From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #8517 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Saturday, February 19 2022 Volume 14 : Number 8517 Today's Subjects: ----------------- Add this to your water ASAP ["Burn Stubborn Fat" Subject: Add this to your water ASAP Add this to your water ASAP http://septifixed.biz/nftzELGqvA5xS1hoqy4W25xnVJv6jCKeifUuEZ8gqmvNVBM http://septifixed.biz/xyv06Oi14SnOiHXs6dh6amQSiEQM2T9OfotVn8bT2tz5Oio oche's debuted at the Salon in 1822 where he exhibited Christ Descended from the Cross (1822: Paris, Pal. Royale, Chapelle) and Jehosheba Saving Joash (1822; Troyes, Mus. B.-A. & ArchC)ol). The latter was a product of Gros's influence and was praised by GC)ricault who supported the beginning of Romanticism. The schooling Delaroche received at LbEcole des Beaux-Arts tied him to the ideas of Academicism and Neo-Classicism while his time spent in the studio of Gros aroused his interest in history and its representation through Romanticism. His painting, Joan of Arc in Prison (1824; Rouen, Mus. B.-A.), which was exhibited in the Salon of 1824, along with his following works reflect the middle ground he occupied. Delaroche studied the recent tradition of English history painting at the time, which he incorporated into his own productions. In 1828 he exhibited the first of his English history paintings, Death of Queen Elizabeth. Delaroche's focus on English history brought him popularity in Britain in the 1830s and 1840s. In the 1830s, he produced some of his most lauded works, including Cromwell Gazing at the Body of Charles I (1831. Mus. B.-A., NC.mes), The Princes in the Tower (1831, Louvre, Paris) and his most acclaimed piece, the Execution of Lady Jane Grey (1833, NG, London). Recognizing his talent and popularity, the AcadC)mie des Beaux-Arts elected Delaroche a member of the society in 1832. A year following, he became a professor at LbEcole des Beaux-Arts. The same year, he was commissioned to paint a large mural at the central nave of L'C glise de la Madeleine in Paris. Delaroche recognized his lack of experience in religious painting and so travelled for one year in Italy to educate himself on the religious works of the past. Upon his return to France, he was told he was to work with Jules-Claude Ziegler, but abandoned the project altogether thinking that Ziegler would soil the image he already had in mind. In 1837 he exhibited St. Cecilia (1836; London, V&A), which was the first of his significant! relig ious paintings. Delaroche's change of subject was less impressive to French critics than his previous wo ------------------------------ Date: Thu, 17 Feb 2022 03:53:27 -0500 From: "Thank You Home Depot" Subject: Get-a-chance-to-win-exclusive-reward Get-a-chance-to-win-exclusive-reward http://coolable.co/A96bZyYnfrGG9s-5YegMsm8mJZ9cZVDHgccKCo1lRIBvjw-YeA http://coolable.co/PqMwRlMLXAJGE9FsQPqct_0HYpZpUk6E2rwkUZSQIPzJWV7G_A ding programme, begun by Reginald Fitz Jocelin, Bishop in the 12th century, continued under Jocelin of Wells, who was a canon from 1200, then bishop from 1206. Adam Locke was master mason from about 1192 until 1230. It was designed in the new style with pointed arches, later known as Gothic, which was introduced at about the same time at Canterbury Cathedral. Work was halted between 1209 and 1213 when King John was excommunicated and Jocelin was in exile, but the main parts of the church were complete by the time of the dedication by Jocelin in 1239. By the time the cathedral, including the chapter house, was finished in 1306, it was already too small for the developing liturgy, and unable to accommodate increasingly grand processions of clergy. John Droxford initiated another phase of building under master mason Thomas of Whitney, during which the central tower was heightened and an eight-sided Lady chapel was added at the east end by 1326. Ralph of Shrewsbury followed, continuing the eastward extension of the choir and retrochoir beyond. He oversaw the building of Vicars' Close and the Vicars' Hall, to give the men who were employed to sing in the choir a secure place to live and dine, away from the town and its temptations. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and he surrounded his palace with crenellated walls, a moat and a drawbridge. John Harewell raised money for the completion of the west front by William Wynford, who was appointed as master mason in 1365. One of the foremost architects of his time, Wynford worked for the king at Windsor, Winchester Cathedral and New College, Oxford. At Wells, he designed the western towers of which north-west was not built until the following century. In the 14th century, the central piers of the crossing were found to be sinking under the weight of the crossing tower which had been damaged by an earthquake in the previous century. Strainer arch ------------------------------ Date: Wed, 16 Feb 2022 06:26:20 -0500 From: "Unusual Secret" Subject: Add this to your water ASAP Add this to your water ASAP http://septifixed.biz/IwrtdTRZ8V6gY3tywTCH9hBDlCq2etjlNsG53BXFPeCM7sU http://septifixed.biz/1oC5jkZEgDTdgMfsTskYCB3Nze1Uz_C56rRJtg0sIYWtaFw oche's debuted at the Salon in 1822 where he exhibited Christ Descended from the Cross (1822: Paris, Pal. Royale, Chapelle) and Jehosheba Saving Joash (1822; Troyes, Mus. B.-A. & ArchC)ol). The latter was a product of Gros's influence and was praised by GC)ricault who supported the beginning of Romanticism. The schooling Delaroche received at LbEcole des Beaux-Arts tied him to the ideas of Academicism and Neo-Classicism while his time spent in the studio of Gros aroused his interest in history and its representation through Romanticism. His painting, Joan of Arc in Prison (1824; Rouen, Mus. B.-A.), which was exhibited in the Salon of 1824, along with his following works reflect the middle ground he occupied. Delaroche studied the recent tradition of English history painting at the time, which he incorporated into his own productions. In 1828 he exhibited the first of his English history paintings, Death of Queen Elizabeth. Delaroche's focus on English history brought him popularity in Britain in the 1830s and 1840s. In the 1830s, he produced some of his most lauded works, including Cromwell Gazing at the Body of Charles I (1831. Mus. B.-A., NC.mes), The Princes in the Tower (1831, Louvre, Paris) and his most acclaimed piece, the Execution of Lady Jane Grey (1833, NG, London). Recognizing his talent and popularity, the AcadC)mie des Beaux-Arts elected Delaroche a member of the society in 1832. A year following, he became a professor at LbEcole des Beaux-Arts. The same year, he was commissioned to paint a large mural at the central nave of L'C glise de la Madeleine in Paris. Delaroche recognized his lack of experience in religious painting and so travelled for one year in Italy to educate himself on the religious works of the past. Upon his return to France, he was told he was to work with Jules-Claude Ziegler, but abandoned the project altogether thinking that Ziegler would soil the image he already had in mind. In 1837 he exhibited St. Cecilia (1836; London, V&A), which was the first of his significant! relig ious paintings. Delaroche's change of subject was less impressive to French critics than his previous wo ------------------------------ Date: Wed, 16 Feb 2022 04:23:46 -0500 From: "Mass Death Event" Subject: Mass Death in TX - Could This Have Stopped It? Mass Death in TX - Could This Have Stopped It? http://osteoporosisry.co/PbnvbcwDRwY9v_kCvlnwOZThXVRyVYutipY5UrOpJ9XywHXeVQ http://osteoporosisry.co/oo3QfNsNhY7oNJN1TWzLaxiEiwpiwK4sMOa72RU6hSS72ecsCg Properties are not protected in any strict sense by the Federal listing. States and local zoning bodies may or may not choose to protect listed historic places. Indirect protection is possible, by state and local regulations on the development of National Register properties and by tax incentives. Until 1976, federal tax incentives were virtually non-existent for buildings on the National Register. Before 1976 the federal tax code favored new construction rather than the reuse of existing, sometimes historical, structures. In 1976, the tax code was altered to provide tax incentives that promote the preservation of income-producing historic properties. The National Park Service was given the responsibility to ensure that only rehabilitations that preserved the historic character of a building would qualify for federal tax incentives. A qualifying rehabilitation is one that the NPS deems consistent with the Secretary of the Interior's Standards for Rehabilitation. Properties and sites listed in the Register, as well as those located in and contributing to the period of significance of National Register Historic Districts, became eligible for the federal tax benefits. Owners of income-producing properties listed individually in the National Register of Historic Places or of properties that are contributing resources within a National Register ------------------------------ End of alt.music.moxy-fruvous digest V14 #8517 **********************************************