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669 Sentences With "attribution to"

How to use attribution to in a sentence? Find typical usage patterns (collocations)/phrases/context for "attribution to" and check conjugation/comparative form for "attribution to". Mastering all the usages of "attribution to" from sentence examples published by news publications.

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Update August 3rd, 6:00PM ET: Added attribution to Unity Technologies.
It often takes months or years for attribution to emerge publicly.
So other outlets have to report it with attribution to the NYT.
The text was modified on April 1st to add an attribution to Reuters.
FireEye is not making a firm attribution to Cozy Bear at this time.
But as Kopp says, you don't need formal attribution to confirm the general trend.
An updated printing of the book came with a new attribution to the case study.
This story has been updated to reflect attribution to obtained court filings from the case.
His goal: to create "a new gaze, a new attribution to American identity," he says.
" His goal, he says, is to create "a new gaze, a new attribution to American identity.
Regardless of device or marketing channel, Google wants Attribution to be a home for evaluating marketing campaigns.
I had my [camming] content pirated and put all over the internet, without any attribution to me.
The gallery also includes links to  purchase the poster prints along with attribution to the different artists.
But going the opposite direction — from a weak attribution to a presumption of intent — can be dangerous.
This story has been revised to give attribution to CNN affiliate WDIV and link to the station's website.
While some would consider attribution to be ethically important, it isn't relevant to copyright law, Mr. Nazer said.
When necessary, I offered them the opportunity to speak on background — with no direct attribution — to encourage forthcoming responses.
Hrag Vartanian: What is your take on the provenance of the work and the attribution to Leonardo da Vinci?
The company said it will start including attribution to its third-party partners that provide lyrics in its information boxes.
Dowd had received an anonymous tape that showed Kinnock's speech and Biden's speech (without attribution to Kinnock) side by side.
The other coast: Facebook would have walked into a political trap by assigning attribution to the root of the disinformation operation.
"The vetting committee will in some cases supply an attribution to a picture that the dealer didn't recognize," Mr. Bowron said.
Adobe, Twitter, and The New York Times Company have announced a new system for adding attribution to photos and other content.
The authors argue that this concept gives too much attribution to leaders--at the cost of recognizing the support behind their success.
Another obstacle has been the attribution to Tintoretto of scores of works of variable quality, often created by his assistants and imitators.
At the time, the site agreed to take more than 23 offending articles offline so Rice could add proper attribution to Lead Stories.
An earlier version of this article gave improper attribution to a study of an increase in the population of incarcerated people in America.
Incrementality is a growing focus for performance-driven marketersMarketers also use media-mix modeling and multi-touch attribution to evaluate their ad spending.
"I know I've made enemies over the years for using content and not giving proper credit and attribution to its creators," Tebele wrote.
Clarification: This article has been updated to change the attribution to the information that Megvii's facial recognition technology is sold to public sector customers.
The lone-wolf explanation of violence, its attribution to psychotic episodes rather than Islamist networks breeding in the Cités, spared the nation self-examination.
Its new attribution to Leonardo won the painting a spot in a retrospective of his work at the National Gallery in London in 2011.
Last month, rumors spread online that the museum had declined to display Salvator Mundi in the show because of its hotly-contested attribution to Leonardo.
After other documents emerged and the attribution to Michelangelo was confirmed, there was some discussion about where the statue should go and in what guise.
But she also comes from having my work screen-captured and pirated and put on the internet without any attribution to myself or my persona.
The good news is, that means there's room for our knowledge to grow, and for new tools like weather attribution to help us manage future risks.
"Given the evidence in the docs only, it's a weak attribution to a group in Russia," Pwn All The Things told Motherboard in an online chat.
The guy who turned Tinseltown into a beacon for pot might have revealed himself by slapping his signature on the evidence ... with an attribution to Jesus.
Their claims also naturally suffer from a perception of political bias, leaving the task of proving attribution to researchers and the private firms that employ them.
On Twitter, security experts like Facebook's Nathaniel Gleicher have urged caution when writing about this story, arguing that the case for attribution to Russia is thin.
For what it's worth, the Russian Embassy tweeted a Pepe in January, so a little bit of 4chan here and there doesn't rule out attribution to state actors.
But the extensive public documentation and debate before the 2017 sale would make it difficult for the buyer to recover the payment by challenging the attribution to Leonardo.
On June 16, Ms. Worrell attended the exhibition, where she also discovered that the term had been used throughout the exhibitions materials, without reference or attribution to Caribbeing.
One genuine piece of news behind the U.S. sanctions against Russian individuals and organizations is the attribution to Russia of a cyberhacking campaign that has targeted critical U.S. infrastructure.
In addition, I was determined to hide our names somewhere in the grid, as well as somehow create an attribution to my father who passed away over the summer.
"It was beyond rude," a Republican senator who asked to speak without attribution to talk candidly about the feeling inside the caucus told CNN's Dana Bash of Lee and Moran's move.
Grab's statement (below) doesn't say that the company will add attribution to its map, per OSM policy; instead, the company suggested that it will update an OSM Wiki page it operates.
"Those factors included the highly politicized environment, concern that public warnings would themselves undermine confidence in the election, and a delay in definitive attribution to Russia, among other issues," the report said.
Instead of a marketer having to look separately at data from Google Analytics and advertising tools AdWords and DoubleClick, they can use Google Attribution to look at data from those tools together.
Even if BuzzFeed doesn't intentionally source all of its questionable content from other creators, attribution to other creators who've already produced content within the same video memes doesn't seem like a great hardship.
There is precedent for attribution to state actors: The U.S. government has formally attributed NotPetya to a state actor — Russia — as it did its earlier cousin, WannaCry, in that case to North Korea.
"A potential attribution to Leonardo da Vinci was first proposed in 1899, so Professor Caglioti's study opens up the discussion of its authorship afresh," a spokeswoman for the V&A told The Art Newspaper.
He said the attribution to a Russian-backed hacker group confirmed the campaign's intuitions, calling for a full investigation into the hack's origins that he said could not take place during the election campaign.
Update 12/20 523:30 PST: Grab said it has included attribution to OSM within its app, although the credit is not appended to the map itself as is required by its licensing agreement.
In this method, instead of giving "credit" or "attribution" to only the latest channel that drove conversion, all the channels that came before it are also given due credit based on the different methods used.
By stripping out the attribution to Hevesh when it brought the video to a broader audience, YouTube's tweet — sent out to 123 million subscribers — prevents Hevesh from getting the recognition that might lead to jobs.
Additionally, the league will establish a platform, possibly a hotline, to allow for people to report any issues either anonymously or with attribution to make sure people feel safe from retaliation when reporting troubling conduct.
"As more and more browsers acknowledge the problems of cross-site tracking, we should expect privacy-invasive ad click attribution to become a thing of the past," wrote Apple engineer John Wilander in a blog post.
"All of these earlier cases didn't have the benefit of current attribution science, in terms of drawing the link between emissions and impacts, and emissions during a particular period, and attribution to particular corporations," Sher says.
One former American military commander said there was a range of options that the Pentagon and the C.I.A. could pursue that could keep Iran off balance but that would not have "crystal-clear attribution" to the United States.
Notably, one of the six works that Tyler considered was Salvator Mundi, the painting whose attribution to Leonardo da Vinci has been hotly contested even before it sold at Christie's' November 2017 auction for a record $450.3 million.
EditorsNote: changes quote attribution to Maryland RB Ty Johnson No. 10 Ohio State punishes punchless Maryland COLUMBUS, Ohio — Ohio State was its own worst enemy for much of the game but managed to do enough things right for another easy victory.
It and infrared reflectography were among the many technologies used during the intensive scrutiny of "Salvator Mundi", which played a key role in the work's re-attribution to Leonardo da Vinci—and its subsequent record-breaking auction price of $450m.
"The code in question is a unique implementation of base64 [encoding] only previously seen in APT17 and not in any public repository, which makes a strong case about attribution to the same threat actor," Rosenberg wrote in a blog post.
"Now seeing what's being paraded in the media like the wildly speculative attribution to Russia, I feel a personal responsibility to propose the more plausible theory on behalf of me and the rest of the guys like me," he said.
The individuals did not have subject matter expertise, or any experience for that matter, with ICS environments and the attribution to Iran was based on determining the source IP address of scans, which they called attacks, against honeypots, not actual infrastructure.
" Any gender attribution to a young child was frowned upon, she says; even something as relatively benign as calling a male child "such a little man" had "a kind of creepiness to it from the 03th-century point of view.
Drawing comparisons to Christie's blockbuster sale of the Salvator Mundi — whose attribution to Da Vinci has been vehemently called into question by some scholars in recent months — the marketing push behind the Su scroll emphasizes the artist's renaissance-like qualities.
But some of our weather has changed significantly, and now a new report from the National Academies of Sciences, Engineering and Medicine has outlined a rigorous, defensible, science-based system of extreme weather attribution to determine which events are tied to climate change.
But it is thanks to that attribution to Germany's wartime Nazi leader, guilty of some of the worst crimes in history, that a Berlin auction house hopes a sale on Thursday afternoon will net thousands of euros for the family selling them.
So, for example, if local publishers formed a coalition to improve attribution to local news on Facebook, such as displaying the news publishers' logo with each article that appears on Facebook's News Feed, they could do this without incurring liability under the antitrust laws.
A large, sensitively carved 17th-century boxwood relief, "Christ in the Garden of Gethsemane"—a new attribution to the Master of St Sebastian's Martyrdom—is an archetypal old-style collector piece—yet one of those interested in it had just been considering an Egon Schiele drawing.
The pressed petals will be displayed on vitrines on the wall, for which, Meyohas adds, "there will be no attribution to who pressed the petal," an anonymity that recalls the nature of industrial labor; the history behind the final fabricated object remains forever hidden to the consumer.
But Father Tuderti says that the attribution to Michelangelo has been a godsend, and that the money the monastery makes from lending it for exhibitions has paid off large tax debts and is helping to finance the construction of a monastery in the Republic of Congo.
Attribution to me though is one of the scarier parts of cyberweaponry, because of the nature of false flags, and things like that where you can be attacked and you think you're being attacked by Russia when in fact it's China or Iran or vice versa.
Donald Trump: 'No reason' to raise $1 billion Trump's response to the crisis, described mostly by aides, advisers and donors who spoke without attribution to discuss the inner workings of the campaign, signals a candidate who plans to zig and zag during the fall campaign to keep his opponent guessing.
I endeavored to accurately and properly give attribution to the hundreds of sources that were part of my research I take seriously the issues raised and will review the passages in question Abramson wrote for The New York Times and The Wall Street Journal for years before being named the Times's executive editor in 2011.
But because of the copypasta nature of a lot of ASCII art—being able to easily highlight it, and copy/paste to make it look like your own, without attribution to the original—ASCII artists, like a lot of artists who put their work on the internet, face the challenge of getting credit for their creations.
As far as the widespread — but widely contested — attribution to Leonardo, I am skeptical, and this is primarily because of the condition of the work, but more importantly, because I trust one scholar above all others on the subject of Leonardo da Vinci, and that is Carmen Bambach, curator of Italian drawings at the Metropolitan Museum of Art.
But information provided to The New York Times from the Netherlands Institute for Art History, known as the RKD, indicates that the Swiss owner of the work who has lent the painting to three art institutions — the Bozar, the Stedelijk and the Zentrum Paul Klee in Bern, Switzerland — has known since 2006 that the attribution to Mondrian has been questioned.
As soon as the European Southern Observatory released the black hole photo on April 10, Visual China Group (VCG), China's leading stock image provider that's compared to Getty Images and owns Flikr's one-time rival 500px, made the image available for sale in its library without attribution to the Event Horizon Telescope Collaboration (EHT), an array of radio telescopes that captured the image of the black hole.
UPDATED, Friday, November 17, 11:25am EDT: Christie's has issued the following statement about the authenticity of the Leonardo painting: While we welcome the level of interest in the work, it is important to note that all the leading active scholars on this artist and period have already supported the full authorship of this painting, which is why it was exhibited with full attribution to Leonardo da Vinci at the National Gallery in London in 2011.
However, extensive research by Marcie Muir supports its attribution to Charlotte Barton.
The views of scholars concerning the authorship of the Pali Canon can be grouped into three categories: # Attribution to the Buddha himself and his early followers # Attribution to the period of pre-sectarian Buddhism # Agnosticism Scholars have both supported and opposed the various existing views.
The attribution to him of the Avignon Pietà has only been generally accepted since about the 1960s.
In 2015 and 2016, peer-reviewed academic publications concerning it confirmed its attribution to Leonardo da Vinci.
There is disagreement about the attribution to G. E. Street; the architect may have been the unrelated W. C. Street.
Page 16. The garden's traditional attribution to André Le Nôtre is undocumented and dubious.Thierry Mariage. The World of Andre Le Notre.
1912, p.3 under the title The Magic Flute, carries no explanation but a facetious attribution to Edward Carson, the unionist politician.
These swords are preserved artifacts, or were previously preserved artifacts that are now lost. Their attribution to historical characters may be doubtful.
Its spurious attribution to Bach can be found in some of the manuscript copies produced in the second half of the 18th century.
However, it to took until its inclusion in the Il Giardino di San Marco exhibition in 1992 for this attribution to be definitively confirmed.
French scholar Françoise Hudry has argued for the attribution to Marius Victorinus (fl. 4th century).Hudry: 2009. See also the review by Jeremy M. Schott.
Thompson, 249, according to whom it represents the "nadir of Visigothic legislation." Collins, "Sicut", 504, explains that manuscripts differ in attribution to Ergica or Wittiza.
The attribution to Pontormo is accepted by all modern critics except Berti and Clapp. La Forlanini theorises that it originally formed part of a series.
He wrote the Rhapsody on Long Flute (); the Song dynasty Classic of Loyalty (), patterned after the Classic of Filial Piety, bears attribution to his name.
In 2005, at age 19, Joel assembled a bandDeming, Mark, [ Biography], All Music Guide, AMG (later AllMusic), presented with attribution to AMG by [ Billboard.com] and without attribution to AMG by MTV.com (WebCite archive), late 2006. and performed her first live show at Maxwell's in Hoboken, New Jersey, In 2006, Joel played nearly 100 shows, including a Hard Rock Cafe tour completed in May 2006.
The traditional attribution to Droeshout the younger can also be supported on stylistic grounds. A drawing known to be by Droeshout the elder appears to show superior artistic skill than the work of his nephew, and the clumsy features of the depiction of Shakespeare's body resemble other prints by Droeshout the Younger. The attribution to the younger artist is provisionally accepted by the National Portrait Gallery.
The boy also had his portrait painted by a local artist, most probably Giambettino Cignaroli. An alternative attribution to Saverio Dalla Rosa has also been suggested.
It mistakenly identified the author as Zhu Xiao's son Zhou Xianwang () or Zhu Youdun (, 1379–1439). Li Shizhen's Bencao gangmu repeated this erroneous attribution to Zhou Xianwang.
William Jay was architect to other Savannah landmarks such as the Scarborough house, the Telfair House as mentioned above, and an attribution to the Gordon-Low House.
New York Times, 14 May 1972 interview with Robert M. Thomas. The attribution to Warhol is incorrect. The film's length is 58 minutes. It was premiered in 1969.
The saying is sometimes attributed to Groucho Marx, but the earliest attribution to him dates only to 1982, and there is no reason to believe he actually said it.
"On a Profile Portrait by Baldovinetti". The Burlington Magazine for Connoisseurs, volume 18, no. 96, March 1911. 308–313 Today Fry's attribution to Baldovinetti is accepted without real doubt.
Their attribution to Numa or Romulus is doubtful. The oldest surviving religious calendars date to the late Republic; the most detailed are Augustan and later. Beard et al., Vol.
Accepting the attribution to Bach, the Bach Gesellschaft published the cantata as his work in the second half of the 19th century (BGA Vol. 30, pp. 1–16). The attribution to Bach was however doubted in the Bach- Jahrbuch of 1912. In 1920 Charles Sanford Terry opined the cantata to be "one of the least agreeable of Bach's works", and quoted some earlier not much more favourable comments by Bach-biographers Spitta, Schweitzer and Parry.
Rome: Istituto Italiano per il Medio ed Estremo Oriente, p.62 Peter Harvey finds the attribution to Asanga less plausible.Peter Harvey, "An Introduction to Buddhism." Cambridge University Press, 1993, page 114.
The poem is possibly the same as one mentioned by Pausanias on the descent of Theseus and Pirithous as being attributed (though Pausanias himself is skeptical of this attribution) to Hesiod.
294 – via JSTOR. The painting however has a longstanding, though debated, attribution to Francesco Melzi. The first to attribute the painting to Melzi was the art historian Pierre-Jean Mariette (1694–1774).
There is no doubt about the attribution to Harrison of Woodbank, Dee Hills House, and Grove House; that of Oughtrington Hall is likely; but that of Glan- yr-Afon is more uncertain.
The instrument, portraying the Piazza del Duomo in Florence on its lid, appeared in Franciolini's sixth catalog with the date 1767 and an attribution to "Agostinus Federicius"; see Ripin (1974:69, 113).
Nelson (2000) p.354 The Canadian author John Glassco repeated the false attribution to Colman and augmented it with an equally fictitious attribution of his own poem Squire Hardman printed in 1967.
This is widely considered the first-ever fully pornographic work written in Latin, and it contains among other things a defense of tribadism (i.e. lesbianism). The attribution to Sigea (as well as the attribution to Meursius) was a hoax, as was first demonstrated by Bruno Lavignini in his edition of the poem (Italy, 1905). It is believed that the true author was the Frenchman Nicolas Chorier. The work was translated into many other languages, including English, under the title Dialogues of Luisa Sigea.
4–5 in the second Notebook, BWV Anh. 114 and 115, were composed by Christian Petzold. Because their former attribution to Bach is spurious they appear in Anh. III of the Bach-Werke-Verzeichnis.
Because of its formal qualities as well as its interaction with Homeric motifs, the ode has been compared to the poems of Ibycus' contemporary Stesichorus. However, an attribution to the poet is unlikely.Barron (1969) 132.
In 1905 William Suida was the first to suggest an attribution to Bramantino. Mulazzini dated it to 1490, early in Bramantino's career.Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, vol. 2, Bompiani, Milan 1999.
No definite coins are known of him, as the "Kanishka" named in the coins is not differentiated. Only workmanship and graphical style in relation to other known rulers, tend to suggest attribution to this later Kanishka.
If the attribution to van der Meiren of a composition dated 1736 in the collection of the Museum of Western and Oriental Art in Kiev is correct it points to a death date in or after 1736.
It should not be thought, however, that internality is linked exclusively with attribution to effort and externality with attribution to luck (as Weiner's work – see below – makes clear). This has obvious implications for differences between internals and externals in terms of their achievement motivation, suggesting that internal locus is linked with higher levels of need for achievement. Due to their locating control outside themselves, externals tend to feel they have less control over their fate. People with an external locus of control tend to be more stressed and prone to clinical depression.
The cumulative type hierarchy, also known as the von Neumann universe, is claimed by Gregory H. Moore (1982) to be inaccurately attributed to von Neumann.. See page 279 for the assertion of the false attribution to von Neumann. See pages 270 and 281 for the attribution to Zermelo. The first publication of the von Neumann universe was by Ernst Zermelo in 1930.. See particularly pages 36–40. Existence and uniqueness of the general transfinite recursive definition of sets was demonstrated in 1928 by von Neumann for both Zermelo-Fraenkel set theory.
The text of the Protest appears to have survived largely through attribution to Athanasius of Alexandria. In the way of attestation Patriarch Photios I of Constantinople in his Bibliotheca is closer to the mark in ascribing it to Theodoret. Euthymios Zigabenos cites without naming an author, but Severus of Antioch in his Contra Impium Grammaticum quotes from with attribution to Eutherius of Tyana. (Both the latter authors are referring to chapter 20, which together with 21 may well constitute a slightly later addition by Eutherius to his original text).
The rediscovery was made, and the painting identified, by Alex Wengraf in 1994 according to Harris and Bull in Harris Estudios completos sobre Velázquez: Complete Studies On Velázquez pp. 287–89. An attribution to Tintoretto has been suggested.
3 "Across the range of a species, individuals may display considerable morphological, genetic, and behavioural variability reflective of both plasticity and adaptation to local environments."COSEWIC, p. 10 COSEWIC developed Designated Unit (DU) attribution to add to classifications already in use.
The Chinese scholar Yin Shun meanwhile, argues for the traditional attribution to Nagarjuna. In a recent study, Po-kan Chou has argued that the DZDL is a product of the editorship of Sengrui (352?-436?), Kumārajīva's student, co- translator and amanuensis.
Longman Green, London 1865, p. 107. Blumenbach's conclusion was, however, to proclaim all races' attribution to one single human species. Blumenbach argued that physical characteristics like skin color, cranial profile, etc., depended on environmental factors, such as solarization and diet.
In the left background is Francis of Assisi receiving the stigmata and in the right background is Florence's patron saint John the Baptist - this may indicate that the lost altarpiece was intended for a Franciscan monastery in Florence such as Santa Croce. There is debate over the painting's attribution to Perugino - Mackowsky, Raimond Van Marle and Ugo Procacci instead attributed it to Jacopo del Sellaio or his school. The attribution to Perugino was first mooted in 1959 at a conference by Federico Zeri. Anna Padoa Rizzo agrees, but Jean K. Cadogan instead attributes it to Domenico Ghirlandaio.
Poster sale details confirmed, but no attribution to Hadley on this page. He was also an actor, performing in the 1920-1921 Broadway revue The Greenwich Village Follies of 1920 at the Shubert Theatre in New York City and the 1924 film Floodgates.
170 The tradition of attribution to these 13th-century popes, while it may itself be spurious, has a manuscript tradition going back to at least the 15th century.Bodleian MS. Ashmole 1437 (15th century): Catalogi codicum manuscriptorum bibliothecae Bodleianae vol. 10 (1845), c. 1179.
Antonio Natali supports the traditional attribution to Andrea del Sarto, whilst Philippe Costamagna assigns it to a student of Andrea and dates it to c.1525 based on the shape of the dress. Elisabetta Marchetti Letta, Pontormo, Rosso Fiorentino, Scala, Firenze 1994.
In 1929, Wilhelm Sudia likewise gave the painting to Melzi based on the stylistic relationship to Leonardo.Hulmer, Eric C. The Role Of Conservation In Connoisseurship. (PhD. Dissertation, University of Pittsburgh, 1955), p. 214. There have been detractors from an attribution to Melzi as well.
Following a claim by Corri for the expense incurred restoring and authenticating the picture, the painting was given to her in May 1990, in an out-of-court settlement with the Alexandra Theatre in Birmingham, which disputed her valuation and the attribution to Gainsborough.
Pethokoukis calculated the average salary paid per stimulus job as $59,867 when annualized. Writing for Washington Monthly, Laura McGann inferred that ABC News scooped the "phantom congressional districts" story as an exclusive without attribution to Watchdog; although similar, the ABC News story covered different localities.
Yiannopoulos published two poetry books under the name Milo Andreas Wagner. His 2007 release Eskimo Papoose was later scrutinised for re-using lines from pop music and television without attribution, to which he replied that it was done deliberately and the work was satirical.
Boy with an Arrow, (1506?) Kunsthistorisches Museum, Vienna. This is agreed to be by Giorgione. Bernard Berenson was a strong supporter of the attribution to Giorgione, which still has some support. If by Giorgione, who died in 1510, it would probably date to around 1508.
It was then probably acquired by Alessandro di Ottaviano de' Medici, before being acquired by the Grand Dukes of Tuscany. It was rediscovered in Galleria's stores by Gamba and its attribution to Pontormo strengthened, with no substantial doubts remaining as to its autograph status.
The Minuet in F major, BWV Anh. 113, is No. 3 in the second Notebook. Its attribution to J. S. Bach is considered doubtful, and for that reason it is included in Anhang (Anh.) II of the Bach-Werke-Verzeichnis.Bach-Werke-Verzeichnis (1998), p.
The archetype of the surviving manuscripts seem to have had the title Aulularia, along with a false attribution to Plautus, who had also written an Aulularia. Modern scholars generally use the title Querolus to avoid confusion with Plautus’ Aulularia. Date and place of composition are uncertain.
TCI 1965 gives the attribution to Pomarancio. The bright frescoes often depict violent martyrdom scenes. The medieval ambo is set on a large, porphyry urn taken from the nearby Baths of Caracalla. The low screen separating the choir is faced with 13th-century Cosmatesque style inlays.
First proposed in 1896 by Giovanni Morelli, the attribution to Titian is now generally accepted. An upper strip of canvas, added to the work at a later date, was removed in 1976-1978. That restoration also re-dated the work from c.1521 to 1555-1589.
Hieronymus Bosch. Die Zeichnungen. Turnhout (Brepols) 2012. In October 2015 the Bosch Research and Conservation Project, that is doing technical research on most of Bosch's paintings since 2007, confirmed they reject the attribution to Bosch as well and consider it to be made by a follower.
Navy Bill as the US Naval Academy's current sports logo The main inscription's attribution to 1890 legend is not agreed with in modern study. The first use of a live goat as the Academy's mascot was 1893. Navy Bill is the inspiration for the Academy's sports logo.
The American version of the film opens with a quotation: An altered version of the same passage (substituting "Chiba the Bodyguard" with "the Lord"), complete with erroneous attribution to Ezekiel by the character of Jules Winnfield (Samuel L. Jackson), appears in Quentin Tarantino's 1994 film Pulp Fiction.
In modern times, due to wider international cooperation in mathematics, the wider world has taken notice of the work. For example, both Oxford University and the Royal Society of Great Britain have given attribution to pioneering mathematical theorems of Indian origin that predate their Western counterparts.
Garland of Flowers with Virgin and Child in the Hermitage Museum The attribution to Daniels of a Virgin and Child in a Garland of Flowers, (c. 1608, Biblioteca Ambrosiana, Milan) traditionally attributed to Jan Brueghel the Elder has also failed to find unanimous support among experts.
Virtually all secular scholars reject its attribution to Moses and date the book much later, between the 7th and 5th centuries BCE. Chapters 12–26, containing the Deuteronomic Code, are the earliest section, followed by the second prologue (Ch. 5-11), and then the first prologue (Ch.
' (He knows not what sorrow is), BWV 209', is a secular cantata composed by Johann Sebastian Bach and first performed in Leipzig in 1747. With the exception of Amore Traditore, whose attribution to Bach is contested, it is the composer's only setting of a text in Italian.
The screenplay is credited to Sara Schiff. Schiff is the pseudonym of author Jay Presson Allen. The screenplay was her last film work before her death in 2006. She was reportedly dissatisfied by the final product and had her name removed, hence the attribution to a pseudonym.
Title page of the 1608 quarto, showing the attribution to Shakespeare A Yorkshire Tragedy is an early Jacobean era stage play, a domestic tragedy printed in 1608. The play was originally assigned to William Shakespeare, though the modern critical consensus rejects this attribution, favouring Thomas Middleton.
Hen Llys (or Henllys Hall) is a house in Manafon, Powys, Wales. It is a Grade II listed building. In his biography of John Douglas, Edward Hubbard attributes its design to this Chester architect. In its listing, Cadw makes a firm attribution to Douglas as architect.
The painting was previously attributed to Jacob van Oost. However, research done in 2007 led to the re-attribution to Wautier. The painting hangs in the Seattle Art Museum who purchased it in 1958. A second version by Wautier is in a private collection in Spain.
Kiamwangi is a settlement in Kenya's Central Province.Kiamwangi is located about 25 kilometers from Nairobi. It has been described as a socio-economic village due to its attribution to numerous social and economic activities Kiamwamwangi neighbors Ishaweri village, the home of the first and the fourth presidents of Kenya.
The Church was designed by Alessio Tramello,The Guida cites an attribution to Bramante Lazzari of Urbino. was built between 1513 and 1534, and again entitled Holy Sepulchre. By 1534, the convent was constructed. Neither the more ancient front nor the current portal, seem attributable to the Tramello.
Attridge, Harold W.: Hebrews. Hermeneia; Philadelphia: Fortress, 1989, pp. 1–6. The original King James Version of the Bible titled the work "The Epistle of Paul the Apostle to the Hebrews". However, the KJV's attribution to Paul was only a guess, and is currently disputed by recent research.
The building next became Milford House girls' school.Hackney: Education, A History of the County of Middlesex: Volume 10: Hackney (1995), pp. 148-165 accessed 26 January 2008. The name is a mis- attribution to Thomas Sutton, founder of Charterhouse School, who was another notable Hackney resident, in the adjacent Tan House.
In February 1966, Dell Publishing released a paperback novelization by Al Hine under his frequent tie-in pseudonym, "Bradford Street." There is no attribution to the screenplay, though the 1965 copyright is assigned to paramount Pictures. The cover price was 45¢ and the cover photos feature stars Beatty and Caron.
C. F. Penzel, who named Bach as composer in the heading ' (Unto us a child is born), , is a Christmas cantata by an unknown composer.Work at Bach Digital website. 10 April 2017. In the Bach-Werke-Verzeichnis it is listed among the works with a doubtful attribution to Johann Sebastian Bach.
246 Mussolini began the meeting by summarizing the history of the supreme command, trying to show that the attribution to him had been sponsored by Badoglio.Monelli (1946), p. 120 He summarized the war events in the previous months, saying that he was ready to move the government to the Po valley.
In November 1999 the company was given in concession to Ferrocarril Belgrano Cargas S.A., formed by the Unión Ferroviaria and local cooperative "Laguna Paiva". The government of Argentina owned 1% with the attribution to choose the Director. In 2004 the company was re-privatised, keeping the national government 1% of the company.
Should those who were the sources of messages sent to such lists be regarded as "published authors"? Or, perhaps, as "amateur authors"? If so, there are issues of copyright and proper attribution to be considered if messages sent to such lists are cited verbatim. Even short excerpts from such messages raise such issues.
The dyke has not been dated by archaeological methods, but most historians find no reason to doubt Asser's attribution.Margaret Worthington, "Offa's Dyke", in Lapidge, Blackwell Encyclopaedia of Anglo-Saxon England, p. 341. Early names for the dyke in both Welsh and English also support the attribution to Offa.Stenton, Anglo-Saxon England, p. 213.
Borchert, 187–88. The copy at Dresden was made by Bartholomäus Sarburgh in about 1637. Since then, scholars have gradually removed the attribution to Holbein from many copies and derivative works. The current scholarly view of Holbein's art stresses his versatility, not only as a painter but as a draughtsman, printmaker, and designer.
Title page of the 1607 quarto The Puritan, or the Widow of Watling Street, also known as The Puritan Widow, is an anonymous Jacobean stage comedy, first published in 1607. It is often attributed to Thomas Middleton, but also belongs to the Shakespeare Apocrypha due to its title page attribution to "W.S.".
Crowe and Cavalcaselle had already doubted the attribution in the later 19th century. The attribution to Titian was most fully stated by John Shearman in his catalogue of this period in the Royal Collection,Whitaker and Clayton, 198–199 and notes. and has been agreed by many, including Freedburg.Freedburg, 682, note 40.
Some nineteenth-century bibliographers gave the honour to Somers, others to Defoe, but neither attribution is very plausible. ...It was signed 'R. F.', and there seems no reason to challenge the accepted attribution to Robert Ferguson. But long before 1709 Ferguson had turned Jacobite, and it is unlikely that he turned back.
For the 1942 report attributed to him, considered a cornerstone of his legacy, the attribution to Karski is unconfirmed. No reliable sources exist for the actual content of the information Karski carried with him to the West, and the information contained in the official reports may actually have come from other couriers.
Before, their Marsaxlokk provenance had not been proposed by anyone, and it was more than a century later that the claim was discredited. The attribution to Tas-Silġ was apparently reached by inference, because the candelabra were thought, with some plausibility, to have been dedicated and set up inside the temple of Heracles.
St Peter Healing the Sick with His Shadow, by Masaccio. Lower centre wall, left side, by Masaccio. The episode depicts . The picture's attribution to Masaccio is based in on the perspective structure used to create the street setting and the craggy naturalism of the physiognomies of the old man and the cripple.
In an explanation about the (re)making project on his current web site, Mee says that his plays are protected by copyright if they are "essentially or substantially performed" as he has composed them. He continues, however, to invite others to freely pillage his texts to make their own work, without any attribution to him.
Willem Danielsz. van Tetrode, known in Italy as Guglielmo Fiammingo (before c. 1530, Delft — after 1587),Dates proposed by Charles Avery, who suggests an attribution to Tetrode of a Hercules in the Rijksmuseum (Avery, reviewing Jaap Leeuwenberg, Beeldhouwkunst in het Rijksmuseum in The Burlington Magazine 119 No. 886 [January 1977, pp. 42-44] p 443).
1800 (ML443). Notes on a comparison of the two paintings, and their provenance, dating and attribution to Watling are in the Mitchell Library at PXn 264. The paintings are now not attributed directly to Watling but are thought to be painted in Britain, by an unknown artist, possibly from Watling's on-the-spot sketches.
Publisher Humphrey Moseley obtained the rights to the play and re-registered it on 9 September 1653 as a work by William Shakespeare. Moseley's attribution to Shakespeare was repeated by Edward Archer in his 1656 play list [see: The Old Law], and by Francis Kirkman in his list of 1661.Chambers, Vol. 4, p. 30.
The piece was first published in 1852 (25 years after Beethoven's death) by Fritz Schuberth in Leipzig, Germany. It was first published in the United States in 1854 by J. E. Gould of Philadelphia, with variations by Charles Grobe, under the title "Enchanting Dreams" (and without any attribution to Beethoven). The piece has been arranged as chamber music.
Campbell (1998), p. 77 The more recent, and widely accepted attribution to Campin, who is usually identified as the Master of Flémalle, is based mainly on stylistic grounds. None of his documented works survive,Hand (1987), p. 34 nor is there any hint either of his identification, in the form of inscriptions, coats or arms, on the panels.
The majority of the second volume of Summa de arithmetica, geometria. Proportioni et proportionalita was a slightly rewritten version of one of Piero della Francesca's works. The third volume of Pacioli's Divina proportione was an Italian translation of Piero della Francesca's Latin book De quinque corporibus regularibus. In neither case did Pacioli include an attribution to Piero.
The work was initially attributed to Bernardo Bellotto by the Museo Poldi Pezzoli's first Giuseppe Bertini in his 1881 catalogue of the collection G. Bertini, Fondazione artistica Poldi Pezzoli. Catalogo generale, Milano 1881, p. 30., but modern art historians consider it to be similar enough to Canaletto's 1740s works to make a secure attribution to him.
Although published in 2015, the website does not yet cover volumes discovered or provenanced later than 1987. Two are internally dated to the time of Ranulf. One of these is a copy of works of Augustine of Hippo, with its attribution to Buildwas Abbey and the date 1167 written above the title in red and black letters.MLGB3 item 559.
A number of different versions were published the next year. Along the Mississippi River, most were nearly identical to the 1850 publication. Peters, Webb and Co. in Louisville, Kentucky, published it as "Wait For The Wagon: A Song For The South West" with no attribution to music or lyrics.Benedict, "Wait For The Wagon: A Song For The South West".
In the 20th century, this statement appeared—without any authorship attribution—in magazine advertisements, business catalogs, student publications, and, occasionally, in editorial columns. Also in the 20th century and continuing into the 21st century, newspaper advertisements, magazine advertisements, trade publications, student publications, business books, technical publications, business catalogs, and other publications often included the statement with attribution to Ruskin.
It is the most-widely copied Old English poem, and appears in 45 manuscripts, but its attribution to Bede is not absolutely certain—not all manuscripts name Bede as the author, and the ones that do are of later origin than those that do not.Scragg, Donald. "Bede's Death Song", in Lapidge, Encyclopaedia of Anglo-Saxon England, p. 59.
Dami agreed, though Adolfo Venturi attributed it to Bacchiacca, possibly confused by a poor photographic reproduction. The attribution to Beccafumi is now universally accepted. Its circular format and balanced composition shows the influence of the late 15th century and early 16th century Florentine school, particularly Raphael. AA.VV., Alte Pinakothek Munich, Edition Lipp, Monaco di Baviera, 1986.
Though the following supposed quotation of Joseph Goebbels has been repeated in numerous books and articles and on thousands of web pages, none of them has cited a primary source. Thus its attribution to anyone must be considered dubious. According to the research and reasoning of Randall Bytwerk, it is an unlikely thing for Goebbels to have said.Bytwerk, Randall.
The phrase is not found in any of Disraeli's works and the earliest known appearances were years after his death. The phrase was attributed to an anonymous writer in mid-1891 and later that year to Sir Charles Dilke, but several others have been listed as originators of the quote, including frequent erroneous attribution to Twain himself.
The information is attributed to a confidant of Benedict XIII, and placed in 1411. In fact Challant was an aristocrat and possessed a doctorate. The attribution to the dukes should be treated with great caution. Challant was promoted to the rank of Cardinal priest of Santa Cecilia by John XXIII on 19 March 1412, and Cardinal Chamberlain.
In addition to the attribution to Francis in Motion Picture News and Bogdanovich's credits to him, other biographers of John Ford, such as Ronald L. Davis, Lindsay Anderson, and Andrew Sarris, exclude this short from his filmographies in their works.Davis, Ronald L. John Ford: Hollywood's Old Master. Norman and London: Oklahoma University Press, 1995, p. 343; Anderson, Lindsay.
In this earlier printing, it was also not credited, but this attribution to Brough is therefore uncertain. He also published much- praised translations of poetry, including those of Victor Hugo. In 1860 Robert Brough edited the magazine the Welcome Guest for John Maxwell, and was editor at the time of the first contribution by Mary Elizabeth Braddon.
AD. 1740] ::(Translation): ::Very comfortable place is my native Dimtui (a poetic attribution to TE DIM), where all my dreams fulfilled; Where all my dreams fulfilled, that everyone envies of my native; ::It's shining, yes, shining, my native Dimtui is shining modestly; My native Dimtui is shining modestly, where I made lasting vow to my beloved (dear wife).
Passavant and Garas continued to support the attribution to Raphael, but more recent studies such as those by Morelli, Berenson, Venturi and Lucco have conclusively attributed it to Sebastiano del Piombo. Lucco also mentions a possibly autograph copy of the painting in the Museo nazionale del Palazzo di Venezia in RomeGloria Fossi, Uffizi, Giunti, Firenze 2004. .
It is considered an important source of Old Norse philosophy. The verses are attributed to Odin; the implicit attribution to Odin facilitated the accretion of various mythological material also dealing with the same deity.Bellows (1936), introductory note. For the most part composed in the metre ljóðaháttr, a metre associated with wisdom verse, Hávamál is both practical and philosophical in content.
Bombe, Adolfo Venturi, F. Canuti, Domenico Gnoli and Berenson had previously held it to be studio work, but after the restoration decided it was an autograph work with studio assistance. Santi and Cavalcaselle consider the work's attribution to Perugino to be doubtful and argue it was an autograph work subjected to major alterations by assistants at a late stage in its production.
Andrew Dansby of the Houston Chronicle wrote that due to the park's use by sports figures and in hip-hop culture, "MacGregor Park has a storied place in Houston culture." Songs about MacGregor Park include the 1985 song "MacGregor Park" with writing attribution to Robert Harlan and by "the L.A. Rapper," as well as the 2015 song "MacGregor Park" by Fat Tony.
The Categoriae decem, also known as the Ten Categories and as the Paraphrasis Themistiana,The Themistian paraphrase, an attribution to Themistius; other scholars play safe with Pseudo-Augustinus. was a Latin summary of the Categories of Aristotle. It is thought to date to the fourth century. Once and traditionally attributed to St. Augustine, it is now no longer thought to be his work.
Many uli designs were also copied by Western observers onto paper or canvas. The Pitt Rivers Museum archives over one hundred of these copied designs, though they lack attribution to the original artists. In addition, modernization has also prevented usage of traditional techniques. Cement has replaced traditional building materials, radically changing the methods that would be used to apply murals.
'"Il carro di Madama Lucia et una serenata in lingua lombarda": notes on the definitive attribution to Giovanni Battista Fasolo, in Seicento inesplorato, Lenno 1989, p.481–96 Mariangela Donà,Donà, Mariangela. Foreword to Giovan Battista Fasolo e la Barchetta Passaggiera Lucca, 1994 and Claudio BacciagaluppiBacciagaluppi, Claudio. 'G.B. Fasolo "Fenice de' musici ingegni"' in Rivista internazionale di musica sacra , 19/2 1998, p.
The seal has many similarities with the seal of Darius I (c. 550–486 BC), both in the rather rigid treatment of the figures, and in the composition of the seal itself. On these grounds, the manufacture of the Zvenigorodsky seal could be attributed to a period rather close to that of Darius I, which would favour an attribution to Artaxerxes I.
These characterizations are mostly of historiographical interest: attribution to Donatello is more of an indication of what is valued by each commentator than any objective criteria; often, aspects are attributed to Michelozzo explicitly because they are "less well executed". Descriptions from 1475 to 1568 attribute all of the tomb except for the figure of Faith to Donatello.Caplow, 1977, p. 119.
Rumours said that clubs like Everton was following Malik's progress in his early years before his injury started, which slowed down his talent and progression. He was selected for the Pakistan national football team in 2012, and played in the friendly match against Singapore, picking up his first international cap in the process. That was his last attribution to football.
Its attribution to David was contested by Gaston Brière, Klaus Holma and Louis Hautecœur, although the work is signed and mentioned in the painter's own list of works. Antoine Schnapper supported David as its artist by looking at the painting's treatment of the figure's hand and robe. Since the 1980s it has been in a private collection in the USA.
It was sold at Christie's in London on 8 July 2014 on behalf of the Barbara Piasecka Johnson Collection Foundation. It sold to an unknown buyer for £6,242,500 (US$10,687,160), at the lower end of the estimated price range of £6-£8 million. Some art market commentators speculated that doubt about the attribution to Vermeer may have contributed to the relatively low price.
These were in fact by Thomas Heywood, from his Troia Britannica, which Jaggard had published in 1609. Heywood protested the unauthorized copying in his Apology for Actors (1612), writing that Shakespeare was "much offended" with Jaggard for making "so bold with his name." Jaggard withdrew the attribution to Shakespeare from unsold copies of the 1612 edition.Halliday (1964), pp. 34–35.
Lex Parliamentaria (1690). Lex Parliamentaria; or, A treatise of the law and custom of the Parliaments of England, was a pocket manual for members of the Parliament of England first published in 1690. It was originally attributed to George Petyt. However, an attribution to Irishman George Philips seems now to be widely accepted, including by the historians Sir James Ware and Walter Harris.
Increasingly, arguments for and against the attribution to Aeschylus have been based on metrical-stylistic grounds: the play's diction, the use of so-called Eigenwoerter, the use of recitative anapests in the meter, etc.See, as examples, Griffith 1977, 157-72; Ireland 1977, 189-210; Hubbard 1991, 439-60. Using such criteria in 1977, Mark Griffith made a case against the attribution.
390px Holy Family with the Infant Saint John the Baptist is a c.1514–1515 oil on canvas painting by Domenico Beccafumi, now in the Uffizi in Florence.Anna Maria Francini Ciaranfi, Beccafumi, Sadea Editore/Sansoni, Firenze 1967. It and its frames with cherubs are first definitely recorded in 1624 in an inventory of the Medici collections with an attribution to Beccafumi.
The monastery was begun in 1531 and was finished in 1580, built by the Franciscan order, with attribution to Juan de Alameda, whose remains are buried there. It is similar to the monastery in Huejotzingo, though it lacks that building's pre- Hispanic symbolism. The facade is Plateresque with a richly adorned main portal in sandstone. The open chapel is Gothic.
Tokio (minor planet designation: 498 Tokio) (1902 KU) is a main-belt asteroid discovered on 2 December 1902 by Auguste Charlois at the Nice Observatory. Attribution to Astronomer Shin Hirayama of the Azabu Observatory, Tokyo, Japan for the 1900 discovery and naming of Tokio as cited in the 1947 Monthly Newsletter of the Royal Astronomical Society Vol 107, page 45.
Wedgwood was unable to "fix" his pictures to make them immune to the further effects of light. Unless kept in complete darkness, they would slowly but surely darken all over, eventually destroying the image. As Davy put it in his paper of 1802, the picture, Salted paper photogram of a leaf, circa 1839. A speculative attribution to Wedgwood in 2008 was later retired.
The National Heritage List for England states that the design was probably by Alfred Waterhouse. However Edward Hubbard, in his biography of John Douglas, gives a firm attribution to Douglas as the architect. The authors of the Buildings of England series also attribute the design to Douglas. The lodge was built in 1877–79 for the 1st Duke of Westminster.
Two types of credits are traditionally used in films, television programs, and video games, all of which provide attribution to the staff involved in their productions. While opening credits will usually display only the major positions in a production's cast and crew (such as creators, producers, and lead actors), closing credits will typically acknowledge all staff members that were involved in the production.
Resurrection of Christ is a 1475–1479 painting by Giovanni Bellini. It was produced for the Marino Zorzi chapel in the mortuary church of San Michele di Murano in Venice. It has previously been attributed to Cima da Conegliano, Previtali, Bartolomeo Veneto and Marco Basaiti. It was acquired by the Gemäldegalerie, Berlin in 1903 and a full restoration shortly afterwards confirmed its attribution to Bellini.
Functio laesa is a term used in medicine to refer to a loss of function or a disturbance of function. It was identified as the fifth sign of acute inflammation by Galen, who added it to the four signs identified by Celsus (tumor, rubor, calor, and dolor). The attribution to Galen is disputed, and has variously been attributed to Thomas Sydenham and Rudolf Virchow.
Bate believes it was created to be read after As You Like It was given at court on Shrove Tuesday in February 1599. American scholars William Ringler and Steven May discovered the poem in 1972 in the notebook of a man called Henry Stanford, who is known to have worked in the household of the Lord Chamberlain. Other scholars have since contested the attribution to Shakespeare.
The History of the Patriarchs of Alexandria is a major historical work of the Coptic Orthodox Church of Alexandria. It is written in Arabic,Arabic title Tarikh Batarikat al-Kanisah al-Misriyah but draws extensively on Greek and Coptic sources. The compilation was based on earlier biographical sources. It was begun by Severus Ibn al-Muqaffaʿ, although one scholar contests its attribution to him.
Snyder (1997), 79 Some scholars, most notably Panofsky, argued against the attribution to van Eyck on the basis of the somewhat arcane iconography. Others, including James Snyder, view the imagery as typical of van Eyck's medieval view of mystical and visionary experience.Snyder (1997), 75 Jan van Eyck, Madonna of Chancellor Rolin (detail), c. 1435 Van Eyck's meticulous setting and landscape were another innovation in iconography.
His view was shared, some 30 years later, by Panofsky, who saw weakness in the portrait he believed irreconcilable with as skilled and accomplished a painter. Attribution to van Eyck is now broadly accepted since an infra-red photography examination carried out during a 1991 restoration revealed an underdrawing and paint handling very similar to that found in confirmed, signed works by the artist.
The hymn first appears in multiple 11th-century manuscripts, so if the attribution to St. Fulbert (who died c. 1029) is correct, "it must have become popular very quickly". The hymn was widely used on the British Isles. In the Sarum Breviary, it is listed for the Vespers of the Easter Octave and for all Sundays from then until the Feast of the Ascension.
The attribution to Munday relies on similarities between Fair Em and John a Kent and John a Cumber. A later play, John Day's The Blind Beggar of Bednal Green (1600), bears noteworthy resemblances to Fair Em. The plot derives from traditional sources; a ballad titled The Miller's Daughter of Manchester was entered into the Stationers' Register on 2 March 1581.Chambers, Vol. 4, p. 11.
A handful of other paintings have been attributed to Vezzi. All but one are roughly datable to her years in Rome. David Mandrella has suggested an attribution to Vezzi for another Judith, this one at the Alte Pinakothek in Munich (see Gallery), currently attributed to Simon Vouet, but Mandrella's argument "does not convince" longtime Vouet/Vezzi scholar Arnaud Brejon de Lavergnée.Brejon de Lavergnée, Arnauld.
The Gospel of PeterJoel Willitts, Michael F. Bird: "Paul and the Gospels: Christologies, Conflicts and Convergences" p. 32 and the attribution to Paul of the Epistle to the Laodiceans are both examples of pseudepigrapha that were not included in the New Testament canon.Lewis R. Donelson: "Pseudepigraphy and Ethical Argument in the Pastoral Epistles", p. 42 They are often referred to as New Testament apocrypha.
The origins of Kujula Kadphises are quite obscure, and he is usually believed to be a descendant of the Kushan ruler Heraios, or possibly identical with him.Cribb, J. (1993), The Heraus coins: their attribution to the Kushan king Kujula Kadphises, c. AD 30-80. Essays in Honour of Robert Carson and Kenneth Jenkins, (edited by M. Price, A. Burnett, and R. Bland), London, 107-134.
Allegory of Painting is an artwork painted by the Italian baroque artist Artemisia Gentileschi. It hangs in the Musee de Tesse, Le Mans, France. It is one of many paintings done by Gentileschi with this theme, but the depiction in this particular painting is unusual, and scholars have suggested it may have another meaning. Its attribution to Gentileschi is relatively recent, being associated with her in 1988.
The Villa Forni Cerato is a 16th-century villa in Montecchio Precalcino, Province of Vicenza, northern Italy. Its design is attributed to Andrea Palladio and his client is assumed to have been Girolamo Forni, a wealthy wood merchant who supplied building material for a number of the Palladio's projects. The attribution to Palladio is partly based on stylistic grounds, although the building departs from the Palladian norms.
The discussion section consists of the author's analysis and interpretations of the data. Additionally, the author may choose to discuss any discrepancies with the experiment that could have altered the results. The conclusion summarizes the experiment and will make inferences about the outcomes. The paper will typically end with an acknowledgments section, giving proper attribution to any other contributors besides the main author(s).
It too is isometric, decasyllabic, and having eight-line stanzas. Though it is also attributed to Gace Brulé, the attribution to Baudouin is more likely.Theodore Karp (1962), "Borrowed Material in Trouvère Music," Acta Musicologica, 34(3), 98. It was once suggested that Baudouin des Auteus was the same Baudouin that participated in some jeux partis with Theobald I of Navarre, but this is dubious.
The code for Slenfbot appears to be closely managed, which may provide attribution to a single group and/or indicate that a large portion of the code is shared amongst multiple groups. The inclusion of other malware families and variants as well as its own continuous evolution, makes Slenfbot a highly effective downloader with a propensity to cause even more damage to compromised systems.
Payen's music is both sacred and secular, and all surviving music is vocal, although some of his chansons were later arranged for lute. Thirteen motets and five chansons have survived with attribution to him. The motets include some written for state occasions, such as Carole cur defles, for the death of Queen Isabella, in 1545. One, In Gott gelaub ich das er hat, is in German.
It is not known when the work was composed. Some scholars, for example Martin Geck, have questioned the attribution to Bach. Accessed via JSTOR (subscription required) In the twentieth century the authoritative Bach- Werke-Verzeichnis catalogue included it in a set of motets (listed as BWV 225–231). In retrospect, the BWV numbering seems somewhat arbitrary as a grouping of the Bach motets: recent scholarship includes more works among the motets.
By the end of the first century, Plutarch had said, in his Glory of the Athenians, that Xenophon had attributed Anabasis to a third party in order to distance himself as a subject, from himself as a writer. While the attribution to Themistogenes has been raised many times, the view of most scholars aligns substantially with that of Plutarch, and certainly that all the volumes are written by Xenophon.
Joseph Crandall. Pinole, California: Smiling Tiger Martial Arts 1994. Many Chinese authorities do not accept the Buddhist origin, instead maintaining that those teachers were purely Taoist in origin, the evidence lying in Baguazhang's frequent reference to core concepts central to Taoism, such as Yin and Yang theory, I Ching and Taoism's most distinctive paradigm, the Bagua diagram. The attribution to Buddhist teachers came from the 2nd generation teachers, i.e.
The cover art includes the captions "The Original Timeless Tale of True Friendship" and "The Story that Inspired The Fox and the Hound". The first may refer to a different movie altogether; the second is at odds with Disney's attribution to Daniel P. Mannix's novel, The Fox and the Hound (1967). David Rook's novel and the James Hill film do however bear striking similarities in outline to the earlier Mannix novel.
One is a polychrome wood sculpture possibly finished in 1492 which had been lost from view by scholars until it re-emerged in 1962; in 2001 new investigations appeared to confirm the attribution to Michelangelo. Crucifix 'confirmed' as a Michelangelo. BBC News, 18 July 2001. Retrieved on 18 May 2009 It was perhaps made for the high altar of the Church of Santa Maria del Santo Spirito in Florence, Italy.
He also undertook a limited early re-building of The Hendre, and carried out work in Commercial Street, Pontypool. Cadw suggests that Maddox was also the architect of the main block of Piercefield House, near Chepstow, working to designs by Sir John Soane. Given the date of Maddox's birth, and the construction period for Piercefield, this seems unlikely. The architectural historian John Newman follows the more conventional attribution to Soane himself.
Early Fashions on Brighton Pier is a 19th-century British silent actuality film, generally considered to be shot by Scottish film pioneer James Williamson. Previously, the film had been credited to George Albert Smith. The more recent attribution to Williamson is based mainly on the identification of two of Williamson's sons in the pier crowd. It is categorised in the Screen Archive South East as On the West Pier.
Wingdings is a series of dingbat fonts that render letters as a variety of symbols. They were originally developed in 1990 by Microsoft by combining glyphs from Lucida Icons, Arrows, and Stars licensed from Charles Bigelow and Kris Holmes.Notes on Lucida designs(by Charles Bigelow, November 2005) Certain versions of the font's copyright string include an attribution to Type Solutions, Inc., the maker of a tool used to hint the font.
I: Greek Literature, CUP, Cambridge, 1989, pp. 90–91. and the issue has invested modern scholarship since the 17th century when the play's authenticity was challenged, first by Joseph Scaliger and subsequently by others, partly on aesthetic grounds and partly on peculiarities in the play's vocabulary, style and technique.W. Ritchie, The Authenticity of the Rhesus of Euripides, CUP, Cambridge, 1964, , p. vii. The conventional attribution to Euripides remains controversial.
Alexander Thayer noted that when the sonata was discovered, the manuscript was not in Beethoven's handwriting, making attribution to the composer problematic. Musicologist Willy Hess argued that Beethoven would not have retained the work in his papers unless he had some personal connection with the composition. The manuscript was initially obtained by Artaria & Co., who elected not to publish the composition. The sonata was finally published in 1906 by Breitkopf & Härtel.
The story is set long after the timeframe of the History's Merlin, but the author tries to synchronise the works with references to the mad prophet's previous dealings with Vortigern and Arthur. The Vita did not circulate widely, and the attribution to Geoffrey appears in only one late 13th-century manuscript, but it contains recognisably Galfridian elements in its construction and content, and most critics recognise it as his.
Diophantus is also known to have written on polygonal numbers, a topic of great interest to Pythagoras and Pythagoreans. Fragments of a book dealing with polygonal numbers are extant. A book called Preliminaries to the Geometric Elements has been traditionally attributed to Hero of Alexandria. It has been studied recently by Wilbur Knorr, who suggested that the attribution to Hero is incorrect, and that the true author is Diophantus.
Hebrews 6 is the sixth chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the admonition to progress and persist in faithfulness.
It was last restored in 1996. Gloria Fossi, Uffizi, Giunti, Firenze 2004. The attribution to Andrea del Sarto is traditional, though Gamba and others also speak of Pontormo and Bernard Berenson of one of the Puligo brothers. Luciano Berti supports the Pontormo attribution, seeing similarities to La Velata by Raphael, who was then in Rome and which the artist could have seen on a hypothetical trip in 1515.
According to 1637 documents on court personnel, Velasquillo may have been the 'stage name' of a jester born Cristóbal Velázquez. Brown has reiterated his refusal to accept the attribution to Vélasquez due to stylistic reasons, the "slightly amorphous" architecture in the background, the uniform brushwork and the heavy execution of certain parts of the work such as the right hand Brown (2008), Escritos completos sobre Velázquez, p. 370-372..
The identification with the subject (the wife of Antonio da Montefeltro, described in Baldassarre Castiglione's Book of the Courtier) is confirmed by a medal attributed to Adriano Fiorentino. However, the attribution to Raphael remains disputed, in a similar way than the Portrait of Elisabetta Gonzaga of the Uffizi. Emilia Pia was in fact a confidant of Elisabetta Gonzaga, and perhaps her portrait was executed to emulate the former's.
In the Stationers' Register of 2 May 1608, the entry for A Yorkshire Tragedy ascribes authorship to "William Shakespere." The title page of the published quarto repeats the attribution to "W. Shakspeare," and states that the play was acted by the King's Men (Shakespeare's company) at the Globe Theatre. While some early critics allowed the possibility of Shakespeare's authorship, most, over the past two centuries, have doubted the attribution.
It is also proposed that this fragment belongs to the Minyas,. and the existence of an independent Hesiodic poem on the descent of Theseus and Perithous is complicated by the fact that elsewhere Pausanias attributes the myth to the Minyas.Paus. 10.28.2; . The sheer number of Hesiodic papyri that have survived compared to those of other works of archaic epic, however, lends credence to the attribution to the Hesiodic corpus..
An undated doggerel from Western Pennsylvania was reported by H. Carrington Bolton as "Pontius Pilate, King of the Jews",/"Sold his wife for a pair of shoes."/"When the shoes began to wear"/"Pontius Pilate began to swear."Quotation and attribution to Bolton: Bolton received it after publishing other rhymes used by children for "counting-out". Variants on the rhyme have also been reported, including from Salt Lake City c.
Then attributed to Giorgione, it was later reattributed as an early work by Titian. Some art historians have also suggested an attribution to Romanino. At the centre is a group of figures freeing the child Adonis from his mother, who has just been transformed into a tree. To the left is a pair of lovers (referring to Adonis' conception), whilst on the left is his future lover Venus.
The Bolsheviks, including Vladimir Lenin in his articles and Nikolai Bukharin in his book The ABC of Communism ("Азбука коммунизма"), wrote that the first soviets were "spontaneously created by workers," without any attribution to party affiliation. This interpretation was also given in the Great Soviet Encyclopedia, article "Soviets of Workers' Deputies" ("Советы депутатов трудящихся"), which also mentions that the Ivanovo Soviet (created in May 1905) was one of the first Soviets.
Church House was built as parish rooms and a caretaker's house in 1889. Hubbard states that it was built for Rowland Egerton-Warburton and that its design is attributed to the Chester architect John Douglas. However the authors of the Buildings of England series refer to the "Douglas motifs" and give a firm attribution to him. The citation in the National Heritage List for England states that the architect is Douglas.
The author, or the licenser in case the author did a contractual transfer of rights, need to have the exclusive rights on the work. If the work has already been published under a public license, it can be uploaded by any third party, once more on another platform, by using a compatible license, and making reference and attribution to the original license (e.g. by referring the URL of the original license).
On the evening of 25 November he was hit by a shot from a falconet in a battle near Governolo. According to a contemporary accountLuigi Guicciardini, Il Sacco di Roma (Paris, 1664). In this edition the author's name is given simply as 'Guicciardini'; hence the attribution to Francesco Guicciardini in previous versions of this article. Luigi (1478–1551), a distinguished Florentine magistrate and political philosopher, was Francesco's brother.
For the past 20 years, researchers have expanded the field of moral development, applying moral judgment, reasoning, and emotion attribution to topics such as prejudice, aggression, theory of mind, emotions, empathy, peer relationships, and parent-child interactions. The Handbook of Moral Development (2006), edited by Melanie Killen and Judith Smetana, provides a wide range of information about these topics covered in moral development today.Killen, M., & Smetana, J.G. (Eds.) (2006). Handbook of moral development.
The Mill is a painting by Dutch baroque artist Rembrandt Harmenszoon van Rijn. It is in the permanent collection of the National Gallery of Art in Washington DC.NGA Washington For a long time, the attribution to Rembrandt was regarded as doubtful; it has been restored in recent years, although it is not universally accepted.Online Rembrandt catalogue The painting was formerly in the Orleans Collection. It was once owned by Peter Arrell Brown Widener.
The 15th-century church is dedicated to St Disen, a unique dedication in the British Isles, who is considered to have been an Irish missionary saint. Previously this church was dedicated to St Denis or St Dionysius, and some confusion has arisen with some believing the attribution to St Disen to have been a romantic invention of one of the 19th-century vicars of the parish, Rev. Mr. Croslegh.N. Orme, English Church Dedications, p.
The eclipse of the traditional attribution to Luke the companion of Paul has meant that an early date for the gospel is now rarely put forward. Most scholars date the composition of the combined work to around 80–90 AD, although some others suggest 90–110, and there is textual evidence (the conflicts between Western and Alexandrian manuscript families) that Luke–Acts was still being substantially revised well into the 2nd century.
The attribution to Giambologna is based on the style of the figure. The artist had one style for marble works and a rather different one applied for works in bronze. The bronze Venus shows stylistic features that cannot be found on the Getty marble but do appear on many other large bronzes in Giambologna's oeuvre. This can be fully demonstrated by an exhaustive comparison of particular details and mannerisms in Giambologna's work as a whole.
The completed angel nearest to the Virgin is noted as being similar to a sketch of the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio. In 2017, scholars discovered an extra tooth or mesiodens in the child which is a proof for the attribution to Michelangelo. Moreover, the painting is thematically and iconographically connected to a fresco by Piero della Francesca in ArezzoGiometti, Sandro (2018). "Michelangelo: Mostrare l'invisibile – displaying the invisible", ed.
In the work Bibliotheke ("The Library"),Apollodorus 2.1.1 whose traditional attribution to Apollodorus of Athens is disputed, we read: :Ocean and Tethys had a son Inachus, after whom a river in Argos is called Inachus. He and Melia, daughter of Ocean, had sons, Phoroneus, and Aegialeus. Aegialeus having died childless, the whole country was called Aegialia; and Phoroneus, reigning over the whole land afterwards named Peloponnese, begat Apis and Niobe by a nymph Teledice.
Only Cirillo and Godi (1982) dissented, attributing it instead to Anselmi, with Cirillo switching it to the Parmigianino attribution in 1999. Although it has been exhibited as Self-Portrait of Parmiganino, the attribution to Anselmi has recently been re-advanced due to stylistic details such as the ruffled hair, the soft serpentine beard and the study of the saint on the reverse, which may correspond with Anselmi's Saint Jerome and Saint Catherine (Pinacoteca di Brera).
Title page of Sir John Oldcastle Q1 (1600) The play was originally published anonymously in 1600 (Q1), printed by Valentine Simmes for the bookseller Thomas Pavier. In 1619, a new edition (Q2) carried an attribution to William Shakespeare.The 1619 edition of the play was part of William Jaggard's so-called False Folio. The diary of Philip Henslowe records that the play was written by Anthony Munday, Michael Drayton, Richard Hathwaye and Robert Wilson.
The walls are laid in a rough Flemish bond. The buttresses with sloping set-offs project prominently from three bays of the north and south walls. At both the east and west end of the church are crow-stepped gables, while unadorned turrets, corbelled slightly at their bases, decorate the corners of the building. The artisan mannerism style of the building combines several architectural styles without attribution to a specific architect or stylistic movement.
Other works of al-Naysaburi are the Kitāb al-tawḥīd ("The Book of Unity"), a theological treatise, and the Risālā al- zāhira fī maʿrifat al-dār al-ākhīra ("The Resplendent Treatise on the Recognition of the Abode of the Hereafter"), which deals with eschatology, but its attribution to al-Naysaburi by Ivanow has been questioned by the contemporary historian Ismail Poonawala, who ascribes it to Ahmad ibn Ibrahim al-Ya'buri al-Hamdani.
Acworth Congregational Church (The Church-on-the-Hill or Acworth Meetinghouse) is a historic church at the end of the town common in Acworth, New Hampshire. Built in 1821, its exterior is a well-preserved local example of Federal period architecture, with possible attribution to Elias Carter. Its interior now exhibits a Victorian-era design, distinctive because it has survived later alteration. The church was listed on the National Register of Historic Places in 1975.
Various Lullubian reliefs can be seen in the area of Sar-e Pol-e Zohab, the best preserved of which is the Anubanini rock relief. They all show a ruler trampling an enemy, and most also show a deity facing the ruler. Another relief can be found about 200 meters away, in a style similar to the Anubanini relief, but this time with a beardless ruler. The attribution to a specific ruler remains uncertain.
Scholia attributed to Acron appear in manuscripts of Horace; there are three recensions known, the earliest dating to the 5th century. The fragments which remain of the work on Horace, though much mutilated, are valuable, as containing the remarks of the older commentators, Quintus Terentius Scaurus and others. The attribution to Acron, however, is not found before the 15th century, and is doubtful. Fragments of Acron's writing may also appear in Pomponius Porphyrion.
Vischer is the name of a family of sculptors active in Nuremberg between 1453 and 1549. The family contributed largely to the masterpieces of German art in the 15th and 16th centuries. Attribution between them can be confusing since they worked together out of the same workshop. The fame of Peter Vischer the Elder seems to have caused the tendency of over attribution to him versus his sons and even non-family members.
The name Menwhopause was borrowed from Anup's quiz team in college that went by the same name. The band has always maintained that the pun was actually unintentional and they were more interested in the word pause being part of the band's name. In recent interviews, the band has been quoted giving different origins of the name. Some of them include a tyre company in Brazil, tattooed fans and an attribution to Randeep's mother.
The Violin Sonata in D major, K. deest, is a composition for violin and piano (or harpsichord) published in England during the 18th Century under the name of Wolfgang Amadeus Mozart. It is typical of many such works intended for use by amateur musicians in a domestic setting, with the attribution to a well known composer being used to boost sales. As with Mozart's earliest violin sonatas, the keyboard instrument is dominant.
Hebrews 11 is the eleventh chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the exposition about the examples of faith's effective expression.
Hebrews 12 is the twelfth chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the call to respond gratefully and nobly to God's invitation.
Hebrews 13 is the thirteenth (and the last) chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23), caused a traditional attribution to Paul. This attribution has been disputed since the second century, and there is no decisive evidence for the authorship. This closing chapter contains the author's concluding exhortations, final benediction and epistolary postscript.
Hebrews 8 is the eighth chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the exposition about the better ministry of the New Covenant.
The final stage of transaction cost analysis involves combining the results of the measurement and attribution to evaluate each agent. This is often done through periodic reports detailing important statistics as well as graphics to help visualize trends in the data. Transaction cost analysis providers will often include regular consulting to help draw conclusions from the data, establish goals to improve performance, and monitor future trading to determine the impact of any changes.
According to this writer Saint Swithun was born in the reign of Egbert of Wessex, and was ordained priest by Helmstan, bishop of Winchester (838-c. 852). His fame reached the king's ears, and he appointed him tutor of his son, Æthelwulf (alias Adulphus), and considered him one of his chief friends. However, Michael Lapidge describes the work as "pure fiction" and shows that the attribution to Goscelin is false.Lapidge, Cult of St Swithun, p.
Basiron's music was widely distributed in Europe, and was highly praised by his contemporaries. In addition he was precocious: many of his chansons were written in his teens, and probably much more of his early music has been lost. A total of four masses, three motets and six chansons have survived, and also one mass which has an uncertain attribution to him. Stylistically Basiron's music resembles that of Ockeghem, and is innovative in several ways.
Others also note the prevalence of positive and negative connotations to 'white' and 'black' in the bible, predating attributions to skin tone and slavery. It wasn't until the 1960's Black Power movement that "Black" became a widespread word to refer to one's race as a person of color in America (alternate to African-American) lending itself to the argument that the negative connotation behind 'black' and 'blacklist' both predate attribution to race.
Facts on File, Inc., 2005. Ancient and Medieval History Online. Facts on File, Inc. (accessed 25 July 2014) The attribution to van Wassenhove of some or all of the works in the Famous men series has not received unanimous support. Various other artists have been proposed as the author of the Famous men series, of whom the Spanish painter Pedro Berruguete has received the strongest support.Lauts, Jan; Herzner, Irmlind Luise: Federico da Montefeltro.
Br Olsen;185A Referred to as Thorwald's Cross, this stone cross is found in the church Andreas. Only attribution to the one who raised the stone—Þorvaldr—remains of the message inscribed on the cross. It has been badly damaged since it was recorded. The stone depicts a bearded human holding a spear downward at a wolf, his right foot in its mouth, while a large bird sits at his shoulder.Pluskowski (2004:158).
"Washington and Lee Swing" is the official fight song of Washington and Lee University. It was written in 1910 by Mark W. Sheafe, Clarence A. (Tod) Robbins, and Thornton W. Allen. It is widely used as the primary school song by other universities and high schools within the United States, with varying degrees of attribution to the original. The song is also used as a standard in swing music, dixieland, and bluegrass repertoire.
Following an investigation into several works in its permanent collection in the mid-2010s, the museum corrected the attribution to several works to its correct painter, Caroline Louisa Daly. A two-year investigation into the matter by the museum was launched in 2014 shortly after it was informed of the issue by a great-grandchild of Daly, who recognized her signature on one of the works. Following the correction, the museum organized an exhibition to exhibit works by Daly.
The dating of the Mahabodhivamsa is based on the a Sinhalese commentary written in the late 12th Century. This is also the source of its attribution to Upatissa, who is otherwise unknown but described as composing the Pali text at the request of a monk called Dāthānāga, identified by 19th Century scholars with a monk by the same name mentioned in the Culavamsa and other sources as being appointed by Mahinda IV to teach the Abhidhamma.
The Bloody Banquet was never entered into the Register of the Stationers Company, but an order from the Lord Chamberlain (then Philip Herbert, 4th Earl of Pembroke), dated 19 August 1639, lists it among forty plays that are the property of William Beeston and can be performed only by his company, Beeston's Boys. It was first published in quarto in the same year, 1639, by Thomas Cotes, with the attribution to "T. D." on its title page.
An early but uncertain attribution to Melzi came from the art historian Giovanni Morelli in 1877. In 1905, Wilhelm von Bode confirmed Melzi as the artist of this painting as well as of Flora at the Hermitage Museum in Saint Petersburg. In discussing Morelli's attribution, Marion Wilcox argued in 1919 that Melzi is the only possible author as the only alternative would be Giampietrino. To Wilcox, Giampietrino's work never achieved the "distinction" seen in Vertumnus and Pomona.
Lilith, illustration by Carl Poellath from 1886 or earlier The pseudepigraphicalThe attribution to the sage Ben Sira is considered false, with the true author unknown. 8th–10th centuries Alphabet of Ben Sira is considered to be the oldest form of the story of Lilith as Adam's first wife. Whether this particular tradition is older is not known. Scholars tend to date the Alphabet between the 8th and 10th centuries AD. The work has been characterised as satirical.
Colonized in the middle of the 19th century, the township of Ham-Sud, established in 1851, takes its name from a village in the county of Essex in England. One of its first inhabitants, Joseph Dion, would eventually see his first name honoured through attribution to the mission in 1869. The parish was established both canonically and civilly in 1877. The parish municipality, installed two years later, would also take this denomination, Saint-Joseph-de-Ham-Sud.
London, Novello & Co, 1884. More recently the attribution to Kuhnau has been doubted.Der Gerechte kömmt um BWV deest; BC C 8 (= BC D 10/3) at : "...(vielleicht irrtümlich?) Johann Kuhnau zugeschriebenen Motette Tristis est anima mea" ("[of the] motet Tristis est anima mea (maybe erroneously?) attributed to Johann Kuhnau") By then it proved impossible to ascertain authorship on source-critical grounds (among other reasons while the Leipzig parts mentioned by Spitta could no longer be traced).
This page is a list of paintings by Nicolas Poussin (Andelys, 15 June 1594 – Rome, 19 November 1665). The attributions vary notably from one art historian to another. Jacques Thuillier, one of the most restrictive, produced a list in 1994 that gave 224 uncontested autograph works and 33 works with minor or major doubts about their attribution to Poussin. Certain attributions have since changed, when paintings thought lost are rediscovered, meaning that this list cannot be considered exhaustive.
British art historian Charles Hope dismissed the attribution to Leonardo entirely in a January 2020 analysis of the painting's quality and provenance. He doubted that Leonardo would have painted a work where the eyes were not level and the drapery undistorted by a crystal orb. He added, "The picture itself is a ruin, with the face much restored to make it reminiscent of the Mona Lisa." Hope condemned the National Gallery's involvement in Simon's "astute" marketing campaign.
Dinah Lee's debut single, "Don't You Know Yockomo?", was released in August 1964 – under the name Diane Lee, chosen by Viking – and peaked at No. 1 in New Zealand. Viking used Merritt's band to back her in the studio and after the first pressings had sold out, Viking changed the attribution to Dinah Lee. Ray Columbus & the Invaders' single, "She's a Mod" became the first by a New Zealand act to reach No. 1 on an Australian chart.
Pen drawing from the earliest manuscript which is believed to depict Eusebius and Jerome, 715 AD The Chronicle of Fredegar is the conventional title used for a 7th-century Frankish chronicle that was probably written in Burgundy. The author is unknown and the attribution to Fredegar dates only from the 16th century. The chronicle begins with the creation of the world and ends in AD 642\. There are also a few references to events up to 658.
Nevertheless, the benefits of a reduce amplification gap has been demonstrated and the Micro- Mesh gaseous structure or Micromegas concept was born in October 1992, shortly before the announcement of the Nobel prize attribution to Georges Charpak for the invention of the wire chambers. Georges Charpak used to say that this detector and some other new concepts belonging to the family of micro-pattern gaseous detectors (MPGDs) will revolutionise nuclear and particle physics just as his detector did.
Two records were released that were neither cover versions of nor answers to Thornton's release, yet used a similar melody without any attribution to Leiber and Stoller. The first was Smiley Lewis's "Play Girl", credited to D. Bartholomew and released by the Imperial Records label (Imperial 45-5234) by the end of March 1953.The Billboard (March 28, 1953):42. Described as a "stomping uptempo boogie rocker",Blues Unlimited, Volumes 128–132 (BU Publications Limited, 1978) p. 46.
The School of Women first appeared as a work in Latin entitled Aloisiae Sigaeae, Toletanae, Satyra sotadica de arcanis Amoris et Veneris. This manuscript claimed that it was originally written in Spanish by Luisa Sigea de Velasco, an erudite poet and maid of honor at the court of Lisbon and was then translated into Latin by Jean or Johannes Meursius. The attribution to Sigea was a lie and Meursius was a complete fabrication; the true author was Nicolas Chorier.
Indeed, forensic analysis has indicated that the bone is actually from an Egyptian mummy. The English ordered her body burned to ashes and the ashes cast into the River Seine. The Metropolitan Museum of Art in New York City has a helmet in its Arms and Armor collection with a legendary attribution to Joan of Arc. The museum makes no claims that this legend is true, but notes that the helmet dates from the right time period.
Naguleswaram temple of Kankesanthurai was restored during the reign of Prince Vijaya of Vanga (543-505 BCE). One of the oldest shrines of the region, it is the northernmost shrine on the island of the Pancha Ishwarams of Lord Siva, venerated by Hindus across the world from classical antiquity. Its adjacent water tank, the Keerimalai Springs attribution to curative properties has been related in irrigation scientific studies to its high mineral content, sourced from underground.Dr. Arumugam.
390px Portrait of a Young Man in Black is a c.1520 oil on panel painting by Rosso Fiorentino, now in the Uffizi in Florence. Its present attribution was assigned by Antonio Natali, director of the Uffizi, replacing a previous attribution to Domenico Puligo. Its half-length figure in a black cap and clothes is unidentified but similar in appearance to that in Portrait of a Young Man holding a Letter (National Gallery), produced around the same time.
''''' (This is now the gospel truth), TWV 1:183, is a cantata by Georg Philipp Telemann. Due to an erroneous attribution to Johann Sebastian Bach, it appears in the Bach-Werke-Verzeichnis (BWV) as No. 141, but was moved to Anhang III, the Appendix of spurious works, in the 1990s second edition of that catalogue. The cantata's libretto by Johann Friedrich Helbig was published in 1720. Around 1723 Johann Balthasar König copied the manuscript, attributing its authorship to Telemann.
CrowdStrike was co-founded by George Kurtz (CEO), Dmitri Alperovitch (CTO), and Gregg Marston (CFO, retired) in 2011. In 2012, Shawn Henry, a former Federal Bureau of Investigation (FBI) official, was hired to lead sister company CrowdStrike Services, Inc., which focused on proactive and incident response services. In June 2013, the company launched its first product, CrowdStrike Falcon, which provided threat intelligence and attribution to nation state actors that are conducting economic espionage and IP theft.
Kis also cut typefaces for other languages including Greek and Hebrew typefaces. Kis returned to Transylvania around 1689 and may have left matrices (the moulds used to cast type) in Leipzig on his way home. The Ehrhardt type foundry of Leipzig released a surviving specimen sheet of them around 1720, leading to the attribution to Janson. Kis's surviving matrices were first acquired by Stempel, and are now held in the collection of the Druckmuseum (Museum of Printing), Darmstadt.
Hebrews 9 is the ninth chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the exposition about the ministry of the first covenant and Christ's effective sacrifice.
Hebrews 10 is the tenth chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the exposition about Christ's effective sacrifice and the exhortation to continue in faithfulness and expectancy.
Hebrews 7 is the seventh chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the exposition about the superiority of Christ's Priesthood through Melchizedek to the Levitical Priesthood.
Among the paintings Braithwaite donated to the museum were Winter and Spring (both 1633) by Pieter Breughel the Younger. They would originally have been part of a set of the Four Seasons. After poorly carried out repairs in the 1960s the original attribution to Breughel the Younger fell into doubt and was not restored until after the paintings were cleaned for the BBC Four television series Britain's Lost Masterpieces.Brueghels return to fold after lost sheep are found.
390px Portrait of a Musician is a c.1518-1519 oil on panel painting by Pontormo, now in the Uffizi. It is dated on stylistic grounds, with Luciano Berti placing it in his youthful phase alongside his Pucci Altarpiece and Saint John the Evangelist and Michael the Archangel. It is recorded in cardinal Leopoldo de' Medici's collection and formerly appeared in its catalogue with an attribution to Andrea del Sarto and an identification of the subject as Francesco dell'Ajolle.
380px St Francis is an undated and unfinished oil on canvas painting attributed to Bernardo Strozzi. It is housed in the parish church in Campagnola Cremasca. It has similarities to other paintings of Francis of Assisi by Strozzi now held in Genoa (Palazzo Bianco, Palazzo Rosso and Rubinacci collection) and the Pinacoteca di Siena. Its attribution to Strozzi originated with Cesare Alpini Cesare Alpini, Arte sacra a Crema dal '400 al '700, Crema, 1992, pp. 85-87.
Its attribution to Porter may have formed part of Thompson's claim to be an hereditary witch. Its precise origin has yet to be determined. Adrian Bott, in an article written in White Dragon magazine, 2003, argues that the Long Rede's creation can be placed somewhere between 1964 and 1975. Bott bases his argument on the alleged misuse of archaic English in the poem, in particular of " an' " as an abbreviation of "and", and of "ye" instead of "the".
Title page of The Passionate Pilgrim (1599) The Passionate Pilgrim (1599) is an anthology of 20 poems collected and published by William Jaggard that were attributed to "W. Shakespeare" on the title page, only five of which are considered authentically Shakespearean. These are two sonnets, later to be published in the 1609 collection of Shakespeare's Sonnets, and three poems extracted from the play Love's Labour's Lost. Internal and external evidence contradicts the title page attribution to Shakespeare.
The Polity of the Lacedaemonians is included in the collection of Xenophon's works that have survived, and its attribution to Xenophon is supported by a mention to that effect in the works of Plutarch.Xenophon, Hellenica 73. The consensus of the majority scholarly opinion of the nineteenth and twentieth centuries is that Xenophon is the author of the work.Lipka 6: "Despite these doubts, the majority of scholars of the nineteenth and twentieth centuries regarded the SC as genuine".
Sightings of the islands are attributed to Ferdinand Magellan or Estêvão Gomes of San Antonio, one of the captains in the expedition, as the Falklands fit the description of those visited to gather supplies. The account given by Pigafetta the Chronicler of Magellan's voyage contradicts attribution to either Gomes or Magellan, since it describes the position of islands close to the Patagonia coast, with the expedition following the mainland coast and the islands visited between a latitude of 49° and 51°S and also refers to meeting "giants" (described as Sansón or Samsons in the chronicle) who are believed to be the Tehuelche Indians. Although acknowledging that Pigafetta's account casts doubt upon the claim, the Argentine historian Laurio H. Destefani asserts it probable that a ship from the Magellan expedition discovered the islands citing the difficulty in measuring longitude accurately, which means that islands described as close to the coast could be further away. Destefani dismisses attribution to Gomes since the course taken by him on his return would not have taken the ships near the Falklands.
Although proponents of use of `nofollow` on internal links have cited an inappropriate attribution to Matt CuttsAugust 29, 2007 Matt Cutts on Nofollow, Links-Per-Page and the Value of Directories, Moz (marketing software). (see Matt's clarifying comment, rebutting the attributed statement)August 29, 2007 Moz, SEOmoz comment by Matt Cutts. as support for using the technique, Cutts himself never actually endorsed the idea. Several Google employees (including Matt Cutts) have urged Webmasters not to focus on manipulating internal PageRank.
The authorship of the work in question merited a detailed analysis of Roberto Longhi in 1947. In a letter to Pietro Maria Bardi, now in the MASP archives, the Italian historian claims that it is possible to observe in the tondo "undoubtedly the hand of Botticelli." His opinion was corroborated by Antonino Santangelo, who said, "one can recognize the direct intervention on the painting by Botticelli". The attribution to Botticelli's work was later confirmed by other experts, including Miklos Boskovits and Yukio Yashiro.
This drawing was originally in the collection of cardinal Fulvio Orsini; around 1600 it was inherited by cardinal Odoardo Farnese, together with other works by Sofonisba Anguissola: The Game of Chess, the Self Portrait at the Spinet, and an unidentified drawing. Then it came to the Bourbon of Naples, via the Farnese inheritance and is present in the 1644 and 1653 inventories of Palazzo Farnese, in Roma. In 1799 was taken to Naples and here the attribution to Sofonisba Anguissola was lost.Bora, p.
Chapter records from 25 August 1721 also mention both men, with Cioli in the role of designer and Sardi in the role of capomastro: Buchowiecki, 1974, p. 536 In sum, there is no scholarly consensus on how exactly the work should be divided. A similar problem concerns the attribution to Sardi of the facade of Santa Maria Maddalena which is significant as one of a limited number of facades in Rome displaying the Rococo style,Armellini, 1887, pp. 323; Buchowiecki, 1974, pp.
A folkloric tradition attributes this prayer to the biblical Joshua at the time of his conquest of Jericho.Nulman, Macy, Encyclopedia of Jewish Prayer (1993, NJ, Jason Aronson) p. 24; Freundel, Barry, Why We Pray What We Pray: The Remarkable History of Jewish Prayer, (NY, Urim Publ'ns, 2010) pp. 205–206. Among the authorities supporting the attribution to Joshua was Rav Hai Gaon (died 1038), Eleazar of Worms (died 1230), Rabbi Nathan ben Rabbi Yehuda (13th century), and Kol Bo (publ.
The Madonna del Bordone (‘The Madonna of the pilgrim's staff’) is a panel painting by the Italian painter Coppo di Marcovaldo, in the church of Santa Maria dei Servi in Siena, Italy. Signed and dated 1261, the work is the only certain attribution to the Florentine painter. It was painted after he had been taken prisoner in the Battle of Montaperti in 1260, when the Republic of Siena defeated the Republic of Florence. Coppo paid his ransom by executing the work.
Leonardo da Vinci's illustration of a rhombicuboctahedron in Divina proportione (1509) The painting has been generally attributed to Jacopo de' Barbari due to the presence of a cartouche with the inscription IACO.BAR. VIGENNIS. P. 1495, but the attribution to the Venetian painter has been questioned. Some attribute the painting to Leonardo da Vinci, who began collaborating with Pacioli when the latter moved to Milan in 1496. For the next two years, Leonardo illustrated Archimedean solids, including the rhombicuboctahedron, in Pacioli's Divina proportione.
Although muslim scholars and quite a few western orientalist hadith scholars confirm its attribution to Ibn Munabbih,Speight, Der Islam, LXXVII, 2000, pp. 169-79.G. H. A. Juynboll, Encyclopedia of canonical ḥadīth, Leiden 2007, 29. G.H.A. Juynboll argues that it was concocted by none other none than 'Azq.G. H. A. Juynboll, Encyclopedia of canonical ḥadīth, Leiden 2007, 29-31.Pavlovitch, Pavel, “Ḥadīth”, in: Encyclopaedia of Islam, THREE, Edited by: Kate Fleet, Gudrun Krämer, Denis Matringe, John Nawas, Everett Rowson.
El Desouki was born in Desouk on the Nile delta and there he lived his whole life, hence his attribution to it.Jalāl al-Dīn Aḥmad al-Karkī, A definition of Wali Sīdī 'Ibrahīm al-Dosūqī, Taj 2006, page 8 According to traditions and popular sayings, He is a descendant of Ali ibn Abi Talib from his paternal side and to the caliph of the Desouki order in Egypt from his maternal side.True Knower of God Sīdī 'Ibrahīm al-Dosūqī. Municipality of Dessouk.
His best known book illustrations in his own time were 135 woodcuts from Sebastian Brant's 1502 edition of Virgil's Aeneid, "perhaps the most influential book illustrations ever produced in Europe", though the attribution to him is not universally agreed.Erika Langmuir Imagining Childhood: Themes in the Imagery of Childhood, pp. 72-3, Yale University Press, 2006, , including one page illustrated. Another woodcut of "Fame" is shown here, and further pages here, here and here This was the first printed Virgil with illustrations.
The insurance could include a multi-pet insurance plan so that multiple pet policies are covered in a single plan. An attribution to the insurance in some instances could also cover pet cremation and situations where the pet gets lost. A positive side-effect in the economy due to the pet industry can be found in the number of visits to a healthcare agency, like a doctor. In 1998, in the United States, non- institutionalised seniors experienced 19% less encounters with healthcare instances.
The attribution to the more famous Carlo Maderno by many sources is not substantiated by archival evidence, according to Italian Wikipedia entry. The structure was completed by 1635, and consecrated the next year to Jesus and Mary. Later the architect Carlo Rainaldi was commissioned to design the simple travertine facade (1671–1674) and ornamented Baroque interiors, including the main altar. From 1678 to 1690, the expensive and ornate marble interior decoration was installed under the patronage of Giorgio Bolognetti, bishop of Rieti.
This help costs Murat badly and he is sent to prison. During the runtime of the film, viewers see the world from the eyes of a criminal, who lived his childhood in poverty, and understand the gap between the rich and poor in Turkey. Just like the themes of the other political films of Jöntürk, there is a socialist message, an attribution to the inequality of the system. Jöntürk prefers to do it rather sharply in some scenes of the film.
The white lead has been dated to be at least 225 years old. The work sold for just under $22,000 at auction in 1998, and was bought by its current owner Peter Silverman in 2007. He has championed the attribution to Leonardo, supported by the analysis of academics Martin Kemp and Pascal Cotte. The drawing was shown as a Leonardo in an exhibition in Sweden in 2010 and was estimated by various newspaper reports to be worth more than $160 million.
The work of van Reesbroeck consists mainly of portraits. He is also known for four history paintings depicting the church fathers. As van Reesbroeck only signed the portraits of his foreign patrons and the paintings of the church fathers, the attributions of certain works to the artist are not always firm. For instance, the Portrait of two men (Museum of Fine Arts, Ghent) has traditionally been attributed to Jacob van Oost but recently some scholars proposed an attribution to van Reesbroeck.
Hebrews 3 is the third chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the comparison of Moses to Jesus ('the Son'), as well as the application and warning for the congregation.
Hebrews 4 is the fourth chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the admonition to press on toward 'God's Rest' and a reflection on the power of God's Word.
390px Portrait of a Young Woman is a c.1510 oil on canvas painting, usually attributed to Rosso Fiorentino, though Giovanni Larciani (Master of the Kress Landscapes) has also recently been suggested as its artist. It is now in the Uffizi in Florence. It is usually thought to be an early work by Rosso, produced before the frescos of the Chiostrino dei Voti at Santissima Annunziata, Florence, though its sharp style makes it hard to give a definite attribution to Rosso.
Evidence of Michelangelo's painting style is seen in the Doni Tondo. His work on the image foreshadows his technique in the Sistine Chapel. The Doni Tondo is believed to be the only existing panel picture Michelangelo painted without the aid of assistants;Hartt and Wilkins, 506 and, unlike his Manchester Madonna and Entombment (both National Gallery, London), the attribution to him has never been questioned. The juxtaposition of bright colors foreshadows the same use of color in Michelangelo's later Sistine Ceiling frescoes.
Also in the 1980s, she portrayed Errol Flynn's first wife, actress Lili Damita, in the TV movie adaptation of My Wicked, Wicked Ways: The Legend of Errol Flynn (1985), which was based on Flynn's autobiography. She also played the love interest to Gene Hackman's character in the basketball film Hoosiers (1986). Barbara Cloud of the Pittsburgh Press gave attribution to Hershey for starting a trend when she had collagen injected into her lips for her role in Beaches (1988).Cloud, Barbara.
Mutations to the TUBA1A gene manifest clinically as Type 3 Lissencephaly. In general, lissencephaly is characterized by agyria (lacking of gyri and sulci to the brain – a smooth brain), seizure activity, failure to thrive, as well as intellectual disability and psychomotor retardation, often to a profound degree. The symptoms of Lis3 Lissencephaly are not especially different from generalized lissencephaly (Lis1, related to PAFAH1B1). Diagnosis of lissencephaly generally is made from the symptom profile, while attribution to a specific type is obtained by microarray.
The work was probably one of the works confiscated in 1835 from Infante Sebastian of Portugal and Spain for supporting the Carlist cause. In 1865 the work appeared as number 212 in Catalogo del Museo de la Trinidad de Cruzada Villaamil with an attribution to the Spanish painter Alonso Sánchez Coello. That catalogue also featured a portrait of a man of identical dimensions attributed to Coello. In 1861 the Portrait of Infanta Isabella and the other paintings were restored to Sebastian.
Paulus was at the Second Council of Nicaea in 787. Eustathius was a both the Council of Constantinople (869) and the Council of Constantinople (879). Somewhat less certain is the attribution to this diocese of Basilius, who participated in the Third Council of Constantinople in 680. He is recorded as bishop of Κολωνία Πακατιανή (Colonia of the province of Pacatiana) but, as there is no record of such a diocese, it is thought that Κολωνία is a mistake for Ἀκμωνία (Acmonia).
The author "reports every detail about more than thirty different thermal sites in the Campi Flegrei, including all therapeutic effects of their waters." The attribution to Peter of Eboli (Petrus de Ebulo) is generally made "with some certainty", although some historians associate it with the work of Sicilian physician Alcadino di Siracusa.Fulvio Delle Donne, "Pietro da Eboli", Enciclopedia Federiciana, Vol. II, Istituto dell'Enciclopedia Italiana Treccani De balneis Puteolanis was popular in its time and survives in a number of manuscript versions.
Ed Hoffman, 2005, "Een echte 'Jheronimus Bosch'? : Tien aandachtspunten", Bossche Bladen 3: 90-96 In October 2015, the Bosch Research and Conservation Project, which had been responsible, since 2007, for technical research on most of Bosch's paintings, rejected the attribution to Bosch and deemed it to be made by a follower, most likely the discipulo.Twee beroemde werken toch niet van Jeroen Bosch, NOS, 31 October 2015 In response, the Prado Museum stated that they still consider the piece to be authentic.
Cimabue worked on the mosaic for 94 days until 19 February 1302 and was specifically stated to have finished the figure of St. John by that date. The whole mosaic, including the figure of Virgin, was only completed by the third artist, Vincino da Pistoia in 1321, almost 20 years after Cimabue's death. The attribution to Cimabue is possible due to documented weekly payments of 10 soldi to the artist. The work eventually went through four renovations and survived the fire of 1595.
His 1976 single, "Hot (I Need To Be Loved, Loved, Loved, Loved)" (R&B; No. 31), interpolated the main riff from "Fame" by David Bowie while omitting any attribution to the latter song's composers (including Bowie, John Lennon and guitarist Carlos Alomar), not the other way around as was often believed. The riff was composed by Alomar, who had briefly been a member of Brown's band in the late 1960s.The Whole Note: Under the Radar in '06 (2006). All Media Guide.
Schütz has never considered himself to be a composer, and regards the attribution to him of this "piece", which "was produced with very primitive means, which is all that was available to us in those days", as "purely an accident" . Initially, the Monochord and Melochord were used in the Cologne Studio together with other equipment. A noise generator provided a rushing-noise signal, like what is heard for example in short-wave radio on frequencies between radio stations. Filters were important for transforming sounds.
It is generally not clear whether the attribution to Aristotle of a later work was done by its own author or by others who sought to popularize such works by using his name. In the Middle Ages more than a hundred Pseudo-Aristotelian works were in circulation. These can be separated in three groups based on the original language used for the work, namely Latin, Greek or Arabic. The category of Latin works is the smallestCharles B. Schmitt, Dilwyn Knox (Eds.): Pseudo-Aristoteles Latinus.
Subsequent scholars examining the Italian and Spanish texts have been unable, however, to confirm Toland's observation. This work should not be confused also with the surviving Epistle of Barnabas, which may have been written in 2nd century Alexandria. There is no link between the two books in style, content, or history other than their attribution to Barnabas. On the issue of circumcision, the books clearly hold very different views, that of the epistle's rejection of the Jewish practice as opposed to the gospel's promotion of the same.
This friendship was damaged when a painting by Johns, that was owned by the influential art critic Samuel Carter Hall, was engraved and published and erroneously attributed to Turner. The publishers did print a correction and apology in the newspapers but this still did not prevent the same painting being sold at Christie's still with an incorrect attribution to Turner. Johns exhibited at prestigious exhibitions in London including the Royal Academy. Despite this exposure his work was later confused with Turner's on two other occasions.
When compared with the extant printed text and his other work, other scholars reject the attribution to Marlowe. The only surviving printed text of this play is possibly a reconstruction from memory of Marlowe's original performance text. Current scholarship notes that there are only 1147 lines in the play, half the amount of a typical play of the 1590s. Other evidence that the extant published text may not be Marlowe's original is the uneven style throughout, with two- dimensional characterizations, deteriorating verbal quality and repetitions of content.
Ceán also believed the sculptures of St. Joachim and St. Anne's old school of the Irish in the Calvary Street, statues that were given up for lost in 1936 but which would be incorporated into the National Sculpture Museum (Valladolid) from Artistic Recovery Service with attribution to Juan de Juni, is precisely the characteristic of this sculptor, which could also include some other work attributed as the sculptures of Saint Zacharias and Saint Elizabeth preserved in the church of the Venerable Third Order of Madrid.
He worked, however, mainly for private patrons for whom he painted mainly religious and, to a lesser extent, mythological subjects. Many of his works consist of life-size figures depicting scenes from the life of Christ. He made a series of representations of the Twelve Apostles, the Four Evangelists and the Church Fathers, in half life-size. If the attribution to Wolffort is correct, a genre painting called The scullery maid (probably 1633, M - Museum Leuven) shows that Wolffort also created genre scenes for the market.
The art historians Adolfo Venturi and Bernard Berenson argued against the attribution to Piombo and others started to point to Titian as a possible attribution, though it took until a 1975 restoration for this to be confirmed. The portrait's subject inspired the protagonist in "La última visita del gentilhombre enfermo", one of thirty Giovanni Papini stories in his 1906 collection "La tragedia cotidiana". Jorge Luis Borges then in turn included the story in the volume "Libro de sueños" in his "The Library of Babel" series.
CAH XI 326 The prefect's primary role was as the legion's quartermaster, in charge of legionary camps and supplies. It has been suggested that Augustus was responsible for establishing the small cavalry contingent of 120 horse attached to each legion.CAH X 379 The existence of this unit is attested in Josephus' Bellum Iudaicum written after AD 70, and on a number of tombstones.Fields (2009) 12 The attribution to Augustus is based on the (unproven) assumption that legionary cavalry had completely disappeared in the Caesarian army.
The artist was then given a notname based on the earlier erroneous attribution to Michiel Simons and his nationality was changed from Dutch to Flemish.Pseudo-Simons, A lobster, a crab on a pewter plate, a bunch of grapes and a fig in a tazza at Christie's It is believed that this anonymous artist worked in Antwerp some time between 1650 and 1680. He may have resided and worked in England, which would account for the presence of his works in English collections already from an early date.
Summary Order July 12, 2011). Disagreements with the attribution to Leonardo were made before the discovery of the missing page in the Warsaw Sforziada book. No alternative attribution has been accepted by Kemp or his research group. Kline claims that no comparative scientific analysis has been made of the vellum supports in question: the Warsaw Sforziada book, the Mannheim Schnorr (an alternate attribution), and La Bella Principessa, although Kemp and Cotte have shown a close match between the vellum of the portrait and the book.
American accents became increasingly adopted by non-American actors by 2000. With many film-related opportunities available in the United States, actors trained to have American accents to be more competitive. At the 72nd Academy Awards honoring films of 1999, all non-American actors nominated in the four acting categories portrayed American characters, including British actor Michael Caine, who won Best Supporting Actor for his role in The Cider House Rules. Another attribution to the trend is with films increasingly being co- financed by non-U.
In the 1730s Johann Sebastian Bach produced a manuscript copy of the Mass. In the early 19th century, it was published and performed as a composition by Bach. Scholarship published in the second half of the 19th century contested the work's attribution to Bach. In the 20th-century Bach-Werke-Verzeichnis (BWV), it was initially listed as a composition spuriously attributed to Bach, and later as a doubtful composition by that composer, with Johann Ludwig Bach and Antonio Lotti mentioned as possible composers of the work.
The Psalms of Asaph are the twelve psalms numbered as 50 and 73–83 in the Masoretic Text, and as 49 and 72–82 in the Septuagint. They are located in the Book of Psalms in the Hebrew Bible (which is also called the Old Testament). Scholars have determined that a psalm's attribution to Asaph can mean a variety of things. It could mean that the psalms were a part of a collection from the Asaphites, a name commonly used to identify temple singers.
The Oboe Concerto No. 1 in B flat major (HWV 301) was composed by George Frideric Handel for oboe, orchestra and basso continuo. It was first published in the fourth volume of Select Harmony by Walsh in 1740. Other catalogues of Handel's music have referred to the work as HG xxi,85; and HHA iv/12,17. The concerto is thought to be an early work of Handel's, however the attribution to Handel has been questioned on stylistic grounds The Musical Times, David Humphreys: 'HWV301', vol.
The article was published in issue 11, dated April–June 1960, of the Programme communiste,Archives de Programme communiste organ of the ICP. The article starts out with a critique of a poster published by the MRAP and largely supports its argument on the book The History of Joel Brand.Bordiga's "Auschwitz or the great alibi", note by Mitchell Abidor. It was at first published in French, referring to a French context, which in itself made the attribution to the Italian communist Amadeo Bordiga problematic.
The 1662 first edition, a quarto printed by Thomas Johnson for the booksellers Francis Kirkman and Henry Marsh, attributed the play to William Shakespeare and William Rowley. The Birth of Merlin is thus one of two plays published in the seventeenth century as a Shakespearean collaboration, the other being The Two Noble Kinsmen. Most scholars reject the attribution to Shakespeare and believe that the play is Rowley's, perhaps with a different collaborator. The play has occasionally been revived in the modern era, for example at Theatr Clwyd.
Besides, Sheikh Muhammad Abdah (the Egyptian Mufti) confirms that Nahj al-Balagha is the words of Ali.Knowing Nahj al-Balagha ghadeer.org Retrieved 9 Oct 2018 On the other hand, as with the majority of posthumous works of (Sunni and) Shia theology that emerged centuries after the life of Prophet Muhammad, Sunni scholars do not regard the Nahj al-Balagha as authentic. According to one Shi‘i source, the first person to raise doubts about its attribution to Ali was Ibn Khallikan, a Sunni scholar (d. 1211/1282).
In 1989, using a form of stylometric computer analysis, scholar and forensic linguist Donald Foster attributed A Funeral Elegy for Master William Peter, previously ascribed only to "W.S.", to William Shakespeare, based on an analysis of its grammatical patterns and idiosyncratic word usage.Foster (1989); Foster (2000) The attribution received extensive press attention from The New York Times and other newspapers. Later analyses by scholars Gilles Monsarrat and Brian Vickers demonstrated Foster's attribution to be in error, and that the true author was probably John Ford.
H. C. Oliphant, The Plays of Beaumont and Fletcher: An Attempt to Determine Their Respective Shares and the Shares of Others, New Haven, Yale University Press, 1927; p. 216. but most favor a date of 1606. A second quarto was issued in 1648 by Humphrey Moseley, with an attribution to Fletcher. The second imprint of this second quarto, issued in 1649, assigned the play to both Beaumont and Fletcher and added a subtitle to the play, calling it The Woman Hater, or The Hungry Courtier.
Portrait of a Gentleman is a 1513 oil on wood panel by Altobello Melone. It is kept in the Accademia Carrara, Bergamo. It is one of the most famous paintings from the collection of Count Guglielmo Lochis, where for it was thought to be a portrait of Cesare Borgia, son of Pope Alexander VI. The attribution to Altobello Melone was first made in 1871. It was confirmed in 1955 by Mina Gregori, who compared the portrait in eccentric style to Melone's The road to Emmaus.
In the Stationers' Register entry, Moseley called The Faithful Friends a Beaumont and Fletcher work. Critics who have considered the play's authorship have started with the attribution to Beaumont and Fletcher, but have also postulated other potential writers, including Philip Massinger, Nathan Field, James Shirley, and Robert Daborne. Commentators have also proposed hypotheses of revision, even multiple revision; E.H.C. Oliphant thought that the play was written by Beaumont and Fletcher, revised by Field c. 1610-11, and revised again by Massinger c. 1613-14.
Subsequent authors apparently overlooked the references to the Makonde language and assumed the term to have been derived from Swahili, the lingua franca of the region. The erroneous attribution to Swahili has been repeated in numerous print sources. Many erroneous spellings of the name of the disease are also in common use. Since its discovery in Tanganyika, Africa, in 1952, Chikungunya virus outbreaks have occurred occasionally in Africa, South Asia, and Southeast Asia, but recent outbreaks have spread the disease over a wider range.
The villa was probably built in the 1540s modifying an existing building on the site. The double name Forni-Cerato, which it is always given, dates back to 1610. In that year the building, which belonged to Girolamo Forni who can be regarded as having commissioned it, passed in accordance with a provision in his will into the ownership of Giuseppe, Girolamo and Baldissera Cerato. Both its attribution to Palladio and the assumption that Girolamo Forni had it built remain a matter of speculation.
Hebrews 5 is the fifth chapter of the Epistle to the Hebrews in the New Testament of the Christian Bible. The author is anonymous, although the internal reference to "our brother Timothy" (Hebrews 13:23) causes a traditional attribution to Paul, but this attribution has been disputed since the second century and there is no decisive evidence for the authorship. This chapter contains the exposition about the merciful Christ and the High Priests, followed by an exhortation to challenge the readers beyond the elementary catechism.
At the early period in question, oral tradition may have sufficed to hand down a certain number of musical formulas. When, later on, the ecclesiastical chants had been co- ordinated, it was found necessary to provide them with a notation. The attribution to Pope Gregory I (590-604) of an official codification of the collection of antiphons occurring in the Divine Office has at frequent intervals, exercised the wit of the learned. At the end of the ninth century John the Deacon (d. c.
Three 12.50-metre-long, presumably triangulated trusses, "which were inserted into a ledge at the back of stone architecture, carried the slightly vaulted roof." All the fourteen columns are connected by a screening wall, with entrances in the eastern and western facades. This building represents an example of the unusual combination of wood and stone in the same architectural structure for an Egyptian temple. The attribution to Emperor Trajan is based on a carving inside the kiosk structure, depicting the emperor burning incense before Osiris and Isis.
During the various changes of hands the painting lost its original identification, and was considered a portrait of Christopher Columbus (likely due to the presence, in the hat, of a representation of the Pillars of Hercules) from Raphael's school. A descendant of Galeazzo Sanvitale, Luigi, recognized his ancestor based on some documents, in 1857. The re-attribution to Parmigianino occurred in 1894. There are some preparatory drawings at the Cabinet des Dessins of the Louvre (6472 recto and verso) and in the Tobley Collection.
Captain Comarque was a French Hugenot refugee who, along a number of others, settled in Thorpe- le-Soken in the early 18th century. Historic England confirms that he was resident in the area in 1717 but that he did not build the house. Pevsner notes the attribution to Sir Robert Taylor, an architect who worked mainly in London and the South-East of England. The building carries a brick datestone for 1755, with the name W. Whatey, who was probably the main building contractor for the house.
Liz James, "Men, Women, Eunuchs: Gender, Sex, and Power" in "A Social History of Byzantium" (J. Haldon, ed.) pp. 45,46; published 2009; : There are only three instances where it is known that she used the title "basileus": two legal documents in which she signed herself as "Emperor of the Romans" and a gold coin of hers found in Sicily bearing the title of "basileus". In relation to the coin, the lettering is of poor quality and the attribution to Irene may, therefore, be problematic.
The Chinese Tower in winter The Chinesischer Turm ("Chinese Tower") is a 25-metre-high wooden structure, first constructed in 1789 to 1790, from a design by the Mannheimer military architect Joseph Frey (1758–1819).The designer was unknown in the early nineteenth century and occasionally Lechner is named. An 1887 attribution to Frey seems to be based on knowledge of the original plans (now lost). As Frey was still in Mannheim, Lechner may have been involved in the actual construction. See Dombart (1972), 247-8.
On the bell tower, a plaque says that Deustesalvet (Diotisalvi, literally "God Saves You"), architect of the Baptistry, was the designer of the edifice. Inscription It has an octagonal plan and, until the 16th century, it was surrounded by a portico. The central tambour, supported by eight ogival arches, is super-elevated and is surmounted by a conic cusp. The attribution to the Holy Sepulchre is a reference to the latter's relics which were carried in Pisa by archbishop Dagobert after his participation to the First Crusade.
Mozart, pictured in 1770 aged 13 This list of Mozart symphonies of spurious or doubtful authenticity contains 39 symphonic works where an initial attribution to Wolfgang Amadeus Mozart has subsequently been proved spurious, or is the subject of continuing doubt. The number of symphonies actually written by Mozart is imprecisely known; of the 41 formally numbered, three (Nos. 2, 3 and 37) are established as by other composers and another, No. 11 (K. 84/73q), is considered by scholars to be of uncertain authorship.
As a final attempt at economic survival, they joined forces as the Société Française de Fabrication de Bébés et Jouets (SFBJ). When the Jumeau company finally wound up its business in 1899, the remaining stock was taken over by the SFBJ. This included large numbers of bébés, heads, bodies, costumes and other components, making attribution to Jumeau or SFBJ extremely difficult of dolls turned out during the transition period. Jumeau dolls are usually marked with a simple number, although the body may also be stamped.
An important candidate is the first tanka by Emperor Nintoku since it was created at the palace of Naniwa. At that time, the imperial throne was vacant for three years because the future Emperor Nintoku (successor to Emperor Ōjin) and his brother Crown Prince Uji no Waki Iratsuko renounced succession to the throne to crown the other. Historians and philologists are skeptical about the attribution to Wani because it cannot be found in earlier sources. Anyway, from the early 10th century on, this poem was regarded as a chorus that praises Emperor Nintoku.
Three songs are found in other sources, including the ars subtilior, Latin-texted Sumite, karissimi, capud de Remulo, patres. Apart from one caccia (Cacciando un giorno), a Latin ballade (Sumite, karissimi), and a madrigal (Plorans ploravi), his secular songs are all ballate (Fallows 2001). A recent study proposes attribution to Zacara of a French-texted two-voice composition, Le temps verrà, found in the manuscript T.III.2, in part on stylistic grounds, and in part on the basis of the politically charged, satirical subject matter of the text.
The attribution and dating of the work has been heavily debated. Doubts were expressed by Cavalcaselle (1864), Venturi (1913) and Umberto Gnoli (1923), who all felt that the work was largely by his studio assistants. Bernard Berenson reconsidered the attribution to Perugino alone and in 1960 Molatoli re- ascribed the work mainly to the master's hand, with some collaboration from his assistants, possibly including Giovanni Battista Caporali. Entry on Arpai.org Vasari identified the commissioner as Oliviero Carafa, but in 1624 Cesare d’Engenio instead stated that the commissioner was Vincenzo Carafa.
Seger was the most prolific Czech organ composer of the 18th century. Hundreds of preludes, fugues, toccatas and other organ pieces survive in manuscript copies, although the attribution to Seger of some of these works is problematic. Generally speaking, his preludes and fugues are short works (their length probably dictated by the limitations imposed by the Catholic liturgy), but they exhibit a fertile harmonic imagination and a perfect grasp of late Baroque counterpoint practice. He also composed masses, motets and psalm settings; all also dominated by archaic counterpoint.
The exact equivalent in the Gregorian calendar varies from year to year, but it is usually in August. Today in many places it is celebrated on 7 July; hence there is a dispute as to how Tanabata should be treated as a kigo. Since kigo are affiliated with seasonal events, several modern haiku poets have had to reconsider the construction of kigo and their attribution to the seasons. One of the biggest changes to the local tradition is the creation of the lunar New Year as a seasonal section for kigo.
The Tempest portrays a soldier and a breast-feeding woman on either side of a stream, amid a city's rubble and an incoming storm. The multitude of symbols in The Tempest offer many interpretations, but none is wholly satisfying. Theories that the painting is about duality (city and country, male and female) have been dismissed since radiography has shown that in the earlier stages of the painting the soldier to the left was a seated female nude. The Three Philosophers is equally enigmatic and its attribution to Giorgione is still disputed.
The First Epistle to Timothy is presented as a letter from Paul in Macedonia to Timothy in Ephesus. It is termed one of the "pastoral epistles" in that it is not directed to a particular congregation but to a pastor in charge of caring for a community of believers. 1 Timothy 2: 9-15 (NASB) says: Since the nineteenth century, the attribution to Paul of the "pastoral letters" has come into question. There are a wide variety of opinions as what extent, if any, Paul either wrote or influenced their composition.
Brian Vickers, writing in 2005, called the attribution to Ford "certain".Brian Vickers, "Counterfeiting" Shakespeare: Evidence, Authorship, and John Ford's "Funeral Elegy", Cambridge, Cambridge University Press, 2002; p. 494. Ford's canon is so limited in extent, compared to those of other major playwrights of English Renaissance theatre, that an addition to his canon of a full solo play is an important development. Critics are unanimous in their verdicts on the low quality of The Laws of Candy; "tiresome" is one of the kinder epithets that have been attached to the work.
There are several approaches on the correction of charge sharing. One approach is to neglect all events, where in the same time window there is a detector response in more than one corresponding pixel - which severely reduces detector efficiency and limits the possible maximum countrate. Another approach is addition of the low levels of signal of correlated events in neighbouring pixels and attribution to the pixel with the largest signal. Other correction approaches basically rely on a deconvolution in the signal domain, taking calibrated detector response into account.
Martin Kemp later said of the meeting, "I left the studio thinking Leonardo must be heavily involved," and that "No one in the assembly was openly expressing doubt that Leonardo was responsible for the painting." In a 2011 consensus decision facilitated by Penny, the attribution to Leonardo da Vinci was agreed upon unequivocally. By July 2011, separate press release documents were issued by the owners' publicity representative and the National Gallery, officially announcing the "new discovery". Christ's hands, rendered curls of his hair, and drapery are well preserved, close to their original state.
Each of these drafts bears personal stylistic clues, but exact attribution to Alexander, Leonid or Victor remains a matter of conjecture. The first tangible building by Vesnin brothers, designed for Boris Velikovsky's firm, was a neoclassical six-storey apartment block on Myasnitskaya Square, completed in 1910. One year earlier, Leonid obtained an architect's licence and the brothers went independent. Their first building, the City Post Office on the same Myasnitskaya Street, was based on an earlier draft by Oscar Muntz, was approved for construction in 1911 and completed in 1912.
Bassano Ltd. National Portrait Gallery William Edward Vickers (1889–1965) was an English mystery writer better known under his pen name Roy Vickers, but used also the pseudonyms Roy C. Vickers, David Durham, Sefton Kyle, and John Spencer. He is the author of over 60 crime novels and 80 short stories. Vickers is now remembered mostly for his attribution to Scotland Yard of a Department of Dead Ends, specialized in solving old, sometimes long-forgotten cases, mostly by chance encounters of odd bits of strange and apparently disconnected evidence.
It is a fundamental principle used in assigning value and revenue attribution to the various business units. Essentially, transfer pricing in banking is the method of assigning the interest rate risk of the bank to the various funding sources and uses of the enterprise. Thus, the bank's corporate treasury department will assign funding charges to the business units for their use of the bank's resources when they make loans to clients. The treasury department will also assign funding credit to business units who bring in deposits (resources) to the bank.
The painting is known to have been in the Florentine Galleries since as early as 1704, when it was identified as a portrait of Martin Luther and was attributed to Hans Holbein the Younger. In an 1825 comment to Giorgio Vasari's Vite, it was listed as a Portrait of Verrocchio by Lorenzo di Credi. Adolfo Venturi in 1922 attributed it to Perugino himself, while the attribution to Raphael appeared in the 1930s. The identification with Perugino is today ascertained thanks to the evident similarities with the self-portrait in the Collegio del Cambio.
Stephen Patrington (died 1417) was a medieval Bishop of St. David's and Bishop of Chichester. Patrington was a Carmelite friar in Oxford in the 1370s, and was drawn into the controversy against John Wyclif by Peter Stokes of the same order. A leading role as author of the Fasciculi Zizaniorum, a collection of documents relating to the controversy, is now assigned to him (in place of the traditional attribution to Thomas Netter). Patrington gained the favour of John of Gaunt, and became prior provincial of his order in 1399.
Most recent historians prefer attribution to Galford on the River Lew near Lew Trenchard in West Devon. Sabine Baring-Gould was the first to make this suggestion. Robert Higham, in his book Making Anglo-Saxon Devon (2008), points out the derivation of the name is Gafol-ford meaning tax/tribute ford, and based on this derivation, he goes on to say that the location may have been a meeting place where either the West Saxons exacted tribute from the Cornish kings, or where tolls were levied on trade between the two territories.Higham (2008). p. 33.
That name was also rejected because of another similar name in the state. Chester was suggested but again was rejected because there was another Chester on the rail line. Ultimately, the railroad company imposed the name "Olean," after Olean, New York, apparently on a lark, as no documentation survives explaining any reasoning for choosing a city with no connections to the town in Missouri, which in turn had no connection to oil. Attribution to Dr. W.S. Allee appear not to be true, as Allee never lived in or visited New York State.
Rudolf Hercher is especially known for his works on textual reconstruction. He mainly worked with Greek prose authors of the post-classical period, but also strayed into Homer, Herodotus and Latin authors. His first publication was a critical edition of the work On the Names of Rivers and Mountains (περὶ ποταμῶν καὶ ὀρῶν ἐπωνυμίας), in which he not only produced the text, but also established that the work's attribution to Plutarch was incorrect. He focussed on Arrian's On Hunting(De Venatione), Michael Psellos, Nikephoros Gregoras, the Dreambook of Achmet, Ptolemaios Chennos and Philo of Byzantium.
The attribution to Carpaccio is disputed: the names of Bartolomeo Montagna and Lorenzo Lotto have been also proposed, while others assign it to an unknown master from Ferrara or Bologna. The dating is less controversial, having been assigned to the early 1490s, when Carpaccio was painting the Legend of Saint Ursula and other cycles in Venice, and personal portraits of noblemen were becoming common. The painting depicts an unknown man's face and (partially) bust, above a landscape background. The latter includes a lake, a portion of countryside and mountains, partially hidden by a far haze.
Patrick J. Kearney (1982) A History of Erotic Literature. Parragon: 34-46 The School of Women first appeared as a work in Latin entitled Aloisiae Sigaeae, Toletanae, Satyra sotadica de arcanis Amoris et Veneris. This manuscript claimed that it was originally written in Spanish by Luisa Sigea de Velasco, an erudite poet and maid of honor at the court of Lisbon and was then translated into Latin by Jean or Johannes Meursius. The attribution to Sigea was a lie and Meursius was a complete fabrication; the true author was Nicolas Chorier.
The Crowning with Thorns was the subject of two paintings by the Italian master Caravaggio. The first version, dated to around 1604–1605, is now in the Cassa di Risparmi e Depositi of Palazzo degli Alberti, Prato (Tuscany). The attribution to Caravaggio is disputed. On June 25, 1605, Caravaggio wrote out, in his own hand, a contract to paint "a picture of the same size and value as the one I have already done for him of Christ's crowning", which restricts the Crowning to a period prior to this date.
Authorship of the novel is generally attributed to Heo Gyun (허균), a radical intellectual who long dreamed of changing Korea into a fair society with less strict class hierarchies. The first attribution to Heo Gyun is from the writings of Yi Sik (1584–1647), his former student. Furthermore, Heo Gyun is said to be the author because of his radical ideas of political revolution, which are projected in Hong Gildong’s journey from secondary son to king. It is believed Heo Gyun wrote the book during the late 16th or early 17th century.
According to Caravaggio's biographer Giovanni Bellori a Crowning with Thorns was made for Caravaggio's patron Vincenzo Giustiniani, and this painting can be traced convincingly to the Giustiniani collection. An attribution to Giustiniani would place it in the period before 1606, when Caravaggio fled Rome, but Peter Robb dates it to 1607, when the artist was in Naples. The painting depicts a crown of thorns being forced onto the head of Jesus before his crucifixion, to mock his claim to authority. The twisted body of Christ was influenced by the Belvedere Torso.
Many important environmental health risks could not be addressed and analyze throughout the study. Considered, a "super distal risk factor", environmental risk factors have some influence in every disease. Thus, the study assigned at least 5% of environmental burden of disease of every disease to the environment, with larger proportions to diseases like diarrhea with direct attribution to environmental factors. With no better and reasonable method of accounting for environmental factors, the uniform 5% distribution is not realistic, but was used as a way to account for the estimated burden of environmental factors in diseases.
In 2019, Comedy Central pulled advertising from Jerry Media after there was an acknowledgment that they stole content and did not include any attribution to the original creators of the content. In a February 2019 statement, FuckJerry said it would change its practices and ask for permission from the creators before posting any content. In 2020, Jerry Media was hired to produce original content for the Michael Bloomberg 2020 presidential campaign, specifically for Instagram and Twitter. The company has since been criticized for flooding social media platforms with pro-Bloomberg memes and other content.
Liberation psychology criticises traditional psychology for explaining human behavior independently of the sociopolitical, historical, and cultural context. Martín-Baró argued that a failure of mainstream psychology is the attribution to the individual of characteristics that are found in the societal relations of the group. He argued that individual characteristics are a result of social relations, and to view such individualistically de-emphasizes the role of social structures, incorrectly attributing sociopolitical problems to the individual. Liberation psychology addresses this by reorienting the focus from an individualistic to a social orientation.
More recent opinion has shifted even more decisively in favor of the Frick, with Simon Schama (in his 1999 book Rembrandt's Eyes) and the Rembrandt Project scholar Ernst van de Wetering (Melbourne Symposium, 1997) both arguing for attribution to the master. Those few scholars who still question Rembrandt's authorship feel that the execution is uneven, and favour different attributions for different parts of the work.See "Further Battles for the 'Lisowczyk' (Polish Rider) by Rembrandt" Zdzislaw Zygulski, Jr., Artibus et Historiae, Vol. 21, No. 41 (2000), pp. 197–205.
Pietà, c. 1490. In 1495 he signed and dated a Deposition for the Florentine convent of Santa Chiara (Palazzo Pitti). Towards 1496 he frescoed a Crucifixion, commissioned in 1493 for Maria Maddalena de' Pazzi, Florence (the Pazzi Crucifixion). The attribution to him of the picture of the marriage of Joseph and the Virgin Mary (the Sposalizio) now in the museum of Caen, which indisputably served as the original, to a great extent, of the still more famous Sposalizio painted by Raphael in 1504 (Brera, Milan), is now questioned, and it is assigned to Lo Spagna.
The music is generally believed to have been written by James R. Murray. The first publication of the music was in 1874 in School Chimes, A New School Music Book by S. Brainard's Sons, and attributes the music to him. The 1881 publication by McCaskey gives attribution to the S. Brainard's Sons publication, which would mean Murray. Some notable recordings were by Ray Smith in 1949, Chet Atkins in 1961, Eddy Arnold in 1962, The Chipmunks in 1963, Andy Williams in 1995, Anne Murray in 2001, and Carole King in 2017.
The design and construction of the Château du Vaudreuil (Eure) in 1658–1660 has been attributed to Lepautre, but Robert W. Berger, the author of a monograph on the architect, considers this attribution to be doubtful.Berger 1969, pp. 97–98. In 1660 Lepautre was appointed house architectcontrôleur général of the bâtiments de Monsieur to Philippe I, Duke of Orléans, the brother of Louis XIV. In this quality he built the wings for the lost Château de Saint-Cloud and constructed the celebrated Grand Cascade that survives in its park.
It was visited by both Jacob Philipp Hackert and Johann Wolfgang von Goethe, with the latter writing in his letters "The current view of the Temple of Juno is as gritty as one could wish for" Johann Wolfgang von Goethe: Briefe 1829 – 1830, Werke Band 46 (Weimarer Sophienausgabe), S. 186. However, Friedrich never visited Italy and produced the work from a print by another artist. In 1943 Hermann Beenken published the painting with an attribution to Friedrich, later reattributing it to Carl Gustav Carus. Hermann Beenken: Eine romantische Landschaft mit dem Junotempel von Agrigent.
1460s (Pavia) The picture, housed in the Town Museum of Pavia Lombardy, northern Italy, is signed according to the Flemish habit, by directly engraving the painter's name on the parapet in the lower foreground (instead of using a false glued panel), like the Madrid portrait. Despite the sign, the strict nearness to the Flemish portrait art and the poor state of preservation have pushed some scholars to doubt about the attribution to Antonello. The work has been dated to the 1460s basing on the fashion of the subject's dress and headgear.
" He believes that "it is more possible that it may be the statue of a Roman pagan goddess" as it was found near the site of a Roman camp inhabited during the time period its assumed creation. Khachatryan had no doubt that it is a replica of Aphrodite of Knidos. Dyfri Williams wrote that it comes from a Greek cult statue, "probably made in a Greek city in Turkey" and found at Satala (in Armenia Minor). Terence Mitford suggests that it is "normally assigned to Aphrodite" and an attribution to Anaitis (Anahita) is "wholly implausible.
The term 'høken' is an example of words that the band invented or popularized, and fit their local dialect. Høken is used as word in several of the band's lyrics, song titles and album/DVD titles. It has become an established term especially in the Achterhoek region, and can even be found in the Van Dale Dutch dictionary with attribution to the band.Høken Dutch wikipedia page Their first and biggest hit was "Oerend Hard" ('Bloody Fast'), a song about two motor cyclists who "never heard of slow driving".
The attribution to Hernández may have originated from a 2012 article in The Guardian entitled "Hand sanitisers: saved by the gel?", although the reporter, Laura Barton, presents the story as if it were already well known in Bakersfield. The story goes that Hernández, a nursing student, realized that a gel with 60–65% alcohol could be used as a cleanser when soap and water weren't easily available. Barton reported that Hernández had shared the idea with an "invention hotline" and she had at least attempted to patent the formula.
He claimed that al-Hajj Muhammad saw Palestinian unity as being all-inclusive and incompatible with political assassinations, particularly killings that would fuel divisions within the ranks of the rebellion's leadership. A possible exception to his anti-assassination policy was his alleged responsibility in the killings of Ahmad and Muhammad Irsheid, landowners who supported Nashashibi-led opposition to al-Husayni's leadership. Because of the widely disputed circumstances surrounding the Irsheids' deaths and its general attribution to al-Hajj Muhammad, the killings were rarely mentioned in Palestinian narratives of the revolt.Swedenburg 2008, pp. 102–103.
They also noted that the painting is not on oak, adding to their doubts about the attribution to Bosch.Koldeweij, J., P. Vandenbroeck, J. and Vermet, B. (2001), Jheronimus Bosch: The complete paintings and drawings, Harry N. Abrams, , pp. 93 and 178. Nowadays, most art historians agree that the costumes point at a date in between 1505 and 1510; it is argued that the key characteristics of the underlying drawing, the way the pictorial surface was developed, and the variety of strokes are entirely consistent with Bosch's later paintings.
The attribution to Bernard of Chartres is due to John of Salisbury. In 1159, John wrote in his Metalogicon: "Bernard of Chartres used to compare us to dwarfs perched on the shoulders of giants. He pointed out that we see more and farther than our predecessors, not because we have keener vision or greater height, but because we are lifted up and borne aloft on their gigantic stature." However, according to Umberto Eco, the most ancient attestation of the phrase dates back to Priscian cited by Guillaume de Conches.
The code appears to be closely controlled, which may provide attribution to one group and/or that the malware authors share a significant portion of the code. Slenfbot has been seen in the wild since 2007, obtained new features and capabilities over time, and subsequent variants have systematically gained similar, if not the same, feature sets. Because of this, Slenfbot continues to operate as an effective infector and dynamic downloader of additional malware; thus, making it a highly functional delivery mechanism for other spyware, information stealers, spam bots as well as other malware.
He was on the Council of the Association of Independent Museums for ten years. In 2014, Belsey appeared in the BBC television series Fake or Fortune? in which he authenticated two previously unattributed works, a landscape and a portrait of Joseph Gape, as being by Thomas Gainsborough. Belsey appeared again on the television in 2019 on the programme Lost Masterpieces in which, as the expert appraiser, he rejected the attribution to Thomas Gainsborough of a landscape painting in Birmingham City Art Gallery, suggesting instead that it was by Thomas Barker of Bath.
Another important group of tunes have an attribution to Robert Reid, or his children James Reid and Elizabeth Oliver. One of the Reid tunes is a 5-strain set of The Dorrington Lads, from Mrs Oliver, whose comment is noted that "This is most likely the same copy that poor Will Allen was trying to play when his Spirit was called Home to a more blissful Rest". This version was known, from the Rook manuscript, but its association with the Reid family was not. Given Robert Reid's father Robert Reed's known association with James Allan, this link is entirely possible.
Those Reithian goals, to "inform, educate and entertain," still remained valid. Paxman took the opportunity to dismiss as "inaccurate" the attribution to him, which was in fact, Louis Heren, of the oft-quoted "Why is this lying bastard lying to me?" as the supposed dominant thought in his mind when interviewing senior politicians. He called on the television industry to rediscover a sense of purpose. In November 2012, Paxman publicly defended George Entwistle after his resignation as Director-General of the BBC in connection with a Newsnight report which falsely implicated Lord McAlpine in the North Wales child abuse scandal.
The earliest reference to a fifth Veda is found in the Chandogya Upanishad (7.1.2), at p. 684 which applies the term to the "histories" (Itihasa-Purana, "ancient traditions") of its day, :'''' This reference to itihasa-purana is used by the Mahabharata, which belongs to the class of epic literature called "itihasa", to refer to itself as the fifth Veda. Relying also on its attribution to Vyasa, the legendary compiler of the Vedas, the Mahabharata declares itself a new Veda for a new era, intended for all people, and which is the equal of, and in some ways superior to, the four canonical Vedas.
Regardless of the spelling of the toponym as "Tonb", be it from the Arabic tÂonb (abode) or from the Persian tonb (hill), the attribution to the larger island of this epithet highlighted the islands' intimate association with the Persian coast and its inhabitants. One of the clans belonging to the Howalla or "Bani Hule" of the Persian coast was that of the Qasimi. Their Arab tribal origins are not as clearly established as is, however, their Persian geographical origin immediately prior to their rise to notoriety in the lower Persian Gulf. This occurred in the 18th century.
After a mistaken attribution to Reuters photographer Jim Young for a similar-looking January 2007 photograph, in January 2009 photographer and blogger Tom Gralish discovered that the poster was based on an Associated Press photograph by freelance photographer Mannie Garcia. It was taken at a 2006 media event with Kansas Senator Sam Brownback, where the actor George Clooney was raising awareness of the War in Darfur after a trip to Sudan he had taken with his father.Tom Gralish, "Obama Poster Photo Mystery Archives ", Scene on the Road, December 22, 2008 through January 23, 2009. Retrieved February 21, 2009.
Hand et al., 259 Because of these strong similarities, attribution to van der Weyden is not doubted, although the work is known to have been frequently copied in Spain after it was relocated there sometime in the 16th century. The black overpaint behind the Virgin was probably added at the request of a later 18th-century seller, most likely in an attempt to fashion the piece as a genre work and downplay its religious theme. Research aided by X-ray has been inconclusive and has found no lost detail or drawing beneath the thick layers of paint.
The prayer spread rapidly, often without attribution to Niebuhr, through church groups in the 1930s and 1940s and was adopted and popularized by Alcoholics Anonymous and other twelve-step programs. Niebuhr used it in a 1943 sermon at Heath Evangelical Union Church in Heath, Massachusetts. It also appeared in a sermon of Niebuhr's in the 1944 Book of Prayers and Services for the Armed Forces, while Niebuhr first published it in 1951 in a magazine column. Early versions of the prayer are given no title, but by 1955, it was being called the Serenity Prayer in publications of Alcoholics Anonymous.
A note on the back indicates that it is on canvas and belonged to the Carlo Foresti collection in Milan as of in October 1926. This version has a slick, glib quality that suggests it is probably a replica created around the end of the eighteenth century or the beginning of the nineteenth — perhaps as a substitute for the original that was given away by the Grand Duke. The traditional attribution to Raphael endured for well over a century after Manfredini acquired it, still appearing (but with a question mark) on the early twentieth century photograph by Alinari.
Timberline Lodge in 1994 William Irving Turner (1890–1950), commonly known as Tim Turner or W.I. Turner, was an American architect. He served as a U.S. Forest Service architect and is credited with much of the design of Timberline Lodge on Mount Hood in Oregon, an important and influential work. He is given individual credit for design of Cascadian Rustic Silcox Hut (alone) and Timberline Lodge (with others as "et al") in their listings in the U.S. National Register of Historic Places. He contributed to many works that are listed on the National Register with attribution to USDA Forest Svce.
Traditionally, this latter translation has been attributed to Rufinus. However, it has been argued that the attribution to Rufinus must be incorrect, since Rufinus' translation of Eusebius of Caesarea's Historia Ecclesiastica quotes excerpts from War that are significantly different from the translated passages of the Latin War. Alice Whealey, Josephus on Jesus (New York, 2003) p. 34. It is improbable that Rufinus would have done a new and different translation of the same passages for his translation of Eusebius' Historia Ecclesiastica if he had already had them available from his Latin translation of War (or vice versa).
V. Neale and Forbes entitle it Missale Vesontionense seu Sacramentarium Gallicanum, its attribution to Besançon being due to the presence of a Mass in honour of St. Sigismund. Monseigneur Duchesne appears to consider it to be more or less Ambrosian, but Edmund BishopIn a liturgical note to Kuypers' "Book of Cerne". considers it to be "an example of the kind of book in vogue in the second age of the Irish Saints", and connects it with the undoubtedly Irish Stowe Missal. It contains a Missa Romensis cottidiana and masses for various days and intentions, with the Order of Baptism and the Benedictio Cerei.
Bregno played a significant role in the standardization of an authentically classicizing style of epigraphy, in the inscriptions that accompany his tombs. In the Sistine Chapel he collaborated with Mino da Fiesole and Giovanni Dalmata to produce the little cantoria or choristers' gallery set into the wall, with its own coffered ceiling and carved marble balusters, and the marble screen. The attribution to Andrea Bregno and Baccio Pontelli of the Church of Santa Maria del Popolo, commissioned by Sixtus IV, is traditional, as is the tradition that the two were responsible for the Palazzo della Cancelleria.The Palazzo Torlonia's façade shows many similar features.
In the early twentieth century, it was suggested instead that Elmham's prose life could be equated with the Gesta Henrici Quinti, which is the best authority for the life of Henry V from his accession to 1416. This work, sometimes referred to as the chaplain's life, and thought by some to have been written by Jean de Bordin, was first published for the English Historical Society by B. Williams (1850). However, the modern editors of the Gesta convincingly rejected this attribution to Elmham. In short, the prose life by Thomas Elmham is not known to survive.
Opening page of MS 210, featuring an attribution to Count of St. Germain and a peculiar looking dragon The Triangular Book of St. Germain or The Triangular Manuscript is an untitled 18th-century French text written in code, and attributed to the legendary Count of St. Germain. It takes its name from its physical shape: the binding and sheets of vellum that comprise the manuscript are in the shape of an equilateral triangle. The text, once deciphered, details a magical operation through which a person can perform feats of magic, notably the discovery of treasure and extension of life.
The novel was discovered in the files of The Thrill Book magazine, where it had been accepted in 1919, by Murray and Daryl S. Herrick. Based on various evidence including handwriting and typewriter comparisons, and similarities of subject matter and style, they believed the novel to be the work of Clark Ashton Smith using Cass as a pseudonym. Murray showed the manuscript to Donald M. Grant and Sidney-Fryer who both agreed it to be the work of Smith. It was only after Grant published the novel that the attribution to Smith was discovered to be spurious.
It received a 62% rating from Nollywood Reinvented, who noted that despite being a properly done film, it might not be so pleasing to an average Nollywood film watcher, because of it being quite "intellectually- inclined". The Nigeria Voice praised the casting and screenplay, describing the film as "one of the most anticipated in this era of Nollywood". In 2014, it was listed as the 9th best African film by Answers Africa. Owing to its attribution to real events, it was also listed as one of the seven best Nollywood films that are based on true events.
Following Reder's death (also in 1969) it was bought by the art dealer Spencer A. Samuels, who also believed it to be a Vermeer. The Barbara Piasecka Johnson Collection Foundation bought it from Spencer in 1987. The leading Vermeer scholar Arthur Wheelock subsequently argued the case for the attribution to Vermeer in an article devoted to it in 1986. The painting was not included in the exhibition "The Young Vermeer" held in The Hague, Dresden and Edinburgh in 2010-11. However it was included in an exhibition of Vermeer's work held in Rome in 2012–13, curated by Wheelock, Liedtke and Sandrina Bandera.
It had long been believed to be a work by Giorgione, and the first attribution to Negretti was published in 1875 by . Bernard Berenson, and some other 20th-century art historians, disputed it, but it has been universally accepted since the 1992 publication of the monograph by Philip Rylands. The pose and the face of Jesus Christ are reminiscent of the slightly earlier Portrait of a Poet, now in the National Gallery. He is holding a transparent globe, almost invisible to the naked eye, and sitting in front of a green curtain opening on a landscape.
The Baillet-Latour Mamluk Carpet Many studies have been conducted on Mamluk carpets, but scholars have not come to a consensus as to when or where they were made. Production of surviving Mamluk carpets started from the second half of the fifteenth century until the middle of the sixteenth century, and continued even after the Ottoman conquest of Egypt in 1517. The group of carpets produced in this period were initially called "Damascene" carpets after their attribution to Damascus, Syria.Carlo Maria Suriano, “The Mamluk Landscape: Carpet Weaving in Egypt and Syria Under Sultan Qaitbay”, Hali 134-135 (2004), 94-105.
Bernardino and his sons probably specialised in crucifixes and crosses, which is why he is known by the surname delle Croci (of the Crosses) or dalle Croci, and Bernardinus de Parma dictus de le Crucibus. However, only two works – the reliquary of the Holy Cross, and the bronze works of the Martinengo mausoleum – can be directly attributed to him. There are numerous works in which his children collaborated, making the sole attribution to him impossible. There is evidence of his imprint in the Sante Spine reliquary, the San Faustino cross, as well as other similar works making constant references to Gothic art.
He became "sculptor to the king" (Henry II of France) in 1547 and in the next years was occupied at the Château of Anet. He was then imprisoned at Ecouen in 1555.The attribution to Goujon of the Maison de Diane de Poitiers (bearing the date 1554) at Ecouen was made by Henri Stein, 1890, based on the document that placed Goujon at Ecouen, imprisoned under orders of the bailli of 27 September 1555 His most famous works are the sculptural decorations made in collaboration with Lescot for the western extension of the Louvre, 1555-62.
In the second volume of its Corpus of Rembrandt Paintings, which covers the years 1631–1634, the Rembrandt Research Project (RRP) rejected the attribution to Rembrandt of the Philosopher in Meditation. Until then, and except for the "heretical" John C. Van Dyke, this attribution had been unanimously accepted by experts and art historians. The RRP did not introduce any new objective or documentary evidence, but based its judgment on an assessment of Rembrandt's "habits," an appraisal of the painting's style, and the difficulty of fitting it within Rembrandt's production in 1632 or the later 1630s.Corpus, II, 641.
Islamic law does not recognize the concept of communal property, and division of property is based on its attribution to either spouse. The wife obtains custody of the children until their majority (whose definition varies according to legal school), while the father retains guardianship. Child custody practices under Ottoman rule appear to have followed the rules of Hanafi jurisprudence, although in Ottoman Egypt children generally stayed with their divorced mother beyond the prescribed age. A divorced woman could keep custody of the children unless she remarried and her husband claimed custody, in which case it generally passed to one of her female relatives.
The temple has been converted into a Muslim shrine claimed to be the burial of Shahrbanu, a legendary Sasanian princess who was captured by the Muslims and married Husayn ibn Ali, the grandson of Muhammad, the founder of Islam. It is likely that the name shahrbanu, meaning "lady of the land", is in fact an attribution to Anahita, who bore the title banu ("lady"). Ray was one of the capital cities of the Buyid dynasty. It was one of the cities that were equipped with rapid postal service, which was predominantly used for transferring official mails.
Each artist signed with the surname only, and there is some controversy concerning the attribution to each artist of his own work. Tony was an expert violinist and delighted in painting portraits of persons who were playing upon the violin. Many of Dumont's finest paintings came into the collection of J. P. Morgan, but others are in the Louvre, presented by the heir of Bias Dumont. The work of both painters is distinguished by breadth, precision and a charming scheme of coloring, and the unfinished works of the elder brother are amongst some of the most beautiful miniatures ever produced.
Battaglia traced the land upon which the house stands to an original Spanish land grant to Andre Massé, but his report contains no mention of the house itself until 1814, when Dr. James Hennen sold the land "where vendor [i.e. James Hennen] now resides" to his son Alfred Hennen. This brief statement has led several writers, among them the reporter for the National Register of Historic Places, to credit James Hennen as the builder of the house with a building date of 1815. There are no known records that substantiate either the attribution to Hennen or the date of 1815.
Louis Phélypeaux, comte de Pontchartrain (1643–1727) Paul Phélypeaux was the king's counselor in 1610 and the founder of the Pontchartrain branch of the Phélypeaux family, which kept the chateau until 1802 under a supervised sale of the French Revolution. His son Louis I Phélypeaux had the main building built between 1633 and 1662, whose attribution to François Mansart is unfounded. Jean Phélypeaux (1646-1711), intendent of Paris from 1690 to 1709, councilor of state, was a client of the cabinetmaker André-Charles Boulle. Louis II Phélypeaux de Pontchartrain, Jean's brother, was Controller of Finance in 1689 and Chancellor in 1699.
Malise Ruthven, Construing Islam as a Language, The Independent 8 September 1990. "Nevertheless there is what might be called a political problem affecting the Muslim world. In contrast to the heirs of some other non-Western traditions, including Hinduism, Shintoism and Buddhism, Islamic societies seem to have found it particularly hard to institutionalise divergences politically: authoritarian government, not to say Islamo-fascism, is the rule rather than the exception from Morocco to Pakistan.". Ruthven doubts that he himself coined the term, stating that the attribution to him is probably due to the fact that internet search engines don't go back beyond 1990..
Attribution to artists is even more challenging; not all artists signed their work, and those who did may not have done so consistently. Many pictures have been cut down, extended, or otherwise altered in ways that damage or destroy inscriptions. Artists' workshops often churned out copies of the master's work to meet the demand for portraits, as symbols of devotion to the Crown or simply to populate the fashionable "long galleries" lined with portraits. Today, attributions are made on the basis of style, sitter, accepted date, and related documentation such as receipts or bills for payment and inventories of collections or estates.
He is said to have painted portraits, flower pieces, still lifes, game pieces, art galleries and landscapes. Some art historians have questioned whether the attribution to Jan van Kessel the Younger of still lifes. Such attribution may have been caused in certain instances by confusion with other artists with a similar name all active in the 17th century. In addition to his father, there was another Antwerp painter with the name Jan van Kessel (referred to as 'the other' Jan van Kessel) who painted still lifes, while in Amsterdam there was a Jan van Kessel known as a landscape painter.
In addition to being a singer, he was a music copyist, having copied several books of music not only for Ste. Gudule but for the church of St. Niklaus, also in Brussels. The work for St. Niklaus occurred in 1486 to 1487. The only record of his having been a composer is the attribution to "Malcort" in a Ferrarese manuscript of the textless rondeau Malheur me bat; while this Malcort may have been Hendrick Malecourt, who was a singer in Bergen op Zoom around the same time, and worked directly with Obrecht, Abertijne Malcourt is currently considered to be the most likely candidate.
Marcus Gheeraerts I, The lamentation of Christ at Hampel Fine Art auctions Urinating woman from the map of Bruges The panel of the Triumphant Christ (Memling museum in Old St. John's Hospital in Bruges) has been attributed to Marcus Gheeraerts. The Lazarus and the rich man (Catharijneconvent Museum in Utrecht) has been attributed to Gheeraerts but this attribution is not uncontested. Gheeraerts the Elder was known as a portrait painter. The traditional attribution to Gheeraerts of the Portrait of Elizabeth I of England, also referred to as the Peace portrait is still a matter of contention.
Each prophecy consists of four elements, an enigmatic allegorical text, an emblematic picture, a motto, and an attribution to a pope. The series was augmented in the fourteenth century with further prophecies, with the incipit Ascende calve ("arise, bald one"), written in imitative continuation of the earlier set, but with more overtly propagandist aims. By the time of the Council of Constance (1414–18), both series were united as the Vaticinia de summis pontificibus and misattributed to the Calabrian mystic Joachim of Flora, thus credited to a pseudo-Joachim. There are some fifty manuscripts of this fuller collection.
Delisle's resulting attribution to Paul de Limbourg and his two brothers, Jean and Herman, "has received general acceptance and also provided the manuscript with its name." The three Limbourg brothers had originally worked under the supervision of Berry’s brother, Philip the Bold, Duke of Burgundy, on a Bible Moralisée and had come to work for Berry after Philip’s death. By 1411, the Limbourgs were permanent members of Berry's household (Cazelles and Rathofer 1988). It is also generally agreed that another of Berry's books of hours, the Belles Heures, completed between 1408 and 1409, can also be attributed to the brothers.
Mírmans saga is a medieval Icelandic Chivalric saga, likely to have been composed in the 14th century. It belongs to an Old Norse epic cycle consisting of more than 20 sagas and together with Siguðrar saga þögla and Flóvents saga to a smaller cycle related to the Christianisation of Scandinavia. According to Marianne E. Kalinke and P. M. Mitchell, this concern with the conversion to Christianity is uncommon for Icelandic Chivalric sagas. Therefore, the attribution to the original Riddarasögur is seen as controversial among philologists, as the main topic rather suggests an allocation to the translated Riddarasögur.
There are indications that this play was submitted by Middleton to Robert Keysar of The Queen's Revels company under the name of The Viper and Her Brood. The critics who supported the Tourneur attribution argued that the tragedy is unlike Middleton's other early dramatic work, and that internal evidence, including some idiosyncrasies of spelling, points to Tourneur. More recent scholarly studies arguing for attribution to Middleton point to thematic and stylistic similarities to Middleton's other work, to the differences between The Revenger's Tragedy and Tourneur's other known work, The Atheist's Tragedy, and to contextual evidence suggesting Middleton's authorship (Loughrey and Taylor, xxvii).
Smoktunowicz's contributions to mathematics include constructing noncommutative nil rings, solving a "famous problem" formulated in 1970 by Irving Kaplansky.. For the attribution to Kaplansky, see . She proved the Artin–Stafford gap conjecture according to which the Gelfand–Kirillov dimension of a graded domain cannot fall within the open interval (2,3).. She also found an example of a nil ideal of a ring R that does not lift to a nil ideal of the polynomial ring R[X], disproving a conjecture of Amitsur and hinting that the Köthe conjecture might be false..Lam, T.Y., A First Course in Noncommutative Rings (2001), p.171..
The attribution to the goddess Minerva derives from the finding of a female statue, although a dedication stone to Hercules has been found, and the temple was likely dedicated to this male demi-god. In the Middle Ages the temple housed a tribunal with an annexed jail, as testified by one of Giotto's frescoes in the St. Francis Basilica, which portrays the church windows with bars. Of the ancient temple, the façade has been preserved, with six Corinthian columns supporting the architrave and a small pediment. The columns were originally covered by a very strong plaster, which was perhaps colored.
In 1908 the Madonna was bought from his widow by the Paris-based art dealers Nathan Wildenstein and René Gimpel. They consulted Bernard Berenson, the leading connoisseur of the day, on the attribution in 1909; he confirmed an earlier attribution to il Sodoma but thought that Leonardo had been responsible up to the cartoon stage. During restoration work in around 1911 the painting was transferred to canvas and several alterations were made, most significantly the removal of a loincloth covering the Child's genitals and the fingers of the Virgin's left hand. The painting was bought as a Sodoma in 1928 by Robert Wilson Reford, a Canadian industrialist and shipping magnate.
Apsines went on to study at Smyrna and taught at Athens, gaining such a reputation that he was raised to the consulship by the emperor Maximinus. He was a rival of Fronto of Emesa, and a friend of Philostratus, the author of the Lives of the Sophists, who praises his wonderful memory and accuracy. Two rhetorical treatises by him are extant: # His Τέχνη ῥητορική ("Art of Rhetoric") is a greatly interpolated handbook of rhetoric, a considerable portion being taken from the Rhetoric of Longinus and other material from Hermogenes; an English translation was first published in 1997. Malcolm Heath has argued (APJ 1998) that the work's attribution to Apsines is incorrect.
He even ordered the construction of a lion statue fountain, with his Grandmaster code of arms being held by the lions hand, in the centre of Floriana's main square, St. Anne Square, which is still there today. Second attribution to the lion is the statue of St. Publius who is the patron saint of Floriana. The St. Publius' statue has a lion with it which shows how Publius was killed for his Christian preachings. The first game won by the team was confirmed on the feast of the patron's village St. Publius, on 13 April 1910, which is to some considered as a divine confirmation.
The Holy Family with Christ as Imperator mundi is a 71 by 50.5 cm tempera on canvas painting dated to around 1490-1500. It is attributed to Andrea Mantegna (though its poor conservation prevents a definitive attribution to him) and now held in the Petit Palais in Paris.Ettore Camesasca, Mantegna, in AA.VV., Pittori del Rinascimento, Scala, Firenze 2007. The Virgin and Child are identical to those in Holy Family with the Infant Saint John the Baptist (London), whilst the Christ Child is reminiscent of several small-format works from the same period, of which the best is perhaps Holy Family with Saints Anne and John the Baptist (Dresden).
Laredo has left us three works. He wrote two medical works in Castilian, but with Latin titles: Metaphora medicinae (Seville 1522 and 1536)A. Alonso González et al (eds), Subida del Monte Sión, (Madrid: Fundación Universitaria Española, Universidad Pontificia de Salamanca, 2000), p10. Gonzalez states that just the 1522 edition remains, in a unique copy in Madrid. Apparently Bartoleme Jose Gallardo (1888) attests to the existence of a second edition, but this has not been found), published anonymously but with enough internal evidence that scholars are sure of its attribution to Laredo,((5) p10) and Modus faciendi cum ordine medicandi (Seville 1527, 1534, 1542, 1627).
The School of Women first appeared as a work in Latin entitled Aloisiae Sigaeae, Toletanae, Satyra sotadica de arcanis Amoris et Veneris. This manuscript claimed that it was originally written in Spanish by Luisa Sigea de Velasco, an erudite poet and maid of honor at the court of Lisbon and was then translated into Latin by Jean or Johannes Meursius, a humanist professor teaching history in Leiden, Holland since 1610. The attribution to Sigea was a lie and Meursius' involvement was a complete fabrication. The manuscript circulated through the libertine community at the beginning of the eighteenth century and was known in Latin under many different titles.
20 birds) and in Awash National Park (3–8 birds) in the East African Rift in Ethiopia. Its scientific name means the lost swallow and it has been suggested that it might breed in the hills surrounding the Red Sea in Sudan or Ethiopia.A Handbook To The Swallows And Martins Of The World: Angela Turner, Christopher Helm Press, London The Lake Langano birds had blue-black upper parts with a rump varying from off-white to pale pink to rufous whilst the Awash swallows are described as having brownish throats and brownish-white underparts. The variations are not conclusive for attribution to the original specimen but cliff swallows are variable.
The Madonna with Child (Salting Madonna) is a painting attributed on basis of style"Possibly by Antonello da Messina" to the early Italian Renaissance master Antonello da Messina,The attribution to Antonello was made by Claude Phillips in "The Salting collection II: the Italian pictures", The Burlington Magazine, vol 17 (1910) p. 6. depicting the Madona holding the doll-like Child and wearing an ornate golden crown, held by angels over her head. It is housed in the National Gallery, London. The name Salting, which is also applied to a Madonna by Robert Campin, denotes George Salting, the collector who donated it to the gallery in 1910.
Second, the impetus given to the Community through the Single European Act and the Delors Presidency in general saw a vast growth in the work-load of the Court. This led to the establishment in 1989 of the European Court of First Instance during the Due Presidency aimed at transferring part of the workload of the European Court of Justice. In the period 1979 to 1994, the Court also became a far more exposed institution, whose real powers were gradually recognised. This culminated in the attribution to the Court the power to impose monetary penalties on Member States for their failure to obey Community law, introduced by the Treaty of Maastricht.
Robert Hewsen has questioned the attribution to Tigranes II, as no coins or inscriptions bearing his have yet to be uncovered and the identification of the remains has rested on the local name for the site.Hewsen, Robert H., "Three New Books about Arts'akh," Journal of the Society for Armenian Studies 22 (2013), p. 295. The ruins of the second Tigranakert have yet to be uncovered, although it is believed to have been located in the district of Gardman. After the demise of the first Tigranakert in the early Middle Ages, the name of the city was preserved and used continuously in local geographic lore as Tngrnakert, Tarnakert, Taraniurt, Tarnagiurt, and Tetrakerte.
In the 1936 Italian edition, Berenson later reconsidered the problem and proposed an attribution to Domenico Puligo, to which a question mark would be subjoined in the posthumous edition of 1963. The identification has not been taken up in the literature on Puligo, including the recent catalogue raisonné of the artist's work by Elena Capretti. Guidebooks to the collection reveal that the painting had vanished from the Seminario by the late 1960s. It seems highly possible, however, that the picture disappeared from the Pinacoteca of the Seminario as early as the Second World War, when a number of objects from the collection went missing.
Following the Chinese 2014 Kunming attack, in which 31 people were killed, probably by Xinjiang secessionists, Chinese state media and Chinese social media users criticized major Western media outlets that placed quotation marks around the word "terrorism" in news articles about the event.Dawn, Yiqin Fu, "Chinese are angry at western media's portrayal of the Kunming attack, Dawn (March 5, 2014). While some Chinese Internet users interpreted the quotation marks as attribution to the statements of the Chinese government, others accused the Western media of sympathizing with the separatists. China accused "Western commentators, with their focus on Uighur rights, of hypocrisy and double standards on terrorism.
This work's attribution to Ranc has sometimes been questioned, and another version and its female pendant have been attributed to Jean-Marc Nattier (Geneva, Musée d'Art et d'Histoire) but this portrait definitely shows Rigaud's influence, if not on Ranc then on an assistant in the atelier. Ranc's style was very close to that of Rigaud, but can be readily distinguished by the very slender hands and especially the sharp folds in the draperies which appear in his works; Rigaud's draperies are much softer and more malleable. Ranc's portraits show a lack of spontaneity in the depiction of the sitters, caused by an over-precise technique.
Augusta Ghidiglia Quintavalle, Tesori nascosti della galleria di Parma, Parme, La Nazionale Tipografia, 1968, 178 p. However, this identification remains in doubt, since the Parma work does not have Parmigianino's usual lead graphite "di lapis" finish. The work has been compared to the description of the artist's appearance in old age in Vasari's Lives of the Artists as "delicate and gentle, with long and battered beard and hair, almost a saviour, different from what had been". Its attribution to Parmigianino is almost unanimous among art historians and is upheld by Fagiolo dell'Arco (1970), Rossi (1980), Freedberg (1987), Di Giampaolo (1991), Gould (1994), Coliva (1998) and Chiusa (2001).
In 1963 Charles Sterling researched the work, removing the attribution to Perréal and instead assigned it to the Emilian Renaissance. He was also the first to link it back to Porcia (then thought to be a Saint Agnes or Virgin of the Annunciation from the circle of Lorenzo di Credi or of Franciabigio), which Sterling happened to have seen at the Istituto Centrale del Restauro in Rome. Minerva was reassigned yet again to a Florentine painter in 1967, the same year as it was moved to the Louvre's stores. It formed part of an exhibition in 1982, for which Sylvie Béguin reattributed it to Fra Bartolomeo's youth.
The attribution to Esty is based on surviving architectural elements that are similar to other documented works of his in Framingham. Gibbs was a member of the locally prominent Gibbs family, who had been major landowners of northwestern Framingham since the early 18th century, and the house was built around the time of his marriage. It is the last surviving house of a series of Gibbs family homes built in the area. The property associated with the house remained in use as farmland into the 1970s, although this house was converted in the 20th century for use as a tenant house by farm workers.
Terry is the birthplace of influential blues musician Tommy Johnson. He claimed to have sold his soul to the devil at a secluded Mississippi crossroads in exchange for fame and fortune, a legend that was later popularized by its attribution to bluesman Robert Johnson. Other persons of note who have lived in Terry include author Rick Bass; Rickey Cole, former chairman of the Mississippi Democratic Party; and Bobby DeLaughter, prosecutor in the Byron De La Beckwith murder trial. R. B. Walden, an attorney who served as director of the Louisiana Department of Hospitals and the mayor of Winnsboro, Louisiana, from 1926–1934, was born in Terry in 1901.
The coloured plates included montages of birds heads, crops of illustrations by Elizabeth Gould or artwork that Gould purchased from Edward Lear. Lear sold illustrations he had not included in his celebrated works to Gould, such as Illustrations of the Family of Psittacidae, or Parrots, and Gould in turn printed the images in reverse and amongst the works of other artists; the lack of attribution to Lear and others is thought to have been Gould's assumption of authorship by his purchase of their works. In 1865 Gould published a revised and updated version of the text of The Birds of Australia in the two-volume Handbook to the Birds of Australia.
It first became known to critics early in the 20th century and was lent to the Fogg Art Museum in 1905 or 1906, where it was seen and studied by Bernard Berenson, who published his work on it in 1907. His attribution of it to Correggio was supported by Adolfo Venturi and then in the 1970s by Arturo Carlo Quintavalle and Cecil Gould. David Alan Brown disagreed, thinking it an exercise in imitation of Correggio by Francesco Maria Rondani, a painter from Parma. In more recent years David Ekserdjian has doubted the attribution to Correggio, though it has been supported by Mario Di Giampaolo and Andrea Muzzi.
At the time, the hacks were thought to be caused by ISIS, but instead they were traced back to Russian hacking group, the Cyber Bears. Nance knew this was a Russian intelligence GRU operated group, and realized the attribution to ISIS was a false flag operation to throw investigators off the trail. This gave Nance prior knowledge of Russian intelligence tactics, through the Cyber Bears, to infiltrate servers for purposes of disrupting government in the case of Germany, and injecting propaganda in the case of France. After the 2016 hack on the DNC, it was apparent to Nance that the identical foreign agency had carried out the attack, GRU.
The New Yorker article discussed the troubling circumstances in which Kemp attributed this work to Leonardo. But apart from this, strong indications are going against the hypothesis of authenticity, and the attribution to Leonardo has been challenged by a number of scholars who showed interest. Among the reasons for doubting its authorship are the lack of provenance prior to the 20th century – unusual given Leonardo's renown dating from his own lifetime, as well as the fame of the purported subject's family – and the fact that it was on vellum. Only once did Leonardo use vellum and old sheets of it are easily acquired by forgers.
According to some historians, Bosch could have painted this work during a short trip to northern Italy, although it is more likely that it was a commission from an Italian trader or diplomat active in the Flanders. The earliest mention of the triptych comes from the 1771 treatise Della pittura veneziana, as located in the Palazzo Ducale's "Sala dell'Eccelso Tribunale". In 1893 it was moved by the Austrians to Vienna, where it remained until 1919 when it was returned to Venice. The work has been damaged by a fire, although its attribution to Bosch has never been disputed. It is one of the few paintings to bear Bosch’s signature.
Little is known about the painting's origins, and currently the most credited hypothesis is that it would portray Carlo de' Medici, an illegitimate son of Cosimo de' Medici the Elder and a Circassian concubine, as hinted by the subject's intense blue eyes. In 1912 a copy of the portrait was included in a genealogy of the House of Medici. This is however in contrast with the identification of Carlo as a character in Filippino Lippi's Stories of St. Stephen and St. John the Baptist in the Cathedral of Prato. Also the attribution to Mantegna was not immediate, as for a long time the painting was thought to be by Domenico Veneziano.
Owing to the ruined state of the structure, it is known in Arabic as the "Headless Pyramid", a name that has been retained. The pyramid was lost under shifting sands in the early 20th century and its attribution to Menkauhor was consequently debated. Instead, it was proposed that the Headless Pyramid was that of Merikare, a structure dating to the First Intermediate Period and which has yet to be found. In 2008, the structure identified by Lepsius was rediscovered by a team of archaeologists under the direction of Zahi Hawass, and excavations at the site quickly established a Fifth Dynasty date as indicated by the construction techniques used in its making.
Other surviving sources include a problematic document known as the Tribal Hidage, which may provide further evidence of Offa's scope as a ruler, though its attribution to his reign is disputed.Peter Featherstone, provides a review of some theories about the origins of the Tribal Hidage in "The Tribal Hidage and the Ealdormen of Mercia" in Brown & Farr, Mercia, p. 29. A significant corpus of letters dates from the period, especially from Alcuin, an English deacon and scholar who spent over a decade at Charlemagne's court as one of his chief advisors, and corresponded with kings, nobles and ecclesiastics throughout England.Michael Lapidge, "Alcuin of York", in Lapidge et al.
Martin Robertson, following Furtwängler's attribution to Phidias, remarked that it would be unlikely for the beautiful face of the Medusa to be juxtaposed with the beautiful face of the goddess, whose gorgoneion retained its fearful archaic appearance.Robertson, A History of Greek art (Cambridge University Press) 1975:314. Janer Danforth Belson has made a case for its model to have been the gorgoneion on a gilt-bronze aegis that was an ex-voto of Antiochus IV and was hung on the south retaining wall of the Acropolis of Athens about 170 BC, where it was noted by Pausanias in the late second century AD.Pausanias, i.21.3 and v.12.4.
For example, if you pass a test you believe it was because of your intelligence; when the outcome does not match their expectations, they make external attributions or excuses. Whereas if you fail a test, you would give an excuse saying that you did not have enough time to study. People also use defensive attribution to avoid feelings of vulnerability and to differentiate themselves from a victim of a tragic accident. An alternative version of the theory of self-serving bias states that the bias does not arise because people wish to protect their private self-esteem, but to protect their self-image (a self- presentational bias).
Their confident attribution to Wewyck draws on "new archival, scientific and stylistic evidence", including previously unpublished documents, and concludes that the painting is "[p]robably the earliest known large-scale portrait of an English woman". A copy painted by Rowland Lockey ca. 1598 preserves details obscured by darkened varnish and paint loss on the original. Based on their work with the portrait of Lady Margaret Beaufort, they also attributed a stylistically and structurally similar portrait of Henry VII held by the Society of Antiquaries of London to Wewyck. Dr Chen described the significance of these discoveries: “These paintings can serve as touchstones for further research into Wewyck’s work.
Although it is often asserted that, as monarch, Irene called herself "basileus" (βασιλεύς), 'emperor', rather than "basilissa" (βασίλισσα), 'empress', in fact there are only three instances where it is known that she used the title "basileus": two legal documents in which she signed herself as "Emperor of the Romans" and a gold coin of hers found in Sicily bearing the title of "basileus". In relation to the coin, the lettering is of poor quality and the attribution to Irene may be problematic. She used the title "basilissa" in all other documents, coins, and seals.Liz James, "Men, Women, Eunuchs: Gender, Sex, and Power" in "A Social History of Byzantium" (J.
In October 2013, Isbouts published another book examining a Renaissance art theme, The Mona Lisa Myth, examining the history and events behind the Mona Lisa in the Louvre and the Isleworth Mona Lisa, confirming the latter's attribution to Leonardo. A companion film was released in March 2014, also directed by Isbouts, with narration by Morgan Freeman. Describing his first examination of the Isleworth Mona Lisa, Isbouts related that he was "sceptical but intrigued", stating, "I walked into the vault, it was very cold in there, and I spent about two hours with that painting. But after five minutes I recognised that this had to be a Leonardo".
The bronzes were formerly the property of Baron Adolphe de Rothschild and were exhibited at the Paris Exposition Universelle in 1878 as the work of Michelangelo, although this attribution was disputed at the time. The Rothschilds had acquired the statues the previous year from their owner in Venice. When his heir Maurice de Rothschild died in 1957, they were purchased by a French private collector. Over the years, the sculptures have been attributed to other artists, including Tiziano Aspetti, Jacopo Sansovino and Benvenuto Cellini, or their respective circles. In 2002, they were again sold at Sotheby’s London, to a British collector for £1.8m, with a loose attribution to Cellini.
John W. Burgon, The Last Twelve Verses of the Gospel According to S. Mark (1871, Oxford & London) pages 57–58. Also in Brooke Foss Westcott & Fenton John Anthony Hort, The New Testament in the Original Greek (1881, Cambridge & London, Macmillan & Co.) vol. 2 (Appendix) page 34, also supporting the attribution to either Hesychius or Severus rather than Gregory. Actually, Greek codex W (also known as the Freer Gospels or the Codex Washingtonianus), dating from the fourth or fifth century, is the oldest known Greek ms that sets forth the Longer EndingAlbert J. Edmunds, The Text of the Resurrection in Mark, and its Testimony to the Apparitional Theory, The Monist, vol.
Lost in Translation? The Treatise on the Mahāyāna Awakening of Faith (Dasheng qixin lun) and its modern readings, Bulletin of the School of Oriental and African Studies 71 (2), 323 However, D.T. Suzuki accepted its Indian Sanskrit origin, while acknowledging that it was unlikely the historical Aśvaghoṣa () was the author, and that it was more likely that the attribution to Aśvaghoṣa was an honorific appellation due to the profundity of the treatise. Suzuki saw the Awakening of Faith as being "inspired by the same spirit" as the Lankavatara (), Avatamsaka (), and the Mahayana Parinirvana () Sutras, and regarded its identification as a Chinese text as "not well grounded".
Cited by Pasquier, p. 103. However, the main objection to the attribution of the Despinis Head as Praxiteles' Artemis is stylistic: the solemn expression of the Despinis Head has little of the charm and grace considered to be characteristic of Praxiteles' style. However this characterisation of Praxiteles is largely derived from the Hermes and the Infant Dionysus whose attribution to Praxiteles is itself highly controversial. Moreover, the heavily damaged state of the head must be kept in mind, as well as the fact that it is difficult to imagine the impression that it would have had on a viewer in its original location, three metres above ground level.
In 1801–1802 Menelaws designed and built the Razumovsky Palace in Basmanny District of Moscow;Attribution to Menelaws alone is a recent trend (e.g. Kuznetsov, p. 219); earlier, the palace was attributed to Lvov or Matvey Kazakov. the palace was destroyed by the Fire of 1812 and later reconstructed by Afanasy Grigoriev. Another large park, Stroganov's Maryino, was laid down near Saint Peterburg in 1813. All these landscaping projects perished by the end of 19th century. Menelaws park designs always employed a Gothic ruin as a visual anchor. Menelaws was instrumental in operations of the Maryino school established by the Golitsyns in 1819, teaching the peasants the craft of cob construction.
Hesychius s.v Ἀφρόδιτος. Catullus 68, 51, calling the Amathusian Aphrodite duplex, confirms the attribution to Amathus. The excavators discovered the final stage of the Temple of Aphrodite, also known as Aphrodisias, which dates approximately to the 1st century BC. According to the legend, it was where festive Adonia took place, in which athletes competed in hunting wild boars during sport competitions; they also competed in dancing and singing, all to the honour of Adonis. Fish, polychromic terracotta, 5th century BCE, found in Amathus The earliest remains hitherto found on the site are tombs of the early Iron Age period of Graeco-Phoenician influences (1000-600 BC).
Equestrian portrait of Archduke Leopold Wilhelm Van den Hoecke was a versatile artist producing historical paintings as well as portraits and designs for tapestries. His work combined the achievements of the art of Rubens with 17th-century Italian Classicism. The artist and his work have only started to attract renewed attention from art historians since the 1970s. A better understanding of the characteristics of his style have led to the re- attribution to van den Hoecke of works earlier given to other collaborators of Rubens such as Erasmus Quellinus II and Jan Boeckhorst and tentative attributions of work earlier given to Theodoor van Thulden.
Conversely, the increased knowledge of his unique style has also led to the attribution to other painters of works earlier given to van den Hoecke. There were 45 paintings of van den Hoecke in the Archduke's collection. This was the largest number of paintings of a Flemish artist in the collection. About half of these works found their way to the Kunsthistorisches Museum, Vienna as the collection was moved to Vienna when the Archduke returned to his home country. The large number of van den Hoecke paintings in the collection is probably due to the Archduke’s preference for the more classicistic style of van den Hoecke.
In 1896, museum director claimed it had been forged by its former owner, Gaetano Callani, which caused it to be re-attributed as "by the school of Leonardo". In 1924 this claim was challenged by the art historian Adolfo Venturi, who asserted that the work was by Leonardo, and who revealed evidence that sought to link the work with the House of Gonzaga. The attribution to Leonardo was further advocated by Carlo Pedretti, who connected the painting to Isabella d'Este, a patron of Leonardo. Most scholars have since accepted the work to be an autograph Leonardo, but modern critics such as art historian Jacques Franck continue to question its authenticity.
In spite of the obvious differences in the composition and execution, no one called its attribution to Rembrandt in doubt. The great exception is the American art historian John C. Van Dyke, who whittled Rembrandt's oeuvre down to less than fifty paintings and made short shrift of the Louvre's Philosophers: "Small pictures over which, in the past, there has been much spilling of good printer's ink with no marked results. The pictures are not wonderful...".John Charles Van Dyke, Rembrandt and His School; a critical study of the master and his pupils with a new assignment of their pictures, New York, C. Scribner's Sons, 1923, 114-5.
The period of a rapid expansion of the Islamic era forms a reasonably accurate beginning for the label of Islamic art. Early geographical boundaries of the Islamic culture were in present-day Syria. It is quite difficult to distinguish the earliest Islamic objects from their predecessors in Persian or Sasanian and Byzantine art, and the conversion of the mass of the population, including artists, took a significant period, sometimes centuries, after the initial spread of Islam. There was, notably, a significant production of unglazed ceramics, witnessed by a famous small bowl preserved in the Louvre, whose inscription assures its attribution to the Islamic period.
Of these, most still exist in complete or fragmentary form, despite depredations by later Byzantine Emperors, Crusaders, and Ottoman conquerors. Four presently adorn the facade of the main building of the İstanbul Archaeology Museums, including one whose rounded shape led Alexander Vasiliev to suggest attribution to Emperor Julian on the basis of Constantine Porphyrogenitus's description. Vasiliev conjectures that the nine imperial sarcophagi, including one which carries a crux ansata or Egyptian cross, were carved in Egypt before shipment to Constantinople. The tradition was emulated by Ostrogothic King Theodoric the Great (454-526), whose mausoleum in Ravenna still contains a porphyry tub that was used as his sarcophagus.
"Scenes from Tebaldeo's Eclogues" , National Gallery, retrieved 18 June 2017 He saw them in 1937 in the possession of a dealer in Vienna, and against the united advice of his professional staff he persuaded the trustees to buy them. He believed them to be by Giorgione, whose work was inadequately represented in the gallery at the time. The trustees authorised the expenditure of £14,000 of public funds and the paintings went on display in the gallery with considerable fanfare. His staff did not accept the attribution to Giorgione, and within a year scholarly research established the paintings as the work of Andrea Previtali, one of Giorgione's minor contemporaries.
This was thanks to the discovery of a drawing representing Saint-Vallier in the Rhone Valley, which had been acquired by the Louvre Museum and was datable to 1567 or later. This drawing carried the inscription Henrick Ghÿsm : F. The drawing in the Louvre turned out to be a first version of one of the views preserved in the Staatsgalerie Stuttgart. This identification led to the attribution to Gijsmans of almost all the 50 drawings in the Staatsgalerie formerly ascribed to Anonymous Fabriczy. Part of the drawings of Stuttgart were likely part of a notebook some of the pages of which have become dispersed.
Solomon's name is not mentioned in the story, and he is simply called "the king". Considered out of context, the story leaves the king anonymous just like the other characters. Some scholars think that the original tale was not necessarily about Solomon, and perhaps dealt with a typical unnamed king. A different opinion is held by Eli Yassif, who thinks that the author of the Book of Kings did not attribute the story to Solomon on his own behalf, but the attribution to Solomon had already developed in preliterary tradition.Eli Yassif, The Hebrew Folktale: History, Genre, Meaning (Folklore Studies in Translation), Bloomington, IN: Indiana University Press, 1999, p. 30.
5 (Peabody MA: Hendrickson Publishers, 1999), 3 While his major work The Refutation of All Heresies was readily accepted (once the false attribution to Origen was resolved), his two small works, On the Twelve Apostles of Christ and On the Seventy Apostles of Christ, are still regarded as dubious, put in the appendix of his works in the voluminous collection of the writings of early church fathers.Ante-Nicean Fathers, ed. Alexander Roberts, James Donaldson and A. Cleaveland Coxe, vol. 5 (Peabody MA: Hendrickson Publishers, 1999), 254–56 Here is the complete text of Pseudo-Hippolytus's On the Seventy Apostles of Christ: > # James the Lord's brother, bishop of Jerusalem.
Karski's reports were a series of reports attributed to Jan Karski, an investigator working for the Polish government-in-exile during World War II, describing the situation in occupied Poland. They were some of the first documents on the Holocaust in Poland received by the Polish government in exile, and, through it, by the Western Allies. For the 1942 report attributed to him, considered a cornerstone of his legacy, the attribution to Karski is unconfirmed. No reliable sources exist for the actual content of the information Karski carried with him to the West, and the information contained in the official reports may actually have come from other couriers.
The angel of the Annunciation, Orvieto. Monument to Ranuccio Farnese (detail). Mochi worked with Stefano Maderno on a prominent papal commission, the Cappella Paolina in Santa Maria Maggiore, where he contributed his still somewhat immature Saint Matthew and the Angel, in travertine. His first major work was the Annunciation of the Virgin by the Angel, composed of two statues (the Angel completed 1605, the Virgin Annunciate, 1608,Dates from Ian Wardropper, "A New Attribution to Francesco Mochi," Art Institute of Chicago Museum Studies (1991:102–119, 179), which summarises Mochi's career (pp 106f) in attributing to him an idealised Bust of a Youth at the Art Institute of Chicago.
Alfred Fowler gave the same attribution to similar lines that he observed in a hydrogen-helium mixture in 1912. Analysis by Niels Bohr included in his 'trilogy' on atomic structure argued that the spectral lines arose from ionised helium, He+, and not from hydrogen. Fowler was initially-skeptical but was ultimately convinced that Bohr was correct, and by 1915 "spectroscopists had transferred [the Pickering series] definitively [from hydrogen] to helium." Bohr's theoretical work on the Pickering series had demonstrated the need for "a re-examination of problems that seemed already to have been solved within classical theories" and provided important confirmation for his atomic theory.
453) conflict between the Gepids and Huns, possibly during the reign of the Gepid Ardaric; another interpretation makes the goths the Crimean Goths; whilst the battle itself has been placed as early at 386 AD, a destruction of peoples under Odotheus in a battle on the river Danube. Similarities between the story in the saga and the Battle of Nedao have also been noted. The identification of persons in the poem with historical figures is equally confused. Additionally any historical date of the "Battle of Goths and Huns" (whatever the exact attribution to historical events) is several centuries earlier than the supposedly preceding events recorded in the saga.
The most visible remnant of sculptural and architectural activity at Medeshamstede is the sculpture now known as the Hedda Stone, dated by Rosemary Cramp to the late eighth or early ninth century, and kept on show at Peterborough Cathedral.Cramp, R., A century of Anglo-Saxon sculpture, Graham, 1977, p. 192. This date is subject to discussion: see Corpus of Romanesque Sculpture in Britain and Ireland, "St Margaret, Fletton, Cambridgeshire". CRSBI. Retrieved 24 May 2008. The attribution to Hedda is a modern, antiquarian development, presumably based on a twelfth-century text known as the "Relatio Heddæ Abbatis" ("Story of Abbot Hedda"): Mellows, 1949, pp. 159–61.
The critical opinion of Portrait of a Musician has historically been mixed, and negative comments have often led to the hesitation or rejection of a full attribution to Leonardo. In the early 20th century French art historian Eugène Müntz complemented the work for its "vigour of modeling worthy of Rembrandt" but criticized it for a sullen expression, poor coloring and incompleteness. According to Marani, these comments can largely be explained by his use of a very poor reproduction for analysis. While art historian Jack Wasserman states that the portrait lacks the typical facial intensity of Leonardo's other works, Syson and Kemp praise the work's intense stare.
Clavicytherium by Albertus Delin. Now in the Musée des Instruments de Musique in Brussels Clavicytheria are mentioned in Sebastian Virdung's 1511 work Musica Getutscht, the first surviving reference work on music; Virdung calls the instrument clauiciterium.Oxford English Dictionary, online edition, entry "Clavicytherium". They are also mentioned in the Syntagma Musicum (1614-1620) of Michael Praetorius, the Harmonie universelle (1637) of Marin Mersenne, and in the French Encyclopédie méthodique.Hubbard 1967, 77 Bartolomeo Cristofori, who invented the piano, built clavicytheria, of which one may actually survive.It is in the Museo Nazionale degli Strumenti Musicali in Rome; Kottick (2002:500) considers the attribution to Cristofori to be "probable".
It was bought in 1653 by the Spanish ambassador Alonso de Cárdenas for 1600 escudos (£400). He was acting as the agent for Luis de Haro, who had planned to present it to Philip IV of Spain. However, when the painting arrived in Madrid Velazquez challenged its attribution to Correggio and Luis decided to keep it for himself.The Sale of the Century: Artistic Relations Between Spain and Great Britain, 1604-1655 (Yale University Press, 2002), page 236] It was inherited by Luis' son Gaspar de Haro, then by Gaspar's daughter Catalina, wife of Francisco Álvarez de Toledo, 10th Duke of Alba, whose family retained it until 1802.
Herzog von Urbino : Kriegsherr, Friedensfürst und Förderer der Künste. München 2001. Marcello Simonetta, Jonathan James Graham Alexander, Federico da Montefeltro and his library, Pierpont Morgan Library, Y.Press, 2007, p. 102 The case for Berruguete rests on various arguments including the mention of a 'Pietro Spagnuolo pittore' in Urbino in 1477, a reference to the Famous men by Pablo de Cespedes dating from 1604, which could be regarded as an attribution to Berruguete (although Cespedes specifically stated that they were by a Spanish painter 'other' than Berruguete), the depiction of a Spanish-language book in a painting in the series and stylistic similarities with later works of Berruguete.
In 2015 and 2016, a series of cyberattacks using the SWIFT banking network were reported, resulting in the successful theft of millions of dollars. The attacks were perpetrated by a hacker group known as APT 38 whose tactics, techniques and procedure overlap with the infamous Lazarus Group who are believed to be behind the Sony attacks. Experts agree that APT 38 was formed following the March 2013 sanctions and the first known operations connected to this group occurred in February 2014. If the attribution to North Korea is accurate, it would be the first known incident of a state actor using cyberattacks to steal funds.
A portrait of a baby and dog attributed to her is currently in the collection of the Metropolitan Museum of Art, as are another portrait of a baby and a painting of the three Starbird children of Charlestown, Massachusetts; this last is the only one of the three whose attribution to her is secure. Another miniature of a child is in the Cincinnati Art Museum. An album of watercolors of flowers and plants, likely her earliest surviving work, is currently owned by the North Andover Historical Society. Her paintings are sometimes described as having "primitive vestiges", and her work is highly sought after by collectors of folk art.
All the extant fragments of Simon's writings were published by Franz Rühl in 1912. Simon is mentioned three times in the Hippiatrica: there are two passing mentions of him as an authority like Xenophon, and an account of his criticism of Micon's painting. The attribution to him in the Souda, a compendious Byzantine lexicon, of a work on horse medicine is probably an error, as the passage attributed to him – on the recognition of veins – is in fact taken from the of Publius Flavius Vegetius Renatus. Elsewhere in the Souda Simon's work is referred to as a , or roughly "wonderful book of horse examination".
In an air-gram to Washington in April 1966, the estimated fatalities had reached between 100,000 and 1,000,000. The fight against the Indonesian Communist Party eventually led to President Suharto's heightening of power and ultimately led to a brutal dictatorship from 1967-1998, marking 31 years of brutality. The United States involvement in these situations is marked with controversy in and of itself - according to an August 1966 airgram from Marshall Green stated that the U.S. Embassy prepared a list of Communist leaders with attribution to the Embassy removed, and that list was being used by Indonesian security officials that lacked an extreme amount of overt knowledge on Communist officials.
In 2010 a conference was held at which a team comprising David Bershad, Professor at University of Calgary (Canada), Peter Hohenstatt, Professor at the University of Parma, Felice Festa, Professor of Orthodontics and Gnathology at the D'Annunzio University of Chieti–Pescara, and Nicola Barbatelli, presented the findings in support of Barbatelli's attribution.Leonardo and the Renaissance Fantastic, Aponte Viaggo, accessed 19 November 2010 In 2017, the University of Malta refused permission for an exhibition in which the Lucan Portrait was meant to be the centrepiece, citing doubts by its art history department over the attribution to Leonardo. Nicola Barbatelli has however dismissed this decision, stating that the university did not have academics "with sufficient expertise on the subject".
" For the second edition, Darwin added these lines to the last chapter, with attribution to "a celebrated author and divine". In 1860 seven liberal Anglican theologians caused a much greater furore by publishing a manifesto titled Essays and Reviews in which they sought to make textual criticism of the Bible available to the ordinary reader, as well as supporting Darwin. Their new "higher criticism" represented "the triumph of the rational discourse of logos over myth." It argued that the Bible should not be read in an entirely literal manner, thus and would in the future become "a bogey of Christian fundamentalists ... but this was only because Western people had lost the original sense of the mythical.
For example, Maasaki Suzuki's 2009 recording with the Bach Collegium Japan on BIS includes O Jesu Christ, meins Lebens Licht, BWV 118 (which at one time was categorised as a cantata) and Ich lasse dich nicht, BWV Anh. 159 (the authorship of which has been disputed). The motets chosen for a particular recording project can reflect the way the balance of opinion changes regarding the status of particular work: given Bach's status as one of the great composers, a firm attribution to him is likely to result in more interest in recording the piece in question. For example, was not included by John Eliot Gardiner and the Monteverdi Choir in their first set recorded in 1980.
Ginsberg's theorem is a parody of the laws of thermodynamics in terms of a person playing a game. The quote was first attributed to the poet Allen Ginsberg in a 1975 issue of the Coevolution Quarterly It is possible that the quote originates as a slight misstatement of the opening lines of "You Can't Win," by Charlie Smalls, as the copyright date for Small's song is 1974, earlier than the first attribution to Ginsberg. While the song was cut from 1975 Broadway debut of The Wiz, it was performed at the original 1974 Baltimore run of the musical. Even earlier, the phrasing appeared in an issue of Astounding Science Fiction in 1956.
Amongst the critical reactions, The Sunday Telegraph critic commented that the opera was "darkly lyrical and hard to pin down stylistically" with the music "marvellously responsive to John O'Brien's libretto and Shakespeare's moods".John Allison, "Die Zauberflote/The Merchant of Venice", The Sunday Telegraph, 28 July 2013, accessed 20 August 2016. A review in the Financial Times commented that > The results are striking... Warner's staging treads a fine line between > harsh cruelty and levity, with a good mix of clarity and complexity... > Tchaikowsky's music... defies attribution to any one definite style of 20th- > century composition. The score is intricate and dark, with moments of both > brutality and lyricism, not to mention flashes of acerbic wit.
At one point, the record was to be entitled Mountains of the Moon and released under the Talk Talk name, but eventually it was decided it should be a self-titled solo project (early promotional CD-Rs and cassettes of the album contain the original details, with the CD-R retaining the attribution to Talk Talk). Engineer Phill Brown, who also recorded Laughing Stock, stated that, compared to the final Talk Talk album, which he considered "one of [his] best projects" but "dark and claustrophobic",cybercity.dk he found the solo release "the opposite…- open, restful and at times fantastically beautiful". On 11 October 2011, Ba Da Bing Records released Mark Hollis on vinyl.
In a letter written just after the acquisition, Canova attributed all three works to Pordenone and stated that they had originally come from Pissincana near Pordenone. On Canova's death it was inherited by his stepbrother Giovanni Battista Sartori, who placed the standard's two panels in the Tempio Canoviano in Possagno, but sent 'Madonna of Mount Carmel to the Gallerie dell'Accademia in Venice, which in 1827 sent him two canvases by Jacopo Palma il Giovane in exchange. The three works' attribution to Pordenone survived until 1909, when Claudio Gamba noticed similarities between Madonna and Moretto's styleClaudio Gamba, p. 37, followed by Giuseppe Fiocco's definitive attribution of the standard and the Madonna to Moretto in 1921Giuseppe Fiocco, pag. 204.
Sality may also download additional executable files to install other malware, and for the purpose of propagating pay per install applications. Sality may contain Trojan components; some variants may have the ability to steal sensitive personal or financial data (i.e. information stealers), generate and relay spam, relay traffic via HTTP proxies, infect web sites, achieve distributed computing tasks such as password cracking, as well as other capabilities. Sality’s downloader mechanism downloads and executes additional malware as listed in the URLs received using the peer-to-peer component. The distributed malware may share the same “code signature” as the Sality payload, which may provide attribution to one group and/or that they share a large portion of the code.
During the World Medical Association General Assembly in Reykjavik in early October 2018, members of the Canadian Medical Association stated that parts of the speech by WMA's incoming president Leonid Eidelman had been plagiarized from a speech made in 2014 by Chris Simpson (cardiologist) who was then the president of CMA. Current president Dr. Gigi Osler told the group that part of the address was "copied word for word" from Simpson's speech. "Multiple other parts of the speech were also copied from various websites, blogs and news articles, without proper appropriate attribution to the authors", she latter added in a statement. A motion by Canada at the Assembly to call on Eidelman to resign was not successful.
Anastasius translated from Greek into Latin the "Acts" of both the Second Council of Nicaea and the Fourth Council of Constantinople, as well as several hagiographies of saints, along with other writings. Knowledge of Greek was so unusual that only he could revise his translations. The attribution to Anastasius of the ancient Latin translation of the Acts of the Third Council of Constantinople has been proved to be wrong on manuscript evidence by Rudolph Riedinger. He also compiled a historical work, "Chronographia tripartita", from the Greek writings of Theophanes, Nicephorus, and George Syncellus, and made a collection of documents concerning the affairs of Pope Honorius I. Several important letters written by him have been preserved.
La Bella Principessa (English: "The Beautiful Princess"), also known as Portrait of Bianca Sforza, Young Girl in Profile in Renaissance Dress and Portrait of a Young Fiancée, is a portrait in coloured chalks and ink, on vellum, of a young lady in fashionable costume and hairstyle of a Milanese of the 1490s. Some scholars have attributed it to Leonardo da Vinci but the attribution and the work's authenticity have been disputed. Some of those who disagree with the attribution to Leonardo believe the portrait is by an early 19th-century German artist imitating the style of the Italian Renaissance, although radiocarbon dating tests show a much earlier date for the vellum. It has also been denounced as a forgery.
Before and after the publication of the score in 1922, scholars questioned the work's authenticity, and its attribution to Monteverdi continued to be in some doubt until the 1950s. The Italian musicologist Giacomo Benvenuti maintained, on the basis of a 1942 performance in Milan, that the work was simply not good enough to be by Monteverdi. Apart from the stylistic differences between Il ritorno and Monteverdi's other surviving late opera, L'incoronazione di Poppea, the main issue which raised doubts was the series of discrepancies between the score and the libretto. However, much of the uncertainty concerning the attribution was resolved through the discovery of contemporary documents, all confirming Monteverdi's role as the composer.
Diego Hurtado de Mendoza, frontispiece to his Works, Madrid 1770 His Guerra de Granada (concerning the 1568 Morisco Revolt in the Alpujarras) was published in Madrid in 1610 and in Lisbon by Luis Tribaldos de Toledo in 1627; the delay was doubtless due to Mendoza's severe criticism of contemporaries who survived him. A complete edition was not published until 1730. In some passages the author deliberately imitates Sallust and Tacitus; his style is, on the whole, vivid and trenchant, his information is exact, and in critical insight he is not inferior to Juan de Mariana. The attribution to Mendoza of Lazarillo de Tormes is disputed, but documents recently discovered by the Spanish paleographer Mercedes Agulló reinforce the hypothesis.
The space (room 11b) is not numbered on the museum plan, but is between rooms 11 and 26. The painting was long vaguely attributed to an unknown Flemish artist, with suggestions that Joachim von Sandrart, Hendrik Goltzius or Bartholomeus Spranger might be responsible, or an unknown artist from Lorraine or Augsburg. The first attribution to Strobel was made in 1970 by Jaromir Neumann, which was confirmed by Lode Seghers in 1987, on stylistic comparison with a David and Bathsheba signed by Strobel, now in Wallenstein's former castle at Mnichovo Hradiště, Czech Republic.Ossowski, 14–16; Prado Catalogo, 377; Fresco Subsequent comparisons with other documented works by Strobel have confirmed the attribution, which now seems generally accepted.
In writing the script, a contained sci-fi written explicitly for the accommodation of the budget, Mitchell wished to incorporate existing mathematical theories to showcase the plausibility of such an equation, and how to a certain extent, already exists today. In a viral video interview posted on the film's website, Mitchell talks of drawing comparisons to observing human behavior to the study of fluid behavior, as depicted by the Navier–Stokes equations, an attribution to Mitchell's engineering education. Having undergone development hell on a couple other of his projects, Mitchell decided to finance the film along with support of close friends and family. It was shot in Little Italy, Toronto, the residing neighborhood of Mitchell, Larter and Doiron.
He also demonstrated that it must have been written for the 1682 commemoration of the 1100th anniversary of the Archbishopric of Salzburg.Ernst Hintermaier, "The Missa Salisburgensis," Musical Times cxvi (1975), 965–6 Hintermaier wrote in 2015 that the evidence rules out both Benevoli and Andreas Hofer, Biber's colleague, and concludes that "... the only possible composer of the Mass and the [companion] motet [for 54 voices, Plaudite Tympana] was Heinrich Ignaz Franz Biber... both the sources and the stylistic analysis clearly point to Biber as the author of the works."Ernest Hintermaier, "Missa Salisburgensis," booklet essay to accompany the recording by Jordi Savall, Alia Vox 9912 The attribution to Biber is now universally accepted.
The attachment of Gudrun's legend to that of Ermanaric (Jǫrmunrek) and Svanhild is a Scandinavian innovation that brings this legend into direct contact with the more famous legend of Sigurd. Edward Haymes and Susan Samples believe that it is a relatively late development. Other scholars date it to the tenth century, however, on the basis of a version of the story cited in the Skaldic poem Ragnarsdrápa: the narrator there refers to Ermanaric's killers as descendants of Gjúki, Gudrun's father. This poem is attributed to the poet Bragi Boddason, who lived in the tenth century, although other scholars date it instead to around 1000 and believe that the attribution to Bragi is incorrect.
Anderson compares the Pietà to the Crucifixion now in the Prado Museum and Saint Acacius and the Ten Thousand Martyrs on Mount Ararat in the SMU collection, discussing color palette, figural representation, and landscape. Although there are disparities between the three paintings, Anderson argues that they are all linked to Gallego's circle via style and date. This discussion proves the difficulties in attribution to Medieval and Early Renaissance works, many of which were completed in an artist's workshop and had many painters involved. As this was published in the late 1980s, more research has been conducted on Gallego's workshop and the Saint Acacius panel has now been attributed to Francisco Gallego, along with the Getty's Pietà.
In 2008, two ceramic vases created by Xu Beihong scheduled for an art exhibition in Singapore spurred local media attention. Family disputes broke out over the vases sales and profits, which led to legal tussles between the Huang descendants and the Singapore Art Museum. The Singaporean art collectors, Huang Man Shi and Huang Meng Gui, were famously supportive of Xu Beihong. The 18-cm high vases were made in the 1940s, titled Malay Dancers and Orchid were to be shown in a Jack Bonn curated exhibition in collaboration with the Singapore Art Museum, "Xu Beihong in Nanyang", as an attribution to the late grandfather and granduncle for the periods when Xu was a guest at his grandfather's estate.
No original work by Scipio has survived, but he may be the person referred to the a Boston News-Letter advertisement on January 7, 1773, which spoke of a "negro artist... A negro of extraordinary genius." It is possible that the copperplate engraving of Phillis Wheatley that adorns much of her published poetry is his creation. In the 19th century Wheatley's fame was revived by Massachusetts abolitionists and many stories about her were recovered through oral history, but Moorhead was never mentioned, so the attribution to him is uncertain; it was first publicly suggested by the Wheatley scholar William H. Robinson in 1984. However, it has been recognized that the portrait is extremely unusual.
"You're at 67,000 feet, 81 miles out" was heard, followed by "70 miles out now, 36,000 ft, above glideslope." As in the past, nothing linked these observations to any particular aircraft or program, but the attribution to the Aurora helped expand the legend. In February 1994, a former resident of Rachel, Nevada, and Area 51 enthusiast, Chuck Clark, claimed to have filmed the Aurora taking off from the Groom Lake facility. In the David Darlington book Area 51: The Dreamland Chronicles, he said: > I even saw the Aurora take off one night – or an aircraft that matched the > Aurora's reputed configuration, a sharp delta with twin tails about a > hundred and thirty feet long.
The title of the article and the co-attribution to Conlin are satirical: Conlin, by The Stranger's account in the article, "refused to debate tunnel cost overruns" in any of several forums, including The Stranger. In February 2011, when the Seattle City Council voted 8-1 to sign an agreement allowing the tunnel project to proceed, McGinn vetoed the ordinance.. The City Council then overrode his veto, again 8-1.. After the March 2011 Tōhoku earthquake in Japan McGinn, citing the quake, called for the viaduct to be pulled down a year early. No plan to replace or mitigate the lost traffic capacity was put forward. The call is opposed by some businesses and transportation experts.
In March 2012, the Poynter Institute published an article criticising the MailOnline for failing to give proper attribution to the sources of some article content, and often reprinting paragraphs without permission or attribution. The article said that when the MailOnline is called out for stealing content, it will sometime removes the text in question without acknowledging or apologising for the problem. Martin Clarke, editor of MailOnline, said, "We will soon be introducing features that will allow us to link easily and prominently to other sites when further recognition of source material is needed." However, by July 2013, MailOnline articles, including main articles, still did not contain any links to original sources or tips.
William Whiston in "Dissertation 6", part of the appendix to his Josephus translation, printed the text of this "Discourse" in Greek and maintained that the piece was by Josephus, "preached or written when he was bishop of Jerusalem". However, although generally still reprinted in editions of Whiston's Josephus, later scholars have realized that this attribution is incorrect. This brief discourse, at least in its original form, is now attributed to the church father Hippolytus.; (From the website of the Project on Ancient Cultural Engagement.) The attribution to Josephus, recorded by Photius in his Bibliotheca, did not stand unchallenged even in antiquity, and the "Discourse" was also ascribed to Caius, Presbyter of Rome, Justin Martyr, and Irenaeus.
Also with Butinone, he frescoed the Grifi Chapel in the church of San Pietro in Gessate. After circa 1500, Zenale seemed to abandon the Ferrarese-expressionist style of Butinone, a strong influence from Leonardo da Vinci starting to appear in his works. This is manifest in the polyptych that he painted for the Confraternity of the Immaculate Conception of Cantù (1502Now divided between the J. Paul Getty Museum of Los Angeles, the Bagatti Valsecchi Museum, Milan and the Museo Poldi Pezzoli of Milan). He was influenced also by Bernardino Luini's style: works like the Pala Busti and the large Annunciation (both in the Pinacoteca di Brera) have indeed raised disputes about the attribution to Luini or Zenale.
SORT was one in a long line of treaties and negotiations on mutual nuclear disarmament between Russia (and its predecessor, the Soviet Union) and the United States, which includes SALT I (1969–1972), the ABM Treaty (1972), SALT II (1972–1979), the INF Treaty (1987), START I (1991), START II (1993) and New START (2010). The Moscow Treaty was different from START in that it limited operationally deployed warheads, whereas START I limited warheads through declared attribution to their means of delivery (ICBMs, SLBMs, and Heavy Bombers).START1 treaty hypertext US State Dept. Article II Russian and U.S. delegations met twice a year to discuss the implementation of the Moscow Treaty at the Bilateral Implementation Commission (BIC).
A thick layer of top soil containing 18th and 19th century material including broken bricks, clay pipe stems and 19th century pottery was found." Brotherhood of the Cross and Star The 1888 red brick church behind Tavern Court is the former Welsh Presbyterian Chapel, a listed building designed by Charles Evans-Vaughan in mixed Queen Anne and Romanesque revival styles.For the attribution to Evans-Vaughan, who also designed St David's Welsh Church, Paddington Green, and Finsbury Town Hall, see English Heritage comments that "[the] combination of different features and materials [is] calculated to produce a most variable and picturesque composition. An early instance of the Queen Anne manner applied to a church or chapel.
The attribution to Andrea Palladio is not without controversy. The Centro Internazionale di Studi di Architettura Andrea Palladio points to a lack of contemporary documents and drawings confirming Palladio's involvement with the project and the fact that construction only started in 1581, one year after Palladio's death. They consider: > ... a project by Palladio both possible and datable to the mid-1570s, but > neither the façade nor the interior of the church display characteristics > which are unequivocally related to Palladio’s language, unless in an > extremely clumsy and unfaithful version.CISA A.Palladio website The church is now only open on Sundays, and the Bauer Hotel has acquired the former convent and converted it into a 50-room luxury hotel – The Palladio.
The purchase caused a dispute between Friedländer, whose attribution to the then little understood van der Goes was based on similarities to his Portinari Altarpiece in Florence, and the leading art historian Heinrich Wölfflin. Wölfflin's formalist approach made him think the painting much too late to be by van der Goes, and from the 16th century. It is now generally accepted that the work is by van der Goes, though its style is indeed very advanced for its date.Crane, 214–216 Among other works clearly influenced by the painting is the Adoration of the Kings by Jan Gossaert (1510–15) in the London National Gallery, which uses some of the figures and broad elements of the composition.
Even the attribution to Van Dyck rests solely on aesthetic grounds ; but the best critical opinion seems unanimous in accepting the work unreservedly as an authentic masterpiece from his hand. Far otherwise is it with the proposed identification of the sitter : he has only been accepted as "Grandison" provisionally and with notable reservations... After being exhibited (according to the catalogue) at the Royal Academy in 1893 by " Arthur Kay, Esq.," it passed in rapid succession to H. O. Miethke and Jacob Herzog of Vienna. Thence, in 1901, it was acquired by Mr. W. C. Whitney of New York, and so came to Mr. H. P. Whitney, to whose widow it now belongs.
The parish is traditionally named after Saint Mabyn or Mabena, said to have been one of the 24 children of Brychan, a Welsh saint and King of Brycheiniog in the 5th century.Sabine Baring-Gould however suggests that the true founder of St Mabyn's Church was actually the male Welsh saint Mabon, and the attribution to a female Mabyn came about after the true history had been lost.Baring- Gould, Lives of the Saints, p. 276. Davies Gilbert asserts that the name derives from the Cornish compound word Mab-in, meaning 'son'. The first recorded mention of the village was in 1234 when it was spelt Sancto Malbano, The ma… prefix can mean ‘place’.
The attribution to Gian Lorenzo Bernini is probably untrue: it is supposed that the projects are by Andrea Sacchi or by the architect Marco Antonio De 'Rossi. In 1712 there was a new restoration, commissioned by Pope Clement XI and commemorated by another plaque placed in a lower position, above the central niche. There had been protests for the lower water flow of the fountain, which created long queues, and for the quality of the water that had deteriorated. The pontiff appointed a commission which included Giovanni Maria Lancisi, pontifical doctor, and the architect Egidio Maria Bordoni; the commission was chaired by the Cardinal Giovanbattista Spinola, who was also a Camerlengo at the time.
By then the novelist Charles Kingsley, a Christian socialist country rector, had sent Darwin a letter of praise (dated 18 November) regarding the presentation copy he had received: it was "just as noble a conception of Deity, to believe that He created primal forms capable of self development...as to believe that He required a fresh act of intervention to supply the lacunas which He Himself had made." In the second edition Darwin added these lines to the last chapter, with attribution to "a celebrated author and divine". See the Reactions to On the Origin of Species for developments following publication, in the context of his life, work and outside influences at the time.
Although it is often claimed that, as monarch, Irene called herself "basileus" (βασιλεύς), 'emperor', rather than "basilissa" (βασίλισσα), 'empress', in fact there are only three instances where it is known that she used the title "basileus": two legal documents in which she signed herself as "Emperor of the Romans" and a gold coin of hers found in Sicily bearing the title of "basileus". In relation to the coin, the lettering is of poor quality and the attribution to Irene may, therefore, be problematic. In reality, she used the title "basilissa" in all other documents, coins and seals.Liz James, "Men, Women, Eunuchs: Gender, Sex, and Power" in "A Social History of Byzantium" (J.
In 1451 Piero della Francesca was inspired by it for the features of Sigismund of Burgundy of his fresco Sigismondo Pandolfo Malatesta Praying in Front of St. Sigismund at the Tempio Malatestiano, where he painted the same hat though without the fur filling. The portrait was part of the Imperial collection and housed in the residence of Archduke Ferdinand II of Austria at Ambras Castle near Innsbruck, before being acquired by the Kunsthistorisches Museum. The attribution to Pisanello is disputed, although supported by a Pisanello drawing of the emperor wearing the same hat, on display at the Louvre in Paris. It was previously attributed to the Salzburg painter Conrad Laib or to a Bohemian artist.
Lucretia and her Husband Lucius Tarquinius Collatinus or Tarquin and Lucretia is an oil painting attributed to Titian, dated to around 1515 and now in the Kunsthistorisches Museum in Vienna. The attribution to this artist is traditional but uncertain - the brightened palette suggests it could instead be by Palma Vecchio. However, others identify the painting as part of Titian's series of half-length female figures from 1514 to 1515, which also includes the Flora at the Uffizi, the Woman with a Mirror at the Louvre, the Violante and the Young woman in a black dress in Vienna, Vanity in Munich and the Salome at the Galleria Doria Pamphilj. There is an early copy in the Royal Collection.
Despite the commentary-nature of the journal, some companies and individuals in others have taken to replacing 'whitelist' and 'blacklist' with new alternatives such as 'allow list' and 'deny list'. Those that oppose these changes question its attribution to race, citing the same etymology quote that the 2018 journal uses. The quote suggests that the term 'blacklist' arose from 'black book' almost 100 years prior. 'Black book' does not appear to have any etymology or sources that support ties to race, instead coming from the 1400's referring "to a list of people who had committed crimes or fallen out of favor with leaders" and popularized by King Henry VIII's literal usage of a book bound in black.
Vander Linden, Albert, Le Manuscrit musical M 222 C 22 de la Bibliothèque de Strasbourg, XVe siècle (Brussels: Office international de librairie, 1977) The attribution to "Nucella" was thought to be a corruption of the word "Micinella", the title of a Gloria by Antonio "Zachara" da Teramo and thus a possible work of Zachara's.Nádas, John, "Further notes on Magister Antonius dictus Zacharias de Teramo," Studi Musicali 15 (1986), pp. 167–82, at p. 173. Nádas cites a lecture by Kurt von Fischer for the idea, but by the time von Fischer's article was published as "Bemerkungen zur Überlieferung und zum Stil der geistlichen Werke des Antonius dictus Zacharias de Teramo," (Musica Disciplina 41 (1987), pp.
Below this, the Latin words "Haec Tibi Dona Fero" meaning "These gifts I bring thee" appear, and written around the circumference of the seal is "Sigillum Terrae Novae Insulae" meaning "Seal of the Island of Terra Nova". In 1893, D.W. Prowse published A History of Newfoundland, in which he printed a copy of the Newfoundland arms. Prowse erroneously attributed the armorial bearings to John Guy, and described the image as the arms of the "London and Bristol Company for Colonising Newfoundland". The Newfoundland Post Office perpetuated his error by issuing a 1910 two-cent stamp depicting the arms and included attribution to the London and Bristol Company, which financed Guy's colonization attempt.
"Testing the Wine", English School, 19th century. A connoisseur (French traditional, pre-1835, spelling of , from Middle-French , then meaning 'to be acquainted with' or 'to know somebody/something') is a person who has a great deal of knowledge about the fine arts; who is a keen appreciator of cuisines, fine wines, and other gourmet products; or who is an expert judge in matters of taste. In many areas, the term now has an air of pretension, and may be used in a partly ironic sense. In the art trade, however, expert connoisseurship remains a crucial skill for the identification and attribution to individual artists of works by the style and technique, where documentary evidence of provenance is lacking.
Tuk was featured in Norodom Sihanouk's 1968 film The Joy of Life. A performance from that film was later included in the 2015 documentary Don't Think I've Forgotten, juxtaposed with a clip of Wilson Pickett to show influence and similarities. Two of Tuk's songs appeared on the 1996 album Cambodian Rocks: "Rom Sue Sue" ("Dance Soul Soul"), which has been likened to "Hip-Hug-Her" by Booker T and the MG's, and "Sou Slarp Kroam Kombut Srey" ("Rather Die Under the Women's Sword"), performed with Yol Aularong. The compilation of Cambodian psychedelic and garage rock from the late 1960s and 1970s was controversially published as a bootleg, without providing attribution to the artists, even after they had been identified.
Cuthbert's letter also relates a five-line poem in the vernacular that Bede composed on his deathbed, known as "Bede's Death Song". It is the most-widely copied Old English poem and appears in 45 manuscripts, but its attribution to Bede is not certain—not all manuscripts name Bede as the author, and the ones that do are of later origin than those that do not.Donald Scragg, "Bede's Death Song", in Lapidge, Encyclopaedia of Anglo-Saxon England, p. 59. Bede's remains may have been transferred to Durham Cathedral in the 11th century; his tomb there was looted in 1541, but the contents were probably re-interred in the Galilee chapel at the cathedral.
Christ and the Woman taken in Adultery, formerly attributed to Rembrandt and deaccessioned by the Walker Art Center in 2011 A public dispute with Dr. Abraham Bredius over the attribution to Rembrandt of the Woman Taken in Adultery sold by Sedelmeyer to the Weber collection resulted in Sedelmeyer's justificatory pamphlet, 1912."On The Woman Taken in Adultery of the Weber Collection", The Burlington Magazine for Connoisseurs, 22 No. 119 (February 1913:287). The painting was shown in New York City at the Metropolitan Museum of Art and the attribution was confirmed by Wilhelm Valentiner. The Rembrandt attribution was again confirmed by Hofstede de Groot in 1914, who noted that it was purchased from Sedelmeyer by T. B. Walker.
"There appears to have been several martyrs bearing the name of Magnus. The one to whom this edifice was probably dedicated, suffered at Caesarea in Cappadocea, A.D. 276." – The churches of London, Vol, II, Godwin, G, and Britton, J.: London, 1838. The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',An Encyclopedia of London, Kent, W. (ed.): London, 1937 and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".
Domenichino, Portrait of cardinal Jean de Bonsi, 1616, Musée Fabre, Montpellier Its subject Giovanni Battista Agucchi was brother to cardinal Girolamo Agucchi and a major supporter of Carracci. It appears as "Monsignor Agucchi in a chimere holding a letter with both hands and looking at the viewers" in the list of prints after paintings by Annibale Carracci in Carlo Cesare Malvasia's 1678 Felsina Pittrice, Daniele Benati, in Annibale Carracci, Catalogo della mostra Bologna e Roma 2006–2007, Milano, 2006, p. 392. though other 17th-century sources attribute the painting to Domenichino. The attribution to Domenichino was held unanimously from the 19th century until 1994, when Silvia Ginzburg rediscovered the reference in Malvasia and found other documentary and stylistic evidence to support reattributing the work to Annibale.
In the backside of Kōrin's painting of Raijin, Hōitsu painted what has been described as "summer plants revived by a sudden shower and the swollen flow of a river", and on the backside of Kōrin's Fūjin, "autumn plants swaying and the red leaves of ivy blown in a strong wind". The work is dated from the early 19th century, probably circa 1821, and the attribution to Hōitsu has not been disputed. Both screens include the signature-seal "by Hōitsu" and a round seal with red letters "Bunsen", another name used by Hōitsu. Hōitsu's style, which "aimed for the natural integration of poetic emotion and decorative technique", has been linked to "the elegant and refined taste common to poetry, which is another field of art he practiced".
Waldman (2003) first identified Ghetti as the author of a panel depicting the Madonna and Child with St. John, property of the Seminario Patriarcale of Venice. Although this picture mysteriously disappeared from the Seminario's Pinacoteca a few decades ago, the work was well photographed as a result of a traditional attribution to Raphael, and on the basis of a clear Alinari photograph dating from the early years of the twentieth century it has been possible to identify the painting's true author with a more than reasonable degree of certainty. Ghetti's lost Madonna and Child, which measures 54 x 50 cm., forms part of the historic collection of marchese Federico Manfredini (1743–1829), the wealthy and influential counselor of the Grand Dukes of Tuscany.
A persistent concern surrounding preprints is that work may be at risk of being plagiarised or "scooped" – meaning that the same or similar research will be published by others without proper attribution to the original source – if publicly available but not yet associated with a stamp of approval from peer reviewers and traditional journals. These concerns are often amplified as competition increases for academic jobs and funding, and perceived to be particularly problematic for early-career researchers and other higher-risk demographics within academia. However, preprints, in fact, protect against scooping. Considering the differences between traditional peer-review based publishing models and deposition of an article on a preprint server, "scooping" is less likely for manuscripts first submitted as preprints.
D. D. Kosambi identified about 200 verses that appear in all manuscripts. Despite the variation in content, there is remarkable similarity in theme; Kosambi believes that each śataka came to attract a certain type of stanza similar to the ones present in the original collection. Moreover, at least among the 200 "common" stanzas, there is a distinctive voice of irony, scepticism and discontent, making the attribution to a single author plausible. According to one legend associated with him (possibly in confusion with the legend of king Bharthari), he was a king, who once gave a magic fruit to his wife, who gave it to another man, who in turn gave it to another woman, and finally it reached the king again.
After discounting Rambam as a possible author, and reviewing some compelling factors in favor of the other two possible authors, offers the conciliatory hypothesis that the work was composed in the Arabic language by Abraham ben Rambam, and translated into Hebrew by David al-Adeni. While Dr. Fish offers possible explanations for how the work—if indeed authored by Abraham ben Rambam in Egypt—came first to be "lost" and then to be rediscovered in Yemen, find the attribution to Abraham ben Rambam "only extremely weakly attested," and report that modern scholars almost uniformly attribute the work in its entirety to David bar Amram al- Adeni. S. Fish concedes this as well in his Encyclopedia Judaica article on the topic.
Klaus Albrecht Schröder, director of the Albertina, Vienna, said "No one is convinced it is a Leonardo," and David Ekserdjian, a scholar of 16th-century Italian drawings, wrote that he suspects the work is a "counterfeit". Neither Carmen Bambach of the Metropolitan Museum of Art, one of the primary scholars of Leonardo's drawings, nor Everett Fahy, her colleague at the Metropolitan, accepts the attribution to Leonardo. Several forensic experts on fingerprints have discounted Biro's conclusions, finding the partial fingerprint taken from the drawing too poorly detailed to offer conclusive evidence. Biro's description of the print as being "highly comparable" to a known fingerprint of Leonardo's has similarly been discounted by fingerprint examiners as being too vague an assessment to establish authorship.
Speculative reconstruction of the triptych Tommaso's son Francesco Portinari bequeathed the work to Hospital of Santa Maria Nuova in 1544, when it was described as "unum tabernaculettum que clauditur with tribus sportellis, in this est depicta imago Gloriossime virginis Marie et patris et matris dicti testatoris" ("a small tabernacle with three hinged panels, in which are painted the images of the most glorious Virgin Mary and of the testator's father and mother"). It remained at the Hospital until the Napoleonic times, and was later in the Demidoff collection. It is not clear when the central panel was separated from its two wings. The Tommaso and Maria Portinari panels were sold, with an attribution to Dieric Bouts, in 1870 for 6,000 francs.
The first sighting of the word Lur is in the writings of some historians and geographers of the 10th century and later in the form of اللور, اللر and لور (Lur). Hamdallah Mustawfi in Tarikh-e gozida (1330 AD) referred to the settlement of Luri tribes in Levant and then their mass migration towards the current Luri- inhabited areas. There are several hypotheses that discuss the origin of the name Lur or Lor, prominent amongst them is its attribution to a person called Lur or Lohraseb and some believe that the name refers to the area of first settlement of this ethnic group. The word Ler or Lir (literally forest or forest mountain) is a probable source for this word.H.Mostawfi. 2000.
In 2015 Daniel Bellware rebutted her account in his article "How Columbus Lost the Last Battle of the Civil War."Daniel Bellware, "How Columbus Lost the Last Battle of the Civil War," Muscogiana, Columbus, GA: Columbus State University, Spring 2015 Bellware said that the report had numerous factual errors, has no date and credits no author calling into question its attribution to the Department of the Interior. The report argues that the engagement in Columbus, which included major generals and thousands of combatants on both sides, does not rise to the level of a battle. However, it concludes that Palmito Ranch, a much smaller engagement with colonels commanding and a few hundred combatants, should be ranked as the last battle of the war.
The Screwball Asses was published in English in 2010, with authorship attributed to Hocquenghem. However according to Hocquenghem's biographer Antoine Idier, the author of the text is not Hocquenghem but the French writer Christian Maurel.Antoine Idier, Les Vies de Guy Hocquenghem, Fayard, 2017 A German translation of the text is published in September 2019 by the publishing house August Verlag with the attribution to Christian Maurel, under the title Für den Arsch.Christian Maurel, Für den Arsch, August Verlag, 2019 The Screwball Asses is a critique of various issues in left-wing politics and gay culture, using Marxist and Freudian vocabulary: The author describes the "ghetto" of gay male life in 1970s France, which in his account is often confined to cruising in public restrooms.
Catasterismi (Greek Καταστερισμοί Katasterismoi, "placings among the stars") is an Alexandrian prose retelling of the mythic origins of stars and constellations, as they were interpreted in Hellenistic culture. The work survives in an epitome assembled at the end of the 1st century CE, based on a lost original with some possible relation to the work of Eratosthenes of Cyrene; thus the author is alluded to as Pseudo-Eratosthenes. The pseudepigraphic attribution to Eratosthenes presumably was meant to bolster the work's credibility, but while the Catasterismi describes constellations, it is more concerned with the mythological narrative attached to each than with the mathematical tradition of astronomy.Elly Deker, Illustrating the Phaenomena: Celestial Cartography in Antiquity and the Middle Ages (Oxford University Press, 2013), pp. 2–3.
In 2002, then-President Eugene Tobin resigned after admitting that he had failed to give proper attribution to quoted material in speeches. In 2004 the college invited Susan Rosenberg, a memoirist and former political radical and ex-convict, to teach a month-long seminar on memoir writing as artist-in-residence. Rosenberg had been implicated, but not indicted, in the 1981 Brinks robbery during which two policemen and an armed Brinks guard were killed. Rosenberg declined the invitation after it drew controversy. In 2005, efforts to bring the scholar Ward Churchill to speak on campus were controversial, as he had aroused considerable hostility due to his remarks following the 9/11 attacks in which he compared the victims to Nazis.
The eighteenth-century plaster covering the wall-paintings had recently been removed, permitting the attribution to Spicre, who had decorated a chapel for Clugny's friend, Cardinal Jean Rolin, at Beaune to provide figures of four Old Testament patriarchs, the four Evangelists and four doctors of the Church. In the Annunciation attributed to Rogier van der Weyden or one of his disciples, Hans Memling, that is now at the Metropolitan Museum of Art, Ferry de Clugny's arms appear in the carpet and in the stained glass above the Virgin's head; it too must have been commissioned by him.Susie Nash, "A Fifteenth-Century French Manuscript and an Unknown Painting by Robert Campin" The Burlington Magazine 137 No. 1108 (July 1995, pp. 428–437) p. 436.
Josquin's chanson was used as the basis for works by a number of other composers, including a version by Heinrich Isaac, and the five-voice chanson "Vous seulement" by Simon Moreau. The setting by Jean Mouton seems to be unrelated to the setting by Josquin. Although "Adieu mes amours" was originally a secular chanson, it was used in a number of mass settings such as, Missa "Adieu mes amours" which uses both parody and cantus firmus compositional techniques by Francesco de Layolle, and another Missa "Adieu mes amours" by Jacob Obrecht. The first attribution to Josquin of this chanson is in the Casanatense chansonnier of around 1480, which was probably put together to celebrate the betrothal of Isabella d'Este to Francesco Gonzaga.
As a philologist, he made contributions in the fields of Romance philology and Italian philology, mainly on texts by Dante Alighieri, Giacomo Leopardi and Pier Vittorio Tondelli. His many scholarly works include the book Dante Alighieri traduttore (Le Lettere, 1995), where Dante's Latin, French, and Provençal sources are investigated, and articles on Dante's character Jacopo Rusticucci ("Lingua Nostra", 1997), and the attribution to Dante of the trilingual poem "Ai faus ris" ("Dante Studies", 1998, "L'Alighieri", 2009). He collaborated with the on-line Early Italian Vocabulary for the Accademia della Crusca. Chiamenti provided the critical editions of Pietro Alighieri's Comentum on The Divine Comedy (University of Arizona Press, 2002) and of the Chansons of the French trouvère Colin Muset (Carocci, 2005).
59/83, 12 December 2001) and in the Articles on Responsibility of International Organizations (ARIO, UN GA RES 66/100 27 February 2012), dual attribution of international legal responsibility (i.e. attribution of legal responsibility both to the State and the International Organization involved in the wrongful act) is possible. In conclusion, in all kinds of UN peacekeeping operations, all conduct of the troops is attributable to UN regardless of effective control exercised by UN, since UN peacekeeping operation is an organ of the UN and with reference to ARIO art.6; the very same conduct is also additionally attributable ('dual attribution') to relevant troop-contributing state regardless of effective control exercised by the state, since state's armed forces are an organ of a state (ARSIWA, Art.4.).
It and the rest of the Farnese collection were later moved to Naples and the work was exhibited for a few years in the Palazzo Reale before moving to its present home in the National Museum of Capodimonte. Two early copies remain in the Galleria Nazionale and Palazzo Comunale in Parma. Its attribution to Parmigianino is almost undisputed, though its dating is more debated - some scholars place it in his period in Rome (1524-1527) and others to his time in Bologna (1527-1530), whilst Freedberg argues it belonged to a second stay in Parma (1530-1539). Its technique and style probably date it to his time in Bologna - the mineral colours are typical of work in fresco and the work is in glue tempera or gouache.
Pseudo-Dionysius the Areopagite (or Dionysius the Pseudo-Areopagite) was a Christian theologian and Neoplatonic philosopher of the late 5th to early 6th century, who wrote a set of works known as the Corpus Areopagiticum or Corpus Dionysiacum. The author pseudonymously identifies himself in the corpus as "Dionysios", portraying himself as Dionysius the Areopagite, the Athenian convert of Paul the Apostle mentioned in . This false attribution to the earliest decades of Christianity resulted in the work being given great authority in subsequent theological writing in both the East and the West. The Dionysian writings and their mystical teaching were universally accepted throughout the East, amongst both Chalcedonians and non-Chalcedonians, and also had a strong impact in later medieval western mysticism, most notably Meister Eckhart.
In 1955, examinations with X-rays and infrared photography at the laboratory of the Louvre revealed notable differences in treatment and caused this attribution to be dropped.Madeleine Hours, "Rembrandt. Observations et présentation de radiographies exécutées d'après les portraits et compositions du musée du Louvre," Bulletin des Laboratoires du Musée du Louvre, 1961, 6, 3-43. Jacques Foucart (1982), Curator for Dutch and Fleming Painting at the Louvre, like Horst Gerson (1968)Gerson, Op. cit. and Werner Sumowski (1983),Werner Sumowski, Gemälde der Rembrandt-Schüler, vol. III, PVA, Landau, 1983, 1649 (cat. no. 1133): "Interieur mit meditierenden Gelehrter." attributes this work to Salomon Koninck (1609–1656), a Rembrandt imitator, dating it to around 1645 and titling it Philosopher in Contemplation or Philosopher with an Open Book.Foucart, 1982, 98.
Yet the real credit for the attribution to Koninck should go to John C. Van Dyke, who wrote: "In fact, one may be heretical enough to think that someone like Koninck or Dou may have painted them..."Van Dyke, 1923, loc. cit. He continues with: "The second picture, with the light coming from the left, seems a companion piece, but there may be some doubt about its being by Koninck. Its assignment is tentative." The subject matter and details of the Koninck picture seem to have been directly inspired by a Rembrandt etching dated 1642 and representing St. Jerome in a dark chamber (Bartsch 105), which is the only other known work by Rembrandt that features a complete helical staircase.
He was born in Haarlem as the youngest of 6 children of the lawyer Paulus van Beresteyn and his third wife Catharina van der Eem.Nieuw Nederlandsch Biografisch Woordenboek, part 10, page 41 His portrait as a child was added to the family portrait in a long swathe of canvas on the right hand side. This canvas was later sold in the 19th century to the Louvre as a Frans Hals painting, though later analysis by art historians have since disputed its attribution to Pieter Soutman. On 5 January 1644 he became a member of the Haarlem Guild of St. Luke as a pupil of Salomon de Bray and became an etcher and landscape painter in the manner of Cornelis Vroom and Adriaen Hendriksz Verboom.
Howard's attribution to Christian copyists the consistent use of κύριος as a designation for God in Philo's writings is countered by Philo's frequent interpretation and even the etymology of the word κύριος. As for the New Testament, even its earliest manuscript fragments have no trace of the use of the Tetragrammaton that Howard hypothesizes and which in some passages of Paul would even be ungrammatical. While some Septuagint manuscripts have forms of the Tetragrammaton, and while some argue that κύριος was not in the original Septuagint, it is certain that, when the New Testament was written, some manuscripts did have κύριος. David B. Capes admits that Philo's text, as now extant, has been transmitted by Christian scholars, and cites the argument that Howard based on this fact.
St. Trudokerk at Trudo Zundert This led to the attribution to Fruytiers of other paintings in collections of the Royal Museums of Fine Arts of Belgium in Brussels, the Royal Museum of Fine Arts Antwerp and the Museo del Prado in Madrid, and in the parish church of Gistel, West Flanders. Drawings for some of his altarpieces are kept in the Plantin- Moretus Museum in Antwerp, the Yale University Art Gallery and the Kupferstichkabinett Berlin. St. Francis of Assisi Fruytiers' style is generally much closer to the refinement and delicacy of Anthony van Dyck than to the more monumental art of Rubens. An expressive portrait drawing of the Jesuit Jan de Tollenaere (Johannes Tollenarius) (Morgan Library & Museum) was a study for an engraving made by Jacob Neefs.
A stay in Rome is suggested by his early works, which show a similarity with the "low-life" genre paintings of the group of Dutch and Flemish painters active in Rome known as the Bamboccianti. An influence by the German painter Johann Liss active in Rome in the 1620s has been discerned in de Vos' paintings and may also be explained by a residence in Rome.Hans Vlieghe, Flemish Art and Architecture 1585–1700, New Haven: Yale University Press (1998): 152. In addition, on the basis of the attribution to Simon de Vos of a 1626 composition referred to as Gathering of Smokers and Drinkers (Louvre Museum, Paris) it is believed that de Vos resided in Aix-en-Provence in France in the mid-1620s.
A Collector's Cabinet, Sotheby's Hieronymus II created a number of gallery paintings. Only one of these, the composition referred to as The Cabinet of an Art Lover or The Art Gallery of Jan Snellinck (Royal Museums of Fine Arts of Belgium) is signed and dated 1621. This painting has been the basis for the attribution to Hieronymus of a number of gallery paintings formerly attributed to other artists such as his brother Frans II and Adriaen van Stalbemt. The best known of these pictures is The Archdukes Albert and Isabella Visiting a Collector's Cabinet, which is now generally regarded as a collaboration between Jan Brueghel the Elder and Hieronymus Francken II even though some see the hand of van Stalbemt here too.
Other points of similarity occur between the Madonna's face on the ark's cymatium and the female face of Justice on the Loggia's portico, which Cairano then reiterates in the Pala Kress. The middle frieze too supports the attribution to Cairano, its elaborate workmanship reminiscent of the Mausoleum of Martinengo and the altar of San Girolamo, both of which had very similarly executed friezes. The attention paid to the bold perspectives behind the foreground characters also has a precedent in Cairano's career, namely the Caprioli Adoration. The execution of the ark can be seen in the context of the rivalry between the Sanmicheli and Cairano, whose promotion of a classic style had supplanted the refined decorations of the Sanmicheli in public tastes.
The catalogue was assembled by a painter Edouard van Esbroeck, still with such wishful attributions that the catalogue cast somewhat of a temporary cloud over the collection as a whole. Joseph Duveen, his famous nephew recalled, had been less than impressed by the authenticity of the paintings, and Duveen's close associate Bernard Berenson, played an uncertain role in the sale of the collection, disparaging the attribution to Raphael of Massarenti's Madonna of the CandelbraThe Madonna of the Candelabra is currently ascribed to "School of Raphael" by the Walters Art Museum. in a letter to Isabella Stewart Gardner in 1897.Berenson to Mrs Gardner, 11 August 1897, in The Letters of Bernard Berenson and Isabella Stewart Gardner, R. Hadley, ed., 1987, p. 92.
It is mentioned in a 1686 inventory of the collections of the Royal Alcazar of Madrid, as the wife of the count of San Sigundo. The subject has been identified with Camilla Gonzaga, wife of imperial general Pier Maria III de' Rossi basing on this note, and by another from 1630 by one of his descendants about the existence of a portrait of him by Parmigianino. The painting arrived in Spain in 1664, after King Philip IV had supported to the Rossi family in a dispute with the Farnese of Parma about some territories. It has been dated from around 1539–1540, but the attribution to Parmigianino is controversial, the author having been identified also as an artist from Bronzino's workshop.
380px Portrait of monsignor Della Casa (previously known as Portrait of Niccolò Ardinghelli) is a 1540-1543 oil on panel by Pontormo, now in the National Gallery of Art in Washington. Previously identified as Niccolò Ardinghelli, it is now thought to show Giovanni della Casa, author of Galateo. At the start of the 20th century it was in marquess Bargagli's collection in Florence, before being sold in Paris in 1909, with an attribution to Sebastiano del Piombo. It passed through the hands of various owners before being acquired in 1922, by Alessandro Contini Bonacossi, who sold it on to the Samuel H. Kress Foundation in 1952, who finally gave it to its present owner in 1961 Elisabetta Marchetti Letta, Pontormo, Rosso Fiorentino, Scala, Firenze 1994. .
The city had fallen to the Ottomans in 1453, a few years before the estimated creation of the painting and the main subject (Pieta) can be considered as a lament to the fall of the eastern part of Christendom. Before its widely accepted attribution to Quarton, some art historians thought the painting might be by a Catalan or Portuguese master; it was, according to art historian Lawrence Gowing, "the subject of dispute among protagonists of every school along the seaboard between Lisbon and Messina." Quarton, known to be working in Avignon by 1447, painted two pictures there in the early 1450s which bear comparison to this painting. For Gowing, > The agony of the picture is suffered with a rare restraint.
Barbara von Johnson describes herself as the "optical mother of Pumuckl." From 2003 to 2007, she was involved in several lawsuits regarding her credits and release of copyright in the Pumuckl films as well as her right to promote her local painting competition for children to design a girlfriend for Pumuckl. In 2006 she settled out of court for back royalties and attribution, and in 2007, the courts ruled in her favor allowing her to cite Pumuckl in her own artistic work including her competition. She did received criticism from Pumuckl fans when her attorney, in an effort to protect her copyright claim, requested the Pumuckl image be removed from fan internet sites because they lacked attribution to Barbara von Johnson.
Portrait of a Lady (c. 1490) by Giovanni Ambrogio de Predis was originally thought to be by Leonardo and paired with Portrait of a Musician Although the attribution to Leonardo had been controversial in earlier centuries, it is today widely agreed by art historians to be one of his original works. No recording of a commission exists, but the attribution is based on stylistic and technical similarities to other works, notably the face of the angel and St. Jerome from Virgin of the Rocks and Saint Jerome in the Wilderness respectively. The dark background of the portrait, a style popularized by Leonardo, furthers this attribution as it appears in later portraits, such as Lady with an Ermine, La Belle Ferronnière and Saint John the Baptist.
King Edward VII version The King Edward VII version appeared after his succession to the throne on 22 January 1901. The obverse has a raised rim, with the King's effigy in Admiral's uniform, facing left and inscribed "EDWARDVS VII REX IMPERATOR" around the perimeter. The initials "De S" below the epaulette on the King's left shoulder are those of the engraver, British medallist George William de Saulles.Medal-Medaille - Royal Naval Long Service and Good Conduct Medal, Edward VII, 1901-1910 issue, rare attribution to H.M. Coast Guard (Accessed 10 June 2015) The medal has a swiveling bar suspension, attached to the medal with a single-toe claw and a horizontal pin through the upper edge of the medal, with double scroll claw supports on the medal rim.
Archaeological support for Mazar's dating and attribution to a tenth-century BCE Israelite king may have increased subsequent finds at Khirbet Qeiyafa, viewed by some archaeologists and paleographers as confirming the existence of a centralised and powerful Israelite kingdom in the early tenth century BCE. According to an article by Hershel Shanks in the Biblical Archaeology Review, the findings refute Israel Finkelstein's assertion that at most the Hebrew population that existed in Jerusalem in that era was a "tribal chiefdom". In the article, Shanks contends that an Israelite fortress of this scale establishes the existence of a strong, centralized Israelite kingdom at the time of David.Shanks, Hershel, "'Oldest Hebrew inscription' Discovered in Israelite Fort on Philistine border," Biblical Archaeology Review, March/April 2010, p. 52.
19 and the quote is instead a paraphrase of Albert A. Michelson, who in 1894 stated: "… it seems probable that most of the grand underlying principles have been firmly established … An eminent physicist remarked that the future truths of physical science are to be looked for in the sixth place of decimals." Similar statements were given earlier by others, such as Philipp von Jolly. The attribution to Kelvin giving an address in 1900 is presumably a confusion with his "Two clouds" speech, delivered to the Royal Institution in 1900 (see above), and which on the contrary pointed out areas that would subsequently see revolutions. In 1898, Kelvin predicted that only 400 years of oxygen supply remained on the planet, due to the rate of burning combustibles.
A psychiatrist told the court that Humphreys was "of abnormal mentality, with immature, explosive and attention-seeking traits, the last trait referring to her tendency to slash her wrists", according to the Court of Appeal. The judge directed the jury to, in effect, ignore the psychiatric report. In considering how a reasonable woman would respond to the situation in which Humphreys had found herself, the jury should not attribute to the reasonable woman the "abnormal characteristics" the psychiatrist had described; that is, those characteristics were not "eligible for attribution to the reasonable woman". Instead, he told the jury to consider only the events immediately before the killing, and the effect Armitage's taunting would have had on a woman who "did not have a distorted and explosive personality".
The legendary nature of much of the last two types of material is clear, but the stories remain evidence of practices around images and beliefs as to what images were capable of.Kitzinger, 95-96 It is this period that the attribution to individual images of the potential to achieve, channel or display various forms of spiritual grace or divine power becomes a regular motif in literature. In the many miracle stories, there is a "tendency to break down the barrier between image and prototype", so that "the image acts or behaves as the subject itself is expected to act or behave. It makes known its wishes ... It enacts evangelical teachings, ... When attacked it bleeds, ... [and] In some cases it defends itself against infidels with physical force ...".
In June 2019, Corridor released a video in which a robot in the style of Boston Dynamics is abused in a variety of ways before finally fighting back against the humans attacking it. The video, watermarked "Bosstown Dynamics" instead of "Boston Dynamics", went viral across platforms, although most versions dropped attribution to the original source, with many claiming it to be an authentic Boston Dynamics video. After the online confusion, Corridor clarified that the video was never meant to be interpreted as "real", and that it would "like for people to be able to see the original". Gizmodo wrote that the "real lesson from Corridor’s fake robot video might be just how far [robot technology has] come in real life over the past decade".
"God Save the Queen" (alternatively "God Save the King", depending on the gender of the reigning monarch) is the royal anthem in a number of Commonwealth realms, their territories and the British Crown dependencies. The author of the tune is unknown, and it may originate in plainchant; but an attribution to the composer John Bull is sometimes made. "God Save the Queen" is the national anthem of the United Kingdom and one of two national anthems used by New Zealand since 1977, as well as for several of the UK's territories that have their own additional local anthem. It is also the royal anthem – played specifically in the presence of the monarch – of all the aforementioned countries, as well as Australia (since 1984), Canada (since 1980), Barbados and Tuvalu.
From the early 1570s onwards Byrd became increasingly involved with Catholicism, which, as the scholarship of the last half-century has demonstrated, became a major factor in his personal and creative life. As John Harley has shown, it is probable that Byrd's parental family were Protestants, though whether by deeply felt conviction or nominal conformism is not clear. Byrd himself may have held Protestant beliefs in his youth, for a recently discovered fragment of a setting of an English translation of Martin Luther's hymn "", which bears an attribution to "Birde" includes the line "From Turk and Pope defend us Lord". However, from the 1570s onwards he is found associating with known Catholics, including Lord Thomas Paget, to whom he wrote a petitionary letter on behalf of an unnamed friend in about 1573.
Legend above: Hic Odo Eps (Episcopus) Baculu(m) Tenens, "Here (is) Odo the Bishop holding a club" (see detail below). To the far right, holding a standard, is Eustace, Count of Boulogne (see detail below), with legend above, in upper margin: E[...]TIUS, standing for Eustatius, a Latinised version of "Eustace."Attribution to Eustace of this person depicted in the Bayeux Tapestry given by Douglas (1959), p.238, re plate LXXIII The figure is said by others to be Turstin FitzRolf, said by Orderic Vitalis to have carried the Norman standard: Turstinus filius Rollonis vexillum Normannorum portavit, "Turstin son of Rollo carried the standard of the Normans," The Tapestry however depicts it as the Papal Banner, a cross, granted to the Duke by Pope Alexander II to signify papal approval of the Conquest of England.
The bill was designed to provide limitations on the judicial branch from remedying copyright infringement cases remedying orphan works. Orphan works are copyrighted works for which the copyright owners cannot be identified and contacted. The infringing party has to meet several limits though in order to avoid legal penalties: a.) the infringing party performed and documented a reasonably diligent search in good faith to locate and identify the copyright owner before using the work, but was unable to locate and identify the owner, b.) the infringing use of the work provided attribution to the owner of the copyright, if known. Essentially, it was to limit monetary compensation, to what was described to be a reasonable standard, for infringed work if the infringing party was unable to locate the owner of the work ("due diligence").
Sabine Baring-Gould suggested that the true founder of St Mabyn's Church was actually the male Welsh saint Mabon, supposedly a brother of Saint Teilo and the founder of Llanvabon, and that the attribution to a female Mabyn came about after the true history had been lost.Baring- Gould, Lives of the Saints, p. 276. At any rate the associations of Mabyn with the family of Brychan as it appears in the Life of Saint Nectan proved quite strong in Cornish tradition, and apparently survived until at least the 16th century. Nicholas Roscarrock records hearing, from people alive at the time St Mabyn Church was rebuilt around 1500, that at that time a "song or hymn" to Mabyn was sung that corresponded strongly with the list in the Life.
The attribution to Dilophosaurus was primarily based on the wide angle between digit impressions three and four shown by these tracks, and the observation that the foot of the holotype specimen shows a similarly splayed-out fourth digit. Also in 2003, American paleontologist Emma Rainforth argued that the splay in the holotype foot was merely the result of distortion, and that Eubrontes would indeed be a good match for Dilophosaurus. The paleontologist Spencer G. Lucas and colleagues stated in 2006 that virtually universal agreement existed that Eubrontes tracks were made by a theropod like Dilophosaurus, and that they and other researchers dismissed Weems' claims. In 2006, Weems defended his 2003 assessment of Eubrontes, and proposed an animal like Dilophosaurus as the possible trackmaker of numerous Kayentapus trackways of the Culpeper Quarry in Virginia.
Side panels of the Burning Bush triptych, showing René and his second wife, Jeanne de Laval. Miniature by or after Barthélemy d'Eyck from Le Livre du Cuer d'amours espris depicting Love giving Desire to the heart of the ailing king The King of Sicily's fame as an amateur painter formerly led to the optimistic attribution to him of many paintings in Anjou and Provence, in many cases simply because they bore his arms. These works are generally in the Early Netherlandish style, and were probably executed under his patronage and direction, so that he may be said to have formed a school of the fine arts in sculpture, painting, goldsmith's work and tapestry. He employed Barthélemy d'Eyck as both painter and varlet de chambre for most of his career.
The authenticity of the sonata as such is uncertain, though three of the movements were certainly composed by Handel, but for other instruments. It is referred to as "Halle Sonata No. 2" (in German "Hallenser Sonate Nr. 2"), following Chrysander's assumption that it was an early work, composed during Handel's boyhood in Halle, before 1703. This cannot be true for this particular sonata, however, because the first two movements are a transposition into E minor of the corresponding movements of the final version of the much-revised Sonata for oboe in C minor, HWV 366, which dates from 1711–12. The fourth movement, also, was originally a minuet in G minor for harpsichord, later printed in 1733, while the third movement is a Grave whose attribution to Handel is very doubtful.
Shashi Tharoor's speech was called "witty" and "passionate" among other things. The Time magazine wrote that apart from the insight, it was Tharoor's "rapier barbs" that got everyone's attention, such as the line "No wonder that the sun never set on the British Empire because even God couldn't trust the English in the dark". Shashi Tharoor opened up with an analogy to Henry VIII's the last wife: While Tharoor himself did not provide attribution to his speech, some columnists have tried to verify the facts he cited. The speech itself gave insight into the impact of colonial rule on the economy of India, how India contributed to the world wars and how it impacted India, and how the British never cared about the starving in India, directly mentioning Churchill and the Bengal famine as example.
However no convincing separation of their contributions has been established. A now lost inscription on the frame stated that Hubert van Eyck maior quo nemo repertus (greater than anyone) started the altarpiece, but that Jan van Eyck—calling himself arte secundus (second best in the art)—completed it in 1432. The original, very ornate carved outer frame and surround, presumably harmonizing with the painted tracery, was destroyed during the Reformation; it may have included clockwork mechanisms for moving the shutters and even playing music. Attribution to the van Eyck brothers is supported by the small amount of surviving documentary evidence attached to the commission, and from Jan's signature and dating on a reverse frame. Jan seems to minimize his contribution in favor of his brother, who died six years before the work's completion in 1432.
Raines and Poppe mentioned over 50 genera and around 250 species and subspecies. Although species are generally well circumscribed, their attribution to subfamilies and genera is sometimes equivocal, and information about phylogeny and relationships of the species is minimal, not the least because most work has been based only on adult morphology.Barucca, M., Olmo, E., Schiaparelli, S. & Canapa, A. (2004): Molecular phylogeny of the family Pectinidae (Mollusca: Bivalvia) The earliest and most comprehensive taxonomic treatments of this family were based on macroscopic morphological characters of the adult shells and represent broadly divergent classification schemes. Some level of taxonomic stability was achieved when Waller's studies in 1986, 1991, and 1993 concluded evolutionary relationships between pectinid taxa based on hypothesized morphological synapomorphies, which previous classification systems of Pectinidae failed to do.
41-56) is actually titled the Liber sacramentorum Romanae ecclesiae (Book of Sacraments of the Roman Church). The attribution to Gelasius is premised in part at least on the chronicle of the Supreme Pontiffs that is denominated the Liber Pontificalis, which states of Gelasius that he "fecit etiam et sacramentorum praefationes et orationes cauto sermone et epistulas fidei delimato sermone multas" ("he also made prefaces to the sacraments and prayers in careful language and many epistles in polished language regarding the faith").Translation is based on Louise Ropes Loomis, The Book of the Popes (Liber pontificalis) I, New York, New York, USA, Columbia University Press, 1916, pp. 110-4 An old tradition linked the book to Gelasius, apparently based on the ascription of Walafrid Strabo to him of what evidently is this book.
Epicurus is generally credited with first expounding the problem of evil, and it is sometimes called the "Epicurean paradox", the "riddle of Epicurus", or the "Epicurus' trilemma": There is no surviving written text of Epicurus that establishes that he actually formulated the problem of evil in this way, and it is uncertain that he was the author. An attribution to him can be found in a text dated about 600 years later, in the 3rd century Christian theologian Lactantius's Treatise on the Anger of God where Lactantius critiques the argument. Epicurus's argument as presented by Lactantius actually argues that a god that is all-powerful and all-good does not exist and that the gods are distant and uninvolved with man's concerns. The gods are neither our friends nor enemies.
380px :For other versions of the work by Veronese and his studio, see The Finding of Moses (Veronese). The Finding of Moses is a 1580 oil on canvas painting by Paolo Veronese of the finding of Moses, which has been in the Musee des Beaux Arts de Dijon since 1812. Its attribution to Veronese is early, with Lépicié stating it was "painted by the artist at the height of his powers", though Louis Clément de Ris argued it was a copy in 1861. It is now thought to be largely autograph with studio assistance as argued by Florence Ingersoll-Smouse in 1928, Bernard Berenson in 1932 and 1936 (though in 1957-1958 he changed his mind and argued it was a studio work) and Giuseppe Fiocco in 1934.
Otago took part in various Southeast Asia Treaty Organization (SEATO) deployments and took part in a protest against French nuclear tests at Mururoa Atoll in 1973. The protest voyage was opposed by the National Party Their leader, Jack Marshall called the deployment 'irresponsible' and a 'futile, empty gesture' and RNZN officers, noting the Kirk Government approved the exercise on the day the International Labour Organisation and NZFOL called for stopping the French bomb tests M.Hayward.Dairy of the Kirk Years. Reed & Cape Catley (1981) Auckland,p242-3 as an exercise ordered by FOL President Tom Skinner and the New Zealand Federation of Labour Executive Commonplace observation of RNZN officers on protest voyage, specific attribution to Lt R. Jackson, 6/1974 HMNZS Otago, visit to Timaru and 8/74 TBHS 7.1/7.2, North St, Timaru.
He eventually becomes tenderly reconciled to his third daughter, just before tragedy strikes her and then the king. Derived from the legend of Leir of Britain, a mythological pre- Roman Celtic king, the play has been widely adapted for the stage and motion pictures, with the title role coveted by accomplished actors. The first attribution to Shakespeare of this play, originally drafted in 1605 or 1606 at the latest with its first known performance on St. Stephen's Day in 1606, was a 1608 publication in a quarto of uncertain provenance, in which the play is listed as a history; it may be an early draft or simply reflect the first performance text. The Tragedy of King Lear, a revised version that is better tailored for performance, was included in the 1623 First Folio.
After the war, Élie, Alain and their wives shared the family mansion at avenue de Marigny, which had been used as the Luftwaffe headquarters during the war. Élie and his family moved to 11 rue Masseran in the 1950s, where he displayed his great collection of art, including works by Rembrandt, Gainsborough, Dubuffet and Picasso. This collection was described in the book Great Private Collections, by Douglas Cooper; when Alvar Gonzales Palacios discovered a Dancer of Canova, he researched its history, and found out that, for a while, it had been in the Hotel Massaran, with the ridiculous attribution to Carpeaux. Élie and his brother assisted their cousin, Guy de Rothschild, to rebuild the Rothschild Frères investment bank, and its Compagnie des chemins de fer du Nord subsidiary.
Same-Sex Desire and Love in Greco-Roman Antiquity and in the Classical ... By Beerte C. Verstraete, Vernon L. Provencal As it includes in its narrative and notes several incidents that happened after Lord Byron's 1824 death it obviously could not have been written by him. From internal dating, it was probably written in the 1830s. It was published in 1866 by William Dugdale, who appears to have believed initially in the attribution to Byron as he attempted to use it to blackmail Byron's family. It was reprinted in a Fortune Press limited edition in 1934 and immediately fell foul of the obscenity laws; the edition was seized and ordered destroyed, although several copies escaped the destruction and come up every so often on the rare book market.
Setting aside the early 5th century BC Auriol-type silver fractions of the Volterra hoard of 1868,HNItaly (Historia Nummorum Italy) coins: 92-94; IGCH (Inventory of Greek Coin Hoards) # 1875 which are probably not of Etruscan production, the earliest struck silver coinage seems to be that of Vulci and Populonia. An attribution to the 5th century for these first issues of tridrachms, didrachms, or staters and drachms is plausible since they seem to be struck on the 'Chalcidian' silver drachm standard of theoretically about 5.8 grams,Parise 1985 which were present at Etruria's nearest Greek neighbour, i.e. Cumae, dated to about 475-470 BC (HNItaly 513; Rutter 1979, p. 123, 1) and at other Greek cities important to Etruscan sea-borne commerce in the early 5th century, such as Himera, Naxos and Zancle.
In the 1570s he was back in Paris, working for Charles IX and Catherine de' Medici. Though documentation is lacking, and attribution to the author of a widely used patternbook is generally risky, he is credited with the designs of the châteaux of Verneuil, in Verneuil-en-Halatte, which was later purchased by Henri IV in 1600, and Charles IX's château of Charleval (demolished), where he was assisted by his son Baptiste. The nickname "Cerceau" comes from the emblem of a ring that appears in lieu of a signature on engravings by Jacques Androuet. Answering the pressure of demand for authentic "Henri II" furniture designs in the 1880s, suites of designs by Jacques Androuet du Cerceau for chimneypieces, furniture and arabesque ornament were reproduced by the new technique of heliogravure.
In 1950, Pastor publishes the book . In 12 January 1949, the question is dealt with in a Council of Ministers, but However, a report of 4 January 1949 from the legal advice of the Spanish Ministry of Foreign Affairs "estimated that any hypothetical right of Spain over those islands would have been destroyed by the later trust regimes, that were those established after World War I with the transfer of those territories to Japan and, after World War II, with their attribution to the United States". In 2014, the Spanish government closed any speculation on the issue of Spanish possession in the Pacific with an answer in the Congress to the deputy Jon Iñarritu. According to its interpretation, Spain yielded in 1899 every remaining possession in the Pacific.
The fifth Circuit Federal Appellate Court found that the Batistes point to no evidence in the record demonstrating that consumers were confused or deceived by either the use of a digital sample of "Funky Soul" in "So On and So On", or the attribution to David Batiste as a co-author of the track. The Batistes' claim that Paul and Michael Batiste were improperly excluded from the liner notes accompanying the album also failed to suggest that consumers were confused, especially because the liner notes do credit the name of the band in which both Paul and Michael Batiste performed. Though Island Records won the lawsuit, the song was removed from subsequent releases of The Bliss Album and is no longer available for purchase in their publishing catalog.
Born the twin daughters of John Smith of Irvine, Ayrshire, Scotland, they learned more than 12 languages between them, and became pioneers in their academic work, and benefactors to the Presbyterian Church of England, especially to Westminster College, Cambridge. Agnes's discovery of the Syriac Sinaiticus, on one of her many journeys to Sinai, was the most important manuscript find since that of the Codex Sinaiticus in 1859 and "the contribution the twins made in cataloguing the Arabic and Syriac manuscripts at Saint Catherine's Monastery was literally incalculable."Soskice pp. 274–5 Her second important attribution to the field of Aramaic (Christian Palestinian Aramaic, Syriac) studies was the purchase of one of several manuscripts the Codex Climaci Rescriptus in several places of Egypt and from an unknown Berlin (Germany) scholar.
335-336 The musical quality of Tristis est anima mea appears to rise above this, which is why the attribution to Kuhnau is considered doubtful, and why it seems reasonable to assume that Bach, judging on quality, reused it. Bach was known for "signing" many of his works with the notes B-A-C-H in key places ("B" is used in German for B flat, while "H" is used for B natural). In bars 36–38 the alto, as the only syncopated voice, sings B-A-C-H in a harmonically complicated cadence ending the first main phrase, followed by the text und niemand achtet darauf ("and nobody notices it"). The same passage in Tristis est anima mea (ad mortem, bars 28–30) is much simpler harmonically, both together offering a further indication of an arrangement of the piece by Bach.
According to tradition, Charles Le Brun perceived in it the emergence of Raphael's first truly individual style, after throwing off the manner of Perugino. It was accepted by Edwards in his 1809 inventory, by the Venetian police inspector and art dilettante Antonio Neu Mayr (or Neumayr) in his 1811 treatise on Italian painting and his 1836 Mazzolino pittorico, and by Giannantonio Moschini in his 1842 catalogue. The anonymous 1912 Guida del visitatore artista opened up the question to include either Raphael or some other pupil of Perugino, while Giovanni Costantini's 1916 essay on the Manfredini collection reasserted the traditional attribution with a question mark. An attribution to Bachiacca was argued by Adolfo Venturi in his monumental Storia dell’arte italiana, which was accepted by Roberto Salvini and by Berenson in the first published version of his lists.
His Wedding Procession was widely copied by his workshop as well as Pieter Bruegel the Younger. Another popular theme of van Cleve was The Massacre of the Innocents and his version of this subject was copied even more frequently than the version of Pieter Bruegel the Elder. The attribution to van Cleve and his workshop of the various versions of the Massacre of the Innocents has been questioned on stylistic grounds, in particular on the basis of the fact that the more painterly handling of paint that is ascribed to van Cleve is missing in this body of work. Carnival in a village with beggars dancing Marten van Cleve collaborated with many prominent landscape painters, including Gillis van Coninxloo, Gillis Mostaert and Jacob Grimmer as well as his brother Hendrick for whom he painted the figures.
A new edition of the play was published in March 2010 in the Arden Shakespeare series. In January 2011 this version, advertised as by "William Shakespeare and John Fletcher", was presented at the Union Theatre, Southwark, by theatre company MokitaGrit, director Phil Willmott. Wilmott, while praising the "flashes of psychological insight" in the work, found himself unconvinced by the attribution to Shakespeare, noting the absence of comic interludes, the play's uncharacteristic structure and, above all, the absence of "heart-stopping moments of poetry". Certainly some typical Shakespearean plot elements, such as women disguised as men, a disaffected younger brother and a switch from scenes at court to one in the country are to be found, but the possibility remains that these were included by another as an "homage" to Shakespeare's style, or as a deliberate attempt to deceive.
In weighing the evidence, it is important to consider that the first records, those on the Stationer's Register, unequivocally record Dekker as the sole author. Furthermore, textual scholarship is happy to place NSS within the Dekker cannon, while, as Hoy says 'no scholar has ever succeeded in demonstrating Rowley's share in the play’.3\. Hoy, C. – Introductions, notes, and commentaries to texts in 'The dramatic works of Thomas Dekker, Volume IV, page 99 – Cambridge University Press – 1980 Given that it has been established that the play post-dates 1620, the possibility of a Dekker revision of an earlier Rowley text would appear to be implausible. The attribution to ‘S.R.’ remains unexplained, although it may be noted in passing that the initials are the final letters of Dekker's names, so it may just be a coded reference to Dekker.
The attribution to François Mansart was common knowledge among contemporaries. Charles Perrault reported its reputation: "The château of Maisons, of which he [Mansart] had made all the buildings and all the gardens, is of such a singular beauty that there is not a curious foreigner who does not go there to see it, as one of the finest things that we have in France."Perrault 1696, "François Mansart, Architecte", p. 87 (as in the original): "Le Chasteau de Maisons dont il [Mansart] a fait faire tous les Bastimens & tous les Jardinages, est d'une beauté si singulière, qu'il n'est point d'Estrangers curieux qui ne l'aillent voir comme une des plus belles choses que nous ayons en France." Nevertheless, the sole surviving document mentioning Mansart's name is a payment of 20,000 livres from Longueil in 1657, apparently occasioned by the final completion of the château.
Cancer was first recorded by Ptolemy in the 2nd century AD in Almagest, under the Greek name Καρκίνος (Karkinos). Richard Hinckley Allen asserted this paragraph in the late 1890s, without underlying evidence: > "Cancer is said to have been the place for the Akkadian Sun of the South, > perhaps from its position at the winter solstice in very remote antiquity; > but afterwards it was associated with the fourth month Duzu, our June–July, > and was known as the Northern Gate of Sun[...]"Star Names: Their Lore and > Meaning (Diss., University of MN, 1898; reprinted NY: Dover, 1899 and > continually to the present), 108. William Tyler Olcott repeats it nearly- > verbatim in Star Lore of All Ages: A Collection of Myths, Legends, and Facts > Concerning the Constellations of the Northern Hemisphere (NY: G.P. Putnam, > 1911), 89 (with attribution to Allen).
The Three Marys at the Tomb Bellange's reputation was fairly widespread by soon after his death, presumably very largely through his prints. The imitations by Merian and others, the reprints by Le Blond in Paris, and the large numbers of prints that survive, many from plates worn by large numbers of impressions, all imply that his prints had a healthy market. Many drawings have early inscriptions attributing them to him, which are often not supported by modern scholars, suggesting that an attribution to Bellange was a desirable one to have. In 1620 Balthasar Gerbier, a leading Flemish agent for collectors like the Duke of Buckingham and Charles I, and a friend of Rubens, wrote a memorial poem for Goltzius, part of which translates as: "Italy boasts of Raphael and Michelangelo, Germany of Albrecht Dürer, France of Bellange".
It is now commonly accepted that Piers Plowman was written by William Langland, about whom little is known. This attribution rests principally on the evidence of an early-fifteenth-century manuscript of the C-text (see below) of Piers held at Trinity College, Dublin (MS 212), which ascribes the work to one man, called 'Willielmus de Langlond': ;Translation Other manuscripts also name the author as "Robert or William Langland", or "Wilhelmus W." (which could be shorthand for "William of Wychwood"). The attribution to William Langland is also based on internal evidence, primarily a seemingly autobiographical section in Passus 5 of the C-text of the poem. The main narrator of the poem in all the versions is named Will, with allegorical resonances clearly intended, and Langland (or Longland) is thought to be indicated as a surname through apparent puns; e.g.
Ottavio was perhaps again portrayed by him in 1552,While the 1552 portrait is most likely of Ottavio, its attribution to Titian is less certain and most likely commissioned the original Naples panel in Titian's Danaë series,Goldsmith Phillips & Raggio (1954), 240 although Lodovico Dolce believed it was Alessandro who had approached Titian. The artist's reputation was such that he had already been called to Rome a number of times in the early 1540s; first by Cardinal Pietro Bembo and then by the Farnese family. By the mid-1540s Titian was the preferred portraitist for the Farnese. Following a number of earlier portraits of Pier Luigi and Paul, they commissioned a set to mark their ascendancy after Paul's papacy, all of which were – given their political awareness and ambition – clearly intended as public statements on their social elevation.
In December 1296 and January following, when in Ipswich for the betrothal of his daughter Elizabeth to the Count of Holland, the King again gave alms.Palmer, 'The Friar-Preachers, or Blackfriars, of Ipswich', at p. 72, with citations. The old foundation attribution to "Henry de Manesby, Henry Redred and Henry de Landham", or else to "John Hares", arose from the monastic catalogue of John Speed, who in 1614 drew a distinction between a house of Friars Preachers in Ipswich (founded by the three), and the Ipswich Blackfriars (where John Hares "gave ground to build their house larger").J. Speed, 'A Catalogue of the Religious Houses Within the Realme of England and Wales', in The Historie of Great Britain Under the Conquests of the Romans, Saxons Danes and Normans (Iohn Sudbury & George Humble, cum Privilegio, London 1614), Book 9, Chapter 21, pp.
After their deaths, Winckelmann was hired as librarian in the house of Alessandro Cardinal Albani, who was forming his magnificent collection of antiquities in the villa at Porta Salaria. The notorious fake antique fresco of Jupiter and Ganymede, tailored to deceive Winckelmann, has been attributed to Mengs or Giovanni CasanovaA case for an attribution to Giovanni Casanova, brother of the famous memoirist and rake, was made in With the aid of his new friend,Boorstin, p. 585 the painter Anton Raphael Mengs (1728–79), with whom he first lived in Rome, Winckelmann devoted himself to the study of Roman antiquities and gradually acquired an unrivalled knowledge of ancient art. Winckelmann's method of careful observation allowed him to identify Roman copies of Greek art, something that was unusual at that time—Roman culture was considered the ultimate achievement of Antiquity.
The 1960 attack was claimed by the Portuguese and Galician left-wing group Directorio Revolucionario Ibérico de Liberación (DRIL) (together with four other very similar bombings committed that same day across Spain, all of them attributed to DRIL), and the attribution to ETA has been considered to be unfounded by researchers. Police documents dating from 1961, released in 2013, show that the DRIL was indeed the author of the bombing. A more recent study by the Memorial de Víctimas del Terrorismo based on the analysis of police diligences at the time reached the same conclusion, naming Guillermo Santoro, member of DRIL, as the author of the attack. ETA's first killing occurred on 7 June 1968, when Guardia Civil member José Pardines Arcay was shot dead after he tried to halt ETA member Txabi Etxebarrieta during a routine road check.
It was his favourite Bosch painting and it hung in his own bedroom in El Escorial. When he donated the painting to El Escorial in 1574, it was cataloged as being a Bosch original; Silva Maroto argued that it is hard to believe that Guevara would question the authorship of Phillip's favourite Bosch in such an ambiguous passage, which as Maroto pointed out is part of a manuscript that remained unpublished until 1788. The alleged poor quality of the drawing had led to the incorrect belief it dates from Bosch's early period. The attribution to the discipulo was revived in the catalogue of the 2001 Bosch exhibition in Rotterdam, by Vermet and Vandenbroeck, who also suggested that several of the costumes suggest a much later date, around 1500, so that the awkward drawing and execution cannot be attributed to youthful imperfection.
The earliest extant text is dated to the early 15th century, and is thought to be an Icelandic translation of a Latin text, now lost; the Latin version may have been written by Oddr Snorrason at Þingeyraklaustur in the years preceding 1200. In 1920 Finnur Jónsson only attributed Óláfs saga Tryggvasonar to Snorrason, but the authorship claim has gained more acceptance over time, with the attribution to 'Odda the Wise' now thought to be the same as Oddr Snorrason. Key arguments for the attribution were made by - one such was that both 'Oddr' and 'Odda' both mention one Gizurr Hallsson as recipients of Olaf's saga and Yngvar's saga. The story was published in 1762 by N.R. Brocman (Stokholm) as Sagan om Ingwar Widtfarne och hans Son Swen [The Saga of Ingvar Widtfarne and his son Swen].
Second, that McTaggart is mistaken about the semantics of tensed discourse. The idea here is that claims like "M is present, has been future, and will be past" can only imply a contradiction if it is interpreted as saying that M is all at once future in the past, present in the present, and also past in the future. This reading, it is argued, is absurd because "has been" and "will be" indicate that we are not talking about how M currently is, but instead of how M once was, but is no longer, and how it will be, but is not yet. Hence it is wrong to think of the expression as an attribution to M of futurity, presentness, and pastness, all at once (Marhenke 1935; Broad 1938; Mink 1960; Prior 1967; Christensen 1974; Lloyd 1977; Lowe 1987).
The base of Interval 3 is marked by a cm-scale gradational contact between an underlying shell lag in Interval 2 and an overlying fine-grained calcareous sandstone with lithics and occasional trough cross-bedding and ripple marks (Unit E). A calcarenite occasionally interbedded with sandy limestone (Unit F) occurs stratigraphically above, separated from the underlying calcareous sandstone by an irregular, erosional contact. Sedimentary structures vary within the calcarenite from trough cross-bedding to wavy bedding to low-angle planar cross-bedding, suggesting substantial changes in flow velocities at the time of deposition. The lithologies in Unit F were originally described by Woodring in 1957 as the Alhajuela Sandstone Member of the Caimito Formation. However, based on the age constraints presented below for the Alajuela Formation, this attribution to the late Oligocene—early Miocene Caimito Formation is no longer supported.
Overseas Development Institute, Opinion 121, January 2009 They found London also arguing that the predominant focus in terms of social impact is on income, missing wider social dimensions and ignoring potential negatives like undesirable products becoming more accessible and proposed this as less of the case for inclusive business models, often supported by development agencies that have more experience with the wider dynamics of social impact at the bottom of the pyramid. All current measurement models suffer from standard impact challenges, with the emphasis on tasks completed or products distributed rather than outcomes. They say there is little attempt to fully attribute a company's impact through the use of counterfactuals and recommend Wach for a description of current methods used. Establishing attribution to a specific company's intervention is made more difficult given the growing emphasis on partnerships that the bottom of the pyramid approaches entail.
The Perger-Verzeichnis ("Perger Catalogue") is a thematic-chronological catalogue of instrumental compositions by Michael Haydn, compiled by Lothar Perger in 1907. Like Ludwig von Köchel's catalog of Mozart's compositions (the Köchel-Verzeichnis), Perger's catalog uses a single range of numbers, from 1 to 136, but like Hoboken's catalog of Joseph Haydn's music, groups the pieces first into categories (symphonies, concertos, etc.) and then sorts them chronologically. Perger's attempt at figuring out the chronology is, however, so full of mistakes (including the attribution to Haydn of music by others) that later musicologists, instead of trying to amend the catalog (as they have with Köchel's) have created new ones from scratch. The most credible is the one by Charles Sherman and T. Donley Thomas, a chronological catalog of 838 pieces in which each piece is assigned an MH number in that range according to their best guesses at chronology.
The first page of Richard III, printed in the Second Folio of 1632 Richard III is believed to be one of Shakespeare's earlier plays, preceded only by the three parts of Henry VI and perhaps Titus Andronicus and a handful of comedies. It is believed to have been written c. 1592–1594. Although Richard III was entered into the Register of the Stationers' Company on 20 October 1597 by the bookseller Andrew Wise, who published the first Quarto (Q1) later that year (with printing done by Valentine Simmes), See title page of facsimile of the original 1st edition (1597) Christopher Marlowe's Edward II, which cannot have been written much later than 1592 (Marlowe died in 1593), is thought to have been influenced by it. A second Quarto (Q2) followed in 1598, printed by Thomas Creede for Andrew Wise, containing an attribution to Shakespeare on its title page.
Some infer, states Vivekananda, that "Shankaracharya was the author of Gita, and that it was he who foisted it into the body of the Mahabharata." This attribution to Adi Shankara is unlikely in part because Shankara himself refers to the earlier commentaries on the Bhagavad Gita, and because other Hindu texts and traditions that compete with the ideas of Shankara refer to much older literature referencing the Bhagavad Gita, though much of this ancient secondary literature has not survived into the modern era. According to J. A. B. van Buitenen, an Indologist known for his translations and scholarship on Mahabharata, the Gita is so contextually and philosophically well knit with the Mahabharata that it was not an independent text that "somehow wandered into the epic". The Gita, states van Buitenen, was conceived and developed by the Mahabharata authors to "bring to a climax and solution the dharmic dilemma of a war".
The original inhabitants of common day Mohawk Valley are traced back as far as 10,000 plus years and included Algonquian people that later relocated from the newly established Fort Orange Dutch trading post region as early as 1624, otherwise as the name implies, the inhabitants were and remained Mohawks. The name Mohawk Valley had its origins in the time period of 1614 and 1624-25 following the settlement of Dutch traders who established a post among the region of the Mohawk of Mohawk Valley as the Mohawk had become alliances and targets of the Indian Wars. The Mohawks of Mohawk Valley call themselves Kanien'keha'ka, and "People of the Flint" in part due to their creation story of a powerful flinted arrow. Among other things, the traditional use of Mohawk Valley flint as Toolmaking Flint is only one attribution to the Mohawk Valley People of the Flint name.
The artists, both trained architects, employ the conventions of architectural rendering to re-create destroyed and altered monuments in their initial state, as well as to present unbuilt projects with exceptional realism. The chief value of their work is the enlarged and precise view it thus offers of European—and particularly French—architectural history. Their expertise is Ancien Régime French architecture—that of the 17th and 18th centuries—and particularly French royal châteaux and gardens, most notably the Château de Versailles and the Château de Marly, the monumental estates of King Louis XIV. In various publications, they have re-examined the genesis of both châteaux, and have renounced the traditional authorship of Versailles to Louis Le Vau in favor of a triumvirate of Le Vau, Charles Le Brun and Claude Perrault; and have attributed Marly's creation to Le Brun, renouncing the traditional attribution to Jules Hardouin-Mansart.
He wrote: > The House of Gray is but just building, consisting of a Front and two Wings, > in the middle of three Avenues of well-grown Trees; and, when finished, will > be one of the prettiest Seats in Scotland: But altho' the Symmetry of the > Apartments are exactly just, I am afraid the House will be too big for the > Estate. The house appears in Vitruvius Scoticus, the book of architectural drawings of great Scottish houses begun by William Adam in the 1720s and eventually published in 1812. Its inclusion in the book has led many wrongly to attribute the design of the house to Adam himself. Modern architectural historians generally ascribe the design to Alexander McGill or to him in collaboration with John Strachan, though the modern editor of Vitruvius Scoticus notes that no supporting evidence has been offered for the attribution to McGill.
The Benedictine historian Arnold Wyon (1554–ca. 1610) attributed to Chacón the interpretations of the pre-1590 prophecies in the Prophecy of the Popes attributed to St. Malachy. The prophecy, including the attribution of the interpretations to Chacón, was first published in 1595 by Wion as part of his book Lignum Vitæ. But this attribution to Chacón was refuted in 1694 by Claude-François Menestrier, who pointed out that the prophecies are never mentioned in the original 1601 edition of Chacón's Lives of the Popes and Cardinals, nor in the later editions of 1630 and 1677 that included much new material by later authors, and that neither were his alleged interpretations of the alleged prophecies mentioned as part of his works when they were very comprehensively listed (including his unpublished works) in both Nicolás Antonio's bibliography of Spanish writers, and Fr Ambroise de Altavera's bibliography of Dominican writers.
Most of the current arguments of the > schools, frequently misquoted and misunderstood when heard, and abstruse > questions from ancient works, had been presented to the fresh tablet of my > mind. Before these points had been elucidated and the attribution to me of > extreme ignorance had passed to that of transcendent knowledge, I had taken > objection to ancient writers, and men learning my youth, dissented, and my > mind was troubled and my inexperienced heart was in agitation. Once in the > early part of my career they brought the gloss of Khwajah Abu'l Qasim, on > the Mutawwal. All that I had stated before learned doctors and divines of > which some of my friends had taken notes, was there found, and those present > were astounded and withdrew their dissent, and began to regard me with other > eyes and to raise the wicket of misunderstanding and to open the gate of > comprehension.
Until well into the 20th century, knowledge of Jacques Le Moyne de Morgues was extremely limited, and largely confined to the footnotes of inaccessible ethnographic bibliographies, where he figures as the writer and illustrator of a short history of Laudonniere's attempt in 1564–5 to establish a Huguenot settlement in Florida. In 1922, however, Spencer Savage, librarian of the Linnean Society, made a discovery that opened the way to the subsequent definition of Le Moyne as an artistic personality; he recognized that a group of fifty-nine watercolors of plants contained in a small volume, purchased by the Victoria and Albert Museum in 1856 solely for its fine sixteenth-century French binding, were in fact by Le Moyne. Savage's publications relating to this discovery prepared the way for subsequent attribution to the artist of other important groups of drawings and watercolors, which form the core of his known oeuvre.
Supposed knowledge of some Old Irish vocabulary and verse has led to the most recent attribution to Ireland, and there is good evidence that his writings were well known to early medieval Irish scholars.Zimmer in George Calder's, Auraicept na n-éces, The Scholars Primer, being the texts of the ogham tract from the Book of Ballymote and the Yellow Book of Lecan, and the text of the Trefhocul from the Book of Leinster, ..., John Grant, Edinburgh 1917 (1995 repr.) However, the Irish evidence is not watertight, and Virgil's origins remain undetermined. However, Virgil can be dated with some confidence to the seventh century: he knew some parts of the Etymologiae by Isidore of Seville finished around 636; and was quoted before 709/10 by Aldhelm of Malmesbury. Quotations from Virgil in certain Irish computistical texts may place him in the first half of the seventh century, specifically before 658.
The version known as the Brut Tysilio, attributed to the 7th-century Welsh saint Tysilio, became more widely known when its text was published in The Myvyrian Archaiology of Wales, a once-influential collection of Welsh literary material whose credibility has suffered due to the involvement of the antiquarian forger Iolo Morganwg, in 1801–1807. The editors did not place much faith in the attribution to Tysilio, using that title merely to distinguish it from another Welsh Brut entitled Brut Gruffudd ap Arthur (the chronicle of Geoffrey son of Arthur, an alternative name for Geoffrey of Monmouth). An English translation of the Brut Tysilio by Peter Roberts was published in 1811, and San Marte made a German translation of Roberts' English translation in 1854, making it available to non-specialists.Françoise Hazel Marie Le Saux, Layamon's Brut: the poem and its sources, Boydell & Brewer Ltd, 1989, pp. 119-120.
Per Brian E. Daley Cambridge Companion to Hans Urs von Balthasar p206.), notes that Clement of Alexandria, in the (now lost) sixth book of his Hypotyposes ascribes the Dialogue to Luke the Evangelist, though Maximus himself ascribes the authorship to Ariston of Pella, in Latin Aristo Pellaeus, an author whom Eusebius mentions in connection with emperor Hadrian and Simon bar Kokhba.Maximus, Scholia on The Mystical Theology, ascribed to Dionysius the Areopagite, Chapter 1 "I have found this expression Seven heavens also in the Dispute between Papiscus and Jason, written by Aristo of Pella, which Clement of Alexandria, in the sixth book of the Outlines,3 says was composed by Saint Luke." No further trace of an attribution to Luke or Ariston is extant. Since the Dialogue was known to Celsus, Origen, Jerome and the later Latin translator "Celsus Africanus," none of whom names an author, the testimony of Maximus is now disregarded.
The Song dynasty connoisseur and critic Mi Fu (1051-1107) analyzed four manuscripts of the Huangting jing, and said the best one was written on a silk scroll with a provenance that he traced back to the early 8th century. Mi disagreed with a former owner Tao Gu (陶穀, 903-970) who said that Wang Xizhi wrote the manuscript, and concluded it was a superb example of calligraphy from the Six Dynasties period. The Ming dynasty calligrapher and painter Dong Qichang (1555-1636) was so impressed by the Mi Fu manuscript that he made a copy, recommend it as the best model for studying kaishu script, and included it as the first example in his classic Xihong tang fatie (戲鴻堂法帖, Calligraphy Compendium of the Hall of the Playful Goose). Dong's colophon attributed the calligraphy to Yang Xi himself and described it as "the traces of a holy immortal" (Ledderose 1984: 262-263, who calls Dong's attribution to Yang "extremely optimistic").
His style, reminiscent of the old masters, is the conventional style of the Eclectics; his drawing is remarkably careful and exact, the expression on the faces of his religious subjects is dignified and noble, the management of chiaroscuro excellent, and the composition harmonious, but suggestive of the Venetian School. From his insufficient knowledge of the composition of pigments, the colour in many of his pictures has suffered such a change that it is today disagreeable; but the artist possessed a good colour-sense, and contemporary records go to prove that his colour was refined and pleasing. He etched and engraved over a hundred plates in a bold and free style, for he was a master of the line; but he subsequently spoiled the effect by too much and too precise work with the engraver. A dishonest dealer put Raphael's name on some of Michel Corneille's plates, and for a long time no one disputed their attribution to the great master.
Barnes considers the story of the potion-induced miscarriages to be an allegation without further reference.Timothy Barnes, "Ammianus Marcellinus and the Representation of Historical Reality" (1998), page 123 Gibbon had not completely dismissed the report:"even the fruits of his [Julian's] marriage-bed were blasted by the jealous artifices of Eusebia herself, who, on this occasion alone, seems to have been unmindful of the tenderness of her sex, and the generosity of her character" ... "For my own part I am inclined to hope that the public malignity imputed the effects of accident as the guilt of Eusebia." He left the question of the existence of such a poison open and to be determined by physicians rather than historians. "A History of Medicine" (1995) by Plinio Prioreschi dismisses the account as an example of a very common error in accounts of ancient medicine, "the attribution to drugs of properties that they could not have".
Over the years there have been claims Zacharias Janssen invented the telescope and/or the microscope in Middelburg between 1590 and 1618. Zacharias worked for some time in the very competitive and secretive trade of spectacle-making and at one time lived next door to Middelburg spectacle maker Hans Lippershey, also claimed to have invented the telescope. Janssen's attribution to these discoveries is debatable since there is no concrete evidence as to the actual inventor, and there are a whole series of confusing and conflicting claims from the testimony of his son and fellow countrymen.Albert Van Helden, Sven Dupre, Rob Van Gent, The Origins of the Telescope - 2011, page 43J.D. North, J.J. Roche, The Light of Nature: Essays in the History and Philosophy of Science presented to A.C. Crombie, Springer Science & Business Media - 2012, page 202 The claim that Zacharias Janssen invented the telescope and the microscope dates back to the year 1655.
Livy XLII.35 The consulship of Gaius Marius (107 BC) saw the supposed launch of the so-called "Marian reforms" of the army. More dated scholars have ascribed to this general many of the changes that had transformed the Republican army by the time of its next extant detailed description in the pages of Julius Caesar's De Bello Gallico (composed in 51 BC), namely: # Admission of proletarii to legionary service # Recruitment of large numbers of volunteers # Replacement of maniples with cohorts as the main legionary tactical unit # Abolition of legionary cavalry In reality, the sole documented reform by Marius was the establishment (in 104 BC) of the eagle (aquila) as the sole animal-symbol to be used on the legion's standard (previously there had been a choice of 5 different animals, including the eagle).Pliny X.16 The attribution to Marius of the other changes is purely speculative, and probably erroneous also.
The words used to describe a highly flawed item predates its use in describing cars and can be traced back to the beginning of the 20th century as a British and American slang term.Online Etymology Dictionary The British use is derived from the US use and is less precise or specific: to be "sold a lemon" is little different from "sold a pup". Its first attribution to mean a problematic car was in a Volkswagen advertisement created by Julian Koenig and Helmut Krone as part of an advertisement campaign managed by William Bernbach, all advertising executives with the firm Doyle Dane Bernbach in 1960, which was a follow-up to their Think Small advertising campaign for VW.Writing for Designers. LemonVolkswagen's Lemon Ad Economist George Akerlof in his 1970 paper "The Market for Lemons: Quality Uncertainty and the Market Mechanism"George Akerlof (biography) identified the severe lemon problems that may afflict markets characterized by asymmetrical information.
There is no legal impediment to the reselling of works in the public domain if all references to Project Gutenberg are removed, but Gutenberg contributors have questioned the appropriateness of directly and commercially reusing content that has been formatted by volunteers. There have been instances of books being stripped of attribution to the project and sold for profit in the Kindle Store and other booksellers, one being the 1906 book Fox Trapping. The website is not accessible within Germany to comply with a court order from S. Fischer Verlag regarding the works of Heinrich Mann, Thomas Mann and Alfred Döblin. Although they were in the public domain in the United States, the German court (Frankfurt am Main Regional Court) recognized the infringement of copyrights still active in Germany, and asserted that the Project Gutenberg website was under German jurisdiction because it hosts content in the German language and is accessible in Germany.
The origins of the field can be traced back to Charles Darwin who wrote in his Descent of Man: : "When we treat of sexual selection we shall see that primeval man, or rather some early progenitor of man, probably first used his voice in producing true musical cadences, that is in singing, as do some of the gibbon-apes at the present day; and we may conclude from a widely-spread analogy, that this power would have been especially exerted during the courtship of the sexes,—would have expressed various emotions, such as love, jealousy, triumph,—and would have served as a challenge to rivals. It is, therefore, probable that the imitation of musical cries by articulate sounds may have given rise to words expressive of various complex emotions." This theory of a musical protolanguage has been revived and re-discovered repeatedly, often without attribution to Darwin.Steven Mithen, The Singing Neanderthals: the Origins of Music, Language, Mind and Body, Harvard University Press, 2006.
The gueridon, a tall stand for a candelabrum, offered Brustolon unhampered possibilities for variations of the idea of a caryatid or atlas: the familiar Baroque painted and ebonized blackamoor gueridons, endlessly reproduced since the eighteenth century, found their models in Brustolon's work. His secular commissions from Pietro Venier, of the Venier di San Vio family (a suite of forty sculptural pieces that can be seen in the Sala di Brustolon of the Ca' Rezzonico, Venice), from the Pisani of Strà, and from the Correr di San Simeone families encourage the attribution to him of some extravagantly rich undocumented moveable furniture. Andrea Brustolon's elaborate carved furniture aspired towards the condition of sculpture, such as the Dutch bases for console tables which look like enlargements of the work of the two Van Vianens, Paulus and Adam, perhaps the greatest Dutch silversmiths of the period. These carved pieces display the baroque tendency to develop a form three-dimensionally in space.
The U.S. Supreme Court, ruling only on the "reverse passing off" claim, reversed the decisions of the appeals court and district court, ruling 8–0 in favor of Dastar. The Court reasoned that although the Lanham Act forbids a reverse passing off, the rule regarding the misuse of trademarks is trumped by the fact that once a copyrighted work (or even a patented invention) enters into the public domain, anyone in the public may do anything with the work, with or without attribution to the author. Justice Antonin Scalia, writing in the decision, noted that the Court in the past has held that the Lanham Act "does not exist to reward manufacturers for their innovation in creating a particular device; that is the purpose of the patent law and its period of exclusivity." Therefore, claims about authorship cannot be used as an end-run around the underlying philosophy of a time limit on exclusive ownership of a copyright or patent.
The consensus among historical linguists specializing in Native American languages is that the Amerind hypothesis is unsupported by valid evidence,Mithun 1999Goddard 1996 particularly because the basis for the proposal is mass comparison, but also because of many other methodological flaws made by Greenberg in the elaboration of the hypothesis.Matisoff 1990Rankin 1992Campbell 1988Goddard 1987Goddard 1990Ringe 2000 Critics regard this technique as fundamentally flawed, unable to distinguish chance resemblances from those due to a historical relationship among the languages and providing no means of distinguishing resemblances due to common descent from those due to language contact. In addition, critics have pointed out errors in the citation of data, including erroneous forms, erroneous glosses, unjustified morphological segmentation, attribution to the wrong language, and citation of entirely spurious forms.Adelaar 1989Berman 1992Chafe 1987Kimball 1992Poser 1992 A further criticism is that, contrary to normal scholarly practice, no source references are given for the data, which in most cases come from languages for which there is no standard, authoritative source.
390px Madonna and Child with Saint Jerome and Saint Louis of Toulouse is a c.1455 tempera on panel painting by Andrea Mantegna. The work was acquired by Nélie Jacquemart, who left it to the Institut de France with the rest of her collection on her death in 1912 - it now hangs in the musée Jacquemart-André in Paris Giovanni Agosti and Dominique Thiébaut, Mantegna (1431-1506), Hazan, 2008, 479 p. (). It is normally dated to after Mantegna's 1453 marriage to Jacopo Bellini's daughter (also Giovanni Bellini's sister) and shows such marked influences from Jacopo (such as presenting the Madonna and Child with two saints behind a parapet and below a garland of flowers) that its attribution to Mantegna has previously been contested, though Christ's strong facial features and the sharp focus on the figures in front of a deep background are both characteristic of Mantegna at that dateMantegna 1431-1506 on La Tribune de l'Art.
Annefield's significance is derived from the fact that it is a relatively rare example of the well-developed Italianate architectural style in Charlotte County, Virginia. Elements of Jacob W. Holt's interpretation of the Italianate style within Annefield include a stereotypical Holt front entryway featuring double doors with arched panels, surrounded by arched sidelights, and a round-ended transom flanked by a pair of round “pinwheel” windows. Other features include a fenestration pattern displaying pairs of arched windows matching those found in the entryway, a deep, bracketed cornice, and a mantel design that seems to be unique to Holt: a progressively-styled Italianate mantel from William H. Ranlett's The Architect (Volume I, plate 52) with the insertion of a Greek Revival-style frieze roll just above the firebox opening.Parlor mantle c. 2005 during restoration Another factor contributing to the significance of Annefield is the house's attribution to Jacob W. Holt, a prominent master builder of Piedmont Virginia and North Carolina during the middle to late nineteenth century.
", September 29, 2010 (wire service report).United Press International, "'Pretty sure' bin Laden son killed", July 23, 2009 (wire service report).United Press International, "Iraq security development slowed in 2008", January 16, 2009, (wire service report). Sunday Times,Lamb, Christina, "School bombing exposes Obama's secret war inside Pakistan", Sunday Times, February 7, 2010 (correction published on February 15, 2010 noting attribution to FDD's Long War Journal was accidentally omitted), p. 27. The Hindu,Joshua, Anita, "Senior Taliban leader killed in drone attack: report", The Hindu, December 21, 2010 Cable News Network,Cable News Network, A top insurgent in Afghanistan killed, coalition confirms ", April 26, 2011; retrieved June 16, 2011 the Times of India,Times of India, "What happens to global jihad after Osama bin Laden's death?", May 4, 2011; retrieved June 16, 2011. The Australian,Neighbor, Sally, "Libya ripe for jihad's rallying cries", The Australian, April 26, 2011; retrieved June 16, 2011. CTC Sentinel,CTC Sentinel, July 2009.
Timothy Barnes, "Ammianus Marcellinus and the Representation of Historical Reality" (1998), page 123 Edward Gibbon had not completely dismissed the report:"even the fruits of his [Julian's] marriage-bed were blasted by the jealous artifices of Eusebia herself, who, on this occasion alone, seems to have been unmindful of the tenderness of her sex, and the generosity of her character" ... "For my own part I am inclined to hope that the public malignity imputed the effects of accident as the guilt of Eusebia." He left the question of the existence of such a poison open and to be determined by physicians rather than historians.Edward Gibbon, "The History of the Decline and Fall of the Roman Empire", vol. 2, Chapter 19, note 39 "A History of Medicine" (1995) by Plinio Prioreschi dismisses the account as an example of a very common error in accounts of ancient medicine, "the attribution to drugs of properties that they could not have".
There are other Turkish maps of before 1996 that show Imia/Kardak as Greek. However, the cartographic evidence of before 1996 is so mixed that the only safe conclusion one can draw from it is that neither of the two governments ever bothered to enforce a consistent representation of whatever legal opinions they held with respect to these islands, in the work of their cartographic state agencies. There is also the case of a neighbouring islet, only a few miles from Imia/Kardak, called Zouka, Dzouka or Topan Adası, which was consistently shown as Turkish in Greek naval maps, but as Greek in Greek topographic maps. When the attention of the Greek government was drawn to this fact in 2004, it was quick to admit that Zouka was in fact Turkish and that the attribution to Greece had been a mere technical mistake, since Zouka in fact lies on the Turkish side of the demarcation line of the 1932 protocol.
The excerpt from Flecker's verse drama Hassan ... The Golden Journey to Samarkand inscribed on the clock tower of the barracks of the British Army's 22 Special Air Service regiment in Hereford provides an enduring testimony to Flecker's work: The same inscription also appears on the NZSAS monument at Rennie Lines in the Papakura Military Camp in New Zealand, and at the Indian Army's Special Forces Training School in Nahan, Himachal Pradesh, India. A character in the second volume of Anthony Powell's novel sequence, A Dance to the Music of Time, is said to be "fond of intoning" the lines For lust of knowing what we should not know / We take the Golden Road to Samarkand, without an attribution to Flecker. (This is in fact a misquotation, the original reads "...what should not be known"). Saki's short story "A Defensive Diamond" (in Beasts and Super-Beasts, 1914) references "The Golden Journey to Samarkand".
The specificity of the proposal's details as it appears in most later sources—even its attribution to Gauss—is called into question in University of Notre Dame Professor Michael J. Crowe's 1986 book, The Extraterrestrial Life Debate, 1750–1900, in which he surveys the origins of the Gauss proposal and observes that: > The history of this proposal ... can be traced through two dozen or more > pluralist writings reaching back to the first half of the nineteenth > century. When this is done, however, it turns out that the story exists in > almost as many forms as its retellings. Furthermore, these versions share > one characteristic: Never is reference supplied to where in the writings of > Gauss ... the [proposal] appear[s]! Some early sources explored by Crowe for the attribution and form of Gauss's proposal include Austrian astronomer, Joseph Johann Littrow's statement in Wunder des Himmels that "one of our most distinguished geometers" proposed that a geometric figure "for example the well known so-called square of the hypotenuse, be laid out on a large scale, say on a particular broad plain of the earth".
Zöllner also explains that the quality of Salvator Mundi surpasses other known versions, however, > [it] also exhibits a number of weaknesses. The flesh tones of the blessing > hand, for example, appear pallid and waxen as in a number of workshop > paintings. Christ's ringlets also seem to me too schematic in their > execution, the larger drapery folds too undifferentiated, especially on the > right-hand side. ... It will probably only be possible to arrive at a more > informed verdict on this question after the results of the painting's > technical analyses have been published in full (Dalivalle/Kemp/Simon 2017). In Paris, the Louvre's request for Salvator Mundi to be exhibited in the 2019–20 Leonardo de Vinci exhibitionLeonardo da Vinci, Louvre, Paris, 24 October 2019 – 24 February 2020 was reportedly met without response,Le «Salvator Mundi» de Leonard de Vinci, tableau le plus cher du monde, a disparu, Le Parisien and AFP, 29 April 2019 leading some to speculate that its non-presence was due to doubts over its full attribution to the artist.
Still life with grapes and apples in a porcelain bowl The notname of this artist was given by Fred Meijer of the Netherlands Institute for Art History after he grouped a body of about 100 works he considered to be by the same hand. These works had during the 20th century been attributed to the Dutch still life painter Michiel Simons (active 1648-1673). This earlier attribution to Michiel Simons was based on the view that the style of the artist was close to that of Jan Davidszoon de Heem, Ambrosius Bosschaert II and Johannes Bosschaert II. These three artists, like Michiel Simons, were from, or had worked in, Utrecht.Pseudo-Simons, A fruit still life on a stone ledge at Jean Moust Fred Meijer found that the style was in fact closer to that of Flemish still life painters of the second half of the 17th century such as Jan Pauwel Gillemans the Elder and Jan Pauwel Gillemans the Younger and that the artist must have must have been familiar with their work.
In 1765 his Coresus et Callirhoe secured his admission to the Academy. It was made the subject of a pompous (though not wholly serious) eulogy by Diderot, and was bought by the king, who had it reproduced at the Gobelins factory. Hitherto Fragonard had hesitated between religious, classic and other subjects; but now the demand of the wealthy art patrons of Louis XV's pleasure-loving and licentious court turned him definitely towards those scenes of love and voluptuousness with which his name will ever be associated, and which are only made acceptable by the tender beauty of his color and the virtuosity of his facile brushwork; such works include the Blind Man's Bluff (Le collin maillard), Serment d'amour (Love Vow), Le Verrou (The Bolt), La Culbute (The Tumble), La Chemise enlevée (The Shirt Removed), and L'escarpolette (The Swing, Wallace Collection), and his decorations for the apartments of Mme du Barry and the dancer Madeleine Guimard. The portrait of Denis Diderot (1769) has recently had its attribution to Fragonard called into question.
Jaggard issued an expanded edition of The Passionate Pilgrim in 1612 (ESTC S106170), containing additional poems on the theme of Helen of Troy, announced on the title page ("Whereunto is newly added two Love Epistles, the first from Paris to Hellen, and Hellen's answere back again to Paris"). These were in fact taken from Thomas Heywood's Troia Britannica, which Jaggard had published in 1609. Heywood protested the piracy in his Apology for Actors (1612), writing that Shakespeare was "much offended" with Jaggard for making "so bold with his name." Jaggard withdrew the attribution to Shakespeare from unsold copies of the 1612 edition.. Two copies of PPO3 survive, one in the Folger Library with the original title page, and the other in the Bodleian Library at the University of Oxford with the cancel title page omitting Shakespeare's name.. The poems in The Passionate Pilgrim were reprinted in John Benson's 1640 edition of Shakespeare's Poems, along with the Sonnets, A Lover's Complaint, The Phoenix and the Turtle, and other pieces.
The only certain work that has remained of him is the Hell in Sant'Afra, a farraginous and confused picture, of vague tintorettesco flavor (Morassi), with Maccarinelli's naive sensibility could have a terrible effect, but fully justifies the overall judgment given by Lanzi: "beyond the common use". His style was influenced or a pupil of Pietro Marone and Palma il Giovane. Among his works are a Deposed Christ with two angels and Saints Angelo Carmelitano and Carlo Borromeo for the church of Santa Maria del Carmine in Brescia, assigned to him by Faino, Paglia and others, but by Maccarinelli attributed it to Antonio Gandino; the attribution to Barucco seems more reliable, since in Gandino one usually recognizes a more polished and hard sign, while the work in question is carried out with a fluid and rather pasty hand; it mixes evocative memories of Moretto with a palm-branded venetism, adhering to a typically Mannerist structure. He also painted the Sybils and other frescoes in the church. He also painted a Madonna and child with Saints Lucy, Catherine, and Apollonio for the parish church of Marcheno; and an Annunciation (1609) for the Pieve of Quinzano d’Oglio.
In 1803, when Ferdinando III was compensated for the loss of Tuscany with the title of Prince Elector and Duke of Salzburg, Manfredini returned to his former position at the Grand Ducal court. But he retired from public life, officially on account of a riding accident, in 1805, making his home at first in Padua and subsequently at his villa at Campo Verardo, in the Venetian terraferma, where he died in 1829. According to early authors, the Madonna and Child with St. John comes from the Grand Ducal collection at Palazzo Pitti, from which the picture — already bearing the optimistic attribution to Raphael — was presented to Manfredini by Grand Duke Pietro Leopoldo of Tuscany. The Alinari photograph shows the inner part of the work's gilt frame, consisting of a cyma molding and, around it, a row of oblong beads; this is easily recognizable as the standard cornice da collezionista given by Manfredi to many of his paintings, and which still graces a large proportion of the paintings in the Seminario of Venice. The celebrity of Manfredini's “Raphael” is attested by the existence of copy, known only from an old photograph in the Fototeca Berenson.
Leonardo painted three other portraits associated with the family or court of Ludovico Sforza. The Polish scholar Bogdan Horodyski in 1954-1956 reached the conclusion that the Warsaw illumination refers to both the deceased dukes Galeazzo Maria and Gian Galeazzo and to the dynastic downfall after the usurpation of Ludovico il Moro. The reproduction of the unpublished heraldic figure attributed to Antonio Grifo, illuminated in the incunabulum "Comedia" by Dante (Cremonese, Venice 1491), now at Casa di Dante in Rome, shows the original coat of arms and insignia of the family of Galeazzo Sanseverino, and the comparison with those illuminated by Birago is not corresponding. Developing this hypothesis, Carla Glori suggests that Caterina Sforza, the daughter of Galeazzo Maria and half-sister of Gian Galeazzo, was the owner of the Warsaw Sforziad and that she gave it to the family of her deceased half-brother between 1496-1499.Glori, Carla, “The Illumination by Birago in the Sforziad incunabulum in Warsaw: in defense of Horodyski's thesis and a new hypothesis”, Academia.edu Horodyski’s ideas have recently been revived by Katarzyna Krzyzagórska-Pisarek in her “La Bella Principessa. Arguments against the Attribution to Leonardo”, Artibus et Historiae, XXXVI, 215, pp. 61– 89.
Pollan believes that nutritionism is inherently flawed due to a reductive bias within science to isolate and study individual factors disconnected from their usual contexts such as diet and culture, factors which have repeatedly been shown to have a fundamental impact on nutritional outcomes. Even when scientists have attempted to study factors such as culture, diet, and long term consumption patterns, the enormous difficulties in making accurate measurements relating to individual nutritional components, and producing meaningful conclusions has resulted in incomplete results at best, and misleading or harmful results at worst. Ben Goldacre wrote that nutritionism, or its attribution to scientists, is the "bollocks du jour", and that it is "driven by a set of first year undergraduate errors in interpreting scientific data." In his opinion, professional researchers and medical experts bear some blame for nutritionism because they at times created unrealistic expectations about the potential benefits of their research, but that the primary promoters of nutritionism are health food manufacturers, self- proclaimed "gurus" and journalists who have an incomplete understanding of science, along with a credulous public that is willing to believe whatever simplistic theories they are told in the mass media.
The nucleus of the villa property, the Villa Vecchia or ‘old villa’, already existed before 1630, when it was bought by Pamfilio Pamfili, who had married the heiress Olimpia Maidalchini, to enjoy as a suburban villa. Thereafter he set about buying up neighbouring vineyards to accumulate a much larger holding,This larger estate was sometimes referred to by contemporaries as the Vegna Panfili, the "Pamphili vineyards" of the western part of the property which was often known as the Bel Respiro or 'beautiful breath' as it stood on high ground, above the malarial areas of Rome, and offered spectacular views which were a desirable feature of Baroque villa settings.The Pamphili preferred to call it the Villa dell'Allegrezze or ‘villa of joy’-- ignoring the stricture in Ecclesiastes 7:4 that gave rise to Edith Wharton's House of Mirth The giardino segreto parterre today In 1644 Cardinal Giambattista Pamphili became elected to the papacy and took the name of Innocent X. In accordance with this change in status, the Pamphili aspired to a grander and more expansively sited new villa. Early designs were made, possibly by Virgilio Spada rather than the traditional attribution to Borromini, but these were rejected.
At Manchester he is engaged in experimental and theoretical research in the field of particle physics, with particular interest in the behaviours of particles in high energy colliders as at the ATLAS experiment and Compact Muon Solenoid (CMS) experiments, part of the Large Hadron Collider particle accelerator research at CERN in Geneva, Switzerland. He has said of his theoretical physics research, He has written over 100 peer-reviewed articles in scientific journals, including papers on ordering gluon emissions, quantum field theory and holographic wavefunction of mesons. Forshaw and his frequent co-author Cox have stated the peer review process of science results publishing is important because it ensures that minimum standards are met in the scientific community and gives due attribution to all associates working on the piece who are finalising the presentation of the paper, and blogging research before it is published should be avoided. QED: Question, Explore, Discover conference, 2017 As an educator Forshaw is keen to encourage the idea that basic principles and theories in particle physics should be introduced to children in school in order to encourage understanding of the scientific method and use of evidence-based thinking at a young age.
The palace we see today was created from two buildings separated by the alley known as Do Rode (Due Ruote), probably in 1566, following upon a request by Vincenzo Pojana to the town of Vicenza in 1561. The attribution to Palladio is founded neither on documentary evidence nor on autograph drawings, but rather on the evidence of the architectural quality of the articulation of the piano nobile, with its order which embraces two whole floors, not to mention the design of various details, like the very elegant and fleshy Composite capitals and the entablature. However, elements such as the pilasters devoid of entasis (that is, the characteristic swelling which culminates at a third of the shaft’s height) conform so little with Palladio’s vocabulary in the 1560s, that one may hypothesize that the design of the left-hand portion of the palace was the product of a youthful project by Palladio, only later extended to include the neighbouring building during the 1560s, when Pojana decided to enlarge his own residence. This would also explain the differences in the configuration of the basement zone between the two halves of the building.

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