text:
If asked about art featuring the Book of Mormon, few Latter-day Saints of today would fail to bring to mind Arnold Friberg's large, heroic characters and epic scenes. Others have a growing affection for the colorful Book of Mormon paintings by Minerva Teichert.1 These two artists produced some of the most recognizable images to illustrate the Book of Mormon in the last century. In the second half of the twentieth century, Latter-day Saints saw a significant rise in the use of the Book of Mormon as a proselyting tool and principal selling point, contributing to the Church's rapid worldwide growth. It is not surprising, then, that in more than one hundred and seventy-five years since its publication, the Book of Mormon has inspired scores of visual images meant to bring life to the book's protagonists and geographic scenery. Many of these visuals have made a significant impact on our imaginative perceptions of Book of Mormon lands and peoples.
While Reuben Kirkham and others produced large painted canvases for his traveling panorama show from 1885 to 1886,2 it is scarcely known that the first published attempt at illustrating the Book of Mormon was in 1888, with the publication of The Story of the Book of Mormon by George Reynolds. Reynolds, best known as the voluntary subject for the Supreme Court test case against polygamy in 1878, showed his deep conviction for the scriptural text by popularizing the Book of Mormon narrative and providing enlivening visuals to help tell the story.3 In the preface, Reynolds presented his prospectus to the work:
This volume presents one unique feature, in that it is the first attempt made to illustrate the Book of Mormon; and we have pleasure in realizing that the leading illustrations are the work of home artists. To break fresh ground in such a direction is no light undertaking; the difficulties are numerous, none more so than the absence of information in the Book of Mormon of the dress and artificial surroundings of the peoples whose history it recounts. Each artist has given his own ideas of the scenes depicted, and as so much is left to the imagination, some readers will doubtless praise where others will blame; and the same effort will be the subject of the most conflicting criticism.4
Reynolds's intention was not only to bring an easy-to-read text of the scriptural narrative to children and young adults, but to bring together the latest in archaeology and scholarship on the pre-Columbian Americas. To historicize and authenticate the work, he provided line drawings of Aztecan charts, maps, and engravings of Mesoamerican writings and glyphs. The story itself was illustrated with dramatic narrative images. These illustrations were "reproduced from paintings and drawings specially prepared for the work by able and well known artists," including George Ottinger, William Armitage, John Held Sr., and William "Billy" C. Morris.5
Immediately following his release as a "prisoner for conscience' sake" in 1881, Reynolds began researching and preparing his Complete Concordance of the Book of Mormon, his Dictionary of the Book of Mormon, and his compilation, The Story of the Book of Mormon. In 1888, Reynolds wrote in his journal:
During the Fall I collected my writings on Book of Mormon subjects that had appeared during the last ten years in the Juvenile Instructor, Exponant [sic], Contributor, Deseret News + Millennial Star, and adding several chapters thereto to make it a continuous narrative from Lehi to Moroni I put it into book form and agreed with Bro. Jos. H. Parry for its publication. It appeared on December 20th under the title of 'The Story of the Book of Mormon.' The agreement with myself and Bro Parry was that we were to divide equally all profits. An edition of 5,000 was published. It was i[l]lustrated by Ottinger, Held, Armitage, Morris (of our home artists) and others.6
When The Story of the Book of Mormon appeared in December 1888, the Millennial Star carried a book notice that had been published in the West Yorkshire Brighouse and Rastrick Gazette, lauding the book's appearance as a "handsome, gorgeously and profusely illustrated and exquisitely-printed volume, fit to be placed in any parlour," a result of "profound research, deep, critical, and discriminative thought." The reviewers also referred to the book as "a picturesque and dramatic history," reminding them of the "thrilling and the pictorial style of Dean Stanley," Bishop of Norwitch and author of the popular Sinai and Palestine in Connection with Their History (1856).7 Other notices placed in the Deseret News and Parry's Monthly Magazine made special mention of the illustrations and charts for the purpose of attracting the interest of young readers.8
Through his Book of Mormon project, Reynolds sought to reach the younger generations who had not yet formulated literary and visual imagery from the dramatic scriptural narrative. His Story of the Book of Mormon synthesized growing interest in the study of New World civilizations. For Latter-day Saints, it brought Promised Land characters and places to life. But it also reflected the nation's imaginative transmittal of Western myth and Old World empires on the lost civilizations of America's past.
A critical examination of the illustrations will show that Story artists employed imagery that was either borrowed from Bible narratives or elements that were clearly meant to show a connection with the peoples and cultures portrayed in the Bible. The use of biblical imagery was an efficient mechanism for showing readers (most specifically young people) that Book of Mormon characters were of Near Eastern origins. Since illustrative material on the Book of Mormon was virtually nonexistent, the artists had to look to the most current research on Mesoamerican archaeology and supplement it with what was then known about Israelitish customs, architecture, native costume, and so on. Naturally, they would have taken their visual cues from published imagery like that of Gustav Doré, John Martin, James Tissot, Bernhard Plockhorst, and others.9
The commissioned artists were known as the best from Latter-day Saint talent. The four chosen for the Story project were members of a small group of congenial working artists in Salt Lake City and were well prepared and experienced to do the illustrative work. Shortly after the opening of the Salt Lake Theater in 1862, George Ottinger and William "Billy" C. Morris found employment painting stage scenery and decorations.10 Armitage, Ottinger, and Morris were also three of the founding members of the Salt Lake Art Society, organized in October 1881.11 Although their styles varied somewhat, the artists had known each other as friends and probably relished the idea of working together on a project of this sort. Known for his religious and historical subjects, Armitage was one of the most skillful of the group, but because of his untimely death in California in 1890, very few of his paintings are known to exist.12 An engraver and printer, John Held Sr. was not formally trained as an artist but had several years' experience creating woodblock prints and line drawings for the Deseret News and Parry's Monthly Magazine.13
William Armitage's only contribution to the book, The Glorious Appearing of Jesus to the Nephites (fig. 1), served as the book's frontispiece. This painting appears to have been executed in the tradition of the dean of American historical painting, Benjamin West. In fact, if we compare the placement and gesture of Christ, and note the posturing of surrounding figures, we can see a striking similarity in style to that of West's in his Christ Healing the Sick (fig. 2). The open arms of Christ and the astonishment and resultant gesturing of the figures suggests that Armitage may well have used West's painting as his source of inspiration.
That Armitage and other Story artists were looking at American historical painters for their inspiration would not have been unusual. Painters such as Benjamin West, John Vanderlyn, John Singleton Copley, John Trumbull, Charles Willson Peale, and Washington Allston set the precedent for nineteenth-century Grand Manner history painting in America.14 Often associated with the teachings of Sir Joshua Reynolds, Grand Style or Grand Manner is a term that connotes a style that "ennobles the painter's art" by depicting "some eminent instance of heroic action, or heroic suffering." History painting done in the Grand Manner ostensibly elevated viewers to a higher state by depicting ideal or noble subjects taken from classical and religious history. Grand Manner artists looked to the "authority" of masterpieces created in classical antiquity, the Renaissance, and the Baroque, studying the works of such masters as Raphael, Michelangelo, Titian, Correggio, and Poussin. Taking their inspiration from classical figures in antiquity, such as Apollo, Venus, Ariadne, and Marius, the artists sought to bring "intellectual dignity" and "excellence" to artistic renderings of historical events.15 In this case, the Story artists—particularly Ottinger (fig. 3)—visually recreated events from the Book of Mormon narrative in the tradition of Grand Manner American history painters such as West, Vanderlyn and Copley.16
The first created image in the series, and perhaps the historical antecedent to all of the paintings in the series, George Ottinger's Baptism of Limhi, was a large pastoral scene showing Alma baptizing the early convert at the waters of Mormon as described in Mosiah 25:17–18. According to Ottinger, The Baptism of Limhi was a monumental piece, measuring seven and a half feet by five feet. It and other smaller cartoons (preliminary sketches) of Book of Mormon subjects were conceived long before The Story of the Book of Mormon appeared in print. In an 1872 entry to his journal, Ottinger recorded that The Baptism of Limhi was "the first Picture ever painted from a subject suggested by the Book of Mormon." As encouraged as he was by the progress of the painting, he was less than hopeful about selling the piece. "I don't know of any one who will buy it," he wrote, "but our State Fair offers a gold medal for the best picture this fall and I am going to try for it."17 A short time later, Ottinger wrote, "Two or three days more work will finish the baptism of Limhi, the largest picture I have painted so far."18 His next mention of the painting was significant, because it shows his interest in creating more images as part of a larger series of paintings on Book of Mormon subjects:
The Baptism of Limhi seems to give general satisfaction. I have spent some eight years gathering material for subjects suggested by the Book of Mormon. This picture is the first. I have been just twenty days putting it on canvas. Should I meet with ordinary success this winter, I will paint another subject from the same book. I have some ideas of making twelve cartoons in black and white this winter, illustrating the Book of Mormon.19
As he had hoped, the painting was completed in the fall and exhibited at the Territorial State Fair. The newspaper correspondent noted that Ottinger's Baptism of Limhi was "the largest and among the finest" in the art exhibition. "The landscape," he wrote, "is supposed to represent a scene in the northern part of South America. The two principal figures stand out in bold relief, while the crowd of spectators on the banks of the river, witnessing the baptismal ceremony, are beautifully and tastefully grouped."20 The image reproduced in The Story of the Book of Mormon (fig. 4) lacks the detail in the figures and ornament that one would expect from the large-scale piece described by Ottinger and the State Fair correspondent. This leads one to believe that the published illustration is more likely a cartoon, like one of those mentioned by Ottinger in his 1872 journal entry.
Another Story painting, First Sacrifice on the Promised Land (fig. 5), depicts Father Lehi offering sacrifice in thanks for the group's safe arrival in the New Word. Lehi is prominently shown in front of the altar with his arms stretched upward in an attitude of prayer, surrounded by his family and that of Ishmael.21 An active volcano emits vapors in the distance while the arc of a rainbow leads our eyes back to Lehi, the central focus of the painting. The rainbow reveals that Ottinger was not only borrowing biblical imagery for a Book of Mormon narrative with little or no visual precedent but was illustrating an event that was never described in the Book of Mormon text itself (see 1 Ne. 18:23–25). By using the rainbow, he may well have been playing off of an Old Testament image with which many young readers could identify. Perhaps by using the token of the covenant between God, Noah, and the inhabitants of the earth, it would show that God's benevolent promises extend to all of the children of Abraham—including those who had crossed the great waters to arrive in the Promised Land.
Although Ottinger would make the largest contribution to Reynolds's project, he evidently didn't think it significant enough to regularly note in his journal. His observations are devoid of any further mention of The Story of the Book of Mormon images, other than the Baptism of Limhi. It is worth noting, however, that Ottinger completed other historical paintings which reflect his interest in Mesoamerican antiquities.22 In 1887, he recorded: "January. Painted on the 'Maya Sculptor' a little but have very little incentive, so set it aside until I can grind up a little more inspiration."23 When the Maya Sculptor (fig. 6) was published in the Improvement Era nearly twenty-three years later, Ottinger wrote:
In some of the ruins of the old cities, especially at Copan, there are clusters of square stone pillars or obelisks varying from twelve to twenty feet high. They are elaborately sculptured, showing human figures, ornamental designs and hieroglyphic inscriptions on their sides. The picture represents a Maya sculptor, elevated on his scaffolding, laboriously and patiently working out his conception of a deified king or hero, which evidently these monoliths personify.24
Ottinger's propensity for historical subjects would have been no surprise to the viewing public. He had been touted as one of the territory's leading artists, whose chosen pastime was the cultivation of his talent for "historical painting, a branch of the art which requires careful study as well as skill in using the brush."25
Considered one of Utah's most respected artists, Ottinger supported himself and his family working as Salt Lake City's fire chief, and he tried to make additional income by hand coloring photographs and selling his historical paintings to Salt Lake City patrons.26 That he "spent some eight years gathering material" to paint Book of Mormon subjects indicates that he had been looking at the published research on the Maya and the discoveries of ancient glyphs and decorated friezes unearthed in the Yucatan. "Ah, here is a vast, almost unexplored vista, mysterious, new and picturesque!" he wrote. "Old America with all her pre-historic treasures, a store-house of material, that needed only study, time and patience to make interesting and of value; and in this direction my studies have been chiefly directed for years."27 By the time he and the other Story artists had received their commission, Ottinger would have been well acquainted with Frederick Catherwood's illustrations for John Lloyd Stephens's Incidents of Travel in Central America, Chiapas, and Yucatán (1841), Stephens's Incidents of Travel in Yucatán (1843), and Catherwood's own Views of Ancient Monuments in Central America, Chiapas, and Yucatán (1844).28 He would also have undoubtedly seen William H. Prescott's Conquest of Mexico (1843) which was in wide circulation and contained a number of line drawings showing the elaborate stone carvings and architectural wonders of the Aztecs. Ottinger's painting Flowers of Cola Luyona, for example, clearly shows a finely executed reproduction of The Altar of the Temple of the Sun at Palenque, which was originally drawn by Catherwood and engraved by Archibald Dick for Stephens's Incidents of Travel in Central America, a complex design not only appearing as an illustration but also used for the cover of the book.29
During the height of Ottinger's efforts at historical painting, archaeological exploration in Mexico and the Yucatan was at a new high point. Augustus and Alice Le Plongeon were two of the earliest to excavate and photograph numerous Maya ruins in the Yucatan. Although their work was regarded as somewhat eccentric and speculative, the Le Plongeons brought the world some of the first photographic images of the Central American ruins. Contemporaneous to the work of the Le Plongeons, Désiré Charnay published his photographic record of Yucatan's pre-Columbian monuments and ruins in Ancient Cities of the New World (1887). The photographs of Alfred Maudslay, accompanied by the colored line drawings of his two artists, Edwin J. Lambert and Annie G. Hunter, were published in the Proceedings of the Royal Geographical Society in 1883 and 1886.30
In addition, Ottinger's cataclysmic painting Destruction of Zarahemla (fig. 7), taken from 3 Nephi 8:6–8, appears to have been stylistically influenced by two of the most distinguished historical painters, Nicolas Poussin and Benjamin West. The overall composition and placement of figures suggests that Ottinger drew from the widely known religious painting Death on the Pale Horse (fig. 8), by West. The horses, chariot, and terror-stricken figures in Ottinger's painting are similar in many ways to the visual arrangement of West's apocalyptic image. Two fallen figures in the foreground of Ottinger's rendering appear to have been inspired by West's figures of a fallen mother and children in Pale Horse. Furthermore, if we compare Ottinger's Destruction with Poussin's drawings The Conversion of St. Paul and The Death of Hippolytus, we will notice even more striking visual similarities in the gesture of the horses, the chariot, darkened clouds, and fleeing figures.31
With this comparison in mind, we can be relatively confident that Ottinger was well familiar with both West's and Poussin's work. Ottinger shared the same interest in classicism and historical narratives that are depicted in Poussin's drawings and paintings. Traditionally, West's and Poussin's works have been linked with drama and scenery paintings, bringing life to the events being portrayed on stage.32 Ottinger's skills and experience were created from this same tradition. If we, as spectators, visually perceive Ottinger's images as those which are created for a grand-scale drama, we can readily see the similarities of style and two-dimensional action to that of Poussin's. And, indeed, we see echoes of Poussin in Ottinger's background landcapes, his posturing of figures, and his placement of the activities depicted within the pictorial space, as if we are watching a drama unfold on stage.33
It is this theatrical arrangement in the composition of paintings that informed the art of the High Renaissance and, ultimately, the neoclassicism of the eighteenth and nineteenth centuries. Historically, the approach to composition was often characterized by the unity of a sequential narrative, with many events and places located in the same pictorial space. Or, in other examples, a historical event is depicted with its protagonists as the central focus, while supporting players act out minor scenes in the surrounding space. In its classicized form, a picture would appear as a window looking out on one scene. It would require that the background, at least, be "recognizable as one place, although it continued to be common to depict more than one moment in time in the single spacial surrounding."34 This manner of theatrically arranging figures within a visual narrative is also thought to have been employed by American historical painters such as West, Copely, and Trumbull. Britain's own Sir Joshua Reynolds is believed to have based his ideals of Grand Style classicism in painting on the arrangement of figures on a stage. A widely read painting manual by Daniel Webb, for example, conveyed the neoclassical ideals of history painting as having their origins in drama:
History painting is the representation of a momentary drama: We may therefore, in treating of compositions, borrow our ideas from the stage; and divide it into two parts, the scenery, and the drama. The excellence of the first consists in a pleasing disposition of the figures which comprise the action.35
In these compositional terms, a reverence for classicism, intellectual dignity, and noble, heroic action could best be visualized within the context of the theater. Grand Manner was a style that was founded upon theaterlike imagery.
In addition to being influenced by dramatic Grand Manner history painting, the Story illustrations came on the heels of other historical visualizations of pre-European New World empires.36 Josiah Priest's widely read 1833 publication American Antiquities generated curiosity in the origins of Native Americans that spilled over to visual conceptions of how the native peoples might have looked and lived. The work of poets and novelists, including William Cullen Bryant and Sarah J. Hale, fed into the aura of mystery surrounding the Promised Land's vanished race.37 Early American painters and panoramists, such as John Egan, painted grand visions of the once-resourceful and warlike "Mound Builders" who lived in the Ohio and Mississippi valleys. Speculation regarding these lost civilizations provoked the mythic theories that they were the lost tribes of Israel, that they were Vikings or Phoenician migrants, or that they were from Egypt or Atlantis. The work of Stephens and Catherwood also seemed to support the Latter-day Saint view of a new world colonized by three small groups of people descended from Israelitish tribes.38
Although the Story illustrations do not approach Friberg's skill for capturing the heroism of Book of Mormon characters or the naturalistic manner in which he visualized them, they convey the "nineteenth-century Mormons' connection between specific archaeological sites and events described in the Book of Mormon."39 For example, a toppling Mayan monument in Destruction of Zarahemla suggests a correlation between Copan or Quiriqua and Zarahemla and might indicate that Ottinger was aware of Church writings to that effect.40 The scene depicted in Ottinger's illustration Discovery of the Records of the Jaredites (fig. 9) also appears to owe much to Catherwood's lithographs of ancient ruins in Central America. The painting shows the discovery of Jaredite records and ruins as described in Mosiah 21:26–27, and is laid out as though it is another act in a stage performance in which figures are placed in front of an elaborate backdrop—a situation with which Ottinger, as a theatrical scene painter, would have been intimately familiar. The principal figures are dressed in Roman frocks and are central to a larger dramatic narrative within the picture plane—yet another indication that Ottinger was following the traditional classicism of the history painters who had preceded him. The minor figures are inspecting the elaborately carved structure and fallen stone carvings. The painted scene shows reliance on Catherwood's sketches of his own team making similar discoveries of overgrown ruins in the Yucatan (fig. 10).41
Another Ottinger illustration in the Story series, Moroni Raises the Title of Liberty (fig. 11), shows three principal figures at the top of the steps of a Maya temple. One upright figure, Moroni, raises his hands high as he holds the Title of Liberty as described in Alma 46:12–24. A multitude of onlookers crowds the lower steps, waving pieces of their own garments in token of the covenant they made with God, as further described in the scriptural passage. If we compare this image to Ottinger's Aztec Maiden, we will see that Ottinger was well aware of the Temple of Inscriptions at Palenque and similar ruins at Tulum in Mexico (fig. 12). The Roman military garb worn by the figures in this scene, again, indicates that Ottinger was following the nineteenth-century neoclassical tradition. Indeed, the scene is one of theatrical staging, with centrally placed protagonists in costume that suggests a highly ordered, civilized society—a mythologized pre-Columbian empire.
The principal subjects of John Held's Vision of Nephi (fig. 13), depicting 1 Nephi 11:20, are also shown wearing Romanesque robes; the Madonna and child appear in a visionary cloud overhead, reminiscent of the angelic apparitions which are characteristic of religious paintings of the Italian Baroque period. Again, as with the other artists enlisted in this project, Held was turning to familiar religious imagery. Envisioning the virgin birth would naturally cause one to borrow what other artists had done during religious periods preoccupied with the immaculate status of the mother of Christ.
Held's illustration Prophets Preaching to the Jaredites (fig. 14), as described in Ether 11:1–2, shows what appears to be a prophet dressed in priestly robes, addressing a group of congregants. The architecture in the image is an ambulatory and radiating chapel with an odd combination of unstuccoed Gothic-style vaults and columns with capitals bearing Persian motifs. Curiously, what appears to be a pedestal font can be seen at the front of worshipers, suggesting the ritual element of baptism.
While the handling of figures is quite primitive in Held's paintings, he is not unwilling to render complex, action-filled scenes that are rarely seen even in modern visual depictions of Book of Mormon narratives. In what was perhaps his strongest, most skillful piece in the series, Held conveys high drama in his woodblock print The Martyrdoms at Ammonihah (fig. 15). This compelling image shows the believers and their scriptures being consumed by fire as described in Alma 14:8–14. The victims are depicted burning at the stake, while the guards throw their sacred scriptures into the fire with them. Held's catastrophic image Deliverance of Alma and Amulek (fig. 16) shows the two missionaries breaking their shackles, while pillars and walls crumble down upon their captors (see Alma 14:26–29). Although inelegantly conveyed, these illustrations are visually progressive and reveal more than meets the eye. The dynamism in these images is another indication that Held and the other artists were drawing inspiration from the interactive movement of figures in other historical paintings of the time.
Held's illustration entitled Appearance of Christ to the Brother of Jared (fig. 17) shows the interplay between man and deity, also revealing the LDS belief in an antemortal Christ who, although appearing in spirit, had a form and visage. Ironically, the figure of Christ is distinguished with a halo, a mystical Christian symbol which is normally excluded from modern Latter-day Saint religious imagery. Nevertheless, the painting is true to the Book of Mormon incident supporting the passage that "Jesus showed himself unto this man in the spirit, even after the manner and in the likeness of the same body even as he showed himself unto the Nephites" (Ether 3:6–28).
By comparison, Held's illustration The Three Nephites and Wild Beasts (fig. 18; see 3 Ne. 28:22) is somewhat static but reminiscent of other known biblical illustrations showing Daniel in the lion's den (Dan. 1:8; 6:7–16) or Shadrach, Meshach, and Abednego in the Assyrian king's fiery furnace (Dan. 1:6–15; 3:16–30). In like manner, the three Nephite characters face ferocious lions without fear, standing in a shaft of light piercing a darkened dungeon. The theme and casting of these characters in a recognizable visual scene supports the notion that the Story artists were drawing upon biblical narratives that would render the Book of Mormon event comfortably familiar to the young, impressionable reader.
William Morris (fig. 19), whose strength was in the decorative arts, did not have the artistic background to visualize these narratives in a naturalistic way. His dark, nocturnal-like paintings are naive but show his capacity to illustrate a scene with brooding drama. The stark Baroque lighting of his subjects resembles the gaslight illumination of actors on a stage. His contributions to the Story project, Teancum Slays Amalickiah (fig. 20, see Alma 51:33–34) and Ether Finishing His Record (fig. 21, see Ether 15:33), are viscerally painted in darker values, coarsely heightened in areas with contrasting lighter color. Indeed, Morris's characters are like phantoms who participate in the narrative under a moonlit sky, recalling the Neapolitan Baroque qualities of Salvator Rosa and Monsù Desiderio. He may have also been attempting to emulate the biblical visionary paintings of English Romanticist John Martin. Unfortunately, Morris's accidental death of gas asphyxiation in January 1889 halted any further development of his artistic training at the New York Academy.42 He died not knowing that Story would become popular.
As it turned out, The Story of the Book of Mormon was a successful seller. Reynolds recorded in his journal that "by the end of the year about 3,000 copies of "The Story of the Book of Mormon ^were^ was sold, and the greater part of the expenses being paid it began to yield a profit."43 Subsequent editions also proved popular. The Church's General Board of Education recommended the use of The Story of the Book of Mormon in Church academies and schools as a text. Despite its impressive sales, Hyrum Parry did not continue publishing the book, relinquishing his undivided one-half interest in the copyright, plates, illustrations and unsold copies of Story to George Reynolds for the second 1898 edition and other subsequent editions.44
In a memo addressed to Church educators, Reynolds promoted the sale of the book as a text for use in Church schools. Except for a slight change in the weight of the paper, very little changed in the second edition. "Two or three ugly pictures have been left out in the second edition, and a slight condensation made in the letter press," Reynolds conceded.45 Two illustrations, Teancum Slays Amalickiah and Prophets Preaching to the Jaredites, were dropped from this edition, presumably because they were considered poorly rendered and did not have the desired level of naturalism. By comparison, the other reproductions in the second edition were clearer and bore a better tonal quality than the first.
Its widespread use in Church lessons indicates that The Story of the Book of Mormon was a useful tool for teaching in the Church Primary and Sunday School organizations. Reynolds, a member of the General Board of the Deseret Sunday School Union, undoubtedly lobbied for more Book of Mormon visuals to be used in religious teaching. A call for more Book of Mormon art in the Deseret News in March 1890 included a list of desired images.46
The importance of historical accuracy could not be overestimated. Teaching children with meaningful visual aids would require that participating artists research their subjects and only include elements that conveyed the sense of proper culture and antiquity. The call for artwork stipulated the need for this integrity by stating, "The Union desires that the artists maintain, as far as possible, the unities of time, place, dress, etc., that the pictures may not be misleading to the children, even in their minor details. The characters therein (except the angels) are all Israelites of the sixth century before Christ, and the localities are Palestine, Arabia and Chili [Chile]."47
This desire for utility in teaching was no less important for the Union's Book of Mormon Chart series as it was for Reynolds in his Story project. For example, Ottinger created for the Book of Mormon Chart series a new version of First Sacrifice on the Promised Land (see fig. 5) and named it Arrival in the New World (fig. 22). This vertical version was visually composed in the same manner as the first, but without the bow in the clouds. The removal of the rainbow and the placement of the letters "L" for Lehi and "N" for Nephi on the clothing of the two main protagonists shown in the scene helped to distinguish the main characters and avoid potential confusion with the biblical flood story. Such distinguishing marks would make the painting more didactically useful in the classroom.48 In an apparent de-emphasis of mystical symbolism, Ottinger also painted a version of Nephi's vision of Mary and the Christ child (fig. 23), without the recognizably Baroque Madonna hovering above the Book of Mormon prophet and his angelic guide, as was rendered by Held in his version of the scene (see fig. 13).
By fall 1891, a sufficient number of artists had responded to the call that the list of desired pictures had been filled. "We had our own artists procure premium oil paintings of the important events in the early life of Nephi, etc., which formed the basis of the Book of Mormon charts, which we expect will be ready for sale about February, 1892. We have ordered 5,000 sets of twelve pictures each, and they will be a great aid in teaching the children of Zion the truth and beauty of the Book of Mormon," proclaimed the Deseret Weekly.49 The first of these illustrative teaching aids were then published in the Juvenile Instructor during the second half of the 1891 subscription year. Although none of the images bear attribution, it appears that the Union used several of Ottinger's paintings and may well have adopted several more of Armitage's Book of Mormon illustrations which were painted before his untimely death in 1890. Ottinger's Baptism of Limhi and his Arrival in the New World were both included in this second series of Book of Mormon visuals.50 Other images in the Book of Mormon Chart series bear the primitive stylistic qualities of Latter-day Saint artist C. C. A. Christiansen.51
Of the thirteen paintings published in The Story of the Book of Mormon, Ottinger's illustrations appear to be the most well-informed and deftly executed. If we can confirm their attribution, we will undoubtedly find that Ottinger also contributed most of the images in the Deseret Sunday School Union's Book of Mormon Chart series.52 His images were evidently popular enough to be used well into the twentieth century. Several of Ottinger's Story paintings were reproduced in a romanticized Book of Mormon novel, Cities of the Sun, written by Elizabeth Rachel Cannon some twenty-two years later.53 Five of Ottinger's illustrations were included in Genet Bingham Dee's A Voice from the Dust, which was published as a handsome update to what Reynolds had started with The Story of the Book of Mormon more than fifty years earlier.54
The illustrations created for The Story of the Book of Mormon may not have been sterling specimens of narrative fine art by today's critical standards of excellence. But the visual impact they may have left on young readers of the Book of Mormon is immeasurable. If we dismiss them as simplistic nineteenth-century primitives or naive art, then we fail to recognize their significance as character-building visuals. Artists who illustrated for The Story of the Book of Mormon had accomplished something of lasting value. They carried forth in the minds of young people the official visual representation of Book of Mormon characters, places, and narrative events. For at least one generation—perhaps longer—these images were the first to be associated with the Book of Mormon text and the stories contained therein.
1. On Friberg's Book of Mormon images, see Vern Swanson, "The Book of Mormon Art of Arnold Friberg, Painter of Scripture," Journal of Book of Mormon Studies 10, no. 1 (2001): 26–35. For Teichert's work, see John W. Welch and Doris R. Dant, The Book of Mormon Paintings of Minerva Teichert (Salt Lake City: BYU Studies and Bookcraft, 1997).
2. "Notice," Utah Journal, January 9, 1886, 3, and "Reuben Kirkham," Deseret News, April 28, 1886, 1. A biography of Kirkham is currently in preparation by Donna Poulton and Vern Swanson.
3. For more on George Reynolds (1842–1909), see Andrew Jenson, Latter-day Saint Biographical Encyclopedia, 4 vols. (Salt Lake City: Reprint, Western Epics, 1971), 1:206, and Bruce A. Van Orden, Prisoner for Conscience' Sake: The Life of George Reynolds (Salt Lake City: Deseret Book, 1992).
4. George Reynolds, The Story of the Book of Mormon (Salt Lake City: Joseph Hyrum Parry, 1888), "Preface," iv.
5. "A New Book," Deseret Evening News, October 30, 1888, 3; see also Reynolds, The Story of the Book of Mormon, "Preface."
6. George Reynolds, Journal, 1888, 78, MS 3347, LDS Church Archives, Historical Department, Salt Lake City.
7. "The Story of the Book of Mormon," Latter-day Saints' Millennial Star 51 (August 5, 1889): 492–93. Rev. Arthur Stanley (1815–1881) was Regius Professor of Ecclesiastical History and Canon of Christ Church, Oxford, and later Dean of Westminster from 1864 to 1881. He is known for his trip to Egypt and Palestine and the best-selling account of his observations, Sinai and Palestine in Connection with Their History (1856).
8. "From the Press," Deseret News, December 9, 1888, 13, and "New Home Publication," Parry's Monthly Magazine 5 (February 1889): 195.
9. That Story artists would strive to visually convey a close association with biblical stories, peoples, and cultures may be seen as curious, given that some critics of the Book of Mormon in the 1880s accused Joseph Smith of plagiarizing the Bible. See, for example, M. T. Lamb, The Golden Bible, or, The Book of Mormon: Is It from God? (New York: Ward and Drummond, 1886). Perhaps Story art plays into that criticism, but the concern for historical and cultural authenticity in visualizing the Book of Mormon reflected the same concerns shown by nineteenth-century Bible illustrators. See Ljubica D. Popovich, "Popular American Biblical Imagery: Sources and Manifestations," in The Bible and Popular Culture in America, ed. Allene Stuart Phy (Philadelphia, Penn.: Fortress Press, 1985), 193–233, esp. 208; and Paul Gutjahar, "American Protestant Bible Illustration from Copper Plates to Computers," in The Visual Culture of American Religions, ed. David Morgan and Sally M. Promey (Berkeley: University of California Press, 2001), 267–85, esp. 276.
This same concern for historical authenticity was just as important for youth picture study in Church Sunday Schools, visualizations of the Bible, and the depiction of the Book of Mormon in motion pictures. See J. Leo Fairbanks, "Picture Study in the Sunday Schools," Juvenile Instructor 48, no. 1 (January 1913): 3–5; Edwin F. Parry, "Moving Pictures as Helps to Bible Study," Juvenile Instructor 48, no. 9 (September 1913): 584–88; and "Book of Mormon in Picture Play," Deseret News, December 20, 1913, 122.
10. "Art and Artists in Utah," Tullidge's Quarterly Magazine 1 (January 1881): 213–220.
11. "The Fine Arts," Deseret News, October 26, 1881, 609.
12. See "Christ and Mary," Salt Lake Daily Tribune, December 20, 1881, 4. For biographical information on William Joseph Armitage (1817–1890), see Robert S. Olpin, William C. Seifrit, and Vern G. Swanson, Artists of Utah (Salt Lake City: Gibbs Smith, 1999), 8, s.v. "Armitage, William Joseph."
13. For biographical information on John Held Sr. (1862–1936), see Olpin, Seifrit, and Swanson, Artists of Utah, 127, s.v. "Held, John, Sr." For examples of Held's illustrative work and woodcuts, see Parry's Monthly Magazine, vol. 6 (1890) and Utah Monthly Magazine, vols. 7–9 (1891–1892).
14. See Ann Uhry Abrams, The Valiant Hero: Benjamin West and Grand-Style History Painting (Washington, D.C.: Smithsonian Institution Press, 1985); and Wayne Craven, "The Grand Manner in Early Nineteenth-Century American Painting: Borrowings from Antiquity, the Renaissance, and the Baroque," American Art Journal 11, no. 2 (April 1979): 4–43.
15. Abrams, The Valiant Hero, 9; Craven, "The Grand Manner," 6–9.
16. It is worthy of note that in mid-June of 1874, Ottinger was visiting San Francisco, where he saw Vanderlyn's Marius amid the Ruins of Carthage (1807) up close at the de Young Museum while it was being prepared for restoration. See George M. Ottinger, Journal, June 12, 1874, 207, copy of original, MS 123, Special Collections, Marriott Library, University of Utah, Salt Lake City. On the importance of this painting, see Craven, "Grand Manner in Early Nineteenth-Century American Painting," 15–19.
17. George M. Ottinger, Journal, 1872, 197–98.
18. George M. Ottinger, Journal, 1872, 200.
19. George M. Ottinger, Journal, 1872, 201.
20. "Territorial State Fair," Deseret News, October 9, 1872, 4. See also Heber G. Richards, "George M. Ottinger, Pioneer Artist of Utah: A Brief of His Personal Journal," Western Humanities Review 3, no. 3 (July 1949): 209–18.
21. The orant or orans posture, a gesture of prayer with uplifted hands, was used by officiating priests in the early Christian church. A form of this prayer gesture was used in ancient times and later in this dispensation, after the Church was restored. See, for example, Exodus 9:29; 1 Kings 8:22; D&C 88:120, 132, 135; and 109:9, 19. For more on the orans posture, see Clark D. Lamberton, "The Development of Christian Symbolism as Illustrated in Roman Catacomb Painting," American Journal of Archaeology 15, no. 4 (October–December, 1911): 507–22; Walter Lowrie, Art in the Early Church, 2d ed. rev. (New York: Harper Torchbook, 1965), 44–49; and Hugh Nibley, "Early Christian Prayer Circles," BYU Studies 19 (Fall 1978): 41–78.
22. For a thorough list of works mentioned in his journal, see Richards, "George M. Ottinger, Pioneer Artist of Utah," 216–17.
23. George M. Ottinger, Journal, 1887, 269.
24. George M. Ottinger, "The Maya Sculptor," Improvement Era 13 (April 1910): 498–499.
25. "Cultivation of the Fine Arts," Parry's Monthly Magazine 5 (November 1888): 76–77; quote from 77. See also "Art Notes," Deseret News, November 3, 1886, 1.
26. For more on George M. Ottinger (1833–1917), see Richards, "George M. Ottinger, Pioneer Artist of Utah"; Olpin, Seifrit, and Swanson, Artists of Utah, 185–89; Madeline B. Stern, "A Rocky Mountain Bookstore, Savage and Ottinger of Utah," BYU Studies 9, no. 2 (1969): 144–54; and Richard G. Oman, "Outward Bound: A Painting of Religious Faith," BYU Studies 37, no. 1 (1997–98): 75–81.
27. "Ottinger," Tullidge's Quarterly Magazine 1 (January 1881): 219. For more on Ottinger's artistic activities, see sources cited in notes 20 and 26.
28. For more on Stephens and Catherwood, see Victor Wolfgang von Hagen, Maya Explorer: John Lloyd Stephens and the Lost Cities of Central America and Yucatán (Norman: University of Oklahoma Press, 1947); von Hagen's Frederick Catherwood, Archt. (New York: Oxford University Press, 1950); and C. W. Ceram, Gods, Graves, and Scholars: The Story of Archaeology (New York: Alfred A. Knopf, 1962), 337–56. See also Evans R. Tripp, Romancing the Maya: Mexican Antiquity in the American Imagination, 1820–1915 (Austin: University of Texas, 2004). It should be noted that Joseph Smith and early Church members were well aware of Stephens's Incidents of Travel in Yucatan. In fact, it was once owned by Joseph Smith as part of his personal library. See "Zarahemla," Times and Seasons 3 (October 1, 1842): 927–28, and Kenneth W. Godfrey, "A Note on the Nauvoo Library and Literary Institute," BYU Studies 14, no. 3 (1974): 386–89.
29. See von Hagen, Frederick Catherwood, page 73 and figure 11, following page 144.
30. See Lawrence Gustave Desmond and Phyllis Mauch Messenger, A Dream of Maya: Augustus and Alice Le Plongeon in Ninteenth-Century Yucatan (Albuquerque: University of New Mexico Press, 1988); Ian Graham, Alfred Maudslay and the Maya: A Biography (University of Oklahoma Press, 2002); the contributions of Lambert and Hunter are discussed on 221–23.
31. See Anthony Blunt, The Drawings of Poussin (New Haven, Conn.: Yale University Press, 1979), 68–69.
32. For more on Poussin's method of arranging small wax figures and scenery on a miniature stage, see Anthony Blunt, Nicolas Poussin, Bollingen Series 35, no. 7 (Washington, D.C.: Bollingen Foundation; Pantheon Books, 1967), 242–47; and Blunt, Drawings of Poussin, 95–99.
33. See Blunt, Nicolas Poussin, 40–50.
34. Barbara Carlisle, "Pageants and Painting: The Theatrical Context of High Renaissance Style," Centennial Review 24, no. 4 (Fall 1980): 459–73; quote from 463. For a more thorough study on landscape in nineteenth-century scene painting, see Nancy Hazelton, "'Green to the Very Door': Painted Landscape on the Nineteenth-Century Stage," Theatre History Studies 22 (June 2002): 115–36.
35. Quoted in Abrams, Valiant Hero, 123.
36. See Angela Miller, "'The Soil of an Unknown America': New World Lost Empires and the Debate over Cultural Origins," American Art 8, no. 3/4 (Summer–Autumn 1994): 8–27.
37. Miller, "The Soil of an Unknown America," 11–16, 21–23.
38. Tripp, Romancing the Maya, 88–102, esp. 99–102; Josiah Priest, American Antiquities, and Discoveries in the West . . . (Albany: Hoffman and White, 1833); Robert Silverberg, The Mound Builders of Ancient America (New York: New York Graphic Society, 1968). See also Curtis Dahl, "Mound-Builders, Mormons, and William Cullen Bryant," New England Quarterly 34, no. 2 (June 1961): 178–90.
39. Tripp, Romancing the Maya, 94.
40. See "Zarahemla," Times and Seasons 3 (October 1, 1842): 927–28. Interestingly, the writer (presumably editor John Taylor) stated: "We are not agoing to declare positively that the ruins of Quiriqua are those of Zarahemla, but when the land and the stones, and the books tell the story so plain, we are of the opinion, that it would require more proof than the Jews could bring to prove the disciples stole the body of Jesus from the tomb, to prove that the ruins of the city in question, are not one of those referred to in the Book of Mormon" (927).
41. Ottinger's reliance on archaeological discoveries, as introduced to the West by Stephens, Catherwood, Prescott, and others, is not unlike that of other artists who relied on the latest archaeological knowledge for historical paintings depicting New World events. See, for example, William H. Truettner, "Storming the Teocalli—Again: Or, Further Thoughts on Reading History Paintings," American Art 9, no. 3 (Autumn 1995): 56–95.
42. For more information on William C. Morris (?–1889), see Olpin, Seifrit, and Swanson, Artists of Utah, 179, s.v. "Morris, William 'Billy' Charles." See also "To Sue the Deputy Coroner," New York Times, January 8, 1889, 5; "A Gentle Spirit Gone," Deseret Weekly January 12, 1889, 19, and "W. C. Morris' Funeral," Deseret Weekly, January 19, 1889, 28.
43. Reynolds, Journal, 1889, 81.
44. See signed copyright transferral receipts and Circular of the Story of the Book of Mormon in George Reynolds papers, Special Collections, Marriott Library.
45. George Reynolds, "Memo. Regarding Books written by Geo. Reynolds," George Reynolds Papers.
46. "To the Artists of Utah," Deseret Weekly, March 8, 1890, 23.
47. "To the Artists of Utah," Deseret Weekly, March 8, 1890, 23.
48. A close examination of Ottinger's Book of Mormon chart image "The Peacemakers" shows the labeling of Nephi ("N") in the same manner.
49. "Sunday School Union," Deseret Weekly, October 17, 1891, 3.
50. Reproductions of these visuals are still preserved in the LDS Museum of Church History and Art. See also "Lehi Preaching to the Jews," Juvenile Instructor 26 (April 15, 1891): 234; "Lehi and His Family in the Wilderness," Juvenile Instructor 26 (May 1, 1891): 283; "Nephi and Zoram with the Records," Juvenile Instructor 26 (May 15, 1891): 298; "The Peacemakers," Juvenile Instructor 26 (June 1, 1891): 349; "Nephi's Vision," Juvenile Instructor 26 (June 15, 1891): 375; "Lehi Finding the Liahona," Juvenile Instructor 26 (July 1, 1891): 408; "The Building of the Ship," Juvenile Instructor 26 (July 15, 1891): 438; "Lehi Offering Sacrifice," Juvenile Instructor 26 (August 1, 1891): 476; "Lehi Blessing His Posterity," Juvenile Instructor 26 (August 15, 1891): 503; "Nephites Seeking a New Home," Juvenile Instructor 26 (September 1, 1891): 537; "The Building of the Temple," Juvenile Instructor 26 (September 15, 1891): 575; "Nephi Making the Plates," Juvenile Instructor 26 (October 1, 1891): cover.
51. A number of Book of Mormon charts have been attributed to C. C. A. Christiansen in the records of the LDS Museum of Church History and Art.
52. An advertisement poster dated October 1, 1897, lists dates, quotes the cost of the "Book of Mormon Picture Charts," and evidences the fact that the picture charts were issued in two parts. See Accession # LDS 93-109-1, LDS Museum of Church History and Art, Salt Lake City. Thanks to Carrie Snow for alerting me to this source.
53. Elizabeth Rachel Cannon, The Cities of the Sun: Stories of Ancient America Founded on Historical Incidents in the Book of Mormon (Salt Lake City: Deseret News, 1910). Several of Ottinger's paintings were retitled but are clearly from The Story of the Book of Mormon series. His work in this volume included: "Alma Baptizing in the Waters of Mormon" (22); "Moroni Raises the Standard of Liberty" (60); "Amalickiah Sent the Corpse of Her Husband to the Lamanite Queen" [not from series] (75); "Amickiah Sacked the Coast Cities and Put Hirza to the Sword" [Destruction of Zarahemla] (78); "Alla Deriding the Idols" [not from series] (82); and "The Cliff Dwellers' Daughter" [not from series] (108).
54. See Genet Bingham Dee, A Voice from the Dust: A Sacred History of Ancient Americans, The Book of Mormon (Salt Lake City: Deseret News Press for Genet Bingham Dee, 1939). Ottinger's paintings in this volume included: "Nephi's Vision of the Virgin and the Son of God," (88); "Out into the Wilderness," (64); "Making the Plates of Nephi," (129); "Lehi's Parting Blessing," (140); and "Offering Sacrifice as a Token of Gratitude," (271).


text:
Brussels Sprouts in a creamy parmesan garlic alfredo sauce topped with crispy bacon is our favorite way to eat brussels sprouts. A quick and easy holiday-worthy side dish that comes together in one-pan!
Brussels Sprouts Recipe:
Homemade Alfredo sauce makes these brussels sprouts irresistible. It is so easy to make, has simple ingredients and comes together in minutes! Alfredo sauce is the easiest way to elevate a home cooked meal to a restaurant quality dish, like our chicken alfredo or creamy shrimp alfredo.
Cook's Tip: The key to a great Alfredo sauce is to bring the sauce just to a simmer after adding the parmesan so the cheese just melts into the sauce and makes it smooth. If you overcook Alfredo, the cheese will curdle.
How to Select Brussels Sprouts:
Brussel sprouts are grown on long stocks but most grocery stores sell them as sprouts cut off the stock. We source organic brussels sprouts from Costco and they come in 2 lb bags. Choose brussel sprouts with:
- Smaller heads which indicate younger, sweeter, tender sprouts
- Bright green and firm heads
- Tightly packed leaves
Avoid: large sprouts, discolored leaves and black spots which indicate fungus
How to Trim Brussel Sprouts:
The process is easy peasy. Cut off the tough, browned base, slice in half and discard any browned or rough leaves, which tend to fall off on their own once you slice the sprouts.
How to Cook Brussels Sprouts in Alfredo Sauce:
This recipe is so easy and comes together in 1 pan. Cooking the sprouts in the bacon grease gives them incredible depth of flavor but you can use olive oil for a lighter dish.
- Cook the bacon until browned then transfer to a plate keeping 3 Tbsp oil in pan
- Add trimmed sprouts and season with salt and pepper, cook until tender
- Add garlic followed by cream, lemon juice, and parmesan cheese.
- Season to taste, bring to a simmer and garnish with bacon to serve.
How to Reheat Brussels Sprouts:
This recipe reheats really well and tastes just as good the next day. As with any Alfredo-based recipe, reheat over lower heat, stirring occasionally so the sauce does not separate.
I hope you are inspired to make this easy, excellent side dish. It comes together quickly but it is a show stopper that's loaded with flavor!
Recipes that Pair well with Brussel Sprouts:
- Roasted Chicken and Brussels Sprouts
- One-Pan Spatchcock Chicken
Source: natashaskitchen.com

subset: commoncrawl


text:
Welcome to FOPA!
If your child participates in any of the performing arts programs in the Marblehead school system then you are already a member of FOPA, so welcome! Please explore the website to learn more about what we do and how you can get involved. To learn more about the people working behind the scenes at FOPA, read our Board of Director Bios.
Fall 2017 Family Letter
Do you know about Marblehead High School's parent organization that supports the performing arts?
The Friends of the Performing Arts (FoPA) works to make the performing arts an essential part of our children's lives. We work with and alongside Marblehead teachers to invest in and support programs, activities and special projects to supplement performance arts training and education.
Here are a few examples of how your membership in and contribution to FoPA allows us to help our performing arts teachers:
- Supporting the instrumental program's education and training for competitions
- Supporting the choral program's participation in district and statewide festivals
- Supporting the theater program's performances, providing additional props and costumes
And support students by:
- Funding requests for workshops, competitions, film, dance projects
- Contributing to graduating senior scholarships, both directly to individuals and through the arts department, and will continue to do so when we are able
And involve you through:
- Volunteer opportunities during musicals, concerts, plays, drama festivals, and more
- Communicating information about auditions, performance dates, venues and special activities throughout the year! Like us on Facebook!
Help to build a passion for performance! Support the performing arts with a donation:
Friend: $25+ Supporter: $50+ Patron: $100 +
Benefactor: $250+ Star: $300+ Angel: $500+ Other:
You may contribute by check (made payable to FoPA) or by PayPal (firstname.lastname@example.com)
Please send this completed form to school with your student (to drop in the FoPA mailbox in the main office) or mail to our Treasurer Stephanie Morrow (65 Overlook Road).
Name __________________________________________________ Address_________________________________________________ Phone______________________
Zoë Nickolas, Gail Mack, Stephanie Morrow, Mia Morgan, Noel Henrich, and Jennifer Martelli


text:
Sakkarbaug Zoo gathers all the serene environs of Junagadh at one place. Sprawling over an area of 200 hectares, Sakkarbaug zoo was open to the public in 1853. In the year 2003, management of zoo inaugurated a natural history museum in a large hall in the veterinary hospital. People who don't want to indulge in a three-hour wildlife safari at Gir National Park can visit the Sakkarbaug Zoo as here one can spot Asiatic lions roaming freely. Some of the fauna include panther, deer, antelope, wild boar, blue bull, black buck, and spotted deer. Objective of the Sakkarbaug Zoo is to protect the animals in captivity and also to educate the people about the endangered and rare species of the earth.
Address: NH-8D, Junagadh, India
Timings: 09:00 AM to 12:15 PM & 03:00 PM to 06:00 PM, Wednesday Closed


text:
Request a Demo
Thank you for your interest in Bluewater Control. See how our platform can help empower your organisation. Tell us a little about yourself and our team will be in touch.
"Previous process was complicated and time consuming with multiple systems; as well as being resource intensive. Bluewater easily highlights things that we need to investigate or action, which is necessary to keep the fleet in check."
Megha Sinha
Neami National IT Support Officer


text:
According to several reports in the Spanish press, Atletico are very close to agreeing terms with Sporting Braga for defender Sílvio.
Portuguese paper Récord broke the news early Wednesday, claiming the 23-year-old's sale to Atleti is imminent.
A product of the Benfica youth system, Sílvio joined Braga in 2010 from Portuguese first division side Rio Ave. He is a natural right back who can also play on the left flank.
AS reports that Atlético sporting director Jesus Garcia Pitarch, who was in Portugal on 14 April to catch Braga's Europa League encounter versus Dynamo Kiev, will be in Lisbon on Thursday to watch Braga face off against Benfica in the first leg of their Europa League semi-final.
The Portuguese media suggest that a deal could even be reached for the full back on Thursday, so long as Cerezo and Gil Marín agree to the terms negotiated by Pitarch with Braga president Antonio Salvador. AS estimates that we could lock up the Portugal international for a price around €4m.
If we manage to snag Sílvio, he will be our third signing for next season, joining central defender Miranda (Sao Paulo) and striker Adrián (Deportivo).
The Lisbon-born back would likely compete with Tomas Ujfalusi for a starting job next season, and would be the Czech's ultimate replacement, though he could also serve as a back-up to Filipe Luis on the left.
This report will come as bad news to those hoping that Juan Valera would be assuming Atleti's future right-back role.
How would you feel about this signing?


text:
Atletico Madrid Vs Espanyol La Liga 2016–2017 IST Indian Time Live Stream and Telecast: Atletico Madrid will hope to return to their top form as they play against streaking team Espanyol this Saturday, December 3rd (December 4th in India).
Atletico Madrid Vs Espanyol Spain La Liga 2016–2017 IST (Indian Time), EST (USA Time), UK (British Time), GMT+0 Match Preview and Live Stream
Match: Atletico Madrid Vs Espanyol (Spain La Liga)
Date: December 3rd, 2016; 14:45 EST, 19:45 UK, 1:15 IST (December 4th)
Venue: Estadio Vicente Calderon, Madrid
Atletico Madrid Vs Espanyol TV Details: (Indian viewers); beIN SPORTS CONNECT U.S.A., fuboTV, beIN SPORTS en Español (USA viewers); Sky Sports Mix, NOW TV UK, Sky Sports 2/HD UK, Sky Go UK, SKY GO Extra (UK viewers)
Atletico Madrid Vs Espanyol Live Commentary: talksport, tunein radio, flashscore
Atletico Madrid Vs Espanyol Live stream: click here to watch this match live
Diego Simeone' side cruised to a comfortable 3–0 triumph when they played against Osasuna in their recent La Liga match. However, they lost two league games in a row before that, with the last one coming against city archrivals Real Madrid by a heavy 3–0 margin. The loss against Real is their only home loss this campaign with the previous 5 producing 4 victories and a draw. Madrid are currently sitting 4th in the league with 24 points haul, 9 short of city rivals Real at the top and 3 behind Barcelona and Sevilla in next two places.
On the other hand, Espanyol overcame Leganes 3–0 on Gameweek 13 to prolong their undefeated spell to 7 games. The Quique Sanchez Flores' team have now picked two straight wins for the first time this term, both against newly promoted squads and without conceding. Interestingly, it look like Espanyol are a better side away from home as they haven't lost since the 6–4 loss to Sevilla on Gameweek 1. The 5 away matches since then have recorded 3 wins and 2 draws. Espanyol are currently occupying 12th spot in the La Liga and a victory here could take them to the top half of the table.
Atletico Madrid Vs Espanyol : Head-to-Head Stats
Atletico have won 4 of the last 5 meetings and all of the last 6 clashes at the Vicente Calderon, 4 of which have been by 1–0 margins.
Atletico Madrid Vs Espanyol Spain La Liga 2016–2017: Prediction and Betting tips
This has all the makings of a typical close match at the Vicente Calderon where the opponents parks the bus and Atletico toil away and try to break them down. They might be able to nick a goal but it's hard to see them running away with it, given Espanyol's recent impressive defensive showings. So backing under 2.5 goals at 43/40 looks to offer value.
Match Prediction:
Under 2.5 Match Goals at 43/40
Correct Score Prediction:
Atletico Madrid to Win 1–0 at 5/1


text:
Waking up to unfamiliar sounds, namely from animals, is highly underrated. Like an alarm clock going off full tilt, your brain processes new audio notes with a different intensity. Maybe that's why I sprung from my bunk in our hut at 6am that morning. Scratching my head, semisomna, asking myself "what the hell was that?"
We're too far south for it to be a Bunyip – the Australian Yeti – and too high in elevation for it to be a chicken. There it is again, now multiple times, surrounding the cabin. I grabbed my coffee kit and headed out to the porch to see what the commotion was all about. Immediately, I began to witness these wingless birds chasing each other around, making this unique call.
The Weka had welcomed us to the Old Ghost Road. A flightless bird, a bit bigger than a kiwi, diurnal, and very vocal. At a certain point, the need for coffee and a few sunrise photos overtook the interestingness of a damn bird.
Pardon the brief nature geek moment, we're here to talk about bikes.


text:
But godliness actually is a means of great gain when accompanied by contentment. I Timothy 6:6
The champion of awe and wonder in life is the Holy Spirit, and when He is dominating this boxing match of the mind, He is causing you to remember and thankfully recognize God's providence in your life, especially in times of change and challenge. It's called contentment, joy, peace, and happiness. Deep inside, the Holy Spirit prompts us to see all the things we have versus what we don't have. My thoughts of thanksgiving gravitate toward the blessings of God, beginning with His grace and mercy toward me in Christ.
The Holy Spirit prompts these thoughts. Pause and take your pick of some of the these blessings: You have the blessing of His words in your life and how they have been a lamp for your feet — you have been kept from falling into innumerable ditches — you have the blessing of serving God in some big or small way — you have the blessing of being able to influence people with the faith that He has given you — you have the blessing of sitting on your back porch and observing the stars. That's just the tip of the iceberg when we think of all the relationships he has given us.
For every blessing a thank-you is in order. What are the results of saying thank you on a daily basis? We begin to accept and appreciate life as it is. We stop comparing and feeling jealous over the life of others. We start solving the mysteries related to our restlessness. We gain increasing levels of contentment, we're more willing to accept and work with the difficult circumstances that enter our lives, versus running or withdrawing. We feel more joy, peace and satisfaction.
One of the highest forms of spiritual warfare is also the simplest: stay grateful and content.
Thank you Father, for reminding me to chose contentment.


text:
May 19
Prism Prize 2016@Tiff Bell Lightbox(Sun.,May 15th,2016)
By A.J.Lam
The Prism Prize 2016 was held on Sunday, May 15, at The Tiff Bell Lightbox, with director Philip Sportel being announced as the Grand Prize winner of the 2016 Prism Prize for Kalle Mattson's Avalanche music video. Philip Sportel was on hand to accept the Prism Prize trophy and $10,000 award at the Prism Prize Awards Presentation.
The Prism Prize Audience Award was presented to director Eva Michon for Death From Above 1979's Virgins, based on thousands of online votes collected by Noisey Canada and Exclaim.ca.
The creative Director X was also in attendance to accept the previously announced Prism Prize Special Achievement Award (presented by FYI Music News), honouring a Canadian music video artist for their artistic achievements and exceptional contribution to music video art on a world stage. Also honoured at the event was Kristof Brandl, the recipient of the Arthur Lipsett Award (presented by MuchFACT), established to recognize an innovative and unique approach to music video art.
All Prism Prize Award recipients, including the Grand Prize, Audience Award, Special Achievement Award and the Arthur Lipsett Award, received $2000 grants from William F. White for production equipment rentals, with all Top Ten nominees also receiving exclusive gift bags from MAC Cosmetics.
To watch the best Canadian music, news and videos all in one place from Canada's music video community, visit http://www.prismprize.com.
We would like to thank Damien Nelson of FLIP PUBLICITY for the invitation to this event.


text:
Former US President Barack Obama's Emotional RETURN to Kogelo | Kenya News Today
Obama Visits Kenya, Land of His Father, to Promote Local Charity
💜 Kenya News Today Channel brings the Latest News from Kenya, Africa and the World. Get live news and latest stories from Politics, Business, Technology, Sports and more.
💜 Keeping Up with Our YouTube Exclusive Content:
✘ Subscribe: 👉 http://bit.ly/kenyanewstoday
✘ Watch Full Episodes: 👉 http://bit.ly/kenya_newstoday
✘ Facebook: 👉 http://bit.ly/2x3UrKB
✘ Twitter: 👉 http://bit.ly/2keQEAX
✘ Instagram: 👉 SOON
💜 As a Media and News channel, we strive to update our Subscribers and Viewers on time so that they can always be up to date on what is happening around them.
► HOT Kenyan & Nairobi Gossip and drama | Daily Updates
► HOT Kenya Breaking News and Hot Gossip | Kenya News Today
► HOT Kenya News Now: Kenya news | Breaking News & Search 24/7
► HOT Kenya | News, World, Business, Sport, Opinion, Health
► HOT World News: Latest Breaking Global News Stories
► HOT World News Headlines, Photos & Videos
Copyright © 2018 Kenya News Today, All Rights Reserved.
Original of the video here
Kenya Business News
Kenya Latest News
Kenya Political News
Kenya Sports News
Kenya Gossip


text:
- About
- Rent
- News
- Development
- Programs + Services
- Residents
- Connect
- Pathway 1000
- Emergency Household Stabilization Funds Available Beginning April 27
On two sites where dilapidated homes once stood, PCRI developed five new affordable rental homes. On NE Russet Street, a new duplex includes two- and three-bedroom units; on NE Morris Street, a new triplex includes a townhouse-style three-bedroom unit and one- and two-bedroom apartments. All of the homes are generously sized, ranging from 1,097 square feet to 1,311 square feet.
The duplex and the triplex were both built with durability and efficiency in mind–and a strong desire to ensure healthy homes for the residents who would live in them. Before the new homes were even built, the existing houses were deconstructed, ensuring re-use of materials where possible and proper disposal of debris when necessary. During construction, advanced framing techniques and on-site waste reduction were employed to create a more efficient structure and reduce our impact on landfills. Natural materials, sustainably harvested wood and recycled content products were included throughout the homes to minimize our impact on natural resources.
Inside the homes, low-VOC paints and non-toxic finishes were specified and efficient, effective ventilation systems were installed to ensure the homes provided a healthy environment. Energy Star appliances, water-efficient plumbing fixtures and low-maintenance landscaping were also incorporated to ensure low utility bills and easy maintenance for the residents and PCRI.
These homes were celebrated on the City of Portland's 2004 Build it Green! homes tour and were recognized by Oregon Housing and Community Services for the homes' benefits as Special Needs Housing.
PCRI developed a new six-plex and duplex to replace a dilapidated single family residence on this large site with convenient access to the MAX light-rail line. The six-plex features two-bedroom, one-bath units ranging from 872 – 918 square feet, including three ground-floor units were designed to be adaptable to wheelchair users and feature wider doors, large bathrooms for maneuverability and other amenities. The duplex features two three-bedroom, 1-1/2 bath townhomes and all units have access to off-street parking and an open play area.
To keep residents' utility bills low, an innovative turbonics heating system was employed. Separate thermostats in each room allow residents to only heat rooms as needed. Energy-efficient windows, doors and insulation further aid in maintaining resident comfort. Healthy non-toxic finishes and materials were used throughout and water-efficient fixtures and landscaping were also incorporated.
PCRI deconstructed an existing home on this property and subdivided the lot to build two single-family row homes on either side of a new shared driveway. Each 925 square foot home features two bedrooms and a bathroom upstairs with kitchen, living and dining rooms and a half-bath downstairs. Washer and dryer hookups are also located inside the homes.
In addition to re-use of an existing site near local services, schools, parks and transportation, sustainability was carefully considered throughout the project. An innovative turbonics heating system with separate thermostats in each room works in conjunction with energy-efficient windows, doors and insulation to maintain resident comfort. Healthy non-toxic finishes and materials were used throughout and water-efficient fixtures and landscaping were also incorporated.
Upon completion, the 24th Avenue homes were recognized with the 2001 Governor's Livability Award.
Cedar Place is PCRI's first new construction project, providing five units of affordable housing. In front, a two-story duplex has two three-bedroom, two-bathroom homes. A second two story building is set back from the street and features two- and three-bedroom units, each with two bathrooms. All of the units feature in-unit laundry and an open main floor plan with kitchen, living and dining areas. The two buildings surround a play area and off-street parking.
Upon completion, Cedar Place was honored with the 1998 City of Portland Development Review Team Good Design Award.


text:
RayMing has revolutionized the electronic industry by providing the top-quality service for PCB Manufacturing and Assembly.
The electronics industry is growing at par excellence in the present times, as many big industries want the perfect quality PCB for their pieces of equipment. RayMing provides a one-stop solution right from PCB Manufacturing to PCB Assembly that saves the companies' time. The company manufactures top quality PCB boards, inspects the quality and assures it before delivering it to the clients. The company promises the delivery of products on time to their clients and makes sure it gets to deliver right before time. The skilled technicians even make the PCBs according to the preference of the consumers. These are sold at affordable and competent rates to the American and European nations.
Assured Services delivered by RayMing
The company offers top-notch quality equipment in the Electronic industry to their overseas clients. The experts use the latest devices for PCB Manufacturing so that there is no error left while making the Printed Circuit Board. Even the PCB Assembly is done using excellent techniques so that the companies do not have to face any kind of problem. Here are some of the services that the company provides regarding electronic PCB solutions:
- The experts at RayMing provide schematic design and layout for the customized PCBs as the experts for the client's data design provides the Reverse Engineering.
- The company designs simple structural designs to the complex multi-layered designs that can go up to 24 layers in the PCB designing. It possesses experience in the IPC Class II and III standards, as they provide heavy production tolerance. The experts do stringent cleanliness of the PCB board, design according to the customer's need and choice.
- The material used by the company for manufacturing the Printed Circuit Boards is Ceramic, Metal PCB, Teflon PCB, High Temperature and Frequency PCB, etc.
- The experienced team before delivering PCBs to the customers carries out extensive Research and Development on the demands of the clients for their electronic industry. The clients also include the students from American and European nations that possess high hopes from the company's work as the experts follow ABCD solution.
RayMing is a one-stop solution for the manufacturing to assembling of the PCBs for different industries with varied requirements.
About the Company
RayMing, founded in the year 2005 and is a high-tech manufacturer of the quality PCBs by assembling them through modern technology. For more information, please visit http://www.raypcb.com/
Media Contact:
4F Building 12#,
2nd Fu'an Industrial city,
Dayang Development Zone,
Fuyong Street,
Bao'an Shenzhen,
China, 518103
Call – 0086-0755-27348087
Email – [email protected]
Skype – RayMingPCB


text:
So how does the Riverview MI real estate market look these days? Currently Riverview has a average listing price for homes for sale of $162,345. The Wayne county average currently is $119,822.
The current number of properties on the market in Riverview is 22. The Riverview median listing price is $138,450.
For Wayne county real estate the total listings are 4,739 and a median listing price of $60,000. This compares to Michigan real estate data, which this week shows a total number of listing properties as 56,315 with a median listing price of $129,900.


text: Available positions [jobs] Contact us Every project we undertake is carefully evaluated to ensure that we are able to deliver the highest-quality finished product as economically as possible. Contact us Contact us Tel: +27(11) 674-5046 Cell: +27(82) 852-4933 Email: firstname.lastname@example.com Stainless Precision Engineering 7 Amanda Avenue, Lea Glen, Roodepoort(West Rand) 1709 GPS Coordinates: X:27.917566 Y:-26.193573 Home | About Us | Gallery | Services | Careers@SPE | Customer Portal Copyright © 2014 SPE. All Rights Reserved.


text:
Flavio Constantino at Fraser Yachts tells me he's closed on the sale of the 35.05 metre motor yacht Latiko, listed for sale by his colleague Antoine Larricq.
Latiko was built by Italian yard Benetti in GRP to a design by Stefano Righini and delivered in 2003 as a Benetti Classic 115 with a refit in 2013. Her interior was designed by François Zuretti with soft furnishings and design touches by James Gribben from Renoir Interiors. She is finished in a sumptuous blend of cherry wood paneling and root wood, complemented with a range of fine marbles and fabrics.
ABS classed and MCA compliant, Latiko has well-appointed accommodation for up to 10 guests in four staterooms. The master suite is full beam on the main deck and has a king size bed and entertainment centre while the VIP stateroom is also full beam and has an entertainment centre. There are also two twin cabins to port and starboard and the upper deck saloon has a convertible double.
All staterooms have plasma television screens, DVD players and music systems and all come with en suite facilities. Latiko also boasts a wonderful sundeck with large sunbathing areas, the perfect place to enjoy the amazing sea views over an al fresco lunch. Twin 1,400hp Caterpillar engines give her a cruising speed of 15 knots and a range of 3,200 nautical miles.
Sold to a Brazilian buyer, Latiko was asking €4,750,000.


text:
Higher Ed Bill Proposes University Mergers and Scholarship CutsFebruary 12th, 2020 by Jake Stofan
Two state universities could be merged with UF and FSU and sweeping changes to scholarships for private universities are part of a controversial higher education package passed by a House committee Wednesday.
New College would be merged with FSU and Florida Polytechnic University with UF.
Sponsor Representative Randy Fine said it comes down to cost.
"We could educate ten students at one of our other schools in many of these cases for what we are spending at these schools," said Fine.
Florida Polytechnic argued the higher cost comes with a higher return on investment.
"Three times better than the average university state system," said Florida Polytechnic Trustee Robert Stork.
New College did not speak on the legislation.
The bill would also cut financial aid to as many as 30,000 private university students.
It would limit the $2,800 a semester EASE grant to only those who qualify for financial assistance.
"The idea is: Is it a good use of tens of millions of dollars, which is what it costs, to subsidize wealthy kids to go to private schools?" said Fine.
But students like Brenda Guess who attends Keiser University in Sarasota said they fall in the middle.
"There's a gap for the need-based and then there's the families that currently are above that threshold. We're there because we're actually working. So don't take that away from us," said Guess.
While both the mergers and the EASE grant cuts received flack from Republicans and Democrats alike, the bill passed and is now headed to the House floor.
One part of the bill supported by everyone on the committee would allow students who receive the Medallion Bright Futures Scholarship have 100 percent tuition covered at state or community colleges.
If they maintain a 3.5 percent GPA, they would then qualify for 100 percent tuition at a state university as well.
Posted in State News | No Comments »


text:
Can anyone please advise me asap of the best option when going overseas ? I'm leaving at short notice and I've got a contract with Optus, so not PAYG. I'm asking as right now the whole Optus system is down...no on-line chat, no working links, can't buy anything, no staff to answer phone inquiries, nothing. Even the customer service guy at my local Optus retailer said 'Optus is $%^& for overseas". I'll be off to Vodafone when this is over I can tell you.
Where are you going? For How Long? When?
Have you looked at what overseas calls are included in your current contract? What plan is it? And how Old?
Worst case you can install the Optus App and by Travel Packs for $10 a day (or do this in online)
Tip: If you use GMail download maps of your destinations onto the phone itself. That way they don't need data to work anywhere.
Peter Gillespie


text:
When you have extensive dental work done, it's important to remember you can't eat an apple right after. But don't worry, there's plenty of tasty food you can still have. There are many delicious recipes well worth making even when you can't chew. Here are some recipes for soft foods after dental work.
1. Loaded Mashed Potatoes
Who doesn't love a delicious mashed potato recipe? Add some bacon, parmesan or pepper jack cheese, and maybe some green onions, and you have yourself a delicious bowl of mashed potatoes.
2. Clear Fluids
Fruit juice is an easy fluid to consume – apple, cranberry, or grape are some great choices. Stay clear of citrus juices like orange, or lemonade. If you like tea, this is a great time to have some.
3. Tomato Soup
Always delicious on a cold day or with grilled cheese, tomato soup is an excellent choice in the list of soft foods.
Don't worry; we haven't forgotten desserts for all of you sweet tooths out there.
4. Milkshakes
This one seems like an obvious choice. And it's easily one of the best. The only rule is don't consume it with a straw, or mixed with an ice cream that is chunky.
5. Pudding
Who doesn't love pudding? It's easy to make and comes in several delicious flavors. If you don't want to make it, you can pick up some of the handy pudding cups a few days before.
6. Jello
This requires some preparation, but if you have some free time a day or two before your surgery, make some jello! Want to make it fancy? Add some layers to it.
Eating soft foods after dental work doesn't have to be boring. Try these recipes and enjoy!
The most important part of aftercare is keeping your mouth clean and eating soft foods. Keep all of those in mind, and you'll be bouncing back in no time.


text:
You have no items in your shopping cart.
Regular Price: र49.00
Special Price र40.18
Regular Price: र149.00
Special Price र137.08
The literature of the past workers on the subject of Cancer was scattered all over which has been compiled to preserve the original work with all authenticity. The editor, Dr. Himanshu Tiwari has collected the best research work and case studies on Cancer and has presented it in an organized way for practitioners and students.
Regular Price: र249.00
Special Price र229.08
Regular Price: र325.00
Special Price र299.00
In this work there is a collection of Dr Roger Morrison and Dr Nancy Herricks lectures on some of the key remedies of Materia Medica, where they give highlighting feature of the remedies, which is important while prescribing. Essence of various individual drugs are elaborated by the speakers. Case reports have been given, thereby taking you right in the clinic. These case studies will help you in dealing with the patients as well as to understand the remedy in a better way. There is a special mention of Aurum cases along with special mention of the main features of different elements like Acids, Argentums, Arsenicums, Muriaticums, Nitric, etc. All video case has been included.Learn More
Regular Price: र199.00
Special Price र183.08


text:
Designer Spotlight | Alena Capra
Alena Capra is the owner of Alena Capra Designs, an award winning, boutique interior design firm based in Dania Beach, Florida. With 12 years experience under her belt, she has completed numerous interior design projects from South Florida to New York, and is currently working on adding e-design services to her list of client offerings.
You may recognize Capra as a competitor on season one of the FYI Network's renovation competition series, Rowhouse Showdown. Or perhaps several episodes of Weekends With Luis on HGTV. With such impressive accomplishments, we're honored to be Capra's countertop of choice!
Capra shows us that a bathroom can make a strong statement – using Concrete Caesarstone and contrasting white cabinetry to elongate the space and give the bathroom a clean, modern feel. No wonder she received runner up in the 2015 NKBA Design Competition, Small Bath category, and an Honorable Mention in the Commercial Remodel category in the 2011 Coverings: Project Green Awards.
A traditional kitchen with modern appeal: this large whitewashed space is accented with silver splashes and a polished Pebble Caesarstone countertop. The tray ceilings and illuminated upper cabinets create dynamic visuals from top to bottom.
Cement countertops are the perfect choice for this large condo bathroom in Santa Maria with striped walls and tinted shower glass.
Fort Lauderdale bathroom is a warm oasis, with Pure White countertops and grained cabinetry.
Thank you, Alena Capra Designs, for allowing us to utilize your beautiful images featuring Caesarstone in this Designer Spotlight.
Designers! Architects! Contractors! Dealers! Would you like to be featured in the next Designer Spotlight? If so, please fill out a submission form HERE!


text:
The product may cause electric shock and fire.
The Ultrasonic Pest Repeller sold by Artistic Living through GrabOne is being recalled because it does not meet electrical safety standards and may cause electric shock and fire.
Update on 4 September: Ultrasonic pest repellers sold by Artistic Living Limited through Trade Me, DailyDo, Yazoom and Groupon have also been recalled. For more information, email email@example.com or call (09) 273 0268. Pest repellers with the brand name 'Ultimate' and sold through Mitre 10 and Hammer Hardware were recalled in June - www.consumer.org.nz/articles/recall-plug-in-pest-repellers.
The product was imported and sold by Artistic Living Limited on 3 March 2014 at www.grabonestore.co.nz.
Please contact GrabOne Limited on 0800 472 2663 or firstname.lastname@example.com to arrange for a refund.
Get access to comment


text:
At Suncoast Charter Schools, we understand that your child's education and personal happiness are your main priorities—they're our priorities too. Our programs are designed to give your child not only an excellent education by California-credentialed teachers, but also the confidence and support to really thrive.
SCCS offers a range of programs that cater to the educational goals and learning needs of each child, from kindergarten through high school. Whether you have a creative elementary school child who prefers hands-on experiences, or a high school student on the fast track to college, or a technical-minded middle school student, our programs will nurture his or her strengths and allow your student to grow in the way that works best for him or her.
Although we follow Common Core state standards, and have a set curriculum, we treat students as individuals, customizing their education, and working with them to develop the skills needed to go farthest in school, and in life. Learn more about the following programs, and let's start your child on a path to a very promising future.
Dual Language Immersion North County (TK-8th Grade)
There are endless benefits to being able to read, write, and speak fluently in both English and Spanish.
Suncoast Charter Schools Home School / Independent Study Orange County (TK-12)
Get the right curriculum, information and support to teach your young learner at home. Learn More
Suncoast STEAM Academy (6th-12th Grade)
An innovative approach to learning that incorporates science, technology, engineering, art, and math.
A combo of online and on-site learning, this program lets your child find his or her way to a brighter future.


text:
Our Story
We created this company for one reason only:
Provide Outrageous Beer Bongs to the Best Country in the Fucking Galaxy.
Being Australia's Premium distributor of Quality Beer Bongs, NO ONE likes to suck piss like us. From Melbourne, with the premise of getting every Aussie bloke fucking blind, we hit the alcoholic scene at the end of 2017. With thousands of young bloods following us on social media, we are proving that piss drinking instruments are what the world needs after a long week.
Back to our Home Page


text:
DOE-STD-3009-94 Chg Notice 2, Preparation Guide for U.S. Department of Energy Nonreactor Nuclear Facility Documented Safety Analyses
This Standard describes a DSA preparation method that is acceptable to the DOE as delineated for those specific facilities listed in Table 2 of Appendix A, "General Statement of Safety Basis Policy", to Subpart B, "Safety Basis Requirements", of 10 CFR 830. It was developed to assist Hazard Category 2 and 3 facilities. in preparing SARs that will satisfy the requirements of 10 CFR 830. Hazard Category 1 facilities are typically expected to be Category A reactors for which extensive precedents for SARs already exist. Superseded by Change Notice 3.
doe-std-3009-94_cn2.pdf -- PDF Document, 555 KB
Project Number SAFT-0023
|DOE-STD-3009-94 Chg Notice 2
|Senior Line Manager:
|Technical Standards Program
|Senior Line Manager Org:
|Not Provided
|NA - National Nuclear Security Administration
|Preparing Activity:
|Technical Standards Program
|Status comments:
|Superseded by Change Notice 3.
|Approved Date:
|Jul 01, 1994
|Last Update:
|Mar 24, 2006
|DNFSB Interest:
|Invoked Standard:
Preparation Guide for U.S. Department of Energy Nonreactor Nuclear Facility Documented Safety Analyses
Scroll and Zoom for details. Click on Nodes to View Document.
There are no Directives invoking this standard.
There are no Directives referencing this standard.


text:
Retailers and product distributors world-wide to benefit from C & A Scientific's new additions in supply chain, customer service, and marketing.
(Manassas, VA) April 6, 2017 – C & A Scientific, a 26-year old medical and science educational product manufacturer and supplier, announces the addition of three new members; Antina Thomas, Customer Service Administrator, Pearl Li, Supply Chain Coordinator, and Briana Long, Marketing Project Manager. Thomas, Li, and Long bring a deep understanding of sales, marketing, supply chain and customer service experience, which in turn will benefit C & A Scientific's growing network of product distributors and retail clients around the world.
"We are excited to continue to build on the legacy of C & A Scientific of being a customer, product, and employee-focused company," says Trent Middleton, COO of C & A Scientific. "By attracting focused skills in our employees, we are able to dramatically enhance our own internal operations, but also build on our 26-year history of delivering value to our clients."
Formerly with the CPO office at Philips China, Pearl Li brings 20 years of experience in procurement, logistics and supply chain from around the globe. As Supply Chain and Procurement Coordinator, Li will partner with C & A operations and sales to drive expanded supplier sourcing, enhanced supply base evaluation, and aggressive cost negotiations. Li will also focus on improved product value and quality while increasing inventory availability on existing and new products for all of C & A's clients.
With over 10 years of creative marketing experience, Briana Long, has worked with and for some of the top trade and membership associations in the country. Long joins the team from PMMI – the Association for Processing and Packaging Technologies where she promoted one the largest portfolios of B2B trade shows targeted at connecting suppliers, manufacturers, and retailers across the supply chain. As Marketing Project Manager, she is responsible for the management and coordination of marketing programs and events that not only promote C & A Scientific, but support their product distributor and retail clients in their own selling efforts.
Formerly from Quest Diagnostics, Antina Thomas has over 14 years of experience in medical and laboratory environments. As Sales and Customer Service Administrator, Thomas is the liaison between C & A Scientific and their valued clients. In this role, she helps connect clients to the right products, while working closely with the sales and operations divisions at C & A Scientific. She also focuses on process improvement to streamline operations across multiple departments.
C & A Scientific media inquiries can be directed to 703.479.2322 or email@example.com
About C & A Scientific:
With headquarters in Manassas, VA, C & A Scientific is a 26-year-old, family-owned company specializing in the manufacturing of microscopes, centrifuges, laboratory equipment, and medical supplies. Through our Premiere®, Bio-Lion® and My First Lab®, product lines, we supply over 600 medical and award-winning children's educational products to retailers and product distributors world-wide. Visit www.cnascientific.com to learn more.
Media Contact:
Matthew Swain
Director of Marketing
email@example.com | 703.330.1413


text:
Price: £20.00
Quantity: 1 available
Book Condition: Good
SIGNED Copy.Blue cloth boards with gilt titles to spine and front board. 205 x 140 mm approx. xvi + 330 + 4pp of publisher's adverts. Frontis b/w photo portrait with tissue guard + 16 other b/w illustrations as called for. Autobiography of English philanthropist "Aggie Weston" or Ma Weston who founded sailors missions and rests to support the men and families of the Royal Navy.Her work continues through the charity "Aggies".First published in October 1909 the copy offered by us is of the 4th impression of 1910 and is inscribed and signed by the author to the front free end paper. Good (Book- Moderate rubbing to extremities of boards.Offset browning to end papers. Mild foxing to edges of book block. Binding sound). Please see our images of the actual book offered for sale.
Title: MY LIFE AMONG THE BLUEJACKETS
Categories: Maritime, Signed Books, Autobiography /Biography,
Edition: 1st Edition
Publisher: LONDON, JAMES NISBET: 1910
Binding: Hardcover
Book Condition: Good
Inscription: Signed by Author(s)
Item: 1.00 Item
Seller ID: 121200
Keywords: SIGNED BOOKS, AGGIES, MA WESTON, ROYAL SAILORS RESTS, MISSIONS, AGNES ENSLEIGH, LANSDOWN, MISS WINTZ, MARITIME BIOGRAPHIES, BOOKS ON LINE BRIGHTON, ,


text:
Our favorite way to explore a new city is on foot. You can experience so much more just by wandering around at a slower pace, talking with locals, people watching, and even getting lost. Walking around Nashville was the best way for us to get to know its vibe and love it.
Walking is a great way to get a real feel for the atmosphere and pulse of a city, so we always encourage everyone to walk around as much as you can.
It's a great way to stay in shape on your travels too, and of course, walking is FREE!
You can walk across bridges, through neighborhoods, along rivers, and around the city center chatting with the locals and taking lots of photos.
It's amazing what you can learn by chatting with the locals. We love to eat where the locals eat and who better to ask than the folks that live there!
And with that being said, we love walkable cities such as Nashville. Our recent trip to music city proved to be awesome on so many levels; the music, the museums, the food, the people, and the fact that it's so walkable.
Even if you don't stay in downtown Nashville like us, we stayed in an Airbnb in east Nashville, getting to and then around the city center by foot is easy.
Bridge walk
Here's a tip.
Parking in the city center can be challenging and expensive, but thanks to a local in the know, we discovered you can park for free across the river on Titans Way in front of the Titans Football Stadium, then simply walk across the pedestrian bridge into the city.
Each day we walked across the John Seigenthaler Pedestrian Bridge which spans 960 m and is one of the longest pedestrian bridges in the world. It offers a great view of the river and city skyline.
Once in the city, you're amongst the best of Nashville.
We started off by wandering along Broadway and 2nd Ave, it's here you'll find all the Honky Tonk Bars and it instantly hits you that you're in music city!
You'll also come across several stores selling boots, and we just happened to be in Nashville on Mother's Day so what's a girl to do? Mummy got herself some cool new boots.
Nashville has some awesome rooftop restaurants and bars with views over the river and city and our fave for lunch was the ACME Feed & Seed on the corner of Broadway and 1st Ave.
It's a multi-story venue; first floor is an updated honky tonk bar with casual food and live music, second floor a lounge bar, third floor a music venue, and then the rooftop bar with sweeping views of downtown, the Cumberland River, and Titans Stadium.
We also had lunch at nearby Rock Bottom Brewery. The view isn't as spectacular as ACME, but it was mother's day which called for a cheeky sangria.
If you fancy some ribs, take the short walk a few blocks from Broadway to Martin's BBQ Joint. Our local friend Kristin took us there for lunch and we had the biggest rack of ribs we've ever eaten – cool venue too!
Of course Nashville is most famous for country music, and right downtown you can walk to two of its icons; the Country Music Hall of Fame Museum and the Ryman Auditorium.
We spent a good few hours walking the hallways of the Hall of Fame Museum, and even if you didn't grow up with country music like me, you're in Nashville and this place will have you a fan soon enough!
As for the Ryman, well, it's hallowed ground and all the greats have played here, it's where Johnny Cash met June Carter and it's said to be one of the best live music venues in the world for its outstanding acoustics and we thoroughly enjoyed our behind the scenes tour.
Speaking of Johnny Cash, his museum is just off Broadway too and it's home to the largest collection of Johnny Cash items in the world – check it out, what a legend!
The Gulch
The Gulch District is a neighborhood on the southwest fringe of downtown. It has an industrial history but is now a hotspot with ample restaurants, cafes, and shopping – the Two Old Hippies store featured on our fave TV show, Nashville!
It's a hip spot to walk around.
The Gulch is where old warehouses have been renovated into residential, and it's also where you'll find cool street art including the famous What Lifts You angel wings mural and the large-scale, colorful murals on 11th Avenue South.
Apparently, Burger Republic has the best burgers in Nashville. And the line up for Biscuit Love is always out the door (that's how popular this joint is), and if you're looking for an organic grocery store with healthy smoothies, we loved the Turnip Truck.
Walking in comfort
Exploring Nashville gave us our first opportunity to wear our new and much-needed travel clothes from prAna who are all about making sustainable clothing.
I love my new Furrow shorts, made of a sustainable blend of soft hemp and recycled materials they are honestly the most comfortable and lightest pair of shorts I have owned. And my crew t-shirt.
Caz has been living in her Mika Strappy Top , Lizbeth Skirt (also made from hemp) and Barton Dress.
Check out the lastest PrAna gear for women and PrAna gear for men
After a day of walking around Nashville, the evening stroll back across the bridge is a picturesque way to end the day!
Plan Your Trip to Nashville, TN
We've been traveling 20 years and have come to rely on a few trusted websites that save us money and time when booking accommodation, flights, and car rental. Below are our preferred partners. If you book through these links, we do receive a small commission at no extra cost to you. It helps us continue to provide inspiring and helpful travel content for free on this site.
Booking accommodation in Nashville
- Booking.com has over 550 properties in Nashville. You get free cancellation on most rooms and a best price guarantee. We stayed at the Loews Hotel and liked that.
Booking flights to Nashville
- Skyscanner is a comparison website that searches millions of flights. Once you find your best deal, book directly through the airline (no extra fees).
Booking a Car Rental in Nashville
- RentalCars.com is the world's biggest car rental booking service that compares all the major brands like Hertz, Avis, Alamo, and Europcar. Book your car rental in Nashville here
Tours in Nashville
What is your fave city to walk around?