. In other respects they were totally different, for while Stagnelius abandoned himself to pantheistic mysticism, Vitalis was, at least toward the close of his life, a believing Christian. In his poems a deep elegiac tone predominates, no doubt a result of his incessant troubles and sufferings. He was continually striving after the ideal, and he hated all that was low and vulgar. Against the world which knew him not and whom he did not understand he frequently sent out shafts of bitter and scathing satire, which, however, at times, as for instance in "Komiska fantasier," rises to genuine humor. He evidently had a great talent for humor, but in his lonely, retired life it did not have a chance to develop. His attacks on the vagaries of the Phosphoristic and Gothic schools were brimful of wit and humor, which he produced in a most delightful manner. But his attacks were no doubt also the result of immense self-conceit. He meant to insinuate that he was himself above and independent of all parties. His serious poems reveal mostly


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 afraid to see it transformed into a lie. If I could look into my soul every day and discover a new truth, which when found would disarrange my life completely, I should not hesitate to destroy my life every day so as to live a new life every day with a new truth. Is that the way that you feel?

. It is so hard to destroy! Who knows?—when love has already become a lie in our hearts, it may still be, perhaps, the truth of another heart, which we have no right to destroy.

. Do you believe that either Elsa or Herr Rosmer would have any regrets?

. I believe that it is not so easy to escape responsibility in life, nor to stifle the pangs of remorse. Possibly the motives of the woman who is now my wife, and of the man who is now your lover, may not have been altogether disinterested when they accepted our love. Yet we led them to believe that they might safely build the future fabric of their lives upon it. If we fail them now, then what of that future? It becomes impossible. How false their position, to what humiliation they will be exposed, to what reprisals! And our condition will be no better. We shall no longer be romantic lovers who have sacrificed everything to love. Another experiment, and we shall renounce something more than our dignity as Princes; we shall forfeit our self-respect as well.

. Then… the past must always influence our lives. There can never be a moment which we can really call ours, when we speak and feel and love as at that moment we really do. The dead body of something must always be chained at our heels. No, I can no longer pray at an altar when I have lost my faith. My prayers end, my faith is exhausted. I must love when I love, forget when I forget. If I were to hesitate now, I should go further; I


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 should return to the Court of Suavia, I should again become Princess. Duty for duty, respect for respect, I should accept those which are mine, which belong to my race, to my name. All that these democrats value in our love, is the opportunity which it affords them to become Princes like ourselves.

. The aspiration of every true democrat who foments a revolution.

. The only revolution which can be productive of good in the world will be a revolution undertaken by us, the great, from above, who are already equals. Then it will be a disinterested revolution. We shall not be seeking riches nor liberty, nor even justice—we shall simply be seeking the truth. And the truth is—for us—to-night—that we may be happy, that we may unite our lives and destinies in one, while the memory of the Court of Suavia fades as dimly from our sight as the illusion of that bourgeois home which, in the name of a false happiness, we had dreamed. Ah, no! It was not happiness, it was not life—not yet. Life, to us, is to love each other—to love you.

. Forever?

. To-day, to-morrow, a few hours longer… perhaps only to-night. Who can tell? What does it matter? There are dreams which are worth all the realities of life. In another moment, I may feel as you do, that there are duties and responsibilities and the sting of remorse, that we have done wrong, that we must turn back, yes, that we shall turn back, even that… we ought. But not yet! First, let us talk of ourselves again, of anything, nothing, as before… of verses, and music afar off, the blue heaven above us, while in the distance lies the sea, and silence—silence, deep as the night.

. My Princess Bebé! You touch the


text:
Page:Critical Pronouncing Dictionary (Walker, 4th edition, London, 1806).pdf/103

, -r-l′l-j. s. (556) 1em

, ′r--mn-s. s. (519) 1em

, -r-m′m-tr. s. (518) 1em

, ′r--nwt. s. 1em

, -r-s′k-p. s. (518) 1em

, ′th-ps-mn′r-rl. s. 1em

, -t′tz. s. 1em

, -fr′. a. 1em

, -frd′. part. a. 1em

, ′fr. s. (98) 1em

, f-f-bl′l-t. s. 1em

, f′f-bl. a. (405) 1em

, f′f-bl-nss′. s. 1em

, f′f-bl. ad. 1em

, f′f-brs. a. 1em

, f-fre′. s. 1em

, f-fre′. v. n. (227) 1em

, f-fkt′. s. 1em

, f-fkt′. v. a. 1em

, f-fk-t′shn. s. 1em

, f-fk′td. part. a. 1em

, f-fk′td-l. ad. 1em

, f-fk′td-nss. s. 1em

, f-fk′shn. s. 1em

, f-fk′shn-te. a. 1em

, f-fk′shn-te-l. ad. (91) 1em

, f-fk′shn-te-nss. s. 1em

, f-fk′shnd. a. 1em

, f-fk′shs-l. ad. 1em

, f-fk′tv. a. 1em

, f-fk-tsh-s′s-t. s. 1em

, f-fk′tsh-s. a. 1em

, f-fre′. v. a. 1em

, f-f′nse. s. 1em

, f-f′nse. v. a. 1em

, f-f′n-sr. s. 1em

, f-f-d′shn. , f-f-d′tshre. s. 1em

, f-f-d′vt. s. 1em

, f-f′d. part. a. 1em

, f-fl-l-′shn. s. 1em

, f′f-nje. s. (90) 1em

, f-f′nd. a. (362) 1em

, f-fn′n-t. s. (511) 1em

, f-frm′. v. n. (108) 1em

, f-frm′. v. a. 1em

, f-fr′m-bl. a. 1em

, f-fr′mnse. s. 1em

, f-fr′mnt. s. 1em

, f-fr-m′shn. s. 1em

, f-fr′m-tv. a. (158) 1em

, f-fr′m-tv-l. ad. 1em

, f-fr′mr. s. (98) 1em

, f-fks′. v. a. 1em

, f′fks. s. (492) 1em

, f-fk′shn. s. 1em

, f-fl′shn. s. 1em

, f-fl′ts. s. 1em

, f-flkt′. v. a. 1em

, f-flk′td-nss. s. 1em

, f-flk′tr. s. (98) 1em

, f-flk′shn. s. 1em

, f-flk′tv. a. (158) 1em

, f′fl-nse. s. 1em

, f′fl-n-s. s. 1em

, f′fl-nt. a. 1em

, f′fl-nt-nss. s. 1em

, f′flks. s. 1em

, f-flk′shn. s. 1em

, f-frd′. v. a. 1em

, f-fr′rst. v. a. (109) (168) 1em

, f-frn′tshz. v. a. (140) 1em

, f-fr′. v. a. 1em

, f-fr′. s. 1em

, f-frk′shn. s. 1em

, f-frte′. v. a. 1em

, f-frte′. s. (393) 1em

, f-frte′fl. a. 1em

, f-frte′mnt. s. 1em

, f-frnt′. v. a. (165) 1em

, f-frnt′. s. 1em

, f-frn′tr. s. (98) 1em

, f-frn′tng. part. a. 1em

, f-fze′. v. a. 1em

, f-f′zhn. s. 1em

, f-f′. v. a. 1em

, f-f′. v. n. 1em

, -fld′. ad. (275) 1em

, -flt′. ad. 1em

, -flte′. ad. (295) 1em

, -ft′. ad. (307) 1em


text:
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 world with joy, you infuse our thoughts with light. Life becomes more intense at your side, and the soul stretches out toward infinity.

. Which is life. To understand life, to understand all of it, to love it wholly, and then to live it—to live it all our lives!

. No, not to live it. For life is sad and bitter, it is doing evil and suffering wrong—but to dream, to dream as we do now…

. To live—to dream! Both—what does it matter? To love. To love is all. It is dreaming and it is living!

Curtain


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 a field the fruit can be distinguished from the leaves and grass only by the shape, and the green fruit from the ripe by the touch or taste.

If a teacher discovers that a child is unable to readily give the name of a color it may not indicate want of color vision, but merely inability to remember names, and therefore various tests which will naturally suggest themselves can be made to aid in reaching a decision on this point. Should the results of the tests seem to indicate some defect in color vision, the nature of the trouble should be sought and memoranda made from time to time for future reference, and if the final result shows a radical lack of color perception the parents should be informed of the fact and a physician consulted.

It is probable that the number of color blind women is very much less than that of men, and much time has been spent in debating the matter, but some doubt remains as to whether this opinion does not obtain because the girls are brought so much more intimately into relation with colored materials in selecting their articles of dress, and consequently come to know the names of colors much better, and in fact enjoy a much better color education than the men. A more correct decision reo-ardino- this question can better be reached when both the boys and girls receive a systematic color education and their color sense is more equally cultivated.

—Since the publication of the earlier editions of Elementary Color, Milton Bradley Co. have prepared a neat box of water colors, containing eight cakes of non-poisonous colors, which as far as is possible within the conditions of safety and low price, correspond with the standards as established in the Bradley Educational Colored Papers. The colors comprise the standards, Red, Orange, Yellow, Green, Blue, Violet, and two Grays, warm and cool. With these water colors the; transition from papers to paints is made with no break in terms or colors.


text: Princess Bebé

title: Princess Bebé


text: Princess Bebé/Characters Appearing in the First Act


text: Page:Plays by Antov Tchekoff (Scribner's, 1912).djvu/258


text: Page:Plays by Antov Tchekoff (Scribner's, 1912).djvu/257


text: Page:Plays by Antov Tchekoff (Scribner's, 1912).djvu/256


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text: Princess Bebé/Act 1

title: Princess Bebé/Act 1


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THE course of color instruction suggested in the preceding pages is not arbitrarily divided into lessons or even years, because the conditions in the city and rural schools in the various states of this country are so varied that no uniform allotment or division of time can be suggested which will be satisfactory to all.

The number of hours that can be devoted to any subject must be determined by those who prepare the school programme and the progress must be more or less rapid, with instruction correspondingly superficial or complete at each stage, according to the time allowed, the preparation of the teacher and the natural ability of the pupils.

The teaching of color is usually classed with drawing because both relate directly to art, but inasmuch as color enters into our every day experiences so much more largely than the graphic arts there seems to be good reason for teaching it very fully where little attention is given to drawing.

Every competent teacher can and will become expert and even enthusiastic in teaching color, if she fully understands the system which it is the object of the foregoing pages to explain.

The following brief outline suggests the order in which the facts concerning color may be presented and the material which can be used in an elementary course, beginning with the first primary grade pupils, who for the most part have not had kindergarten training.

As a part of the material the Bradley Educational Colored Papers, cut to tablets each 1×2 inches, are prepared and put up in four small envelopes which are enclosed in one larger envelope. On the larger envelope these words are printed:


text: Page:Plays by Antov Tchekoff (Scribner's, 1912).djvu/251


text: Princess Bebé/Characters Appearing in the Second Act


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 "The Bradley Paper Tablets for Primary Color Education, Selections 1, 2, 3, 4 for Complete Course." The four small envelopes are labeled in this way: "Selection No. 1, eighteen pieces from Chart of Pure Spectrum Scales, the Normal Spectrum Colors." "Selection No. 2, forty pieces from Chart of Pure Spectrum Scales, Tint No. 1 and Shades No. 1, with White, Black and Neutral Grays." "Selection No. 3, forty-two pieces comprising complete Chart of Broken Spectrum Scales and Warm, Cool and Green Grays." "Selection No. 4, thirty-six pieces from Chart of Pure Spectrum Scales, Tints No. 2 and Shades No. 2."

A Glass Prism, the cost of which need not exceed a few cents, as almost any lamp or gas pendent in the form of a prism will serve the purpose. By the use of such a prism a small spectrum can be shown on the wall of any schoolroom having a sunny exposure during any part of the day. This spectrum will make plain the fact that sunlight is composed of many colors.

Show to the pupils the best solar spectrum that can be produced under the controlling conditions.

Call attention to the six colors, red, orange, yellow, green, blue and violet, and the order of their arrangement in the spectrum.

Present the colors separately as far as possible, selecting the best conditions available for each one.

Neutral gray or white card to cover desk top for a background.

Chart of Pure Spectrum Scales.

Colored Paper Tablets, Selection No. 1, embracing the six standards and the intermediate spectrum hues, eighteen pieces.

Color Wheel or Tops.


text: Princess Bebé/Act 2

title: Princess Bebé/Act 2


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Ask the pupils to separate the six standards from the twelve spectrum hues. Standards to be arranged in spectrum order.

Teach the names of the standards.

Test natural color perceptions by the attempts of the pupils to lay the spectrum in the eighteen papers.

Explain the intermediate hues by the color disks, and drill with the tablets. Continue the practice of having the pupils lay the entire spectrum with the papers until it is familiar to them.

Pasting simple designs in either of the six standard colors, on white or gray background, with ready-cut papers. Mark- ing forms from tablets and cutting and pasting them on back- grounds.

Folding models to show light and shade. Crumpled satins and plushes.

Standard color disks with white and black, on wheel or tops.

Paper tablets, Selection No. 2, Tints No. 1, Shades No. 1, White, Black and Neutral Grays.

Ask each pupil to lay spectrum in eighteen normal colors. Lay tints and shades of the six standards.

Have the children complete tints and shades No. 1 of entire spectrum circuit.

Illustrate neutral grays by white in shadow with folding-model, also with white and black disks combined.

Begin to classify into families the miscellaneous color material brought by the pupils.

Pasting of ready-cut papers in standard and shade on a background of the tint of same scale.


text: Princess Bebé/Characters Appearing in the Third Act


text: The Battle of the Books; with selections from the literature of the Phalaris controversy/Notes


text: Princess Bebé/Act 3

title: Princess Bebé/Act 3


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 Paste designs in three tones of one scale on white or neutral gray background.

Mat weaving in tones of one scale.

Mat weaving in neutral gray and one or two tones of one color.

Disks on wheel or top. Paper tablets, Selection No. 3. Chart of Broken Spectrum Scales.

Illustrate broken colors by disk combinations.

Let the pupils lay paper tablets to form Chart of Broken Scales.

Compare this chart with the Chart of Pure Scales laid with the papers.

Classifying of miscellaneous materials with reference to pure and broken colors. Analysis of samples of pure and broken colors in cloths and flowers.

Paper cutting and pasting to be continued.

Following the broken colors in three tones which form the Chart of Broken Spectrum Colors, the three kinds of colored grays, warm, cool and green, may be considered preparatory to their use in contrasted effects.

Paper tablets, Selection No. 4. Chart of Spectrum Scales in five tones may be introduced for observation when the children are able to lay it with their papers.

Continue the study of tones with pure spectrum scales in five tones, as was done in the first three tones.

From the Chart of Spectrum Scales the study and classification of harmonies can begin in a simple way.

From this time on free-hand paper cutting and pasting may


text: The Battle of the Books; with selections from the literature of the Phalaris controversy/Textual Notes


text: Princess Bebé/Characters Appearing in the Fourth Act


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 them with a contemptuous "pshaw!" But the boy had the right stuff in him; he had industry and patience; and he continued to labour incessantly at his books and drawings. He then tried his young powers in modelling figures in plaster of Paris, wax, and clay. Some of these early works are still preserved, not because of their merit, but because they are curious as the first healthy efforts of patient genius. It was long before the boy could walk, and he only learnt to do so by hobbling along upon crutches. At length he became strong enough to walk without them.

The kind Mr. Matthews invited him to his house, where his wife explained Homer and Milton to him. They helped him also in his self-culture—giving him lessons in Greek and Latin, the study of which he prosecuted at home. By dint of patience and perseverance, his drawing improved so much that he obtained a commission from a lady to execute six original drawings in black chalk of subjects in Homer. His first commission! What an event in the artist's life! A surgeon's first fee, a lawyer's first retainer, a legislator's first speech, a singer's first appearance behind the footlights, an author's first book, are not any of them more full of interest to the aspirant for fame than the artist's first commission. The boy at once proceeded to execute the order, and he was both well praised and well paid for his work.

At fifteen Flaxman entered a pupil at the Royal Academy. Notwithstanding his retiring disposition, he soon became known among the students, and great things were expected of him. Nor were their expectations disappointed: in his fifteenth year he gained the silver prize, and next year he


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 be introduced at pleasure, employing the colored papers in five tones when required.

By taking advantage of the instruction imparted in a course of color study such as has been outlined in the preceding pages the pupil will be able to advance in his ability to perceive colors and to make definite analyses of colors in natural and manufactured material. In this way the advanced study of harmonies can be greatly facilitated so that it will be possible for the student to apprehend and appreciate many delicate and subtle color effects in art and nature never before imagined. In fact the foundation of color study will have been laid in such a logical and fascinating manner that its further advance will be but a pleasure to the pupil and teacher, so that no arbitrary plan will be necessary, because so many lines of work will suggest themselves to all who are interested in the subject.


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382 a deep philosophical world-grief, and a feeling of relief is but rarely found, though his gloomy disposition was somewhat softened in his last years by a religious resignation to the will of heaven. His poems are rich in deep thought, though he does not always clothe them in the fittest words. His collected poems make but a small volume, as he had sufficient strength to destroy before his death many things which could not stand the test of his own severe criticism. Among what remains there is much that is beautiful and valuable. The best ones of his poems are certain melancholy songs that were inspired by hopeless love.

The school, the rise of which was connected with the awakened national sentiment, desired a regeneration on the basis of the memories of the past and thus took substantially the same course as Oehlenschläger, by whom it was greatly influenced. Its chief standard-bearer was 1, one of the most eminent men in the history of Sweden's literature and culture, and a man who has in many ways left his impress thereon. He was born in Wermland the 12th of January, 1783. The majestic natural scenery of this province gave his spirit that earnest manly mould which characterized his whole life. In his seventeenth year he entered the university. When three years later the Academy offered a prize for the best work in memory of Sten Sture, he resolved to become one of the competitors. In order to clear himself from the reputation for fickleness, he finished his work in great secrecy. He gained the prize, and was at the same time admitted to the literary circles of that age. Still it took a long time before he could decide to what branch of intellectual work he should devote his powers. Through his comprehensive studies he gained the most varied impressions, especially of a philosophical and poetical nature, so that his profound and receptive soul became most violently agitated and all creative power within him was extinguished. He went to England for one year, and on his return in 1810, he


text: Princess Bebé/Act 4

title: Princess Bebé/Act 4


text: The Battle of the Books; with selections from the literature of the Phalaris controversy/Letter of Dr Edm. Gibson


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Rh was appointed a docent in history at Upsala. from that time his mind became more composed and clear. The war between the Phosphorists and the old school had broken out. Geijer was unable to side with the former, though he admired Atterbom, and encouraged him to work for a literary reform. But he was too little of a dreamer and too deeply sensible how important it was that the national element should be recognized in art, to be able to join Atterbom's school. Geijer therefore took his own course, and with a few congenial spirits he founded the "Gothic Union" (Göthiska förbundet). By this name they wished to revive the memory of the consanguinity of the ancient inhabitants of Sweden with the Goths "Göther," and in "Iduna" (1811-24), the organ of this society, Geijer published his poems on Old Norse themes, "Manhem," "Vikingen," etc. They are not numerous, but they are master-pieces as regards strength and simplicity. The northern spirit is reproduced in a manner that has not hitherto been surpassed. While several of his cotemporaries tried to reach this end by a servile imitation of the external form of the old poems, and thus touched only the surface, Geijer on the contrary, by the most simple means reproduced the very marrow and essence. He wrote no long poems, but for a number of his short ones he has himself arranged the music in such a manner that words and melody are united in the most perfect harmony. These songs are still very popular everywhere in Sweden, and have become genuine folk-songs.

From 1815 Geijer delivered historical lectures and this practically closed his poetical career, though there ever afterward flowed an occasional poem from his pen. In his collected works we find essays on various subjects—on philosophy, on the history of culture, on politics, and on pædagogies, and in all we find his clear, manly spirit. But his best works are unquestionably the two on history, "Svea


text: The Trees of Great Britain & Ireland/1 - Plates/Pyrus


text: The Trees of Great Britain & Ireland/1 - Plates/Taxodium


text: The Trees of Great Britain & Ireland/1 - Plates/Thuya


text:
Bullock v. Carter

Appellees who sought to become candidates for local office in the Texas Democratic primary election challenged in the District Court the validity of the Texas statutory scheme which, without write-in or other alternative provisions, requires payment of fees ranging as high as $8,900. Appellees claimed that they were unable to pay the required fees and were therefore barred from running. Under the Texas statute, the party committee estimates the total cost of the primary and apportions it among candidates according to its judgment of what is "just and equitable," in light of "the importance, emolument, and term of office." The fees for local candidates tend appreciably to exceed those for statewide candidates. Following a hearing, the District Court declared the fee system invalid and enjoined its enforcement. Appellants contend that the filing fees are necessary both to regulate the primary ballot and to finance elections.

Held: The Texas primary election filing-fee system contravenes the Equal Protection Clause of the Fourteenth Amendment. Pp. 140-149.

 * (a) Since the Texas statute imposes filing fees of such magnitude that numerous qualified candidates are precluded from filing, it falls with unequal weight on candidates and voters according to their ability to pay the fees, and therefore it must be "closely scrutinized" and can be sustained only if it is reasonable necessary to accomplish a legitimate state objective and not merely because it has some rational basis. Pp. 140-144.

 * (b) Although a State has an interest in regulating the number of candidates on the ballot and eliminating those who are spurious, it cannot attain these objectives by arbitrary means such as those called for by the Texas statute, which eliminates legitimate potential candidates, like those involved here, who cannot afford the filing fees. Pp. 144-147.

 * (c) The apportionment of costs among candidates is not the only means available to finance primary elections, and the State can identify certain bodies as political parties entitled to sponsorship if the State itself finances the primaries, as it does general elections, both of which are important parts of the democratic process. Pp. 147-149.

321 F. Supp. 1358, affirmed.

BURGER, C.J, delivered the opinion of the Court, in which all Members joined except POWELL and REHNQUIST, JJ., who took no part in the consideration or decision of the case.

John F. Morehead, Special Assistant Attorney General of Texas, and Pat Bailey, Assistant Attorney General, argued the cause for appellants. With them on the brief were Crawford C. Martin, Attorney General, Nola White, First Assistant Attorney General, Alfred Walker, Executive Assistant Attorney General, J.C. Davis, William J. Craig, and W.O. Shultz II, Assistant Attorneys General, and Charles F. Herring.

A.L. Crouch argued the cause for appellees Wischkaemper et al. With him on the brief was Eugene L. Smith for appellee Carter. Joseph A. Calamia argued the cause for appellees Pate et al. With him on the briefs was John L. Fashing.

title: Bullock v. Carter


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Page:Mahometanism in its relation to prophecy - or, an inquiry into the prophecies concerning antichrist, with some reference to their bearing on the events of the present day (IA mahometanisminit00philrich).pdf/79

 St. Paul, in his second Epistle to the Thessalonians, and in the second chapter, writes as follows: "And we beseech you, Brethren, by the coming of our Lord Jesus, and of our gathering together unto him; that you be not easily moved from your mind, nor be frighted, neither by spirit, nor by word, nor by epistle as sent from us, as if the day of the Lord were at hand. Let no man deceive you by any means; for unless there come a revolt first, and the Man of Sin be revealed, the Son of Perdition, who opposeth and is lifted up above all that is called God, or that is worshipped, so that he sitteth in the Temple of God, showing himself as if he were God. Remember you not, that when I was yet with you, I told you these things? and now you know what withholdeth that he may be revealed in his time. For the mystery of iniquity already worketh: only that he, who now holdeth, do hold, until he be taken out of the way; and then that wieked one shall be revealed, whom the Lord Jesus shall slay with the spirit of his mouth, and shall destroy with the brightness of his coming; him, whose coming is according to the working of Satan, in all power, and signs, and lying wonders, and in all seduction of iniquity to them that perish: because they received not the love of the truth that they might be saved.