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Eunice Kennedy Shriver 1921-2009

a study for Armfeldt?

LNM family album

Gini keeps reading

Bryer, Jackson R. and Richard A. Davison, eds. The art of the American musical: conversations with the creators. New Brunswick, NJ: Rutgers University Press, 2005.
Everett, William A. and Paul R., eds. The Cambridge companion to the musical. Cambridge: Cambridge University Press, 2008.
King, Kimball, ed. Modern Dramatists: a casebook of major British, Irish and American playwrights. New York: Routledge, 2001.
McMillan, Scott. The musical as drama: a study of the principles and conventions behind musical shows from Kern to Sondheim. Princeton: Princeton University Press, 2006.
Wilk, Max. They're playing our song; from Jermone Kern to Stephen Sondheim - the stories behind the words. New York: Atheneum, 1973.

Gini's Reading List

Banfield, Stephen. Sondheim's Broadway Musicals. Ann Arbor: University of Michigan Press

Swayne, Steve. "Remembering and re-membering: Sondheim, the waltz, and A Little Night Music". Studies in Musical Theatre, 1 (2007)

Zadan, Craig. Sondheim & Co. New York: Harper & Row, 1986.

The 3 Theme in Furniture

Triad Board Games

Chess
Chess


Chess


Armiaa

Backgammon


Chinese Checkers


Go


Parcheesi


Settlers of Catan

Monstrance / Ostensorium

In the Roman Catholic church and some other churches, a vessel in which the eucharistic host is carried in processions and is exposed during certain devotional ceremonies. Both names are derived from Latin words (monstrare and ostendere) that mean “to show.” First used in France and Germany in the 14th century, when popular devotion to the Blessed Sacrament developed, monstrances were modeled after pyxes or reliquaries, sacred vessels for transporting the host or relics. The host was shown in a glass cylinder mounted on a base and surmounted by some sort of metal crown. In the 16th century the monstrance took its present shape: a circular pane of glass set in a cross or surrounded with metal rays. The host is placed in a holder called a lunette, which fits into an opening behind the glass.

http://www.britannica.com/EBchecked/topic/390349/monstrance

Monstrance of Belem

The masterpiece of Vicente the goldsmith’s art was the monstrance of Belém made for the Jerónimos Monastery in 1506, which was crafted from the first gold exported from Mozambique. The design of this monstrance resembles the decorations of the southern portal of the church Santa Maria de Belém of this monastery.

http://en.wikipedia.org/wiki/Gil_Vicente#As_a_goldsmith

Polish Rococo monstances.


Monstrance from the museum of the Melk Abbey, Austria.


Monstrance from the museum in Pelplin, Poland.


Reliquary monstrance. Cathedral Treasury, Cologne, Germany.


Ca. 1400. Gift of Władysław Jagiełło to the Corpus Christi Church in Poznań, Poland.

Giant Rosary Beads That Open

These are early 16th century - 16th century Rosary Beads or prayer beads. Each bead opens and displays a landscape or a scene.

Dragoons

“They were mounted infantrymen who took their name from their weapons, carbines called dragons because they spouted fire like the fabulous beasts. As opposed to light cavalry regiments, dragoons were traditionally ‘heavies’, i.e. burly men who carried fairly heavy weapons.”

Bradley, Ian, ed. The Complete Annotated Gilbert and Sullivan. Oxford: Oxford University Press, 1996, p. 276

sunset boulevard bliss . . .

History of the Village of Small Huts

some references for our women . . .

Anne and Petra

Anne

Petra

face for Armfeldt, from Abfab