text:
qoyun, cebcesoir, d_lavega, digital_3d - Thanks guys, glad you like them.
qoyun, cebcesoir, d_lavega, digital_3d - Thanks guys, glad you like them.
A game of chess. Still some tweaking to do. Comments and crits welcome.
Great sculpt; I especially like the tree's texture.
Great scene here, right down to the squirrel and the extra chess pieces about the ground.
Really fun to look at.
Chess Game is fantastic! TOP ROW.
sensational stuff! really inspirational.
Zber2, Kevphil, Floydshayvious, Julian_K, EricShawn, Digi-mech - Thanks guys, really glad you like it. It's great to get such positive feedback.
Great Sculpt man!!! nice details. Keep it up!
Best regards mutte
My ZBC sketchbook / Z4beta thread
My ARTSTATION
freelance cg sculptor/creature designer
What else to say ..
Beautifull work again goode400
I am curious about what the armature would look like on a real sculpture of this. But I am already sure you know how you would do that ^^
(Thanks a lot for your previous compliment, it means a lot coming from a great artist like you )
Mutte - Thank you!
Chokmah - Thanks. This is why I love Zbrush! All the annoying stuff is removed from the job. No armatures, no spraying and wrapping, and best of all, no mould making!
I love the jester sculpt
Hehe indeed goode400 .
Personnally I began my artistic path with 3D and digital sculpting some years ago.
Since some month I began learning traditionnal sculpting .
It's funny caus' it seems I follow the inverse way of your ^^
Personnally I prefer traditionnal sculpting now. Despite all the technical problems, it's really help me to feel the mass of my characters .
Digital sculpting didn't help me to feel that before .
But I guess to traditionnal scultping will ease my work my digital sculpting .


text:
Faust: Peak 8 expansion support
While I can't imagine I will ever be accused of being too conservative, I have to disagree with Mitchell Weiss on the Peak 8 expansion. While anyone who knows me knows I am not in favor of an unregulated corporate free for all, I do believe in a somewhat limited government. To me, the job of government should be to perform the tasks that business and individuals are unable or unwilling to do, and when it comes to the economy, they should be their to make sure the playing field is level and fair.
One of the reasons I have been so opposed to Vail Resorts' Peak 6 expansion plan is that I do not believe that any corporate entity can have the best interest of the environment first and foremost, and it is the government's job to protect the old growth forests, lynx habitat, and quiet human powered activities in the area.
The reason I don't think the town or U.S. Forest Service should intervene in the Breck Grand Vacations expansion at Peak 8 is twofold:
First, Peak 8 is not a pristine old growth forest. It is at the busiest base of the busiest ski area in North America. There is no environmental or open space interest to protect. Also, my understanding is that they are making a contribution to preserve Cucumber Gulch.
Second, I do not believe it is the role of the government to protect one business at the expense of another. It is unethical to expect regulations to protect some lodging companies by preventing other lodging companies from expanding.
I have been skiing Breck for 30 years, and the "Bergy" will be missed. However, I would love to see expansion taking place by doing what Grand Vacations is doing, and replacing older properties with updated ones.
Start a dialogue, stay on topic and be civil.
If you don't follow the rules, your comment may be deleted.

subset: commoncrawl


text:
I needed professional reinforcements. I've read enough of the Livesay's hair traumas to know that I didn't really trust a white person with my son's tight curls. Upon a friends recommendation, I took Miles to a salon about 40 miles out of town. It was the kind of place where there were bars on the windows. But we walked in and there were men all over the place with stunningly gorgeous, waist long locks. I felt instantly like we'd made the right choice in coming here.
Miles' loctitian, took him to the back and shampooed his hair. He said those words that every white mama of a black child dreams of hearing, "You've done a really good job with his hair. It's in great shape." I about beamed with pride. Learning to take care of black hair takes time, patience and trial and error. I thought I was doing a great job, but I secretly wondered if my African American friends were laughing at my ineptness behind my back. I think that it is something that we all worry about in raising children of a different race. That's a whole other post, though.
Anyway- after the washing came the twisting. Miles sat still as a stone, occupied by Angry Birds and goldfish crackers, for nearly two hours. (An hour of twisting and about 45 minutes under the dryer)
I listened to the chatter around the salon and everyone seemed to be excited that someone was arrested last night in connection with Tupac's murder. There was music playing and people singing along under their breath and bobbing their heads to the beat. Everyone was in everyone else's business and they didn't even try to hide it. At the salon I go to, of course you listen in on everyone else's conversations, but you do it on the sly. Here there was no pretense. It you said it, it was everyone's business. It was like being among old friends. It was such a neat cultural experience. I want that for my son. I want him to feel like he can be a part of the white community and the black community and not feel trapped somewhere in the middle. That may be just a pipe dream, but a girl can hope, right?
The boy is now sporting a whole new look. He looks so much older. I'm having a hard time getting used to it. Right now his parts are so prominent that it is a little unsettling, but I know in a week or so, everything will loosen up and lock up and be looking fabulous!
|Forgive the camera phone pictures. I did not want to be "that" mom in the salon with the big honkin' camera. I'm trying my hardest to preserve what little bit of dignity I have left!
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text:
Jacob Fabricius – curator of Armory Focus
Interviewed by Elīna Zuzāne
During The Armory Show, which overtake New York every year with a wave of creative events, Arterritory.com had the pleasure to arrange an express interview with Jacob Fabricius, the esteemed director of Malmö Konsthall. Fabricius curated this year's Armory Focus Group, an invitation-only gallery section that highlighted the current art scene of the Nordic countries – Finland, Sweden, Norway, Denmark and Iceland.
How did you become a part of this project?
Last summer The Armory Show asked me to be involved in the Focus Group, and I started working on different proposals. Some of them were realised and some were not. One idea was that I would do the show in a lavatory. I thought about this because it doesn't matter if you are a student, a VIP guest or the wealthiest person in the world, you do need to use a toilet. Well, that was one of the ideas, which for various different reasons, couldn't be realised (laughs).
Had you visited the Armory Show beforehand?
I hadn't been to the Armory Show since (thinking)... the late 90's. It was difficult to picture the space and how it would function.
How did you form your opinion on which galleries to include in the Armory Focus section?
My selection criteria consisted of three different ways of running a gallery or starting an exhibition space. Basically, I wanted to include established galleries that had existed for a long time, galleries that had opened in the last year or so, and artist-run or non-profit spaces, because they are now a vital part of the art market in the North. My aim was to show a mixture, a variety of different organisations. Of course, there was a limited number of how many galleries one could select.
Did you approach the participating galleries, or did they apply themselves?
For some galleries, this was their first application for the Armory Show. Some had applied this year for the general section. Some had previously participated in this fair. Of course, there were also galleries that, for various different reasons, declined their participation – they either didn't have the money or they were part of other fairs. And some applied too late.
I heard that in some cases, you even advised galleries which artists to exhibit.
There were galleries that represented artists who I thought would be interesting to show here. Some galleries did send proposals. But there were also a few that had their hands completely free. The approaches were different, and I thought that it was interesting to have it like that. D.O.R. in Brussels, for example, is run by three Norwegian artists; their concept for this fair surrounded the notion of selling their gallery as a certificate. Anyone could go and buy the gallery and use it as a franchise.
Actually, my most important contribution was the poster and souvenir project [Free Stuff]. I had this idea of giving things out. Usually when you come to an art fair, you pay your ticket, you get into the event, but you can't take things out unless you pay dollars. So, here I thought it would be interesting if people who were present at the fair could actually bring something home with them, and maybe even start their small collection of posters or free stuff.
The Free Stuff project was completely separate from the galleries. Many different artists created these objects – some were represented by galleries at the Armory Focus, others were not part of the fair, and some were produced by people who are not represented by any gallery.
What are your thoughts now, when you see this all fulfilled?
I thought it was beautiful when on the first day in the Free Stuff section, there were these toilet paper rolls with "Angst" written on them. It was quite amazing seeing all of them disappear… and later noticing them walking around in Gucci bags – women with their small handbags and "Angst" in them. I thought that was great (laughs).
Read in the archives:
08/03/2012 - Art Fairs :: The Armory Show Now Open!


text:
Artist description:
This picture took forever to do, maybe a month or so because of all of the intricate detail. I started this as a challenge to myself, to finish it. The ref is from Jessie J's music video, Domino without bg. [Link]
Java Draw Created Feb 01, 2012 640 x 460px Unless noted Copyright 2012 Whats Her Name.
We encourage you to submit a comment and let the artist know what you think of this drawing. Please log in or join to post a comment.
Post a comment
granted I did not look at the ref, so it may be how it appears. the skin tones especially are incredible and life like in this piece.
The level of detail in this is really amazing as well as all your other works done here on rmd. only thing looks out of place is perhaps the shadow of her arm on the wall. Looks great but should reduce in size as it reaches her hand.
sooo detailed specially her clothing, im surprised u didnt give up lol ;p luv her pose n hair n coloring fav
I'm feeling sexy and freeee!!!
excellent !
AMAZING! Wow. :O So much detail! 5/5 + faves + collection
this is more that amazing! again 5/5!
Amazing looks like a photo! Wow I see she has a tattoo =) 5/5 collect
I`m speechles :O and this happens not so often. 5h


text:
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text:
ERROR: Device '' not found
is the problem, you should check the boot parameters. Have you created a stanza in refind.conf or did you make a refind_linux.conf file with boot parameters?
ᶘ ᵒᴥᵒᶅ
as you saw, it's not finding your root disk. What's the boot line (kernel command line)? mine is:
vmlinuz-linux.efi root=/dev/sda4 init=/bin/systemd add_efi_memmap initrd=EFI\arch\initramfs-linux.img
in refind_linux.conf, it's actually listed as this:
"default" "root=/dev/sda4 init=/bin/systemd add_efi_memmap"
@litemotiv: sorry, didn't see your post :-P
Last edited by frigaut (2013-01-23 21:07:31)
Samsung NP900X3F / MBP retina mid-2012. Archer since 03/2009 / Arch donor
Hey guys.
I'm currently sitting on my RMBP and my wet dream would be to run Arch Linux on it, in the nearest feature, but frankly this thread have scared me a bit. I tried to run Arch Linux from a bootable usb key, but the screen was all messed up, i could't see much, there was text tho, in funny colors.
I will take a picture soon , guess what i am asking, is the Retina issues worth installing Linux on? Or should i just get a regular pc? .
Hey guys.
I'm currently sitting on my RMBP and my wet dream would be to run Arch Linux on it, in the nearest feature, but frankly this thread have scared me a bit. I tried to run Arch Linux from a bootable usb key, but the screen was all messed up, i could't see much, there was text tho, in funny colors.
I will take a picture soon , guess what i am asking, is the Retina issues worth installing Linux on? Or should i just get a regular pc? .
It's certainly doable; it does take quite a bit of effort to get things working the way you might prefer. It depends on how much work you can or are willing to put into it. It can be a time-consuming process.
Once graphics and other hardware issues are sorted out, you might find the GUI elements on the rMBP to be much too small. At least, I find them teeny tiny .
I've read that the Macbook Air actually works pretty well with Linux distros; if you're not too concerned with not having a discrete graphics card and are still interested in having that nice Apple hardware, that might be something to look into.
Hey guys, need some 1st time support. My 15" rMBP booting grub from EFI is running fine but I', not able to start up X. I just get a black screen. In the X Log I find something like "nvidia failed to tear down EVO channel". I do not see the vgaswitchero stuff, is there something I need to install/enable before?
Other question: Have never used Apple Hardware before and have serious issues with the key mapping and keyboard. What is the correct combination for switching Terminals in non-X mode?
Have you tried forcing the intel card from the osx side using gfxcardstatus (see more instructions earlier in that thread)? or may be you *want* to use the nvidia?
About the vgaswictheroo: what's your boot command/parameters ?
Switching terminals in non-X mode is done by pressing fn-control-alt-number simultaneously.
Samsung NP900X3F / MBP retina mid-2012. Archer since 03/2009 / Arch donor
No, I did not try to switch to the intel card and I'm not that keen to boot OSX (nearly deleted it already but decided to keep it for some additional days, you never know, never used OSX nor Apple before, just got attracted by the Retina display). I do not have any concerns using the nvidia card, know it from other units before.
And there is no other boot parameter than set by default while installing grub. Is there a need to set something?
I just booted OSX but have not been able to find this gfxcardstatus thing!? Where to look for? Also not able to run it from the command line!?
BTW: I did not find any preference to disable this annoying "boot sound" when the unit is just powered on, any hint for this as well?
Thx a lot!
gfxcardstatus is not an apple app. You get to look for it on the web and download it. Don't get the last version, it's been buggy for me, instead, take 2.21.
Just turn the sound down completely when you are booted within osx and the boot chime should go away.
Samsung NP900X3F / MBP retina mid-2012. Archer since 03/2009 / Arch donor
OK, will look for.
Is there something different with kernel 3.7 and newest (propreatary) nvidia drivers?
IMHO there is no need to specify noapic anymore for booting the kernel, but I also tested with noapic set and did not see any difference. What is your recommended kernel boot param?
Oh, forgot: Disabling this bound chime by muting the sound did work, thx a lot. Have been puzzled a lot to find tons of threads by Mac users not able to disable this. Using the often refered nvram hack did not work in my case...
Last edited by longint (2013-02-05 08:40:45)
Hey guys, anyone running kernel 3.7.x!? I've been able to boot a Fedora-17 image using 3.6-10 working fine out of the box but Fedora-18 using 3.7.x also does not seem to work...
I'm still using 3.6 (3.6.7 patched to get the microphone working), as I had some stability issues with 3.7 (but did not investigate much).
I haven't been using the nvidia for a while, and never used it with the nouveau drivers. Instead, I am using the integrated intel graphics, which is more than enough for my non-gamer use. The trick in forcing these, as I said before, is to force it from the osx side using gfxcardstatus. I believe selecting it from the linux side has not been solved yet (but I might be wrong).
One of the limitation in using the integrated is that the external output is actually not connected to it. So if you want to use the external output, you have to switch to the nvidia :-(
Samsung NP900X3F / MBP retina mid-2012. Archer since 03/2009 / Arch donor
Sorry guys, I'm sttill stuck and tried alternatives. And giess what: I tried an other Fedora18 live Image and (after installing) everything (!) is working right out of the box. Everythung means keyboard backlight, screen brightness, camera, ... I even did not have to struggle with this UEFI crap.
Might be this is Gnome3 thing as fluxbox in F18 seems not have that good support...
But however, I also have not managed to switch to propreitary nvidia drivers, same as in arch - nothing but black screen. Could it be that there is some difference in newer MBPr as mine is brand new?
Good for you and kudos to Fedora.
As far as the hardware, here is my lspci:
509:~ $ lspci
00:00.0 Host bridge: Intel Corporation 3rd Gen Core processor DRAM Controller (rev 09)
00:01.0 PCI bridge: Intel Corporation Xeon E3-1200 v2/3rd Gen Core processor PCI Express Root Port (rev 09)
00:01.1 PCI bridge: Intel Corporation Xeon E3-1200 v2/3rd Gen Core processor PCI Express Root Port (rev 09)
00:01.2 PCI bridge: Intel Corporation Xeon E3-1200 v2/3rd Gen Core processor PCI Express Root Port (rev 09)
00:02.0 VGA compatible controller: Intel Corporation 3rd Gen Core processor Graphics Controller (rev 09)
00:14.0 USB controller: Intel Corporation 7 Series/C210 Series Chipset Family USB xHCI Host Controller (rev 04)
00:16.0 Communication controller: Intel Corporation 7 Series/C210 Series Chipset Family MEI Controller #1 (rev 04)
00:1a.0 USB controller: Intel Corporation 7 Series/C210 Series Chipset Family USB Enhanced Host Controller #2 (rev 04)
00:1b.0 Audio device: Intel Corporation 7 Series/C210 Series Chipset Family High Definition Audio Controller (rev 04)
00:1c.0 PCI bridge: Intel Corporation 7 Series/C210 Series Chipset Family PCI Express Root Port 1 (rev c4)
00:1c.1 PCI bridge: Intel Corporation 7 Series/C210 Series Chipset Family PCI Express Root Port 2 (rev c4)
00:1d.0 USB controller: Intel Corporation 7 Series/C210 Series Chipset Family USB Enhanced Host Controller #1 (rev 04)
00:1f.0 ISA bridge: Intel Corporation HM77 Express Chipset LPC Controller (rev 04)
00:1f.2 SATA controller: Intel Corporation 7 Series Chipset Family 6-port SATA Controller [AHCI mode] (rev 04)
00:1f.3 SMBus: Intel Corporation 7 Series/C210 Series Chipset Family SMBus Controller (rev 04)
01:00.0 VGA compatible controller: NVIDIA Corporation Device 0fd5 (rev a1)
01:00.1 Audio device: NVIDIA Corporation Device 0e1b (rev a1)
03:00.0 Ethernet controller: Broadcom Corporation Device 16a3 (rev 10)
03:00.1 SD Host controller: Broadcom Corporation NetXtreme BCM57765 Memory Card Reader (rev 10)
04:00.0 Network controller: Broadcom Corporation BCM4331 802.11a/b/g/n (rev 02)
Samsung NP900X3F / MBP retina mid-2012. Archer since 03/2009 / Arch donor
Thx for posting, I did a diff to mine and did not found a single difference.
So I'm going to live with this. Next thing is to remove the OSX partitions completely (just shrinked so far)...
Hey guys, has anyone of you been able to use the proprietary nvidia graphics driver? I'm really stuck with this....
longint, I'm just getting set up on funtoo. I believe you need a few options in your xorg.conf. Under the Device section, you should have the following
Option "ProbeAllGpus" "False"
Option "UseDPLib" "off"
funtoo - gentoo based - back to the roots? Why not. Is it running out of the box!?
I'm currently on vanilla kernel 3.6.11 since that is the latest available to me that will work with nvidia's proprietary driver, so I'm missing some of the support that has been added to 3.7.x that has already been detailed on this thread. Looking for a patch I can use that I can backport, but I don't really need that stuff at the moment, so I haven't been looking too hard.
I'm currently using KDE Plasma in which many of the scaling issues are good. There are some quirks (menus in fullscreen don't always work via mouse). As far as I know, there's no way to scale the gtk+ icons inside kde, but kde has some good scaling for its own icons. I think there should be a way, maybe via gtkrc to tell it what icon size to use. Text is fine due to dpi settings (at 220) except inside browsers. You will need to set a default zoom level for websites. I couldn't find one in Konquerer and Chrome has hard-coded tab sizes, so I'm using Firefox with a Default Zoom addon set to 200%. If you make sure it remembers specific zoom settings for local files, you can zoom back out on things like the add-ons interface since those correctly use the dpi settings. Images will look a little blurry, but it's better than using xrandr to scale the full desktop as at least the text is crisp and only images inside the browser is affected. There may be some issues with flash controls as well, but I haven't even installed flash yet.
For the trackpad, you will want to use mtrack which I believe is xf86-input-mtrack-git for arch. For some reason ClickFinger2 isn't being registered for me, so I'm using taps instead, though I do have ClickFinger1 set to button one as it makes dragging easier.
I was able to make a script to control brightness.
if [[ $EUID -ne 0 ]]; then
echo "This script must be run as root" 1>&2
exit 1
current=`cat /sys/devices/platform/applesmc.768/leds/smc::kbd_backlight/brightness`
if [ "x$1" == "xup" ]; then
if [ ! "x$current" == "x100" ]; then
echo $(( $current + 10 )) > /sys/devices/platform/applesmc.768/leds/smc::kbd_backlight/brightness
exit 0
if [ "x$1" == "xdown" ]; then
if [ ! "x$current" == "x0" ]; then
echo $(( $current - 10 )) > /sys/devices/platform/applesmc.768/leds/smc::kbd_backlight/brightness
exit 0
Then I made two scripts, one for up and one for down. I do this because as you can see, the script requires root, so for example, the up script will call
sudo /path/to/script up
and I have /path/to/script as a NOPASSWD entry in the sudoers file.
Then I assigned global hotkeys to run the up and down scripts respectively and it works like a charm.
I haven't tried resolving screen brightness (I like the default fine, so I'm not trying all that hard at this point).
Thunderbolt ethernet worked out of the box, but it must be plugged in prior to booting. I believe the networking may go down when the machine goes to sleep and doesn't come back up, but I haven't played around with that too much. I have linux installed on an external drive and don't really plan on needing that functionality. I have it set to turn the monitor off when I press the power button (kde power setting) and that suits my needs. I also don't need wifi, and if I did, I'd use a dongle as I've always had problems with broadcom wifi chips in linux.
I haven't used hdmi output at all. The speakers and headphone jack work fine out of the box. Haven't tried line-in. In KDE, you can additionally set hotkeys to replicate spaces and expose (assuming you have compositing and effects turned on).
One thing to note about the nvidia proprietary drivers. Once X starts, you will lose the ability to see the ttys.
Last edited by eternalsword (2013-02-10 19:15:00)
Here's what firefox looks like.
OK Thx! Did you try gnome3 also? As said, gnome3 running in Fedora18 supports the unit very well, every single special key is working. The main issue I have there (regarding the MBPr, not talking about useability) is the nvidia drivers not working (running kernel 3.7.x) and I just recognized the SDCard slot throwing errors not accepting a 32GB SanDisk...
Been having an issue recently where after suspend, any xmodmap settings (e.g. remapping caps lock to ctrl) and trackpad setting (e.g. two finger scrolling) get reset to default. I'm using XFCE, and to test, I installed openbox. These issues only happen in XFCE, but it didn't used to be that way. It started happening about a month ago, but I didn't take the time to isolate it at the time, to see if was a version issue. Any ideas?
Keyboard not working after starting X.
fixed with:
# pacman -S xorg-drivers
didn't initially see this in Beginner's Guide
Last edited by dougphy (2013-02-24 06:50:03)
Hey guys, how is it going? I'd like to share some current information:
I'm quit with F18 and writing this now from Ubuntu 13.04 running kernel 3.8.0. This version of Ubuntu has supposed to have good support for the unit and there is also a specific download available for Macintosh boxes. Given that, it is not working in many parts which have been fine in standard F18 - the most annoying is suspend is not working and the Unity UI is just crap. On the other hand the graphics performance is much better than F18 and also the battery run time is more than twice of F18 (even running the nvidia card active). I'm even able to mount USB sticks manually again - Fedora restricted the user sooo much, you can't imagine. Also there is no gnome-shell or anything other eating the box up resulting in becoming very hot and fans running like crazy. And for the first time I own the unit I'm now able to run the proprietary nvidia drivers! etracer is showing 30+ fps at 2880x1800 haveing every single option enabled - nice! On the other hand glx-gears still shows very bad values of about 60fps where other users running Linux on the box claim to have 3000+.
I'm now using rEFInd which is really nice. Ignoring the warnings on the rEFInd page I installed it straight from within Ubuntu - no issues so far.
Running "powertop --html" suggests these tunings for powersaving in my box:
echo '0' > '/proc/sys/kernel/nmi_watchdog';
echo '1500' > '/proc/sys/vm/dirty_writeback_centisecs';
echo 'min_power' > '/sys/class/scsi_host/host0/link_power_management_policy';
echo 'auto' > '/sys/bus/usb/devices/3-1/power/control';
echo 'auto' > '/sys/bus/usb/devices/2-1.8.2/power/control';
echo 'auto' > '/sys/bus/usb/devices/2-188.8.131.52/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:06:06.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:01:00.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:01.2/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:01.1/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:01.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:06:00.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:06:03.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:06:04.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:06:05.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:08:00.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:09:00.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:16.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:1f.3/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:1d.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:02.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:14.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:03:00.1/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:1c.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:1c.1/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:05:00.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:1a.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:1f.0/power/control';
echo 'auto' > '/sys/bus/pci/devices/0000:00:1f.2/power/control';
ethtool -s eth1 wol d;
Oh, and very important: Seems there is a new driver for WiFi available - switching from b43 to bcmwl-kernel-source results in much more stable WiFi and even bluetooth is working now (which has not before)!
FYI, Just to let you know. I'm not sure if I'll stay with Ubuntu or try Arch again...
Question: Is there something specific you've done to get suspend (to RAM or even disk) running?
What is glxgears showing on your box?
518:examples $ vblank_mode=0 glxgears
ATTENTION: default value of option vblank_mode overridden by environment.
ATTENTION: option value of option vblank_mode ignored.
12020 frames in 5.0 seconds = 2403.979 FPS
13259 frames in 5.0 seconds = 2651.636 FPS
13128 frames in 5.0 seconds = 2625.477 FPS
That's using the intel card.
Thanks for the tip about the new wireless driver. Will give it a try.
About suspend: no, nothing special as far as I remember.
Samsung NP900X3F / MBP retina mid-2012. Archer since 03/2009 / Arch donor


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Judge asked to stop Neb. driver's license denials
A 24-year-old Lincoln woman is asking a judge to bar Nebraska from enforcing its policy of denying driver's licenses to people who were brought into the country illegally as children but allowed to stay under a new federal program.
Attorneys for Mayra Saldana are seeking a judge's order to block the state policy while a federal lawsuit winds through the courts. Saldana came to the United State from Mexico at age 2, and is now a student at Peru State College. She has been granted lawful status as part of the federal Deferred Action for Childhood Arrivals program.
Gov. Dave Heineman has said the Nebraska Department of Motor Vehicles will not grant licenses or other public benefits to people who are in the country illegally, unless required by state law.


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Juliana P. Blackwell has been named the new director of NOAA's Office of National Geodetic
Survey where she will oversee NOAA's responsibilities for the
nation's spatial reference system. She is the first woman to head the
nation's oldest federal science agency which was established by
President Thomas Jefferson in 1807 as the Survey of the Coast.
Click HERE for the complete story.


text:
In Mali, part of the landscape gleams like a giant emerald in the middle of the arid brown African Sahel. The glittering jewel is the Inland Niger Delta.
This complex combination of river channels, lakes, and swamps provides a habitat for migrating birds and mammals such as hippos and manatees. The fertile floodplains also supply much needed resources for local communities, who use the area for fishing, grazing livestock, and cultivating rice.
With the support of the IUCN West Africa office, two world renowned photographers, Jean-François Hellio and Nicolas Van Ingen, captured this stunning oasis in their photography. Breathtaking images of daily life, species habitats, and natural landscapes showcase this lush fertile ecosystem in one of Africa's driest regions.
"The photography project was developed to highlight an environment of pristine beauty but also fragility. Climate change and resource management challenges threaten the delta's ecosystem and the people and nature that depend on it. Through these images, IUCN seeks to raise awareness and support the government of Mali, our West African Members and partners, in the quest to preserve and protect the Inner Niger Delta", said Jean-Marc Garreau, IUCN West Africa Programme Coordinator.
Fed by floodwaters coming from the Southern Guinean highlands, the Niger River, the Bani River, and a network of smaller streams, this inland delta grows to some 20,000 square kilometers after the four-month rainy season that begins each July. At the end of the dry season, the inland delta dries up and is just a river.
IUCN has been working since the mid 1980s in the Niger delta. Together with Members such as Walia and Wetlands International, IUCN developed an approach to flooded forest restoration which gave life again to dynamic fisheries and soil fertility, particularly around Youwarou. IUCN's success in ecosystem restoration stems in part from the complementary contribution of traditional landowners, local governments and technical State services. All the stakeholders recognise their own role in contributing to healthier ecosystems which improve their own wellbeing. For example, young people don't migrate to the large towns of Segou and Bamako as much as they did in the past because their environment is healthy and livelihoods secured.
Towards the future, IUCN West Africa will continue to support its network and Members to scale up this approach and raise a comprehensive plan for the larger delta, in partnership with the Government of Mali.
For more information, please contact Jean-Marc Garreau: email@example.com


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{vintage gardens}: a palette of peach, green + ivory
{Orange, Peach, Light Green, Mint + Ivory}
{Click to Enlarge}
Hairstyle + Teacup n' Saucer!
this board is darling! love mint + peach!
I really do love that shade of green and peach together. Lovely!
I absolutely love this palette. Peach and lime- delicious!
Wow this is gorgeous! I love these colors together. Great job as usual :)
I'm adoring this palette! Such a elegant and pretty color palette! Love, Jenna.
Gorgeous! Love this pretty palette. I am especially fond of peach. Hannah.
We love the colors and vintage is always wonderful!
Simply stunning! xo, Laura
I'm loving this sweet colour combo - and I agree with you, custom china would be a such an awesome touch!
This is my absolute favorite! I was having such trouble describing and envisioning my wedding until I saw this! Your designs are amazing! Do you, by any chance, recall where you found the picture you used of the bouquet? I'm trying to look for a better quality image of it for my records. :) Thanks again!


text:
You are here
Glamour Style in a Comfortable And Inviting Tulsa Home
Comfort and glamour go hand in hand in this timeless home
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It was a match made in tear-sheet heaven. Searching for a decorator for the Tulsa home she shares with her husband, Bret, Rocci Chandler had been tirelessly rummaging through magazines, on the prowl for images of inspiring rooms. After sifting through the pile of glossy photos she had collected, she realized that not only had she narrowed down the design "look" she was going for, she had zeroed in on a designer.
"When I sat down and went through all the photos of rooms I loved," recalls Rocci, "I realized that half of them had been designed by Jan [Showers]. I called her right away. I went to our first meeting and within 10 minutes, Jan and her team pulled out a piece of fabric that I just fell in love with. From then on, I let them do whatever they wanted."
Showers, the Dallas-based designer known for creating interiors that are as effortlessly elegant as they are inviting, remembers it similarly. "As I recall," says Showers, "Rocci met with us [Zara Taitt was the senior designer on the project], and as we walked through the samples, she kept saying, 'Love it, love it, love it!' It was so easy. It was one of Zara's first jobs, and I remember telling her, 'They're not all going to be this easy.'"
Easy, however, is a relative term. Daunting to some would be the fact that Rocci and Bret were starting from scratch. Moving from a home just a few blocks away, they had decided to begin anew. "When we moved, I said, 'Out with the old, in with the new,'" says Rocci. "I didn't keep anything. I wanted a brand-new look, so I told Jan to do anything she wanted to do—down to the plumbing fixtures."
Equally daunting could have been the fact that, while Rocci's priority was to create a polished home, it also had to accommodate considerable wear and tear. Between the Chandlers' two college-aged sons, three dogs, a cat, and frequent gatherings of die-hard University of Oklahoma football fans on game days, the interiors had to be tough enough to take abuse—and then some.
"I wanted that glamorous look, but it had to be comfortable and hard-wearing, too," says Rocci. "We have tons of kids over here—not to mention the pets. It's a very well-lived-in house. As beautiful as Jan's things are, they are also comfortable. They've worn like a dream."
Furnishings ideal for a stream of college kids or a barrage of energetic hounds weren't the only requirement: The flow of the house was equally important. Happily, each room opens generously off another—a progression of spaces that seamlessly play together.
At the heart of the home, an inviting French door-lined space serves as both living and dining room. Its neutral palette is the ideal foundation for an elegant layering of pieces. Perhaps senior designer Taitt describes it best. "It's casual glamour," she notes. "Rocci wanted something glam but still welcoming."
In the living area, a pair of armchairs covered in a refined patterned silk—the fabric that had Rocci at hello—act as an endnote to a conversation area. The grouping includes a streamlined sofa and a button-tufted chair, both from Showers's furniture collection. Murano glass pieces in luscious blues and greens perch on the white lacquer coffee table, adding eye-catching splashes of color.
Unobstructed, the easy elegance continues into the adjoining dining space, where each element exudes a graceful charm: the polished French walnut dining table with its scalloped apron; a vintage credenza with white parchment inserts lining the carved recesses; an array of candescent Empoli glass on the oval table.
"It's sophisticated, yet understated," says Showers. "I often look to the Hepburns—Audrey and Katharine. I love the fact that they could wear a classic outfit with a cashmere scarf thrown over a shoulder and be completely glamorous. They were elegant but never over the top."
Separated from the dining room by pocket doors adorned with antiqued mirrors, the kitchen is a favorite—if not all that frequently used—space. "I love to cook, but I don't do it all that often anymore," laughs Rocci. "I love these doors, though. I close them when I have a dinner party, and the mirrors create a beautiful backdrop."
On the other side of the house, the library is the home's cozy rendezvous spot—a room in which the only requirement for Showers was that the sofa be deep enough to allow 6-foot-2 Bret to hunker down and put his feet up. A monochromatic scheme—Showers saturated the space in chic, welcoming chocolate brown—not only encourages hunkering but is also the perfect complement to the snug space.
"In a small room like this, especially in a study or library, I love enveloping the space in a deep, dark color," says Showers. "It gives a room a very inviting feel but also causes the corners and walls to recede, making the space seem larger. But you've got to really go for it and use the color everywhere—walls, ceiling, curtains."
Down a short hallway, an airy palette in the master bedroom stubbornly deviates from the library's dark scheme. Pale blue-green walls and ceiling set a soothing tone for the glam textures and shapes that punctuate the room. Silk curtains gently skim the luminous silk-and-wool rug. A vintage Italian glass chandelier floats overhead, while a gold soleil mirror perches above the shapely satin headboard. A tufted bench with Lucite legs makes an elegant perch at the foot of the bed.
"Rocci wanted glam, so we gave her glam," says Showers. "But to me, glamour and comfort should never be mutually exclusive."
Rocci obviously agrees. "I can't tell you how much I love what Jan and Zara did," says Rocci. "It's refined but relaxing, too. If Cary Grant or Rita Hayworth were alive today, I think they'd live in a house like this. It's old Hollywood glam, but it's timeless."
Photography: Werner Straube
Architect: Jack Arnold, Jack Arnold's Homes of Elegance, 7310 S. Yale, Tulsa, OK 74136; 800/824-3565, jackarnold.com.
Interior design: Jan Showers and Zara Taitt, Jan Showers & Assoc., 1308 Slocum St., Dallas, TX 75207; 214/747-5252, janshowers.com.
Paint ("Lenox Tan" #HC-144): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Sofa ("Villa" #203, Jan Showers Collection); club chairs ("Rothschild" #102, Jan Showers Collection); coffee table (white lacquer, c. 1960); ivory barrel chair (c. 1960); drapery (Jan Showers Private Label); aqua blue and gold Murano glass lamps (c. 1950): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Sofa fabric ("Tizian" #16142176): Jab USA, 212/486-1500.
Club-chair fabric ("Byzance"/Turquoise India #4571-03, by Manuel Canovas): Cowtan & Tout, 212/647-6900, cowtan.com.
Barrel-chair fabric ("Jefferson"/Champagne #8946): Pindler & Pindler, 805/531-9090. pindler.com.
Sisal carpet ("Big Boucle Classics"): Crucial Trading, crucial-trading.com. Available through Concepts Intl', 516/767-1110, prestigemills.com.
Zebra rug: Jan Showers & Assoc., 214/747-5252, janshowers.com.
Dining Room
The walnut dining table is from the Jan Showers Collection. Striped fabric on the dining chairs is from Création Baumann.
Paint ("Lenox Tan" #HC-144): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Chandelier ("Fume Venini," 8 arms, c. 1930); table (custom, "Lombard Dining Table," Jan Showers Collection); side chairs ("Antibes Dining Chairs" #117); side-chair fabric (custom, platinum leather); host and hostess dining chairs ("Antibes Host and Hostess Dining Chairs" #117A, Jan Showers Collection); buffet (Dolt design, with parchment insets and acrylic pulls, c. 1930); blue lamp (Mercury glass, c. 1950); drapery (Jan Showers Private Label): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Host and hostess chair fabric ("Pablo" color 345): Création Baumann USA, 516/764-7431, creationbaumann.com.
Sisal carpet ("Big Boucle Classics"): Crucial Trading, crucial-trading.com. Available through Concepts Int'l, 516/767-1110, prestigemills.com.
Dining Room Details
"Glamour and elegance should never be mutually exclusive," says designer Jan Showers. A vignette of candescent Emploi glass sits on the French walnut dining table, exhibiting style and function.
Designer Jan Showers scooped up the vintage credenza in Paris.
Banquette ("Palm Beach Banquette" #205, Jan Showers Collection); decorative pillows (custom); bronze coffee table (faux bamboo with antique mirror top, c. 1930); metal side tables (nickel, c. 1960); lamps on side tables ("Simone" #801, Jan Showers Collection); mirror ("Helen" #602); drapery (Jan Showers Private Label): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Chair by banquette (Louis XVI-style armchair, c. 1950); chair fabric (leather, color, "Peanut Brittle"): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Homeowner Rocci Chandler with Shooter, a black Lab.
Living Room Details
A stately mirror with a Greek key design over classic antiqued glass commands the living room. Natural light from the many tall windows is maximized in the mirror's substantial reflection.
This spacious area can be closed off from the dining room with pocket doors embellished by antiqued mirrors. A Murano glass chandelier with a bronze base illuminates the space. Bar stools are from the Jan Showers Collection.
Paint ("Lancaster Whitewash" #HC-174): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Countertops: Cambrian black antiqued granite.
Bar stools ("Cole" #121, Jan Showers Collection); chandelier (Murano clear glass chandelier with bronze base, c. 1940): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Bar-stool fabric ("Izit"/Oyster): Willow Tex, 800/221-1537, izitleather.com.
Pot-filler faucet: Kohler, 800/456-4537, kohler.com.
Server: owner's collection.
Lamp (antique ivory drip glaze ceramic lamp, c. 1960): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Art: owner's collection.
Powder Room
Rich sapphire walls inject unexpected glamour into the powder room. Fuchsia blooms while a vintage lamp and Murano glass bowl keep the space feminine.
Paint ("Gentleman's Gray" #2062-20): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Purple opalescent lamp (c. 1950); vanity (custom, with mirrored detail); purple bowl (Murano glass, c. 1950): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Sink: Kohler, 800/456-4537, kohler.com.
Faucets ("Astor Widespread Lavatory Faucet" #920): Newport Brass, 949/417-5207, newportbrass.com.
Countertop: Calacatta marble.
A pergola serves as the main entrance to the home, letting light flow through open rafters above.
Rocci and Bret Chandler worked with Tulsa architect Jack Arnold.
A French country-style guesthouse sits at one end of the Chandlers' pool.
The covered outdoor living space is a Rocci favorite. Outdoor seating is from Murray's Iron Works.
Sofa, end table, coffee table, console table, and lounge chairs ("Concord"): Murray's Iron Works, 323/521-1140, murraysiw.com.
Sofa fabric ("Canvas Weave"/Poolside" #600-09); lounge-chair fabric ("Row Stripe"/Moss, Pistachio #100-01): Perennials, 888/322-4773, perennialsfabrics.com.
Pillows on sofa (custom); iron chandelier (in the stye of G. Poillerat, c. 1940); iron convex mirror (custom): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Showers enveloped the room in chocolate brown to create a cocoon-like space. The iron and bronze parchment chandelier is a vintage piece from the 1930s.
Paint ("Mink" #2112-10): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Sofa ("Palm Beach Sofa" #206, Jan Showers Collection); decorative pillows (custom); coffee table (nickel and bronze, c. 1960); chandelier (iron and bronze parchment chandelier, c. 1930); armchair ("Villa Chair" #112, Jan Showers Collection); nest of tables by armchair (with antiqued mirror top, c. 1950); side tables ("Manhattan" #301); table lamps (#2 lamp/Rouge, Venetian Series, Jan Showers Collection); drapery (Jan Showers Private Label): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Sofa fabric ("Sensuede"/Chamois #9068): Ashley Studio, 607/746-7678.
Chair fabric ("Honey" #5500-170): Joseph Noble, 214/741-8100, josephnoble.com.
Side-table fabric ("Natural Weave" #W420-10): Donghia, 800/366-4442, donghia.com.
Wool rug ("Benson"/Goldenrod #213): Interior Resources, 214/744-5740, intre.biz.
An ebonized wooden console and marbleized mirror are handsome in the home's entryway. The shapely blue lamp from Jan Showers softens the rich features.
Paint ("Lenox Tan" #HC-144): Benjamin Moore & Co., 888/236-6667. benjaminmoore.com.
Birch armchair (c. 1920); console (Louis XVI-style, ebonized wood with opaline glass top, c. 1940); chandelier (white opaline, with Greek key border, c. 1880); large mirror (marbleized, c. 1940); azure lamp (#811, Jan Showers Collection); bowl (Murano glass, amber-and-green, c. 1950): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Master Bedroom
A serene blue-green saturates the room, creating an ethereal ambience accented by champagne hues. The bench, with Lucite legs, is from the Jan Showers Collection. The graphic cowhide pillow on the bed was designed by Showers for Kyle Bunting.
Paint ("October Mist" #1495): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Ribbon Murano chandelier (c. 1950); bedside tables ("Bellaire"/Ivory Lacquer #318, Jan Showers Collection); table lamps ("Serena," Jan Showers Collection); bench ("Mercer" #407, Jan Showers collection); bed skirt (custom); duvet (custom); two pillows (custom); headboard (custom); mirror (bronze soleil mirror, c. 1940); drapery (Jan Showers private label): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Bench fabric ("Suedissimo"/Acorn #1041): Ashley Studio, 607/746-7678.
Bed-skirt fabric (Wilshire" #8854): Pindler & Pindler, 805/531-9090, pindler.com.
Duvet fabric ("palio" #SLK 01020): Zoffany, 800/395-8760, zoffany.com.
Duvet fabric ("Saffle"/Sage #4300/26): Bart Halpern Inc., 212/414-2727, barthalpern.com.
Fabric on pillow shams ("Beechwood"/Seafoam #NC0306/078): Nancy Corzine, 212/223-8340, nancycorzine.com.
Cowhide pillow: Jan Showers for Kyle Bunting, 512/264-1148, kylebunting.com.
Headboard fabric ("Holbrook Satin"/Cream #105051, by Travers): Zimmer + Rohde, 212/758-7925, zimmer-rohde.com.
Wool and silk rug ("Woodash"/Pistachio #146): Interior Resources, 214/744-5740, intre.biz.
Art: owner's collection.
Master Bedroom Details
A ribbon-like vintage Murano glass chandelier is the bedroom's dreamy crowning feature.
Dressing Room
A sleek, shapely chair, also with Lucite legs, takes center stage in Rocci's dressing area.
Paint ("Harbor Gray" #AC-25): Benjamin Moore & Co., 888/236-6667, benjaminmoore.com.
Flooring: white Carrara marble.
Pearlescent lamp (c. 1960); chair ("Daphne" #118, Jan Showers Collection): Jan Showers & Assoc., 214/747-5252, janshowers.com.
Chair fabric ("Suedissimo"/Snow #3105-2568): Ashley Studio, 607/746-7678.
Bench: Williams-Sonoma, 800/541-2233, williams-sonoma.com.
Bench fabric: faux zebra.
Art: owner's collection.


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Hall of Mirrors
This article has an unclear citation style.April 2012) (Learn how and when to remove this template message)(
The Hall of Mirrors (French: Grande Galerie or Galerie des Glaces) is the central gallery of the Palace of Versailles in Versailles, France.
As the principal and most remarkable feature of King Louis XIV of France's third building campaign of the Palace of Versailles (1678–1684), construction of the Hall of Mirrors began in 1678.[1][2][3][4][5][6] To provide for the Hall of Mirrors as well as the salon de la guerre and the salon de la paix, which connect the grand appartement du roi with the grand appartement de la reine, architect Jules Hardouin Mansart appropriated three rooms from each apartment as well as the terrace that separated the two apartments.[2][3][7]
The principal feature of this hall is the seventeen mirror-clad arches that reflect the seventeen arcaded windows that overlook the gardens. Each arch contains twenty-one mirrors with a total complement of 357 used in the decoration of the galerie des glaces.[7] The arches themselves are fixed between marble pilasters whose capitals depict the symbols of France. [8] These gilded bronze capitals include the fleur-de-lys and the Gallic cockerel or rooster. Many of the other attributes of the Hall of Mirrors were lost to war for financial purposes, such as the silver table pieces and guéridons, which were melted by order of Louis XIV in 1689 to finance the War of the League of Augsburg.[7][9][10][11]
Within the hall, the German Empire was declared in 1871 (Deutsche Reichsgründung)[12] and the Treaty of Versailles signed by the victorious powers of World War I in 1919.
In the 17th century, mirrors were among the most expensive items to possess at the time; the Venetian Republic held the monopoly on the manufacture of mirrors. In order to maintain the integrity of his philosophy of mercantilism, which required that all items used in the decoration of Versailles be made in France, Jean-Baptiste Colbert enticed several workers from Venice to make mirrors at the Manufacture royale de glaces de miroirs. According to legend, in order to keep its monopoly, the government of the Venetian Republic sent agents to France to poison the workers whom Colbert had brought to France.[7]
The Hall of Mirrors' dimensions are 73.0 m × 10.5 m × 12.3 m (length × width × height; 239.5 ft × 34.4 ft × 40.4 ft) and is flanked by the salon de la guerre (north) and the salon de la paix (south). Construction on the galerie and its two salons continued until 1684, at which time it was pressed into use for court and state functions. The ceiling decoration is dedicated to the political policies and military victories of Louis XIV. The central panel of the ceiling, Le roi gouverne par lui-même ("The king governs alone"), alludes to the establishment of the personal reign of Louis XIV in 1661. The present decorative schema represents the last of three that were presented to Louis XIV. The original decorative plan was to have depicted the exploits of Apollo, being consistent with the imagery associated with the Sun-King, Louis XIV. However, when the king learned that his brother, Philippe I, Duke of Orléans, had commissioned Pierre Mignard to decorate the ceiling of the grande galerie of his brother's residence at Château de Saint-Cloud, Louis XIV rejected the plan. The next decorative plan was one in which the exploits of Hercules — as allegories to the actions of Louis XIV — were to be depicted. Again, as with the first plan, the Hercules theme was rejected by the king. The final plan represents military victories of Louis XIV starting with the Treaty of the Pyrenees (1659) to the Treaty of Nijmegen (1678–1679). In a departure from the decoration of the ceilings in the grand appartement du roi, Le Brun has depicted Louis XIV directly, and has ceased to refer to the king in allegorical guises. In this way, themes such as good governance and military prowess are rendered with Louis XIV himself as the key figure.[3][7][13]
During the 17th century, the Hall of Mirrors was used daily by Louis XIV when he walked from his private apartment to the chapel. At this time, courtiers assembled to watch the king and members of the royal family pass, and might make a particular request by intoning: "Sire, Marly?".[14] This was the manner in which one was able to obtain a much sought-after invitation to one of the king's house parties at Marly-le-Roi, the villa Louis XIV built north of Versailles on the route to Saint-Germain-en-Laye. However, of all the events that transpired in this room during the reign of Louis XIV, the Siamese Embassy of 1685–1686 must be cited as the most opulent.[9][15][16][17] At this time, the galerie des glaces and the grands appartements were still appointed with silver furniture. In its heyday, over 3,000 candles were used to light the Hall of Mirrors. In February 1715, Louis XIV held his last embassy in the galerie des glaces, one in which he received Mehemet Reza Bey, ambassador of the Shah of Persia.[15]
In the successive reigns of Louis XV and Louis XVI, the Hall of Mirrors continued to serve for family and court functions. Embassies, births, and marriages were fêted in this room; however, perhaps the most celebrated event of the 18th century occurred on 25 February 1745: the celebrated bal des Ifs (Ball of the Yew Trees). It was during this costume ball that Louis XV, who was dressed as a yew tree, met Jeanne-Antoinette Poisson d'Étiolles, who was costumed as Diana, goddess of the hunt. Jeanne-Antoinette, who became Louis XV's mistress, is better known to history as the Marquise de Pompadour.[18][19]
In the 19th century, at the conclusion of the Franco-Prussian War, the Prussian king, William I, was declared German emperor — thus establishing the German Empire — on 18 January 1871 in the Hall of Mirrors by Bismarck and the victorious German princes and lords. This was seen as a victory with heavy symbolism for the Germans and a stinging insult for the defeated French.[citation needed] French Prime Minister Clemenceau chose the Hall of Mirrors as the location wherein was signed the Treaty of Versailles that ended World War I on 28 June 1919.
The Hall of Mirrors is still used for state occasions of the Fifth Republic, such as receptions for visiting heads of state.
Le roi gouverne par lui-même, the modello for the central panel of the ceiling of the Hall of Mirrors ca. 1680 by Charles Le Brun, (1619–1690).
Reception of the Doge of Genoa, 15 May 1685 by Claude-Guy Hallé. In this painting we see some of Louis XIV's silver furniture, including his silver throne
Embassy of Mehemet Raza-Bey, ambassador of the Shah of Persia, 19 February 1715 ca. 1715 attributed to Antoine Coypel
Turkish Embassy to Louis XV, 1742 by Charles-Nicolas Cochin, (1715–1790)
The Ball of the Yew Trees given in February 1745 by Charles-Nicolas Cochin, (1715–1790)
Proclamation of the Second German Empire in 1871 by Anton von Werner
Depiction of the Siamese embassy in Versailles, in a 1687 French almanac.
Notes and references[edit]
- ^ Fiske Kimball, "Mansart and LeBrun and the Genesis of the Grand Galerie de Versailles." The Art Bulletin volume 22, (March 1940): 1–6.
- ^ a b Alfred Marie, Naissance de Versailles. (Paris: Édition Vincet, Feal & Cie, 1968).
- ^ a b c Alfred and Jeanne Marie, Mansart à Versailles. (Paris: Editions Jacques Freal, 1972).
- ^ Pierre de Nolhac, La Création de Versailles. (Versailles: L. Bernard, 1901).
- ^ Pierre de Nolhac, Versailles, Résidence de Louis XIV. (Paris: Louis Conrad, 1925).
- ^ Pierre Verlet, Le Mobilier royal Français. (Paris: 1945).
- ^ a b c d e Pierre Verlet, Le château de Versailles. (Paris: Librairie Arthème Fayard, 1985).
- ^ "Palace of Versailles | Official website". Palace of Versailles. 3 August 2016.
- ^ a b Marquis de Dangeau, (1854). Journal avec les additions inedites du duc de Saint-Simon, vol. 3 (1689–1692) (Paris: Firmin Didot Freres, 1854).
- ^ Gabriel-Jules, comte de Cosnac, Mémoires du marquis de Sourches sur le règne de Louis XIV, (Paris: Librairie Hachette et Cie, 1984).
- ^ Mercure galant. (December 1682; September 1686; December 1686).
- ^ "Hall of Mirrors facts". Paris Digest. 2018. Retrieved 15 October 2018.
- ^ Jenifer Montagu, "Le Brun's Early Designs for the Grand Galerie: some comments on the drawings". Gazette des Beaux-Arts 6 pér., tome 120 (November 1992): 195–206.
- ^ Jean-François Solnon, (1987). La Cour de France, (Paris: Fayard, 1987).
- ^ a b François Bluche, Louis XIV, Paris: Arthème Fayard, 1986).
- ^ Dirk Van der Cruysse, (1991). Louis XIV et le Siam, (Paris: Arthème Fayard, 1991).
- ^ Mercure galant. (September 1686; December 1686).
- ^ Alfred Marie, Versailles au temps de Louis XV, (Paris: Imprimerie National, 1984).
- ^ Pierre de Nolhac, Versailles au XVIIIe siècle, (Paris: Louis Conard, 1926).
Further reading[edit]
External links[edit]
Media related to Hall of Mirrors (Palace of Versailles) at Wikimedia Commons Coordinates: 48°48′17.4″N 2°7′13.2″E / 48.804833°N 2.120333°E


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by Mark Jagord, sports information assistant
PEMBROKE, N.C. – The Georgia College softball team (23-7, 2-2 PBC) split a pair of Peach Belt Conference (PBC) games at the UNC Pembroke (17-13, 5-3 PBC) Saturday at LRA Field. The Bobcats were leading midway through the first game before falling 4-2, but rebounded 8-7 in the second game as senior Whitney Okvist (Kennesaw, Ga.) reached No. 11 on the NCAA Division II all-time stolen bases list.
In the first game, the Bobcats got single runs in the third and fourth innings, but a four-run fifth inning by the Braves was too much to overcome.
The Bobcats took the lead with a Kristen Brooks (Brunswick, Ga.) solo home run in the third. The following inning, freshman Faith Flanders (Dublin, Ga.) doubled and a Danielle Bernstein (Cumming, Ga.) single scored another run for a 2-0 lead.
Georgia College made too many mistakes in the lone inning they surrendered runs. The Braves' first batter reached on a Bobcat fielding error. Two other times later in the inning, UNC Pembroke runners advanced via a passed ball and wild pitch. The end result was a four-hit, four-run fifth inning for the Braves who held on the rest of the way for the win.
Georgia College posted five hits in the first contest, led by a pair from Bernstein. Freshman Carly Lewis (Semour, Tenn.) (9-5) took the loss, going the distance while allowing five hits and two earned runs with seven strikeouts.
In the second game, the Bobcats went down 1-0 after two innings, but scored runs in the next four and held on for an 8-7 win. Although Georgia College was out-hit 15-12, the Braves committed four errors that proved to be the difference.
The game was highlighted by the Bobcats' two three-run innings and Okvist's three stolen bases. The senior now has 151 career stolen bases and needs just one more to enter the NCAA Division II all-time top-10.
Okvist led the team in hits the second game with three, while sophomore Abi LeRoy (Dublin, Ga.) and Brooks each had a pair. LeRoy and sophomore Taylor Campbell (Warner Robins, Ga.) each had two RBI and sophomore Marisa Boyette (Marietta, Ga.) was credited with the win. Boyette (8-3) allowed eight hits, four runs with four strikeouts in 4 1/3 innings.
The Georgia College Department of Athletics, two-time winners of the PBC Commissioner's Cup, sponsors 11 varsity athletic programs at the NCAA Division II level. As a Division II program, Bobcat Athletics prides itself on balancing the life of the student-athlete, evidenced by the teams' multiple appearances in post-season competition as well as documented academic success and community-service involvement. Sign up at @GCBobcats on Twitter and Facebook for up-to-the-minute reports, and visit GCBobcats.PhotoReflect.com to purchase photo prints from home athletic contests.


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By MARGERY A. BECK, Associated Press
A lower court was right to find that farming brothers were not negligent in a 2007 fatal crash where tall corn created a blind intersection, the Nebraska Supreme Court ruled Friday.
The crash occurred on Oct. 6, 2007, in Saunders County, when two pickups collided at an intersection where the view of the drivers was obstructed by 7-foot-tall corn planted only feet from the roadway. The crash killed one passenger and left another, Thomas Latzel, a quadriplegic who died from his injuries three years later.
Latzel's wife, Amanda, sued the drivers of the two trucks and the farmers who planted the corn. A witness affidavit introduced at trial said the driver carrying Latzel and two other passengers had stopped "for quite a while" at the blind intersection, presumably because he could not see if another vehicle was approaching because of the corn. The witness also said the other driver entered the intersection traveling about 65 mph — well above the speed limit.
That driver settled with Amanda Latzel for an undisclosed sum, while the claim against the driver who stopped at the intersection was dismissed.
But the Saunders County District Court judge also granted a motion to dismiss the lawsuit against the farmers — Ronald and Doug Bartek — saying it was the truck drivers who were negligent for entering an intersection "when (they) could not see what (they) needed to see."
On Friday, the Nebraska Supreme Court upheld the judge's decision, saying that although the Barteks breached a duty of care by planting corn so close to the road, they were "not bound to anticipate that drivers would disregard the obvious danger of traversing a visually obstructed unmarked intersection without being able to see what they needed to see to do so safely."
A concurring opinion written by Supreme Court Justice Kenneth Stephan, and joined by Chief Justice Michael Heavican and Justice William Connolly, went further.
"I conclude as a matter of law that there was no breach, and thus no negligence, on the part of the landowners who were simply making lawful use of their agricultural land to raise crops," Stephan wrote.
Attorneys for the Barteks said the farmers were relieved by the decision.
An attorney for Amanda Latzel, Eric Brown of Lincoln, on Friday cited a state law that requires state and local officials to force landowners to remove visual obstructions — including trees, shrubs and other plants — that obstruct drivers' vision.
"Unfortunately, while citizens who live in towns and cities are made to comply by cutting back their trees and bushes, state and local officials in rural areas of this state simply ignore and refuse to enforce that statute when it comes to farmers," Brown said. "Unfortunately, too many folks are killed in unmarked rural intersection collisions, and we were hoping this lawsuit would lead to a change in practices to save lives."
Power Hour: Crop Insurance Attacks Will Persist, Lucas Predicts
2012 Census of Agriculture Reveals New Trends in Farming


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Educator - Gastown
We are Kit and Ace. We make Technical Apparel for your everyday life by applying the best practices of athletic design to clothing you want to wear all day.
We created Kit and Ace for people like us – people who love to move and understand how technical clothing should perform, people who are spoiled by the comfort and movement of athletic apparel, but want to leave gym clothes at the gym. In our world, functionality, beauty and style live together.
Still reading? Good. Let's create some big things together.
As the Educator you are responsible to provide our guests with a world-class experience in the areas of product and culture. You are able to speak authentically about who we are, and how to use our product. You love design. You value integrity. You don't take yourself too seriously.
- Successfully communicates special features, benefits, fabric properties, usage, and best care instructions
- Contribute to the achievement of daily shop sales targets
- Maintain knowledge of in-shop stock availability on the sales floor and in backrooms
- Actively maintain shop appearance, keeping merchandise stocked and organized, while ensuring that the shop is clean and well presented
- Receives and processes stock from warehouse (1Boxes can weigh 10 - 30 lbs) which includes; unpacking, counting, tagging as required, folding, sizing and placing on the floor, with overflow stock in back room and assigned storage areas
- Assist with re-stocking and pricing duties, including sale preparation as required
- Ensures items from change rooms are returned to appropriate area - sized and tagged
- Prepares merchandise for tailoring/alteration as may be required, by completing necessary documentation
- Completes assigned clean-up duty
- Utilizes the Point of Sale system, processes payments, refunds and exchanges and issues gift cards
- Participate in staff training and shop events as scheduled
- Smart, no ego, fun, goal orientated, and driven by Integrity
- Living and designing a life that is uniquely your own via goal setting and personal responsibility
- Possess exemplary customer service skills
- Strong personal sense of style
- Upbeat, optimistic, passionate, friendly and authentic
- Strong communication skills
- Second language skills is an asset
- Capable of handling difficult customer facing conversations and interactions
- Personable, love interacting with people all day
- Work a flexible schedule that will include weekends, evenings, holidays, and special events
- Great sense of humour, positive outlook, and able to effectively receive and communicate feedback
- Fosters a transparent, honest and positive team environment
- Results-oriented and process driven, with high expectations of self and team
Reports to: Shop Director
Working Team: Showroom Staff
Works Closely with: Retail Operations, Information Technology (shipping systems) and Brand
Please apply by responding to the email listed below and attach your resume and cover letter in either PDF or MS Word format. In your cover letter please describe how you move in your city, outline a one-year goal you are working towards and explain how this position will assist you in reaching your objectives.
While we thank all applicants for their interest, only shortlisted applicants will be contacted.
Thank-you for your interest in Kit and Ace!


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Wordless Wednesday: Holiday Haven
Wednesday, February 22, 2012
16 comments:
This comment has been removed by a blog administrator.ReplyDelete
That looks like bliss. Pure bliss. Enjoy!!!ReplyDelete
And are there any shells there? Totally curious!
@Lizbeth: It is indeed bliss. Such an amazing view to look out at each morning! All over now, but at least I got these photos to enjoy.ReplyDelete
Yes, there are LOTS of shells, mostly in the summer when we bring home a bucket full! You'd love it ;-)
Thanks for comment :-)
xx Jazzy
It's so beautiful and peaceful. I want to say it would be great if it was warmer, but then it would be overrun, so maybe it's better that it stays the way it is....glad you had a lovely break xReplyDelete
How could you not relax with that view - stunning!ReplyDelete
@Blue Sky: That is so true! It does get full in summer but never too full. The hotel is struggling...I just hope it doesn't shut down :-(ReplyDelete
@Midlife Singlemum: Yes, it is...simply stunning.....sigh!!
Thanks for your comments :-)
xx Jazzy
- AnonymousFebruary 22, 2012 at 7:56 PM
@autismmumeire. Beautiful photos, I especially love the evening ones, the light seems to take on a magical and spirtual quality that I love. We tend to forget we have lovely places like this, I lived in england for 20 yrs and only when you are away do you really appreciate what a beautiful landscape we have :-)ReplyDelete
Your photos are so beautiful. Calm and peaceful. Relaxing......ReplyDelete
Lovely, we have our diocesan conference there, in mid winter, cold but still stunning.ReplyDelete
@autismmumeire: We really do have some fabulous scenery here in Ireland, you're so right. By the way I know some of the photos look like they were taken in the evening but they were all taken at 10.30 am!! With my crappy mobile phone! It was the angle I had the phone at....they are my favourite ones too and the 2nd one is now my screensaver on laptop and phone :-)ReplyDelete
@Di: Thanks. Yes, that's it. I posted them so I can just pop in here every time I'm stressed and want to remember what peace and calm looks and feels like!
@embergreen: isn't it? I know the hotel is dated but the location is amazing. we've been going there every year for the past 10 years! Our favourite time to go was at Christmas time...between Christmas and New Year. Cold but still fabulous :-)
Thanks for your comments :-)
XX jAZZY
Ummm... 2 questions. Where are you? and Can I come? Looks so peaceful and relaxing...ReplyDelete
Oh it looks beautiful. We have so many gorgeous places here in Ireland, we're really very lucky.ReplyDelete
@AlongCameTheBird:The Gold Coast, Dungarvan, Co Waterford and yes, you can!!ReplyDelete
@The Mum of all trades: Yes, Ireland is a beautiful country. if only we got better summers!!
Thanks for your comments:-)
xx Jazzy
Gorgeous pictures; would love to be there at the moment. Deb xReplyDelete
What lovely lovely pictures...so peaceful looking. I adore the ocean and the beach...ReplyDelete
@Deb and @Kathleen.....I wish I was back there right now, must be due another trip now!ReplyDelete
Thanks for your comments:-)


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It makes sense that some Central Banks have started to buy in the stock markets for private corporations. After all, central banks have always held the debt of their sovereigns, and this is just the reality of corporatism.
It is hard to figure out who might be more upset about this story: the US stock bears, or the Israeli taxpayers.
Well, Stan Fischer, the Governor of the Bank of Israel, was Ben Bernanke's mentor at MIT. Maybe he is just helping?
This adds a new dimension of flexibility to the Fed's swap lines with foreign central banks.
Can you say ponzi scheme, bubbe? תוכנית פונזי
I know it's over when the fat lady sings, but the cantor?
Israel to Begin Investing Reserves in U.S Equities Today
By Alisa Odenheimer
Mar 1, 2012 4:45 AM ET
The Bank of Israel will begin today a pilot program to invest a portion of its foreign currency reserves in U.S. equities.
The investment, which in the initial phase will amount to 2 percent of the $77 billion reserves, or about $1.5 billion, will be made through UBS AG and BlackRock Inc. (BLK), Bank of Israel spokesman Yossi Saadon said in a telephone interview today. At a later stage, the investment is expected to increase to 10 percent of the reserves.
A small number of central banks have started investing part of their reserves in equities. About 9 percent of the foreign- exchange reserves of Switzerland's central bank were invested in shares at the end of the third quarter, the Swiss bank said on its website.
The investment will be made in equity index trackers and will include between 1,500 to 2,000 shares, among them stocks like Apple Inc. (AAPL), Saadon said.
The central bank decided to add equities to its investment portfolio in order to diversify, reduce risk and give better performance, Barry Topf, senior adviser to Governor Stanley Fischer, said in a Dec. 1 interview.
Note: When they say 'Securities' on the balance sheet below, they mean debt as in sovereign bonds. I don't know how they will characterize equities.


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Cole Hamels kept delivering for the Philadelphia Phillies this season, all the way through his final start.
Hamels struck out eight while allowing five hits and one run over seven innings, Carlos Ruiz had a three-hit game and the Philadelphia Phillies beat the Miami Marlins 4-1 Sunday.
Hamels (17-6) walked only one in his final start of the year for the Phillies (80-79), who need one win in the final three-game series at Washington starting Monday to finish at least .500 for the 10th straight season.
"Cole was good," Phillies manager Charlie Manuel said. "He was consistent all year long."
Hamels' final numbers this year are better than what he did over his previous five seasons, ones where the Phillies found their way to the postseason every time. From 2007-11, he averaged 13 wins, 189 strikeouts, a 3.88 strikeout-to-walk ratio and a 3.31 ERA.
This season, he exceeded the average win number over that span by four, the average strikeout number by 27 (a career-best 216), his strikeout-walk ratio was 4.15 and his ERA ends up at 3.05.
No wonder the Phillies gave him a $144 million, six-year deal in July.
"I'm happy with the direction that I guess I'm going," Hamels said. "It's kind of a selfish way that you think about it, but I'm happy that I'm going to be on this team and I like all the possibilities that we have."
Jonathan Papelbon worked his way around a pair of singles in the ninth to get his 38th save in 42 tries.
Jose Reyes had a pair of hits and Carlos Lee drove in a run for Miami, which lost for the 21st time in its last 29 games. Marlins starter Nathan Eovaldi (4-13) gave up three runs - all in the first - and struck out seven in six innings.
"We gave him another inning to survive his problem and he did it," Marlins manager Ozzie Guillen said. "I mean, you take that inning away from him and to me he pitched good enough."
By the time Hamels took the mound, the Phillies had staked him to a 3-0 lead. And with the way Hamels was throwing - 6-0 as the Phillies won nine of his last 10 starts - that cushion looked enormous.
Hamels retired his first 10 batters and threw 31 of his first 39 pitches for strikes. Maybe his early success shouldn't have been that surprising, considering Hamels entered with a better batting average (.227) than four players in the Marlins' starting lineup (Gorkys Hernandez, .177; Bryan Petersen, .193; John Buck, .197; and Eovaldi, .100).
About the only throws Hamels struggled with were ones to first and second.
Hamels tried to make a pickoff throw to second base in the fourth, sending it past shortstop Jimmy Rollins and allowing Reyes to jog to third. Reyes scored on Lee's single as the Miami closed to 3-1. But the margin got no smaller, as Petersen and Giancarlo Stanton were thrown out at home in the inning.
Another errant throw by Hamels put Reyes on the move again in the sixth, but the Phillies escaped unscathed.
Hamels fielded Reyes' bunt and threw past first base _ replays suggested Reyes would have beaten it anyway. Reyes went to second on the error, then stole third, but Hamels stranded him after getting Stanton to pop up in the infield and striking out Lee.
Hamels finished the year with 215 1-3 innings. According to STATS LLC, the only players entering Sunday with at least 215 innings and 215 strikeouts this season were Detroit's Justin Verlander, the New York Mets' R.A. Dickey, Seattle's Felix Hernandez and the Los Angeles Dodgers' Clayton Kershaw.
"I think before his career is over he's going to win 20," Manuel said.
Chase Utley hit a sacrifice fly in the first for Philadelphia, followed by a run-scoring double by Ruiz and an RBI single from Nate Schierholtz. Juan Pierre helped set up the inning with a sneaky slide into second on a play where the throw from the outfield clearly beat him to the base, but he found a way to avoid the tag.
Later in the first, the Phillies had Ruiz caught off second when Reyes caught a line drive hit by Domonic Brown. But Reyes' flip to second baseman Donovan Solano was errant, Ruiz got back safely, and scored one batter later on Schierholtz's single.
From there, Eovaldi settled down.
"It's huge, and I can take that into the offseason," Eovaldi said. "It's good to be able to make it into the sixth, seventh inning and save the bullpen. It's something I can build on."
Hamels Sharp in His Finale, Phils Top Marlins 4-1
Cole Hamels kept delivering for the Philadelphia Phillies this season, all the way through his final start.


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Green Cut is a unique initiative from The Green Carpet Challenge® co-founders, Livia Firth and Lucy Siegle in collaboration with American Express. It celebrates the very best of fashion, film and sustainability. Bringing together the British Fashion Council (BFC) and the BFI (British Film Institute) for the first time, Green Cut pairs eight seminal fashion designers with eight iconic British films to raise awareness of a sustainable approach to fashion design.
Each designer creates a bespoke piece that offers a contemporary take on a classic film. All designers have followed sustainable criteria developed by The Green Carpet Challenge, Livia Firth's initiative to embed and raise the profile of sustainable principles in fashion design. The final pieces prove beyond doubt that ethics and glamour can co-exist. They will be unveiled on the eve of London Fashion Week (LFW) at Somerset House and will then form part of The Exhibition at LFW.
It is the first time so many high profile designers have collaborated on a project of this nature creating a unique collection. Celebrated fashion writer Sarah Mower lent her expertise, pairing each designer with an iconic British film.
Green Cut designer and film pairings:
• Evergreen, Directed by Victor Saville (1934) - Re-interpreted by Antonio Berardi
• Darling, Directed by John Schlesinger (1965) - Re-interpreted by Tom Ford
• Its Love Again, Directed by Victor Saville (1936) - Re-interpreted by Roksanda Ilincic
• My Fair Lady, Directed by George Cukor (1964) - Hat creation re-interpreted by Stephen Jones
• Accident, Directed by Harold Pinter, (1967) - Re-interpreted by Stella McCartney
• The Red Shoes, Directed by Michael Powell and Emeric Pressburger, (1948) - Re-interpreted by Jonathan Saunders
• Things to Come, Directed by William Cameron Menzies, (1936) - Re-interpreted by Marios Schwab
• Velvet Goldmine, Directed by Todd Haynes, (1998) - Re-interpreted by Alice Temperley
Livia Firth is internationally recognised for her work championing a sustainable fashion industry, she says of the project: "I hope everyone will be thrilled by this extraordinary exhibition brought to you by The Green Carpet Challenge and American Express. It brings together fashion and film, all underpinned by design that is truly sustainable. Our eight designers each inspired by an iconic British film demonstrate perfectly that it is possible to use sustainable, eco-friendly fabrics and ethical manufacturing techniques and achieve stunning results. We are extremely grateful to Vogue.com's Sarah Mower for her involvement in pairing each designer with their chosen film. I look forward to a continued relationship with the designers involved in the project and hope they will continue with me to inspire a sustainable future for fashion."
Lisa Gregg, Vice President, Head of International Premium Products and Experiences at American Express comments: "American Express has a long standing history of supporting both the fashion and film industries through its affiliations with the likes of London and New York Fashion weeks and the Tribeca, London and Sundance Film festivals. Lisa continues: "Green Cut project is a natural extension of our ongoing work with Green Carpet Challenge and further underscores our shared vision to continue to raise awareness of important sustainable issues among the influential fashion industry and beyond. We are confident this project will continue to generate dialogue about sustainability – an important issue which requires our continued focus."
As custodians of British film and co-collaborators on this unique project, Amanda Nevill, CEO of the BFI, was responsible for short listing the eight British films which provided the creative stimulus for Green Cut.
Amanda comments: "Saving our planet is not an option – we all have a responsibility. The BFI champions the film industry in the UK and we are committed to working across the sector to promote sustainability. The UK is leading the way; there is even a British Standard specifically for sustainability in film – no other country in the world has that. We also look after the world's greatest archive of film on behalf of everyone in the UK and future generations - this is sustainability in action and it is why we are so delighted to work with The Green Carpet Challenge and our long-term partners American Express to be involved with The Green Cut."
The British Fashion Council officially supports this project hosting the collection for the duration of London Fashion Week, at its official home Somerset House. On exhibit to all UK and international press and buyers attending LFW this season it will be housed in the entrance to the BFC's ethical and sustainable initiative Estethica.
The project culminates in a showcase of the collection exclusively in Harrods 22nd October - 5th November.
For all media enquiries please contact:
Naomi Dodson at Talk PR
+44 (0) 20 7268 6109
Jenny Houghton at Talk PR
+44 (0) 20 7268 6122
For enquiries in regards to Livia Firth please contact:
George MacPherson at Starworks Group
+44 (0) 20 7318 0400
Image credit: Stephen Jones OBE, model wearing Stephen Jones, model wearing Roksanda, Roksanda Ilincic, model wearing Roksanda, Caroline Rush (BFC), Lisa Gregg (Amex), model wearing Marios Schwab, Marios Schwab, Jonathan Saunders, model wearing Jonathan Saunders, Antonio Berardi, model wearing Antonio Berardi, Livia Firth, Alice Temperley and model wearing Temperley London