Image from web page 67 of “Fables of Aesop as well as others” (1863)

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Image from web page 67 of “Fables of Aesop among others” (1863)
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Identifier: fablesofaesopoth00crox
Title: Fables of Aesop among others
Year: 1863 (1860s)
Authors: Croxall, Samuel, d. 1752 Aesop Houghton, Henry Oscar, 1823-1895 Burnham, Thomas O. H. Perry, 1814-1891 Felt, Oliver Selwyn, 1836-1868
Topics: Christian life Children — Conduct of life Conduct of life — Early works to 1800 Animals
Publisher: Boston : T.O.H.P. Burnham Nyc : O.S. Felt
Adding Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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nd a dislike to every little thing that they cannot obtain. There was an odd propensityin humanity to the temperament, and you will find numbers of grumblingmalcontents in almost every different faculty and sect of life. The dis-carded statesman, taking into consideration the corruption of that time period, wouldnot have turn in the administration of matters for the globe. The united states squire dams a court life, and wouldn’t normally get and creeping to a drawing-room for top put the kinghas in the disposal. A new other being requested how he liked acelebrated beauty, by who all of the world understood he was despis-ed, responded, she’s got a stinking breath. Exactly how insufferable is thepride of this poor animal mani who stoop towards the basest,vilest activities, as opposed to be thought not able to do any thing.For what is more base and vile than lying? when do we liemore notoriously, than once we disparage and find fault with atiling; for no other reason but because it is from our energy? FAB. XXIII. The Viper plus the File.

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A Viper entering a smiths store, seemed up anddown for one thing to eat; and witnessing a file, beganF 62 > ^SOFS FABLES. knawing it since greedily since could possibly be. The file informed himvery gruffly, that he had best be quiet, and allow himalone; for the he’d get little by nil)bling atone, which, upon occasion, could bite iron and steel.THE APPLICATION.By this Fable we have been cautioned to consider just what any personis before v:e make an assault upon him, after any way what-soever; specifically, the way we let our tongues slip in censuringthe activities of those who are, when you look at the viewpoint of the world, notonly of an unquestionable reputation, so tliat nobody will believewhat we insinuate against them; but of these an influence, uponaccount of their own veracity, your least term from therawould spoil our credit to any or all intents and functions. If wit be thecase, so we have a satirical vein, which at certain times musthave a flow, why don’t we be mindful at whom we level it; for if thepersons understanding be of

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Windows and flowers, and a shed.
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Image from page 931 of “Canadian grocer April-June 1918” (1918)

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Image from web page 931 of “Canadian grocer April-June 1918” (1918)
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Identifier: cangroceraprjune1918toro
Title: Canadian grocer April-June 1918
12 Months: 1918 (1910s)
Topics: Supermarkets Grocery trade Food industry and trade
Publisher: Toronto : Maclean-Hunter Pub. Co. [1887]-
Contributing Library: Fisher – University of Toronto
Digitizing Sponsor: University of Toronto

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ghtful flavorfood for babies and invalids. A stronger customer publicity promotion is help-ing dealers maintain their sales of MacKaysgoing. Suggested by Dr. McGill, Ottawa, Domin-ion Chemical Analyst. John MacKay Co., Limited BOWMANVILLE, ONT. Lots of Canadian Grocers sell OceanBlue since they’re glad to-do so.They know that it can credit to theirjudgment and enhances their reputa-tion. They know that every purchase leavesa residing revenue, that each and every packet whichgoes across the countertop will provide entiresatisfaction, which every recommend-ation of OCEAN BLUE adds to thegoodwill of their company. OCEANBLUE Order from youf Wholesaler. HAHGKEAVES (CANADA). LTD., The Gray Building. 24-26, Wellington St, W, TorosM Western Agents : Fur Manitoba Saskatchewan & Alberta: W. L. Mackenzie & Co. 1 td.. Winnipeg. Regina, Saska* toon. Calgary & Edmonton. For British CoL and Yukon:Creeden<S; AveryRooms 5 and 6,Jones Block 40;,Hastings Street,West, Vancouver. EL ROI-TAN computer?<Iacrt

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June 28, 1918. CANADIAN GROCER 13

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Charge cards and Cash
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Image from page 645 of “Industrial history of the United States, from the earliest settlements to the present time: being a complete survey of American industries, embracing agriculture and horticulture; including the cultivation of cotton, tobacco, wheat

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Image from page 645 of “Industrial history of the United States, from the earliest settlements to the present time: being a complete survey of American industries, embracing agriculture and horticulture; including the cultivation of cotton, tobacco, wheat
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Identifier: industrialhistor00boll
Title: Industrial history of the United States, from the earliest settlements to the present time: being a complete survey of American industries, embracing agriculture and horticulture; including the cultivation of cotton, tobacco, wheat; the raising of horses, neat-cattle, etc.; all the important manufactures, shipping and fisheries, railroads, mines and mining, and oil; also a history of the coal-miners and the Molly Maguires; banks, insurance, and commerce; trade-unions, strikes, and eight-hour movement; together with a description of Canadian industries
Year: 1878 (1870s)
Authors: Bolles, Albert Sidney, 1846-1939
Subjects: Industries Industries
Publisher: Norwich, Conn. : The Henry Bill pub. Company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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y. The problem of thelocomotive was solved in 1834 by 44 The Lancasterof Mr. Baldwins make, and Pennsylvania resolved to adopt that sort of motive-power for her railroad to Columbia. But eventhen there were many things about an engine not understood; and constantexperiment and expenditure of money had to be resorted to before the requi-site knowledge was obtained. In order to facilitate the building of railroads, the States at first extended 630 INDUSTRIAL HISTORY to the companies building them direct aid either from the public treasury, orGranting of by a loan of the public credit. There was a generous glow ofpublic aid. interest in them in the public mind. The patriots never gatheredfor a Fourth-of-July celebration or a public dinner without drinking a heartytoast to internal improvements. The papers were full of rhapsodies upon themarch of the new idea; and orators in public assemblages, and in the capitolsof the state and nation, felt that they had well earned the public gratitude

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INTERIOR OF SLEEPING-CAR. by the ardor of their advocacy of railroads, canals, and military roads.Such being the state of the public mind, every railroad enterprise wisely con-ceived and prudently conducted found it easy to obtain State aid to suchreasonable amount as would enable its promoters to accomplish their work.Maryland was the first State in the country to grant legislative aid to railroads.In 1828 the sum of 0,000 was granted to the Baltimore and Ohio line;and in 1835 the State subscribed ,000,000 to the stock of the company,and the city of Baltimore ,000,000 more. Massachusetts loaned ,000,000 OF THE UNITED STATES. 631 to the Boston and Albany line. New York followed her example by loaningsmall sums to the different companies building the chain of roads out to LakeErie, — a step which the panic of 1837 made necessary in part, since it dis-couraged the investment of private capital. Pennsylvania went so far as tobuild her first rail-route from Philadelphia to Colu

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IMG_6491 Gustave Caillebotte. 1848-1894. Paris. Parterre de marguerites. Parterre of daisies. 1893. Paris Orsay. Prêt du musée de Giverny. Loan from the Giverny Museum.
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Gustave Caillebotte. 1848-1894. Paris. Parterre de marguerites. Parterre of daisies. 1893. Paris Orsay. Prêt du musée de Giverny. Loan from the Giverny Museum.


L’Art Moderne, annoncé dès le début du 20è siècle par les peintres romantiques (Delacroix) et les pré-impressionnistes a été un facteur tout à fait remarquable de renouvellement des formes esthétiques dans la peinture européenne.
Sa caractéristique essentielle est certainement sa volonté d’invention, de changement qui s’exprime en peinture, dans l’emploi des couleurs, dans la recherche d’un nouveau dessin, dans la diversité des thèmes abordés. On peut dire que la civilisation européenne se distingue d’autres grandes civilisations par cette recherche constante, à l’échelle des siècles, de l’innovation. Cela n’a pas été le cas par exemple des civilisations islamiques ou chinoises dont les valeurs ont infiniment plus accordé la priorité à la pérennité et au maintien des traditions. Une fois encore on constate que l’art est un révélateur des valeurs qui animent les sociétés.

Les techniques utilisées par les peintres européens, au cours du 19è siècle, pour créer un art nouveau sont multiples, sauf omission, on peut les recenser ainsi :
1°"La Peinture Plate": par exemple avec Manet, plus tard Gauguin, Maurice Denis, Raoul Dufy, les Nabis… Cette technique réduit ou supprime les volumes et la perspective et privilégie les lignes. Le peintre ne s’efforce plus de rendre le monde en trois dimensions, comme il l’a fait pendant des siècles. Le peintre propose une vision du monde qui accepte la planéité du tableau. L’artiste peint en deux dimensions. C’est un retour à une esthétique qui était celle de la peinture Byzantine, Romane et Gothique. Avec d’autres thèmes évidemment, puisque une des caractéristiques de l’art moderne est la raréfaction des motifs religieux, ou inspirés par l’antiquité grecque et romaine.
2° La décomposition de la lumière et des couleurs, en taches et en points."Le Tachisme". Les Préimpressionnistes (Ecole de Barbizon, Corot) Les Impressionnistes. Les Pointillistes (Seurat, Signac)
3° Les couleurs arbitraires ou symboliques. L’artiste s’écarte des couleurs "réelles", celles perçues par l’oeil et le cerveau humain, et invente des couleurs apparemment arbitraires: Gauguin, les Fauves, le symbolisme, le surréalisme … C’est une technique que la peinture romane et gothique avaient mis en pratique très régulièrement.
4° La valorisation de l’Esquisse. L’esquisse a été pendant des siècles, seulement, ce que son nom indique : une Etude préparatoire à un tableau définitif. Au 19è l’esquisse devient un procédé définitif, terminal, d’expression artistique.
5° La décomposition de l’espace et des volumes du monde réel, en lignes et surfaces, plus ou moins synthétiques et significatives. (Cézanne, Braque).
6° La "multiplicité des points de vue" sur un objet ou un sujet. Technique qui cherche à rendre le réel comme si on le regardait, en même temps, depuis plusieurs points de l’espace. (Les Cubistes)

L’Art a toujours été, une manière de rêver le monde réel. Mais les nouvelles techniques de l’Art Moderne, s’éloignent toutes, de manière très intentionnelle, volontariste, de la représentation exacte du réel.
Les peintres tendent à créer un art dans lequel l’interprétation du réel l’emporte sur sa reproduction.
L’artiste "moderne" reproduit le réel, mais aussi le rêve et l’invente. Ces tendances ont abouti à l’art non figuratif, autrement appelé l’art abstrait.
Ce renouvellement des formes en peinture est total.
Il a apporté de nouvelles possibilités, très intéressantes, et très belles, d’expression artistique.

Il ne faut pas confondre Art Moderne et Art Contemporain. Ils ne recouvrent pas la même période. Ils n’ont pas les mêmes caractéristiques esthétiques ni les mêmes fondements idéologiques.
L’Art Moderne recouvre une période qui va depuis les pré-impressionnistes, vers 1850-60, jusqu’à la seconde guerre mondiale. C’est du moins la périodisation la plus couramment acceptée par les historiens de l’art.
D’autres historiens le font débuter un peu plus tardivement avec les post-impressionnistes et l’art abstrait, vers 1900. La définition la plus large est certainement la meilleure car les impressionnistes sont des artistes pleinement "modernes". On peut même penser que l’Art Moderne débute dès 1815, avec certains peintres romantiques comme le français Eugène Delacroix, ou avec William Turner, fantastique novateur, annonciateur de l’impressionnisme et de l’art non figuratif, qui meurt en 1853.
Ces deux artistes ont fait de l’esquisse un moyen d’expression artistique privilégié.
Les peintres de cette époque sont déjà profondément inspirés par la volonté d’innovation qui caractérise l’Art Moderne. La période de l’Art Moderne, extrêmement dynamique, est d’autre part, autre caractéristique majeure, riche de diversité. Elle s’inscrit tout à fait dans l’histoire de l’art européen. Elle ne renie pas le passé, l’art académique est tout à fait pratiqué, mais elle est aussi remarquablement créatrice d’oeuvres multiples, inventive de formes tout à fait nouvelles d’expression esthétique.
L’Art Contemporain est postérieur à 1945. Certains fixent sa naissance dans les années 1950. On peut aussi prétendre, avec quelques raisons, que sa date de naissance, en tout cas idéologique et politique, est la création à New York du Moma par les Rockefeller (1929). Les dates sont bien sûr approximatives et certains peintres comme Picasso ou Miro appartiennent à l’esprit de l’Art Moderne, alors qu’ils restent très créatifs après 1945.
En peinture et en sculpture, la diversité fait alors place à une profonde uniformité dissimulée derrière les apparences de l’innovation et même de la provocation. L’explosion d’originalité et de non conformisme qui caractérise l’Art Moderne devient un Système qui se fige dans l’idéologiquement et l’esthétiquement correct. Contrairement à ce qu’il prétend être l’Art Contemporain, officiel, celui qui est installé dans les collections permanentes des musées, est un art figé, académique, épuisé par un système et une obsession : le Nouveau. C’est l’Art de la Table Rase du Passé : un art sans racines, réservé à une élite de prétendus "Comprenants".

Modern Art, announced from the beginning of the 20th century by the romantic painters (Delacroix) and pre-impressionists has been a factor quite remarkable renewal of aesthetic forms in European painting. Its essential characteristic is certainly his invention will, his desire for change, expressed in painting, in the use of colors, in the search for a new design, in the diversity of topics. It can be said that European civilization differs from other great civilizations through the constant research, on the scale of centuries, of innovation. This was not the case for example of Islamic and Chinese civilizations whose values have infinitely more given priority to the sustainability and the maintenance of traditions. Once again we see that art is a developer of the values that drive the societies.

The techniques used by European painters during the 19th century to create a new art, are many. Except omission, and we can enumerate:
1° "The Flat Painting", for example with Manet, Gauguin, Maurice Denis, the Nabis … This technique reduces or removes volumes and perspective and focuses on lines. The painter no longer tries to represent the world in three dimensions, as he has done for centuries. The painter proposes a vision of the world that accepts the flatness of the table. The artist paints in two dimensions. She returned to an aesthetic that was practiced by the Byzantine painting, Roman and Gothic. With other themes obviously, since one of the features of modern art is the increasing scarcity of religious motives or inspired by Greek and Roman antiquity.
2° The decomposition of light and colors with spots and dots. "The Tachism". The Pre-Impressionists, the Barbizon School, Corot, The Impressionists. the Pointillist (Seurat, Signac)
3° The arbitrary and symbolic colors. The artist moves away of the colors "real", those perceived by the eye and the human brain, and invents arbitrary colors: Gauguin, the Fauves, symbolism, surrealism … It is a technique that painting Romanesque and Gothic had practiced regularly.
4° The valorization of the Sketch. The sketch was, for centuries, only what its name indicates: a preparatory study for a final painting. In the 19th the sketch becomes a permanent process, terminal, completed, of artistic expression.
5° . The decomposition of space and volumes of the real world into lines and surfaces, more or less synthetic and significant. (Cézanne, Braque).
6° The "multiplicity of perspectives" on an object. Technique that seeks to make the real, as if you looked at him, at the same time, from several points of space. (The Cubist)

Art has always been a way to dream the real world. But news techniques of Modern Art, are moving away from, a manner very intentional, voluntarist, of the exact representation of reality.
The painters tend to create an art in which the interpretation of reality prevails over its reproduction.
The "modern" artist reproduces reality, but also the dream and invents it. These tendencies have led to non-figurative art, otherwise known as abstract art.
This renewal forms in painting is total.
It has brought new opportunities, exciting, and beautiful, artistic expression.

It must not confuse Modern and Contemporary Art. They do not cover the same period. They do not have the same aesthetic characteristics or the same ideological foundations.
The Modern Art covers a period that goes from pre-Impressionists, to 1850 to 1860, until the Second World War. This is at least the periodization most commonly accepted by art historians.
Other historians begin Modern Art a little later with the post-impressionist and abstract art, circa 1900. The broadest definition is certainly the best because Impressionist artists are fully "modern".

One may even think that Modern Art begins in 1815, with some romantic painters such as Eugène Delacroix, or William Turner, innovative fantastic, annunciator of the impressionism and non-figurative art, who died in 1853.
These two artists have made with the sketch a privileged means of artistic expression.
The painters of this period are already deeply inspired by the desire for innovation that characterizes modern art. The period of Modern Art, extremely dynamic, is the other, another major feature rich diversity. It fits perfectly in the history of European art. She does not repudiate the past, academic art is quite practiced, but it is also remarkably creative multiple works, inventive forms entirely new of aesthetic expression.

The Contemporary Art is subsequent to 1945. Some historians establish its birth in the 1950s.
One can also argue, with some reason, that his date of birth in any ideological and political cases, is the creation of the Moma in New York, by the Rockefeller (1929). The dates are of course approximate and certain painters like Picasso or Miro belong to the spirit of the Modern Art, while they remain very creative after 1945.
In painting and sculpture, diversity gives way to a profound uniformity dissimulated behind the appearances of innovation. The explosion of originality and non-conformism that characterizes Modern Art becomes a system that freezes in the ideologically and the aesthetically correct.

In painting and sculpture, diversity gives way to a deep uniformity, hidden behind the appearances of innovation and even of the provocation. The explosion of originality and non-conformism that characterizes modern art becomes a system that freezes in the ideologically and aesthetically correct. Contrary to what he claims to be, contemporary art, official, one installed in the permanent collections of museums, is a static, academic, exhausted by a system and an obsession: the New. This is the Art of the Table Rase of the Past of Europa : an art without roots, for the elite, so-called "comprenants".

IMG_9104l Salomon van Ruysdael. 1600-1670. Haarlem et Amsterdam. Scène de rivière. River Scene. 1632. Londres. National Gallery.
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Salomon van Ruysdael. 1600-1670. Haarlem et Amsterdam. Scène de rivière. River Scene. 1632. Londres. National Gallery.


La peinture est toujours le reflet des idéologies qui gouvernent une société.
La "Renaissance" n’a jamais été une renaissance technique, économique ou politique de l’Europe. Cette renaissance s’est déroulée au 11è siècle, pas au 15è ou 16è. Il n’y a pas eu non plus de renaissance de l’art européen au 15è ou au 16è siècle. Car l’architecture de Brunelleschi ou d’Alberti n’est pas supérieure, techniquement, à l’architecture gothique. Et la peinture de Raphael n’est pas plus belle que celle de Giotto ou de Van Eyck. Elle est seulement plus réaliste. Et cette évolution vers plus de réalisme est progressive, et commence dès le début du 14è siècle.
Par contre à la fin du 15è siècle et au 16è siècle, en Italie, il s’est produit un changement idéologique important : le recul du catholicisme en tant qu’idéologie unique, absolument dominante en Europe. Et l’apparition, au sein de l’élite européenne, pas dans le peuple, d’une nouvelle idéologie concurrente : l’Humanisme. L’humanisme est un courant culturel européen, renouant avec la civilisation gréco-romaine, trouvant ses origines en Italie, principalement autour de la Toscane, qui s’est développé aux 15è et 16è siècles.
Aux 15è et 16è siècles l’art européen ne met pas en place soudainement de nouvelles techniques, plus perfectionnées, plus élaborées, plus savantes que celles précédentes (gothiques).
Par contre, c’est dans l’espace de quelques dizaines d’années, autour de 1450-1500 que l’Art européen s’inspire de nouveaux thèmes, empruntés à la mythologie, à la philosophie, à la morale et à l’histoire gréco-romaine. Nouveaux thèmes qui ne remplacent pas les anciens empruntés au christianisme, mais s’ajoutent à eux.
L’Art européen développe alors une culture et une esthétique inspirées de l’Antiquité qui entre en concurrence avec la religion catholique.

Une évolution semblable se déroule en Europe, à la fin du 16è siècle et au début du 17è siècle : la Réforme. La Réforme n’est d’ailleurs qu’une suite idéologique de la Renaissance, qui affecte un plus grand nombre de personnes en Europe. Les élites concernées ne sont plus seulement quelques princes, mais aussi des cercles grands bourgeois.
La Réforme comme la Renaissance est essentiellement un mouvement idéologique. Ce changement idéologique est inspiré par une toute petite élite, qui a ensuite imposé aux peuples qu’elle gouvernaient, ses croyances. C’est le principe bien connu : "Tel prince, telle religion". Que le prince soit, parfois, un groupe de bourgeois, comme à Genève ou aux Pays Bas, ne change rien à l’affaire.
En art le changement est considérable. Il se manifeste tout particulièrement aux Pays Bas du Nord: la quasi disparition des thèmes religieux en peinture. C’est la naissance d’une peinture matérialiste, dont les thèmes, presque uniques, sont : le paysage, les moeurs, la nature morte, le portrait.
Des peintres comme Aertsen et Beuckelaer vivent à une époque de transition : leurs tableaux contiennent encore des allusions à la religion, mais reléguées au fond du tableau.
Et bientôt, hormis quelques exceptions comme Rembrandt, la peinture du siècle d’Or néerlandais sera totalement profane. Les Vierges disparaissent et les Usuriers apparaissent.


Painting is always a reflection of the ideologies that govern a society.
The "Renaissance" has never been a renaissance technical, economic, or political of Europe. This revival took place in the 11th century, not in the 15th or 16th. There’s been no revival of European art in the 15th or 16th century. Because the architecture of Brunelleschi and Alberti is not superior, technically, compared with Gothic architecture. And painting of Raphael is not more beautiful than the painting of Giotto, or "primitive" Jan van Eyck. It is just more realistic. And this evolution towards more realism is gradual, and starts from the beginning of the 14th century.
By cons, in the late 15th century and the 16th century, in Italy, an major ideological shift has occured: the decline of Catholicism as the sole ideology, absolutely dominant in Europe. And the appearance in Europe’s elite, not among the people, of a new rival ideology: Humanism. Humanism is a European cultural movement, reconnecting with the Greco-Roman civilization, finding its origins in Italy, mainly around Tuscany, which developed in the 15th and 16th centuries.
In the 15th and 16th centuries, European art does not suddenly in place new techniques. More advanced, more sophisticated, more knowledgeable than previous (Gothic).
By cons, it is in the space of a few decades, around 1450-1500, that the European Art draws new themes, borrowed from mythology, philosophy, morality and the Greco-Roman history. New themes that do not replace the olds, borrowed from Christianity, but in addition to them.
The European Art then develops a culture and an aesthetic inspired by antiquity, which competes with the Catholic religion.

A similar development is taking place in Europe in the late 16th century and early 17th century: the Reformation. The Reform is also an ideological suite of the Renaissance, which affects more people in Europe. The concerned elites, are not just princes, but also circles of upper middle class.
Reform, as the Renaissance, is essentially an ideological movement. This ideological shift is inspired by a tiny elite, who then imposed his beliefs on peoples. This is the well-known principle: "That prince, such a religion." The prince is sometimes a bourgeois party, as in Geneva or the Netherlands.
In art the change is significant. He is particularly evident in the Netherlands North: the virtual disappearance of religious themes in painting. This is the birth of a materialistic painting, whose themes, almost unique, are: The landscape, the manners (mores), the still life, portrait.
Painters like Aertsen and Beuckelaer live in a time of transition: their tables still contain references to religion, but relegated to the bottom of the table.
And soon, with some exceptions like Rembrandt, the painting of the Dutch Golden Century will be totally secular. The Virgin disappeared, and the Loan sharks (usurers) appear (Reymerswaele)

Image from page 730 of “yearly report for the Town of Andover” (1915)

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Image from web page 730 of “Annual report of the Town of Andover” (1915)
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Identifier: annualreporto19151920ando
Title: Annual report of the Town of Andover
Year: 1915 (1910s)
Writers: Andover (Size.)
Subjects: Finance, Public–Massachusetts–Andover Andover (Mass.)–Appropriations and expenses
Publisher: The Town
Adding Library: Memorial Hall Library
Digitizing Sponsor: Federally funded with LSTA funds through Massachusetts Board of Library Commissioners

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* ir-j y—iir>*-* O* — C*5 -sh »-* co ■ *—• 1/3 vO © CM IT) CM CMCM©CM4^ C U IT. ■ fit « 5 3 co . – CO u ^c 4-> . C3 ^ C o t* c.. aj 5 a to a> J,. cjoC —SCO c o i- £ ecu. -, *- U > << — QJ i- «; — r3 0 P u – c o 9 c . ^ J.cdU * 6—tl/J 131 co tr. FINANCIAL STATEMENT Appropriation March 5, 1917 Highway division 500 00 Sprinkling 1876 46 Lowell Street 2500 00 Massachusetts Highway Commission 2480 84 Essex County * 2480 84 Credits 2897 61 S48735 75Overdrawn 3400 34 Total Expenditures 852136 09 Expenditures repair 820222 54 building 12199 06 Snow 2940 65 Drains 1670 35 pavements and curbing 7660 98 Lowell Street 7442 51 S52136 09 136 09 Overdrawn, shown by Town Treasurer perhaps not obtaining theFranchise or Excise taxation. 31 CITY OF ANDOVER ANNUAL REPORT OF Receipts and expenses

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WMIIIHIllWf**0^ THE FISCAL SEASON ENDING DECEMBER 31, 1918 ANDOVER, MASS. THE ANDOVER PRESS1919 ITEMS Almshouse Expenses 55 Personal Property at 59 Relief regarding 59 fixes on 57 Superintendents Report 65 Aiding Mothers 58 Animal Inspector 70 Appropriations, 1918 16 Art Gallery 128 Assessors Report 61 Assets 83 Auditors Report 90 Board of Health 37, 72 Board of Public Functions Appendix Sewer Sinking Funds 44 liquid Sinking Funds 44 Bonds, Redemption of 49 Brush Fires 34 enthusiasts Account 81 Cornell Fund 71 County taxation 45 puppy Tax 45 Dump, Care of 50 Fire division 31, 62 Finance Committee 91 G. A. R. Post, 99 44 Hay Scales 42 Insurance 42 Interest 48 Jury record 103 debts 83 Memorial Da) 43 Memorial Hall Library 44, 105 Librarians Report 110 Miscellaneous 51 Moth Superintendents Report 69 Moth Suppression 39 New high-school 27 Notes offered 46 records Paid 47 Overseers of this Poor 53 Old Schoolhouse, Ballardvale 26 Police 35, 64 Printing and Stationery 38 Punchard totally free class, Report

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Gianni Pittella, accountable for drafting the EP’s tips about the ECB’s 2012 yearly report
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Parliament held its annual discussion on the European Central Bank’s activites along with its President, Mario Draghi, from 9 a.m. on Thursday. MEPs voted on a resolution that will simply take stock for the ECB’s activities in 2012 and work out suggested statements on the way the ECB should step-up its tasks, particularly to aid the real economic climate and small enterprises recover from the crisis.

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Image from page 200 of “Annual report” (1891)

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Image from web page 200 of “yearly report” (1891)
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Identifier: annualreport191901onta
Title: Yearly report
Year: 1891 (1890s)
Writers: Ontario. Dept. of Mines
Topics: Mines and mineral sources
Publisher: Toronto
Adding Library: Gerstein – University of Toronto
Digitizing Sponsor: University of Toronto

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ccupations, supply needs to be created for the changingof wet and dirty clothing, and the donning of comfortable and warm attire for Btreet use. Four change homes have-been built, with a complete of GOO lockers in accordance with hot ami cool showersand lavatory accommodations. The Port Colborne refinery began operations final Summer, so when at full capacity willbe capable of a yearly production of about 15,000,000 lbs. of nickel and 8,000,000 lbs. efcopper. The designers accountable for the set up have provided special focus on the designand construction of the plant and the options of growth, and have now arranged theequipment so that additions to machinery and gear could be manufactured in anefficient way. The plant was built a1 a COSl of over ,000,000. The result impresses the customer andmakes him feel that not just is Canada—and Ontario in particular—to be congratulated onthe introduction of nickel refining upon a permanent foundation, but that credit can also be as a result of

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[nternational Nickel business of Canada, Port Colborne—Main energy house, showing turboblowers working at 8,500 r.p.m., supplying atmosphere towards the copper converters. Foundation Co., of Montreal and nyc, since the primary contractor accountable for the con-struction, and The International Nickel Co. for broad and liber:,] attitude shown inhaving this plant built undei the stress of war problems. A description of turbo-blower had been published by W. Wotherspoon in theEngineering and Minimi Journal of May 17th, 1919, and it is as proceed with the turbo-blowei is s pan of this technical equipment associated with International Nickel Co.snew plant at Port Colborne, Ontario, Canada. The machine, that has been furnished because of the Bateau Battu-Smoot Company, brand new Fork, features acapacity of 15,000 eu. ft. of free-air per min., delivered at 15 pounds. gauge force. The speedof 8,500 r.p.m. where it runs is believed becoming the best attempted or acquired for amachine of this ability and type. The outside proportions of

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Customer Financial Cover Bureau (CFPB), Washington, DC

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