Handicraftsmen lost their patrons who used to give them material help and encouragement.
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There was not the speciality in his labour which distinguishes the handicraftsmen of towns.
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It was the handicraftsmen, like the other petty bourgeois of the towns, who displayed an exceptionally revolutionary spirit in the era of the fall of absolutism.
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People in Nieder Kostenz fed themselves mainly from their own harvests. Besides a few handicraftsmen, such as cobblers, bricklayers, smiths and millers, almost everyone worked the land. In the winter, four to eight weeks’ work as a lumberjack could be had for extra earnings. The first industry was the sawmills.
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It is there where he commenced working, first as a locksmith and then as a blacksmith. He married a local girl, Dolores Castarà Sigró. She also came from a humble, though somewhat better positioned family; her parents, Josep Castarà Marigó and María Ciuró (originally Sigró) Puig, were handicraftsmen specializing in lace-making; especially the latter was recognized in the town.Forés i Miravelles 1996, p.
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163 It is notable that they did not fight with the Reds, but were mostly unarmed. Only few of the victims had any connections with the Red Guards, most of them even supported the Whites and greeted them as liberators. The victims were of all social classes. Most of the killed Russian civilians were workers as well as administrators working for the City of Vyborg, merchants, businessmen or handicraftsmen, also several noblemen were executed.
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Many handicraftsmen chose to pay the money and work freely to maximize their income. In Ming China, it was popular to add illustrations into novels for people who can’t read Chinese characters. Huagong (画工), skilled painters without official position in the court, had lower social status than the literati painters . This group of artisans created the illustrations for novels and plays, some of the pictures used as New Year picture templates, so called 粉本（Pinyin:Fěn běn） in Chinese.
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Plan The main church of the monastery was erected in the middle of the 19th century. Its architect is Pavel Ioanov, who worked on it from 1834 to 1837. The church has five domes, three altars and two side chapels, while one of the most precious items inside is the gold-plated iconostasis, famous for its wood-carving, the creation of which took five years to four handicraftsmen: Atanas Teladur, Petar and Georgi Dashini and Dimitar Stanishev. The participation of Petre Filipovich- Garkata is questionable.
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In Ming China, the quantity of Chinese New Year pictures increased rapidly. This development was because of the Ming’s government policy, widespread novels, and the development of woodblock printing techniques. New Year picture workshop (Chinese: 画坊) (Pinyin:Huà fāng), the store where New Year picture was made and sold also developed in Ming China. After Zhu Yuanzhang took over the empire from Yuan dynasty, the Ming government allowed handicraftsmen to pay 0.28 tales of fine silver per year to replace the labor work that they had to do for government.
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Koore has four tribal groups known as gosa: Koorese, Kana'e, Manna and Wogache. These groups or tribes are composed of more than 50 clans(omma),some of which do not establish clear genealogical links to a common ancestor. The Koorese and Kana'e think of themselves as shawo, "pure" or "clean"; whereas the other two clans, Mana and Wogache are despised, "impure" or "polluted." The former two tribes were cultivators who owned the agricultural land; whereas the latter two clans were (and still to some extent are) landless handicraftsmen.
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Their products were marketed by both local people and those from farther afield, mainly at the four great yearly markets and the weekly markets. The houses around the marketplace had on their ground floors recesses in which local handicraftsmen would offer their wares for sale in their “shops”. On the marketplace itself were, besides the two fountains, also lockable market stalls that could be hired by bakers, butchers and potters. On the Hahnenbach side of the square stood the 1508 town hall, which was torn down in 1849 to make way for what was even then a growing amount of traffic.
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After the war had ended, the Vanemuine began work in the German Handicraftsmen theatre building (the current Vanemuine Small Building) that had been reconstructed during the war into a cinema. The theatre people who returned to town built and reconstructed the building with their own resources, and on December 21, 1944, the opening performance took place. The theatre as a whole with its workshops and rehearsal rooms did not fit inside the building and therefore the theatre also used the buildings at Vanemuine Street 52 and 54. Theatre’s employees, together with actors, singers and orchestra members, built the necessary workshops.
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Those who supported the enactment of such laws did so because the laws emphasized the differences between the classes, and clearly defined what those differences are. For example, the 1363 statute to the Clothing Law of 1337 states that wives of yeomen and handicraftsmen may not wear any veil or kerchief made of silk...the higher-status groups, however, are allowed to wear whatever imported items they want.Sponsler 270–271 This clearly states the understood division between the rich and poor during this era, and the importance of keeping the classes defined as separate entities. There were rules for every item of clothing; lower-class women were banned from wearing expensive veils.
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Sachker was a member of the Vanemuine Society and took actively part as actor in all theatre pieces before becoming stage director. As a good and keen amateur, Sachker did not raise the theatre's level higher but ensured the survival of the theatre and reinforced the tradition of theatre making at the Vanemuine Society with his consistent activity. Sachker himself translated plays by Kotzebue (the drama writer of the 19th century Europe who was staged the most, he came from Germany but for years lived in Tallinn), under his lead the number of new productions increased but these remained quite light in subject matter. The Estonian handicraftsmen of Tartu acted as actors at the theatre of the time.
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Every time when the lunar New Year draws near, the local handicraftsmen, with the beautifully painted clay- figurines on shoulders or in hand, would converge on the market and set up stalls in meandering lines. This makes the country fair during the festival more flourishing and exciting. Infused with simple and sincere feelings of the laboring people, the painted clay-figurines reflected the superb creative ability in art of the peasants and are typical articles of folk art. They not only attract the attention of artists, but also appeal very much to people of various fields both at home and abroad Large clay tiger for hanging are frequent examples of Fengxiang’s clay sculpture works.
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Plato, the philosopher, was Critias's nephew, and used banausos in much the same sense, although in the Republic he preferred the installation of philosophers, such as himself, above the hoplites, who were in turn above the artisan. It was also current among the first generation of his pupils, such as Aristotle, who writes, "Those who provide necessaries for an individual are slaves, and those who provide them for society are handicraftsmen and day-laborers." Plato further held that commerce had a corrupting influence in communities and acquisition of wealth destroyed their - homonoia (like-mindedness) and was the principal cause of - stasis (faction). He also held that "merchants and craftsmen would be less willing to defend the civic territory than farmers would" and commerce and mercantilism had a morally corrupting influence.
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Numa was credited with dividing the immediate territory of Rome into pagi and establishing the traditional occupational guilds of Rome: :"So, distinguishing the whole people by the several arts and trades, he formed the companies of musicians, goldsmiths, carpenters, dyers, shoemakers, skinners, braziers, and potters; and all other handicraftsmen he composed and reduced into a single company, appointing every one their proper courts, councils, and observances." (Plutarch) Plutarch, in like manner, tells of the early religion of the Romans, that it was imageless and spiritual. He says Numa "forbade the Romans to represent the deity in the form either of man or of beast. Nor was there among them formerly any image or statue of the Divine Being; during the first one hundred and seventy years they built temples, indeed, and other sacred domes, but placed in them no figure of any kind; persuaded that it is impious to represent things Divine by what is perishable, and that we can have no conception of God but by the understanding".
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