When it's time to start the party, the OnePlus 5 offers a few handy features for everything from playing DJ to immortalising the evening in photos and videos.
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Consider how many vital goals have been missed because fans were too busy immortalising their experiences on social media, or sending some weak 'banter' to a WhatsApp group.
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The name given to the collection of Swaminarayan’s sermons is “Vachanamrut,” a compound word derived from two Gujarati words: vachan (vacan), meaning “words,” and amrut (amṛta), meaning “immortalising nectar.” Thus, Vachanamrut translates to “immortalising ambrosia in the form of words,” as it is believed that Swaminarayan's teaching in this scripture deliver eternal liberation An individual discourse within the collection is also called a Vachanamrut.
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He was successful in this mission by creating a legacy for himself as a pioneer of Pop Art as well as immortalising the subjects of his work.
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It was later reinstated with an apology. On 11 September 2019, a bronze statue immortalising the image was unveiled in Federation Square Melbourne. On 27 February 2020, Tayla Harris was announced as an ambassador for Our Watch - an organisation tasked with preventing violence against women and their children.
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In the Cole Porter song from 1934 "You're the Top" made famous by Ethel Merman, Porter incorporates the line "You're a Bendel Bonnet - a Shakespeare Sonnet", immortalising the brand. In September 2018 it was announced that the owner L Brands would close all 23 stores and end the brand. In January 2019, its physical stores and website were closed.
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On 14 June 2019, Princess Anne unveiled a statue of John Hulley on Coburg Wharf, beside the Mersey river. Also in attendance was Tim Quinn, a former Marvel comic book creator who collaborated with Russ Leach to create a comic immortalising Hulley as "The First Superhero", and a number of schoolchildren from the schools where Tim has given talks.
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Many of his reproductions of rock paintings and drawings are archived at the University of Zimbabwe's Archaeological Unit and an academic study of his work, entitled Immortalising the Past - Reproductions of Zimbabwean Rock Art by Lionel Cripps, was released in 2007.Tera, R. "Zimbabwe: Book Breaks New Ground", The Herald (Harare) 18 July 2007. Cripps died in Umtali, Southern Rhodesia.
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The Death of Marat by Jacques-Louis David (1793) Marat's assassination led to his apotheosis. The painter Jacques-Louis David, a member of one of the two "Great Committees" (the Committee of General Security), was asked to organise a grand funeral.Citizens, Simon Schama, Penguin 1989, p. 742. David was also asked to paint Marat's death, and took up the task of immortalising him in the painting The Death of Marat.
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Eventually, William Shakespeare gave fame to this medieval equivalent of propaganda by further immortalising both men in his play Macbeth. Macbeth's reign however was successful enough that he had the security to go on pilgrimage to Rome. It was Malcolm III who acquired the nickname (as did his successors) "Canmore" (Ceann Mór, "Great Chief"), and not his father Duncan, who did more to create the successful dynasty which ruled Scotland for the following two centuries. Part of the success was the huge number of children he had.
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Just 50-years old, Di Fiore, Potere camorrista: quattro secoli di malanapoli, p. 96 he died on December 5, 1892, from a heart attack while he was having dinner. The king of Naples ('‘o rre 'e Napole) was dead, according to an obituary in the Neapolitan daily newspaper Il Mattino. La morte di Ciccio Cappuccio, Il Mattino, December 6, 1892 Three days after his death, Ferdinando Russo, a popular poet of the period, published a poem "Canzone 'e Ciccio Cappuccio" in Il Mattino, immortalising the legendary Camorra chief.
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The Vachanamrut (IAST: Vacanāmṛta, lit. "immortalising ambrosia in the form of words") is a sacred Hindu text consisting of 273 religious discourses delivered by Swaminarayan from 1819 to 1829 CE and is considered the principal theological text within the Swaminarayan Sampradaya. Compiled by four of his senior disciples, Swaminarayan edited and approved the scripture. As followers believe Swaminarayan to be Parabrahman, or God, the Vachanamrut is considered a direct revelation from God and thus the most precise interpretation of the Upanishads, Bhagavad Gita, and other important Hindu scriptures.
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Catherine was intent on immortalising her sorrow at the death of her husband and had emblems of her love and grief carved into the stonework of her buildings.Knecht, 223. As the centrepiece of an ambitious new chapel, she commissioned a magnificent tomb for Henry at the basilica of Saint Denis, designed by Francesco Primaticcio. In a long poem of 1562, Nicolas Houël, laying stress on her love for architecture, likened Catherine to Artemisia, who had built the Mausoleum at Halicarnassus, one of the Seven Wonders of the Ancient World, as a tomb for her dead husband.Frieda, 266; Hoogvliet, 108.
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On the baldachins between them hold two statues: King David and the prophet Simon. The vault ribs end in the keystone representing the Father God, surrounded by angels and the dove (symbol of the Holy Ghost). The baptismal font, made from reddish breccias, is supported by three angels. Two Renaissance putti The apses are decorated on the outside with various sculptural decorations, including 74 small Renaissance portraits immortalising important contemporaries and figures who had for some reason particularly impressed the architect or that he deemed to tight to help foot the bill for the cathedral's construction.
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Delfico composed and staged two further plays at this time, The Husband of One Hour in 1850, and The Board of Recruiters of 1853. Delfico first met the composer Giuseppe Verdi in 1857 when he visited Naples for the staging of Simon Boccanegra. Delfico's uncle, Baron Genovese, was a passionate music lover, a good singer and a great friend of Verdi's, and he presented his nephew to the composer; from that meeting onwards Delfico became a close friend of Verdi's, immortalising him in cartoons and caricatures. The 1860s and 1870s were a period of great artistic creativity for Delfico, who published many caricatures and albums of caricatures.
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72–73 suggests in her 1977 The Archaic Style in Greek Sculpture that this may have been an attribute of Apollo, athleticism or magical powers, though its iconography remains obscure. Further, there is the question of the nudity of the kouros and if this is also an attribute. Again this may have represented athletic or heroic nudity – immortalising the youth as he appeared in the palaestra, but no examples have been found at Olympia nor do they bear any allusion to athletic equipment. As well as being found in the sanctuaries of Apollo at Delphi, Delos and Mt. Ptoion, kouroi have been found dedicated at the sanctuaries of Hera at Samos, and of Athena and Poseidon at Sounion,Whitley, J. The archaeology of ancient Greece, 2007, p. 218.
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Later he also worked for the Radziwiłł family in Arkadia (Nieborów) and for King Stanisław August Poniatowski. National Museum in Warsaw In 1790 settled in Warsaw where he established his art school, and this move allowed him to witness and illustrate many important historical moments of the last years of the Polish-Lithuanian Commonwealth. His hurriedly sketched drawings illustrated the passing of the Constitution of the 3 May and soon he became famous as the eye-witness and painter-chronicler of the Kościuszko Uprising, immortalising many of the most famous events of that event in his paintings: from the Warsaw Uprising in April and the consequent hanging of Targowica traitors in the Old Market Square, through the battle of Racławice to Massacre of Praga. After his return to France in 1804 he still continued to paint based on some of his Poland-era drafts, but he also illustrated other contemporary events, among them the times of the Napoleon's wars. He died in Paris in 1830.
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He was the author of a small volume, La Camorra, about organized crime in Naples, serialized in five installments in 1897 in Il Mattino. He wrote the poem "Canzone 'e Ciccio Cappuccio," immortalising the legendary Camorra chief Cappuccio when he died in 1892. Canzone 'e Ciccio Cappuccio, by Ferdinando Russo, Il Mattino, December 9, 1892 His fame and knowledge of the slums and underworld of Naples was such that Emile Zola wanted him as an escort in his descent in the belly of the Neapolitan labyrinth in 1894. The first novel of Russo, written as a feuilleton in 1907 and published by Treves (Memorie d’un ladro - Memoirs of a thief), was based on the costumes of the Camorra underworld. The same year he published Origini, usi, costumi e riti dell’Annorata soggietà (Origins, customs, traditions and rituals of the "Honoured Society") in collaboration with Ernesto Serao, which was a combination of an essay, journalistic investigation and historical reconstruction with portraits of famous Camorristi and popular sonnets on the subject.
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On 7 August, at the 1954 British Empire and Commonwealth Games in Vancouver, B.C., Bannister, running for England, competed against Landy for the first time in a race billed as "The Miracle Mile". They were the only two men in the world to have broken the 4-minute barrier, with Landy still holding the world record. Statue in Vancouver immortalising the moment in "The Miracle Mile" when Roger Bannister passed John Landy, with Landy looking back to gauge his lead Landy led for most of the race, building a lead of 10 yards in the third lap (of four), but was overtaken on the last bend, and Bannister won in 3 min 58.8 s, with Landy 0.8 s behind in 3 min 59.6 s. Bannister and Landy have both pointed out that the crucial moment of the race was that at the moment when Bannister decided to try to pass Landy, Landy looked over his left shoulder to gauge Bannister's position and Bannister burst past him on the right, never relinquishing the lead.
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The Co-operative department store building in Bond Street was built from around 1959 to 1961 as a result of post-Second World War rebuilding, as Kingston upon Hull had suffered heavy bombing during the Second World War that caused widespread damage and the obliteration of many of the city's buildings. The building was to be headquarters for the city's branch of the Co-operative Group. The front of the building contains a large Italian glass mosaic mural immortalising the Hull fishing fleet, which was designed by Alan Boyson in 1963. The face of the mural, which is fixed to a 66 ft by 64 ft concrete screen, was composed of 4,224 foot square slabs each made up of 225 tiny glass cubes. A similar mural by Boyson was also produced inside the building and was recently rediscovered in July 2011 after a false wall hiding the mural was removed. In 2016, an attempt was made to have the exterior mural Grade II listed by Historic England, however after consideration the body rejected the application in November 2016, arguing that it 'falls short of the high bar for listing post-war public art'.
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