Research Results For 'David'

BANNATYNE CLUB

The Bannatyne Club was a literary society which was instituted in Edinburgh in 1823 by Sir Walter Scott who was its first president, David Laing , who was club secretary until its dissolution in 1865, Archibald Constable, and Thomas Thomson. It started with thirty-one members, subsequently extended to 100, having as its object the printing of rare works on Scotch history, literature, geography, etc. It derived its name from George Bannatyne the 16th century collector of the famous manuscripts of early Scottish poetry.
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BOTH ENDS MEET

Both Ends Meet was a British situation comedy television show starring Dora Bryan, David Howe, Deddie Davis and Pat Ashton about a middle-aged woman supporting her family by working in a factory. Both Ends Meet was aired during 1972.
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CANADA COMPANY

The Canada Company was a company formed by Sir William Alexander in 1621. On September the 21st James I granted to the Canada Company an enormous territory in America, covering a large part of what is now the USA and the whole of Canada. Sir William Alexander and his associate, David Kirke, endeavoured to sell the land as baronetcies, but the scheme failed and the Canada Company was dissolved.
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CHILDREN OF GOD

The Children of God is a religious movement, or more properly cult, founded by the late David Berg in 1969 after supposedly receiving a revelation from God that California was about to be devastated by an earth quake. The cult uses David Berg's own interpretation of the bible and insists that all new members sever all ties with their families and surrender their worldly belongings to the group and become full time evangelists. Berg introduced free consensual sexual activity among the membership encouraging fornication, adultery, lesbianism and incest with children as young as 18-months being sexually abused, with the approval of the cult.

In 1985, David Berg's daughter Deborah Davis published the book 'The Children of God: The Inside Story' in which she described how she and her sister had been sexually abused by their Father, and revealed some home truths about the cult. Cult members are forbidden to read the book, but many have and subsequently left the cult. Other strange ideas among the cult are that children are raised in groups by foster parents, the man being referred to as the 'shepherd', and the female children being encouraged to regularly perform oral sex on him. Women in the cult are forbidden to shave any part of their body, and all members are limited to three minutes shower time. Members are severely restricted in the possession of money, and denied access to newspapers, and television with occasional video rentals limited to 'approved' films. Members failing to speak in tongues are punished, leading many to learn gobbledegook and pretend to speak in tongues.
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DALLAS

Dallas was an American television soap-opera created by David Jacobs, about the lives of a Dallas oil family. Dallas ran from 1978 to 1991.
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DANGER MOUSE

Danger Mouse is a British animated cartoon television show for children by Cosgrove/Hall Productions Limited about a secret-agent white mouse - voice provided by David Jason - and his cowardly sidekick assistant, a hamster called Penfold - voice supplied by Terry Scott. Danger Mouse first aired in 1981. Typically of British children's television shows, the parents are not forgotten and Danger Mouse includes numerous witty remarks aimed at amusing parents watching the show together with their children.
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DE PROFUNDIS

In the liturgy of the Roman Catholic Church, the de profundis is one of the seven penitential psalms, the 130th of the Psalms of David, which in the Vulgate begins with these words, signifying 'Out of the depths'. It is sung when the bodies of the dead are committed to the grave.
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DRAWING

Drawing is the art of representing upon a flat surface the forms of objects, and their positions and relations to each other. The idea of nearness or distance is given by the aid of perspective, foreshortening, and gradation. The term drawing, in its strict sense, is only applicable to the representing of the forms of objects in outline, with the shading necessary to develop roundness or modelling. In art, however, the term has a wider significance. Highly-finished painting's in water-colour are called drawings, as are also sketches or studies in oils.

Drawing, in its restricted sense, may be divided into these kinds: (1) pen drawing; (2) chalk drawing, which may include lead-pencil drawing; (3) crayon drawing; (4) drawing shaded with the brush or hair-pencil; (5) architectural or mechanical drawing (technical drawing).

Pen drawings are often confined to pure outlines; an appearance of relief or projection being given by thickening or doubling the lines on the shadow side. Finished pen drawings have all the shading produced by combinations of lines. Chalk drawings (including lead-pencil drawings) are most suited for beginners, as errors can be easily corrected. Black, red, and white chalks are used. When the chalk is powdered and rubbed in with a stump, large masses and broad effects can be produced with much rapidity. A combination of hatching and stumping is generally preferable to adhering exclusively to either mode. Crayon drawings are those in which the true colours of the objects represented are more or less completely wrought out with different coloured crayons. Drawings shaded with the brush are outlined with the pencil or pen, the shading being laid on or washed in with the brush in tints of Indian ink, sepia, or colour. Architectural and mechanical drawings are those in which the proportions of a building, machine, etc, are accurately set out for the guidance of the constructor: objects are in general delineated by geometric or orthographic projection.

The great schools of painting differ from one another as much in their drawing as in their painting. In Italy the Roman school, through Raphael's fine sense for the beautiful and expressive in form, and through his study of the antique, became the true teacher of beautiful drawing. The Florentine school tried to surpass the Roman precisely in this particular, but it lost by exaggeration what it had gained by learning and a close study of anatomy. In the Lombard school a tender style of drawing is seen through harmonious colouring, and, in the Venetian school the drawing is often veiled in the richness of the colour. The Dutch school excels in a careful and minute style of naturalistic drawing, combined with great excellence in colouring. The French school in the time of Poussin was very accurate in its drawing; at a later period its style betrayed a great amount of mannerism. David introduced again a purer taste in drawing and a close study of the antique, and these are qualities which distinguish his school (the so-called classical school) from the romantic and eclectic schools of a later period. The drawing of the British school is naturalistic rather than academic. During the 19th century it improved greatly in accuracy and expressiveness.
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FREE CHURCH OF SCOTLAND

The Free Church of Scotland is a Presbyterian church organized as a separate body from the Established Church in May, 1843. The Queen Anne Act of 1712, which restored patronage in Scotland, was for long the chronic cause of schism and discontent in the Scottish church, unwelcome clergymen often being appointed to church livings.

In 1834 the General Assembly passed a veto act, which declared that no minister should be intruded into a parish church against the will of the people, and that a majority of male heads of families, full members of the church, should be able to bar an obnoxious presentee. This act before long created litigation, and the ecclesiastical and civil powers came into conflict. The struggle was brought to an issue by the judgment of the House of Lords in 1842, affirming a decree of the Court of Session, which required the presbytery of Auchterarder to induct the presentee to Auchterarder parish without regard to the dissent of the parishioners. In May, 1843, the members of the General Assembly had been elected and were convened at Edinburgh, when the Reverend Dr. David Welsh, who had been moderator of the last Assembly, instead of constituting the meeting in the ordinary manner, rose and read a protest, pointing out that the civil courts had undue powers of interference with the Established Church, and concluding by asserting the right of the protesters, in the circumstances, to withdraw to a separate place of meeting for the purpose of taking steps on behalf of themselves and their adherents for separating in an orderly way from the Establishment, but still maintaining the Confession of Faith and Standards of the Church of Scotland as heretofore understood.

After reading this document the moderator and other members of Assembly, together with those adhering to them, withdrew to another place of meeting (the Tanfield Hall, Canonmills), and constituted themselves the Free Church of Scotland. They elected Dr. Chalmers as their moderator, and proceeded with the business before them. Although thus denuded of the temporal benefits of an establishment, they declared themselves to be the true national church of the Reformation, and did not object to the endowment and establishment of religion by the state. In later years, however, a decided majority of the Free Church clergy gave up the doctrine of the lawfulness of the establishment of the church by the state, and became converts to the 'voluntary principle'. The deed of demission, or resignation of livings, was signed by 474 ministers and professors. A sustentation fund was instituted for the maintenance of the ministers, to be supplied by the voluntary offerings of the people. In the first year after the disruption the sum of 366,719 pounds sterling was contributed for the erection of churches, between 700 and 800 of which had to be provided for congregations which left the Establishment with their ministers. Colleges for the theological training of the ministry were subsequently erected in Edinburgh, Glasgow, and Aberdeen, Schools were added to the churches in town and country, and normal schools for the training of teachers were instituted. In 1900 the Free Church joined the United Presbyterian Church (established in 1847 on the voluntary principle), to form the United Free Church of Scotland. A small minority of Free Church ministers and members refused to accept the union and claimed to be the true Free Church of Scotland, a claim which the law decided in their favour, the church property passing in accordance with the decision. The inability of the (new) Free Church to make full use of the churches - and other property thus assigned led to legislative interference
to a commission for allocation of property in 1905.
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GENRE PAINTING

Genre painting is a type of painting concerned with the realistic depiction of scenes from everyday life. Originally the term was applied to all paintings that were factual representations of nature (animals, fruit, and landscapes), as well as scenes of ordinary life, rather than to works of imagination, such as religious and historical paintings. Genre paintings deal with ordinary life, including family life, sports, street scenes, picnics, festivals, and tavern scenes. They are usually characterised by human interest and by the care and finish with which they are executed.

Genre painting originated in ancient times. Many of the scenes painted on the walls of Egyptian tombs represent the daily life of the people of ancient Egypt. Excavations in the ancient cities of Pompeii and Herculaneum have revealed many genre paintings, both conventional and erotic. In the late Middle Ages genre painting reappeared, represented chiefly in the religious calendars that formed part of the illuminations, or illustrations, of manuscript books; the calendars show people going about the occupations appropriate to each season of the year.

In Italy during the early Renaissance, many of the religious and historical pictures of such painters as the 15th-century Florentines Ghirlandaio and Benozzo Gozzoli and the later Venetians Giorgione and the Bassano family are considered genre paintings because of their contemporaneous backgrounds and costumes as well as their use of people of the times as models. In 17th- century Italy, Mannerist painters such as Caravaggio executed genre paintings of extreme realism and dramatic power. In the 15th century the Flemish painter Petrus Christus in some of his religious paintings represented scenes from ordinary life, and in the following two centuries genre painting rose to its highest level in history with the work of the Flemish artists Pieter Brueghel the Elder, David Teniers, and Adriaen Brouwer. The greatest national school of genre painting was that of the Netherlands in the 17th century. Probably never before or after was the ordinary life of a nation depicted so fully as was the Dutch life of this period. Not only the great masters but also the less outstanding Dutch painters excelled in it.

The most important of the Dutch genre painters were the so-called little masters, including Gerard Ter Borch, Jan Steen, Gabriel Metsu, Pieter de Hooch, Gerard Dou, and Adrian Van Ostade. The three leading 17th-century Dutch masters, Rembrandt, Frans Hals, and Jan Vermeer, also created genre paintings of unrivalled beauty. French genre painting showed a vital development in the work of Antoine Watteau, Nicolas Lancret, Jean Baptiste Chardin, and Jean Honore Fragonard. One of the most noted English genre painters was the great satirist William Hogarth. In the 19th century, genre painting was widely practised in both Europe and the USA Among the outstanding European painters in this style were the French painters Jean Leon Gerome and Jean Meissonier, the English painter William Powell Frith, and the American painter William Sidney Mount, known as the 'Jan Steen of Long Island.' Among the many 19th- and 20th- century American painters whose work included genre painting were Robert Henri, John Sloan, George Wesley Bellows, George B Luks, Charles E Burchfield, Reginald Marsh, Grant Wood, and Thomas Hart Benton.
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