Francie watches in anticipation as her "once-in-awhile girl friend" buys one and extracts "a few pieces of stale candy" and a coarse cambric handkerchief.
|
|
Given that your response to the early scenes will probably be surprised, riotous laughter, you are equally likely to find yourself shedding discreet tears — the kind that cry out for cambric handkerchiefs — by the end.
|
|
A Macintosh PowerBook 160: she'd left it to me in her will, along with her books, but it had sat, plastic and inert, a thwarted life of the mind, her mind, a mind that I crammed into a box and stored in the back of the cupboard where I keep my fabric, yards of cambric and calico and gingham.
|
|
Charvet corsage in pink cambric (1898). Cambric (, or ),Longman Dictionary of Contemporary EnglishDefinition of "cambric" at Collins DictionaryDefinition of "cambric" at Oxford Dictionaries or batiste, one of the finest and densest kinds of cloth, is a lightweight plain-weave cloth, originally from the French commune of Cambrai, woven greige (neither bleached nor dyed), then bleached, piece-dyed and often glazed or calendered. Initially it was made of linen; later, the term came to be applied to cotton fabrics as well. Chambray is the same type of fabric, with a coloured (often blue or grey) warp and white filling; the name "chambray" replaced "cambric" in the United States in the early 19th century.
|
|
Cambric is used as fabric for linens, shirts, handkerchieves, ruffs, lace, and needlework.
|
|
At the same time, with development of an interest in coloured shirts, cambric was also woven in colours, such as the pink fabric used by Charvet for a corsage, reducing the difference between cambric and chambray. Moreover, the development and rationalization of mechanical weaving led to the replacement, for chambray, of coloured warp and white weft by the opposite, white warp and coloured weft, which allowed for longer warps.
|
|
Batiste is a balanced plain weave, a fine cloth made from cotton or linen such as cambric. Batiste was often used as a lining fabric for high- quality garments. Batiste is also used for handkerchiefs (cotton batiste) and lingerie (batiste de soie). In 1901 Chambers's Twentieth Century Dictionary of the English Language defined batiste as "usual French name for cambric" or "applied in commerce to a fine texture of linen and cotton".
|
|
A blue chambray fabric, made of a blend of linen and cotton, with blue warp and white filling Cambric is a finely woven cloth with a plain weave and a smooth surface appearance, the result of the calendering process. It may be made of linen or cotton. The fabric may be dyed any of many colors. Batiste is a kind of cambric; it is "of similar texture, but differently finished, and made of cotton as well as of linen".
|
|
Davidson, Thomas, comp. Chambers's Twentieth Century Dictionary of the English Language. London: W. & R. Chambers; p. 79 "Cambric" is a synonym of the French word batiste,Oxford English Dictionary itself attested since 1590.
|
|
In the 17th and 18th centuries, a jabot consisted of cambric or lace edging sewn to both sides of the front opening of a man's shirt, partially visible through a vest/waistcoat worn over it. This style arose around 1650. Jabots made of lace and hanging loose from the neck were an essential component of upper class, male fashion in the baroque period. In the late 19th century a jabot would be a cambric or lace bib, for decorating women's clothing.
|
|
The second part of the process brings the flax into a state for the very finest purposes, such as lace, cambric, damask, and very fine linen. This second part is performed by a refining machine.
|
|
Better known as Long Tall Short Fat Sally, Miss Cambric is one of the witches who accompanies Mrs. Proust to the Chalk. She suffers from tides; her body expands and contracts with the moon's influence. She is being trained by Mrs. Happenstance.
|
|
Chambray was often produced during this period by the same weavers producing gingham. White linen cambric or batiste from Cambrai, noted for its weight and luster, was "preferred for ecclesiastical wear, fine shirts, underwear, shirt frills, cravats, collars and cuffs, handkerchiefs, and infant wear". Technical use sometime introduced a difference between cambric and batiste, the latter being of a lighter weight and a finer thread count. In the 18th century, after the prohibition of imports into England of French cambrics, with the development of the import of Indian cotton fabrics, similar cotton fabrics, such as nainsook, from the Hindi nainsukh ("eyes' delight"), became popular.
|
|
Longcloth refers to a plain cotton cloth originally made in comparatively long pieces. The name was applied particularly to cloth made in India. Longcloth, which is now commonly bleached, comprehends a number of various qualities. It is heavier than cambric, and finer than medium or Mexican.
|
|
Match heads Historically, the term match referred to lengths of cord (later cambric) impregnated with chemicals, and allowed to burn continuously. These were used to light fires and fire guns (see matchlock) and cannons (see linstock). Such matches were characterised by their burning speed i.e. quick match and slow match.
|
|
The blouse is cropped just above the waist and normally white. Typical materials are cambric, linen or lace. Short puff sleeves are most typical, although narrow sleeves (short or long) are also common. The apron (Schürze) is attached to the skirt and is narrow, covering only the front of the skirt.
|
|
Denoting a geographic origin from the city of Cambrai or its surroundings (Cambresis in French), cambric is an exact equivalent of the French cambrésine (), a very fine, almost sheer white linen plain-weave fabric, to be distinguished from cambrasine, a fabric comparable to the French lawn despite its foreign origin. Cambric is also close to chambray ( from a French regional variant of "Cambrai", a name which "also comes from Cambrai, the French city, where the material was originally made of linen yarn". Chambray (also spelled "chambrai") appears in North American English in the early 19th century. Though the term generally refers to a cotton plain weave with a colored warp and a white weft, close to gingham, "silk chambray" seems to have coexisted.
|
|
Calendering is a finishing process used on cloth and fabrics. A calender is employed, usually to smooth, coat, or thin a material. With textiles, fabric is passed under rollers at high temperatures and pressures. Calendering is used on fabrics such as moire to produce its watered effect and also on cambric and some types of sateens.
|
|
Cambric was originally a kind of fine, white, plain-weave linen cloth made at or near Cambrai.Oxford English Dictionary The word comes from Kameryk or Kamerijk, the Flemish name of Cambrai, which became part of France in 1677. The word is attested since 1530. It is a synonym of the French word batiste, itself attested since 1590.
|
|
Hand taped joints are the old school method of splicing and terminating cable. The construction of these joints involves taking several types of tape and manually building up appropriate stress relief. Some of the tapes involved could be rubber tapes, semiconducting tapes, friction tapes, varnished cambric tapes, etc. This splicing method is incredibly labor and time intensive.
|
|
Shot by photographer Bob Cato, the cover depicts Simon & Garfunkel in a flower garden. "Artie is sprawled in jeans and a royal blue sweater, while Paul rises just behind, the modern poet-troubadour clad in cambric and shadow," wrote Peter Ames Carlin in Simon's biography, Homeward Bound. The original back cover of the LP includes an essay by music critic Ralph J. Gleason.
|
|
The stiffness of the garment forced upright posture, and their impracticality led them to become a symbol of wealth and status. Ruffs were primarily made from linen cambric, stiffened with starch imported from the Low Countries. Later ruffs were also sometimes made entirely from lace. However, lace was expensive since it was a new fabric, developed in the early sixteenth century.
|
|
Burhanpur is known for its textile industry. It is the largest hub for the power loom industry in the state. It is also known for having one NTC (National Textile Corporation) project. It has a number of textile companies which are well known for interlining cloths, Grey Markin, Bleached Dhoti, Cambric, Power loom Cloth bakram and other types of fabric.
|
|
A pollera is made of "cambric" or "fine linen" (Baker 177). It is white, and is usually about 13 yards of material. The original pollera consists of a ruffled blouse worn off the shoulders and a skirt with gold buttons. The skirt is also ruffled, so that when it is lifted up, it looks like a peacock's tail or a mantilla fan.
|
|
Cotton is used to make a number of textile products. These include terrycloth for highly absorbent bath towels and robes; denim for blue jeans; cambric, popularly used in the manufacture of blue work shirts (from which we get the term "blue-collar"); and corduroy, seersucker, and cotton twill. Socks, underwear, and most T-shirts are made from cotton. Bed sheets often are made from cotton.
|
|
Calendering of textiles is a finishing process used to smooth, coat, or thin a material. With textiles, fabric is passed between calender rollers at high temperatures and pressures. Calendering is used on fabrics such as moire to produce its watered effect and also on cambric and some types of sateens. In preparation for calendering, the fabric is folded lengthwise with the front side, or face, inside, and stitched together along the edges.
|
|
As the United Kingdom Census 1901 makes clear, Herbert Johnson's profession then was that of "Hatters' Shop Keeper". The firm's line of business was to design and commission headgear from hatters in London and the hatting workshops of Luton and Stockport. The firm made a name for its silk-velvet top hats. These hats had a "gossamer body", in other words one with a lightweight shell of fine muslin or cambric coated with shellac.
|
|
The youngest son of George Neilson, a calenderer, he was born in Glasgow on 24 September 1795. Educated at Glasgow High School and Glasgow University, he received a business training at offices in the city, and then joined his father in exporting cambric and cotton goods to America. In 1820, on returning from a visit to the United States, he married his cousin, Elizabeth Robertson. From 1822 to 1828 Neilson was in America on business.
|
|
While Katherine worked in the royal wardrobe she bought cambric cloth, Holland cloth, and other materials for making the King's shirts, which she and her colleague Janet Douglas, the King's seamstress, embroidered with gold and silver thread. She sold cloth to the King's tailor, Thomas Arthur, and kept accounts of the King's purse. Janet Douglas, like Katherine, married a prominent courtier, David Lindsay of the Mount a diplomat and poet.Accounts of the Lord High Treasurer of Scotland, vol.
|
|
Sources state that she accustomed the little girl to the "elaborate code of politeness and respect to her elders". In addition, she taught her charge pursuits such as needlework, embroidery, dancing, and riding. By the age of six, Elizabeth was able to sew a beautiful cambric shirt as a gift for her younger half-brother. Evidently, Katherine had been well educated for she effectively taught the precocious princess mathematics, geography, astronomy, history, French, Italian, Flemish, and Spanish.
|
|
The operation was performed like a battlefield operation under the command of M. Dubois, then accoucheur (midwife or obstetrician) to the Empress Marie Louise, and seen as the best doctor in France. Burney would later describe the operation in detail, since she was conscious through most of it, as it took place before the development of anaesthetics. > I mounted, therefore, unbidden, the Bed stead – & M. Dubois placed me upon > the Mattress, & spread a cambric handkerchief upon my face.
|
|
Cunnington, p.89 That year, Rudolph Ackermann's Repository of Fashions described the new textile as a "fine clear stuff, not unlike in appearance to leno, but of a very strong and durable description: it is made in different colours; grey, and the colour of unbleached cambric are most in favour." Petticoats made of horsehair crinoline appeared around 1839, proving so successful that the name 'crinoline' began to refer to supportive petticoats in general, rather than solely to the material.
|
|
Beginning in the mid 2010s, a variant of the bush jacket, known as a shirt jacket or shacket, underwent a revival in the UK and Europe due to the popularisation of vintage workwear by the hipster subculture. These were frequently made from blue denim, cambric, seersucker, heavy cotton in olive green or khaki, natural linen, or camouflage cloth, and featured patch pockets. Some had the epaulets, belt and pocket flaps of the traditional safari jacket, while others did not.
|
|
Carstairs House, now known as Monteith House The grave of Henry Monteith, Ramshorn Cemetery Memorial to Henry Monteith, Glasgow Necropolis He was born the sixth son of James Monteith (b. 1734) a merchant- weaver making cambric on Bishop Street in the Anderston district of Glasgow, and his wife, Rebecca Thomson. His eldest brother, John Monteith, had Scotland's first steam-driven power loom factory in Pollokshaws. The family were originally from the Aberfoyle area and had fought off raids from Rob Roy.
|
|
It was > transparent, however, & I saw, through it, that the Bed stead was instantly > surrounded by the 7 men & my nurse. I refused to be held; but when, Bright > through the cambric, I saw the glitter of polished Steel – I closed my Eyes. > I would not trust to convulsive fear the sight of the terrible incision. Yet > – when the dreadful steel was plunged into the breast – cutting through > veins – arteries – flesh – nerves – I needed no injunctions not to restrain > my cries.
|
|
The single seat cockpit was just in front and below the wing. There was a cambric fairing round the cockpit and also behind the wing to the tail, the latter made by stretching the material over a wire that ran from the wing mounting to the rear fuselage. The fin and generous rudder were a slightly pointed version of the characteristic de Havilland shape; the elevator area was also large compared with that of the fixed tailplane. Two DH.52s were built.
|
|
At the First Spring meeting at Newmarket, Pope finished second and last in a £50 subscription stakes and the following day won a £50 subscription stakes. Later at the same meeting, Pope finished third (but not officially placed) in £50 subscription handicap plate, losing to the colt Cambric and the horse Salvator. In October in Newmarket, Pope won a subscription race against Burleigh and Salvator. and a few weeks later walked over in a subscription race for six-year-olds and forfeited the Oatlands Stakes.
|
|
These were held in place in the four angles between the bomb's fins. For ranges less than 1000 yards, one or more bags could be removed, as per range tables. For ranges above , additional charges were loaded before the bomb, held in two white cambric bags each containing 1 oz 4 drm of cordite.Handbook of the M.L. 6-Inch Trench Mortar Mark I. 1918 In action the gunners would adjust the angle of the barrel via the elevating guy (for distance) and traversing guys (for direction).
|
|
Groups of working individuals are typically classified based on the colors of their collars worn at work; these can commonly reflect one's occupation or sometimes gender. White-collar workers are named for the white-collared shirts that were fashionable among office workers in the early and mid-20th century. Blue-collar workers are referred to as such because in the early 20th century, they usually wore sturdy, inexpensive clothing that did not show dirt easily, such as blue denim or cambric shirts. Various other "collar" descriptions exist as well.
|
|
Plan of Cambrai drawn in 1649, depicting the outline of the 11th century walls In the Middle Ages the city grew richer and larger thanks to its weaving industry which produced woollen cloth, linen and cambric. Cambrai, and in particular the drapery, experienced an economic decline from the 15th century. Cambrai then belonged to a commercial hansa of seventeen low country cities whose aim was to develop trade with the fairs in Champagne and Paris. By the 11th century the city walls had reached the circumference they would keep until the 19th century.
|
|
These fabrics, initially called Scotch cambrics to distinguish them from the original French cambrics, came to be referred to as cotton cambrics or batistes. Some authors increased the confusion with the assumption the word batiste could come from the Indian fabric bastas. In the 19th century, the terms cambric and batiste gradually lost their association with linen, implying only different kind of fine plain- weave fabrics with a glossy finish. In 1907, a fine cotton batiste had 100 ends per inch in the finished fabric, while a cheap-grade, less than 60.
|
|
The industry continued onto the 19th century on a diminished scale. By the 19th century valenciennes lace could be made by machine. Valenciennes lace is made on a lace pillow in one piece, with the réseau (the net-like ground) being made at the same time as the toilé (the pattern). It differentiates itself from other types of lace because the openness of the réseau, the closeness and evenness of the toilé, which resembles cambric, and that it lacks any cordonnet (a loosely spun silk cord used to outline and define the pattern).
|
|
They were sometimes allowed to ride out under the strictest guard. Eleanor was given robes of dark green with capes of cambric and hats trimmed with miniver. In 1213, John used Eleanor to blackmail Peter I, Duke of Brittany, husband and co-ruler with Alix, into an alliance with England, tempting him with the offer of Eleanor's Earldom of Richmond, but Peter kept loyal to France, even after John's capture at Nantes of Peter's elder brother Robert.Oxford Dictionary of British History:Angevin empire In the same year John declared England a Papal fief, and Pope Innocent III thus claimed to be guardian of Eleanor.
|
|
In 1879 Moy demonstrated his "military kite" to a meeting of the Royal Aeronautical Society. This was a small model aircraft propelled by a pair of rubber-driven propellers which rotated in opposite directions. This had two lifting surfaces like the Aerial Steamer, but was more like a modern aircraft in that there was a principal lifting surface mounted in front of a second lifting surface of half the span and a quarter of the area. The bow-shaped surfaces were made of cambric, had dihedral and an adjustable angle of incidence and were fixed to on a central pine box-girder, mounted on wheels.
|
|
Waring's son, Samuel, brought Flemish weavers to the village, building Huguenot style cottages for them, some of which survive today. In the past, the village was renowned for its handloom damask weaving. The industrial focus was at the southern end of the town, where brewing, linen-weaving, and cambric and clothing manufacture were formerly carried out and where some substantial 18th century and 19th century industrial buildings still exist. On 20 December 1990—during the Troubles—Wilfred Wethers (46), a Protestant off duty Royal Ulster Constabulary (RUC) officer, was shot and killed by an Irish Republican Army (IRA) sniper while driving his car in Waringstown.
|
|
The basic garments for women consisted of the smock, hose, kirtle, dress, belt, surcoat, girdle, cape, hood, and bonnet.Sutton 10 Each piece had designated colours and fabrics, for example "Materials used in the middle ages were woolen cloth, fur, linen, cambric, silk, and the cloth of silver or gold…the richer Middle Age women would wear more expensive materials such as silk, or linen". The development of the skirt was significant for women's medieval clothing, "The more fashionable would wear very large or wide skirts". The petticoat made way for the skirt, which quickly became a popular garment because it "wraps rather than enclosing, touches without grasping, brushes without clasping, coasts, caresses, skims, strokes".
|
|
Batiste itself comes from the Picard batiche, attested since 1401 and derived from the old French battre for bowing wool. The modern form batiste, or baptiste, comes from a popular merge with the surname Baptiste, pronounced Batisse, as indicated by the use of the expressions thoile batiche (1499) and toile de baptiste (1536) for the same fabric. The alleged invention of the fabric, around 1300, by a weaver called Baptiste or Jean-Baptiste Cambray or Chambray, from the village of Castaing in the peerage of Marcoing, near Cambrai, has no historic ground. Cambric was a finer quality and more expensive than lawn (from the French laune, initially a plain-weave linen fabric from the city of Laon in France).
|
|
Dundalk Distillery, 19th century Great Northern Distillery Linen was the first industry established in Dundalk in the mid 18th century, but the cambric and damask businesses had failed by the end of the century, with the factories becoming derelict. It would be the next century before new industries established themselves: mills, tanneries, a foundry, a distillery, and breweries. During James Hamilton's improvements to the town during the 18th century, the Port of Dundalk was established and became the eighth largest in Ireland in terms of exports. The latter half of the nineteenth century saw the population of Dundalk increase by 30% (despite the population of Ireland as a whole dropping in the same period) as the town's industries thrived prior to the partition of Ireland.
|
|
The speaker was innovative in other ways as well and was produced, relatively unchanged, for about 10 years. The original Leak 'Sandwich' hi-fi speaker was a large two-way system employing a 330 mm (13") low frequency element, with the sandwich cone, cambric roll suspension, and cast aluminium chassis. As was common at the time, the 75mm (3") high frequency unit was a miniature version of the woofer, and was mounted onto the grille assembly, so fitted neatly into its own foam lined cavity on the face of the 60 litre bass enclosure. A large wood block was bolted between the back of the woofer magnet and the back panel of the enclosure, as a structural brace, a technique later used by other manufacturers.
|
|
Vickers designed the gun early in World War I, intending it as a piece of light artillery for use by infantry in trenches in attacking machine gun positions and pillboxes. To make it portable for infantry use, it was very small and light for a gun of its calibre. Its light construction dictated a low muzzle velocity, which resulted in it having a short range. It was too light to withstand the detonation of standard British explosive propellants, so its ammunition used ballistite packed in cambric bags instead. The gun fired a 1.2-pound (0.54 kg) high-explosive shell at 800 feet (244 meters) per second; it also could fire an armour-piercing round at 1,000 feet (305 meters) per second.
|
|
The disassembled weapon was usually transported on horsedrawn carts but the Canadian Automobile Machine Gun Brigade (the Canadian Independent Force or "Brutinel's Brigade") is known to have successfully used the mortar both mounted on motor trucks and dismounted in the closing months of the war.Michael Holden, University of New Brunswick, "Training, Multi-National Formations, and Tactical Efficiency: The Canadian Motor Machine Gun Brigades in 1918"Danish Military History Society, "The Canadian Motor Machine Gun Brigade, Part 1" The 52-pound cast-iron fin-stabilised high explosive bomb carried the percussion primer at the base in the intersection of the four vanes (fins), consisting of a specially loaded blank .303 rifle cartridge. The basic propellant charges were contained in four small white cambric bags each containing 1 oz of guncotton yarn.
|
|
In Australia and New Zealand flat 'TPS' (Thermo-plastic sheathed) "Twin and Earth" cable manufactured prior to 1966 permitted the use of an uninsulated CPC stranded core, requiring the exposed ends of this conductor to be sleeved with Green insulating tubing. . (Before the advent of PVC, this tubing was varnished cambric.) Since 1966 it has been required that the CPC be insulated with Green insulation and since 1980 the colour of this insulation has been Green/Yellow.Electrical wiring In Australia and New Zealand Single conductor and Twin conductor TPS cables also exist. These are required because it is not permitted in Australia and New Zealand for the Neutral conductor in a "Twin and Earth" cable to be "re-purposed" as a "Switched Line" conductor, as is permitted the UK and in North America.
|
|
Thornton silently calls Margaret's embroidery of a small piece of cambric "flimsy, useless work" when she visits the Hales. Bodenheimer believes that the narrator is interested in the psychology of her characters: their inner selves, how their contentious interactions with others subconsciously reveal their beliefs and how the changes they experience reflect their negotiation of the outside world. also focuses on Gaskell's depiction of "interiority" (the psychic process), expressed in dreams and trances such as Thornton's dream of Margaret as a temptress or the rioters' "trance of passion". The phrase "as if" appears over 200 times, suggesting Gaskell's reluctance to appear too definitive in her narration: "Bessy, who had sat down on the first chair, as if completely tired out with her walk" and "[Thornton] spoke as if this consequence were so entirely logical".
|
|
Betty Blythe, Frederick Buckley and Guy Empey in a still from the 1919 silent film The Undercurrent In 1915, Buckley emigrated to the United States on the SS St. LouisPassenger List, American Line, SS St. Louis, 29 May 1915 Gjenvick-Gjonvik Archives and worked as a film critic for the Motion Picture Mail, a Saturday magazine supplement of The New York Evening Mail. Starting in 1917, he worked in silent film in Brooklyn for the Vitagraph Studios where he was primarily a screenwriter and occasionally an actor. Between 1917 ands 1918 he wrote, co-wrote or adapted the scenarios for The Cambric Mask, By the World Forgot, A Gentleman's Agreement, The Purple Dress, Lost on Dress Parade, The Song of the Soul, The Other Man, The Hiding of Black Bill, A Night in New Arabia, The Last of the Troubadours and The Lovers' Knot. He appeared in principal roles in The Undercurrent and The Unknown Quantity.
|
|
She does not believe Paton killed Ackroyd, despite him disappearing and police finding his footprints on the study's window. Poirot learns a few important facts on the case: all in the household, except parlourmaid Ursula Bourne, have alibis for the murder; while Raymond and Blunt heard Ackroyd talking to someone after Sheppard left, Flora was the last to see him that evening; Sheppard met a stranger on his way home, at Fernly Park's gates; Ackroyd met a representative of a dictaphone company a few days earlier; Parker recalls seeing a chair that had been in an odd position in the study when the body was found, that has since returned to its original position; the letter from Mrs Ferrars has disappeared since the murder. Poirot asks Sheppard for the exact time he met his stranger. He later finds a goose quill and a scrap of starched cambric in the summer house, and a ring with the inscription "From R" in the backyard.
|
|
There is little evidence to > indicate whether Juba portrayed the wench role in sexual or burlesque style. > However, a review from Manchester, England, implies that it was the former: > >> With a most bewitching bonnet and veil, a very pink dress, beflounced to the waist, lace-fringed trousers of the most spotless purity, and red leather boots,—the ensemble completed by the green parasol and white cambric pocket handkerchief,—Master Juba certainly looked the black demoiselle of the first ton to the greatest advantage. The playing and singing by the serenaders of a version of the well-known negro ditty, furnished the music to Juba's performance, which was after this fashion:-Promenading in a circle to the left for a few bars, till again facing the audience, he then commenced a series of steps, which altogether baffle description, from their number, oddity, and the rapidity with which they were executed ... The promenade was then repeated; then more dancing; and so on, to the end of the song. > > A caricature of Juba and Pell from the 1848 season shows Juba in a > characteristic dance pose.
|
|
In 1723, Day was arrested on suspicion of robbing the Bristol mail coach at Clapham, though subsequent investigations ruled him out as a suspect. During this time, he was indicted on four counts of defrauding and two counts of grand larceny. These charges referred to crimes committed in September 1722, which included: # the theft of gold and silver lace to the value of £55,First indictment # the defrauding of Thomas Gravestock, the proprietor of the gold and silver lace,Second indictment # the defrauding of Samuel Scrimpshaw for cambric valued at £48,Third indictment # the defrauding of George Kendrick for tea valued at £51,Fourth indictment # the "felonious" theft of of rich brocade, of cherry-powdered podesay and of white podesay at a combined value of £34,Fifth indictment # the defrauding of a Mr. Hinchliff, the proprietor of the brocade and podesay.Sixth indictment During the trial, Day stated that he had stolen to keep up with annual £200 payments on his Durham estate, which was mortgaged for £1,200, but he was unable to provide evidence of the Durham estate and could not provide a witness willing to testify to his reputation.
|
|
Dr. Theodore Bach, assistant professor of philosophy and winner of the Distinguished Scholar award, was recently published in the Chicago Tribune and Baltimore Sun; Dr. Daniel Kelley, assistant professor of geology, has integrated teaching and research by beginning a study abroad program for Firelands students to do field work in Iceland; Dr. Stephanie Walls, assistant professor of political science, has recently published a book on the topic of individualism; Dr. Christopher Mruk, Professor of Psychology, who has published books and articles on self-esteem; and Dr. Joel Rudinger, Professor Emeritus of English and Popular Culture, did his doctoral work with Dr. Ray Browne in the first days of the Popular Culture Program at BGSU, taught creative writing at BGSU Firelands and has had published many works on folklore, children's literature, poetry and the Alaskan Culture, including his latest, "Sedna--Goddess of the Sea (Cambric Press, 2006)," a children's book based on the Alaskan/Canadian Inuit explanatory tale of Sedna, the human mother of all warm-blooded sea animals. He also earned a Masters of Arts degree with a creative thesis from the Univ. of Alaska and a Master of Fine Arts in Poetry from the Writers Workshop at the Univ.of Iowa.
|
|