Ribes indecorum is an erect shrub approaching three meters in maximum height. The stem is fuzzy and glandular in texture. The deciduous leaves are 1 to 4 centimeters long. The thick, wrinkly blades are divided into three to five toothed lobes, and are hairy, glandular, and aromatic.
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Ribes indecorum is a species of currant known by the common names white- flowered currant and white chaparral currant. It is native to the southern California Coast Ranges, Transverse Ranges, and Peninsular Ranges, from around Santa Barbara County in California south into northern Baja California. It grows in local habitats such as California chaparral and woodlands and coastal sage scrub.
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In California, overstory associates include gray pine (Pinus sabiniana) and California buckeye (Aesculus californica). Understory and other herbaceous species include bulrushes (Scirpus spp.), fourwing saltbrush (Atriplex canescens), and rubber rabbitbrush (Chrysothamnus nauseosus). Whiteflower currant (Ribes indecorum), California bay (Umbellularia californica), black sage (Salvia mellifera), laurel sumac (Malosma laurina), and deerweed (Lotus scoparius) may also be present. Understories may also include exotic annual forbs and grasses such as mustard (Brassica spp.), oats (Avena spp.), and brome (Bromus spp.).
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In stating the appeal, the presiding officer uses the form, "Those in favor of sustaining the decision of the chair..." rather than a biased form such as "Those in favor of sustaining the bylaws..." Appeals are debatable unless they relate to indecorum, the priority of business, or an undebatable question. According to The Standard Code of Parliamentary Procedure, if the reasons given for the appeal are convincing, the presiding officer may change their ruling accordingly, in which case the appeal is automatically dropped.
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The Durieux affair arose from the boisterous celebrations of revolutionary peasants in the small village near Brive called Allassac. Incensed members of the local aristocracy had attempted to quell the indecorum by firing shots in the air; met with rocks and stones, they turned their guns on the crowd and killed several peasants. When Durieux's unit arrived to restore order, the soldier found himself repelled by his duty, and according to the charges he urged the rioters to fight back.Bowers (1950), pp.
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The offense is defined in the punitive code, Article 133, of the United States Uniform Code of Military Justice (UCMJ), enacted at . The elements are: # That the accused did or omitted to do certain acts; and # That, in the circumstances, these acts or omissions constituted conduct unbecoming an officer and gentleman.Article 133 of the punitive code of the UCMJ, local copy at Cornell University Here "officer" is understood to include commissioned officers, cadets, and midshipmen of both sexes, hence the more common term conduct unbecoming. A gentleman is understood to have a duty to avoid dishonest acts, displays of indecency, lawlessness, dealing unfairly, indecorum, injustice, or acts of cruelty.
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The satire on Music exposes the insolence and profligacy of musicians, and the shame of courts and churches in encouraging them. Poetry dwells on the pedantry, imitativeness, adulation, affectation and indecency of poets—also their poverty, and the neglect with which they were treated; and there is a very vigorous sortie against oppressive governors and aristocrats. Tasso's glory is upheld; Dante is spoken of as obsolete, and Ariosto as corrupting. Painting inveighs against the pictorial treatment of squalid subjects, such as beggars, against the ignorance and lewdness of painters, and their tricks of trade, and the gross indecorum of painting sprawling half-naked saints of both sexes.
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Veronese was called to answer for irreverence and indecorum, and the serious offence of heresy was mentioned. He was asked to explain why the painting contained "buffoons, drunken Germans, dwarfs and other such scurrilities" as well as extravagant costumes and settings, in what is indeed a fantasy version of a Venetian patrician feast.Transcript of Veronese's testimony Veronese was told that he must change his painting within a three-month period; instead, he simply changed the title to The Feast in the House of Levi, still an episode from the Gospels, but less doctrinally central, and one in which the Gospels specified "sinners" as present. After this, no more was said.
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The work began with a consideration of the functions of religious and secular art, drawing on classical, biblical and patristic writings, and generally awarding a high place to the role of art and the position of the artist, always guided by the church.Book 1 Book II discussed specific issues of iconography in religious art. Following the council, he proscribed as sin any frivolity, indecorum, and use of traditional depictions without scriptural foundation. Unlike some clerical writers, he covered secular art, demanding Catholic standards of morality and decorum in that too, though he admitted to a correspondent that artists might be under financial pressures to produce "immoral" works.
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Her appearance was no recommendation: Burney described her as "short and squat, with a doughy cross face, but fine complexion; ... not a good actress; dressed ill ; and was silly and fantastical." Cuzzoni was a member of Handel's Royal Academy of Music (1719) for its remaining five years. He created nine roles for her, the most famous today being Cleopatra in Giulio Cesare and the title-role in Rodelinda. In the latter, she wore a brown silk dress trimmed with silver, "with the vulgarity and indecorum of which all the old ladies were much scandalized, the young adopted it as a fashion, so universally, that it seemed a national uniform for youth and beauty" (Burney).
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The latter was translated from a Scots prose version at the suggestion of an aunt ("ane proper wenche"), who had found his treatment of the courtly allegory involved and uninteresting. The Court of Venus was edited by Walter Gregor for the S.T.S. in 1884. See W. A. Craigie's long list of corrections of that edition in the Modern Language Quarterly (March 1898). In The Allegory of Love (1936), C. S. Lewis refers to Rolland as "a very minor poet" but credits him with "truly allegorical power", and particularly points to the tournament scene in Book 4 of Court of Venus which, "when once its significacio has been seen, can hardly be quoted without indecorum", that is, it has a sexual meaning.
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Professionally, in the Venetian republic of the Late–Renaissance, for an artist, painting crowd scenes had acquired political ramifications regarding who and what appeared in a religious painting commissioned from him, regardless of the patron or patroness. A decade earlier, the Benedictine monks who commissioned The Wedding at Cana (1563) had directed Veronese, as an artist, to freely include as many human figures as would fit in the banquet scene. In contrast, a decade later, Veronese encountered legal, religious constraints that determined the suitability (theological, political, sociological) of who and what he depicted in a painting—thus, on 18 July 1573, the Inquisition legally summoned Veronese before a tribunal, to explain the presence of what Church doctrine considered characters, animals, and indecorum extraneous to an image of the Last Supper of the Christ.Rearick, p.
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Within a year, 1724–1725, Handel wrote three great operas in succession for the Royal Academy of Music, each with Senesino and Francesca Cuzzoni as the stars, the other two being Giulio Cesare and Tamerlano. Horace Walpole wrote of Cuzzoni in Rodelinda: > She was short and squat, with a doughy cross face, but fine complexion; was > not a good actress; dressed ill; and was silly and fantastical. And yet on > her appearing in this opera, in a brown silk gown trimmed with silver, with > the vulgarity and indecorum of which all the old ladies were much > scandalised, the young adopted it as a fashion, so universally, that it > seemed a national uniform for youth and beauty. To 18th century musicologist Charles Burney, Rodelinda "contains such a number of capital and pleasing airs, as entitles it to one of the first places among Handel's dramatic productions".
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