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NCAA Division I Mens Hockey Northeast Regionals - Day 1 Tickets
DCU Center
Worcester, MA
Sat, Mar 29 xxxx
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"You will lose your best friend in me,the features of the shoin and the teahouse styles began to be blended..[14] The result was an informal version of the shoin style, called sukiya-zukuri (?????)..[15][16] Sukiya-zukuri has the characteristic decorative alcove and shelf, and utilizes woods such as cedar, pine, hemlock, bamboo, and cypress, often with rough surfaces including the bark..[16] Compared to shoin style, roof eaves in the sukiya style bend downward..[15] While the shoin style was suitable for ceremonial architecture, it became too imposing for residential buildings.. Consequently the less formal sukiya style was used for the mansions of the aristocracy and samurai after the beginning of the Edo period..[16][17] Examples of sukiya style architecture are found at the Katsura Imperial Villa and the Black Study Hall of Nishi Hongan-ji..Douglas was a dedicated Christian who regularly attended his local church, St Paul's Church, Boughton, a church he rebuilt.. His house, Walmoor Hill, included an oratory.. He also had a "strong sense of national loyalty", incorporating statues of Queen Victoria in niches at Walmoor Hill and in his buildings in St Werburgh Street, Chester..[12] Douglas was not good at handling the financial matters of his practice.. The Duke of Westminster's secretary wrote of him in xxxx, "A good architect but a poor hand at accounts!"..[13] Delay in presenting his accounts often led to difficulties and confusion; such delay sometimes amounted to as much as ten years..[14] Otherwise very little is known about his personal life.. No family papers have survived and none of the documents from the office at 6 Abbey Square has been found..[15]Douglas designed some 500 buildings..[16] He built at least 40 new churches or chapels, restored, altered or made additions to many other churches, and designed fittings and furniture for the interiors of churches.. He designed new houses, altered or made additions to others, and built various structures associated with those houses.. Douglas's works also included farms, shops, offices, hotels, a hospital, drinking fountains, clocks, schools, public baths, a library, a bridge, an obelisk, cheese factories, and public conveniences.. As his office was in Chester, most of his works were in Cheshire and North Wales, although some were further afield, in Lancashire, Staffordshire, Warwickshire and ScotlandThroughout his career Douglas attracted commissions from wealthy and important patrons.. His first-known independent work was an ornament, which is no longer in existence, for the garden of the Honourable Mrs Cholmondeley.. She was the sister-in-law of Hugh Cholmondeley, 2nd Baron Delamere, and it was from the 2nd Baron that Douglas received his first major commission, a considerable rebuilding of the south wing of his seat at Vale Royal Abbey in xxxx.. Around the same time, Lord Delamere commissioned him to build the church of St John the Evangelist at Over, Winsford, as a memorial to his first wife..[18]Douglas's most important patrons were the Grosvenor family of Eaton Hall, Cheshire.. In xxxx he was commissioned to design the entrance lodge and other structures for Grosvenor Park in Chester, and St John's Church in the village of Aldford in the Eaton Hall estate for Richard Grosvenor, 2nd Marquess of Westminster..[19] When the marquess died in xxxx he was succeeded by his son Hugh Grosvenor, 1st Duke of Westminster..[20] Douglas received a large number of commissions from the 1st Duke and from his son, the 2nd Duke, throughout his career.. It is estimated that for the 1st Duke alone he designed four churches and chapels, eight parsonages and large houses, about 15 schools, around 50 farms (in whole or in part), about 300 cottages, lodges and smithies, two factories, twOther wealthy landowners who commissioned work from Douglas included William Molyneux, 4th Earl of Sefton, Francis Egerton, 3rd Earl of Ellesmere, George Cholmondeley, 5th Marquess of Cholmondeley, Rowland Egerton-Warburton of Arley Hall, Cheshire, and in Wales, the family of Lord Kenyon, and the Gladstone family, including W.. E Gladstone..[17] He also received commissions from industrialists, including John & Thomas Johnson, soap and alkali manufacturers from Runcorn,[22] Richard Muspratt, a chemical industrialist from Flint, Flintshire,[23] and WAlthough the firm where Douglas received his training was in a provincial city in the north of England, it was at the forefront of the Gothic Revival in the country.. The Gothic Revival was a reaction against the neoclassical style, which had been popular in the 18th and early 19th centuries, and it incorporated features of the Gothic style of the Middle Ages..[24] Both Edmund Sharpe and E.. G.. Paley had been influenced by the Cambridge Camden Society and, more specifically, by A.. W.. N Pugin who believed that "Gothic was the only correct and Christian way to build"..[25] Sharpe had also been influenced by Thomas Rickman, and he had written papers on medieval scholarship himself.. Paley had been influenced by his brother, Frederick Apthorp Paley, who was enthusiastic about Gothic architecture, and who had also been influenced by Rickman..[26] During the time Douglas was working in Lancaster the firm was responsible for building and restoring churches in Gothic Revival style, one of which was St Wilfrid's Church in the Cheshire village of Davenham, some 3 miles (5 km) from Sandiway..[27] Douglas's first church, that of St John the Evangelist at Over, Winsford, was entirely English Gothic in style, more specifically Early Decorated..[28]Douglas's influences were not from England alone.. Although he never travelled abroad, he incorporated Gothic styles from continental countries, especially Germany and France.. This combination of Gothic styles contributed to what has come to be known as the High Victorian style.. Its features include a sense of massiveness, steep roofs which are frequently hipped, round turrets with conical roofs, pinnacles, heavy corbel tables, and the use of polychromism.. Many of Douglas's works, especially his earlier ones, are High Victorian in style, or incorporate High Victorian features..[29] One characteristic feature of Douglas's work is the inclusion of dormer windows rising through the eaves and surmounted by hipped rooAnother major influence in his work was the rise of interest in vernacular architecture.. By the time Douglas moved to Chester, the black-and-white revival using half-timbering was well under way, and Douglas came to incorporate this style in his buildings in Chester and elsewhere..[31] The black-and-white revival did not start in Chester, but it did become Chester's speciality..[32] The first Chester architect involved in the revival had been Thomas Mainwaring Penson, whose first work in this genre was the restoration of a shop in Eastgate Street in the early xxxxs.. Other early Chester architects involved in the revival were T.. A.. Richardson and James Harrison[33] and it came to be developed mainly by T.. M.. Lockwood and by Douglas..[34] Part of Douglas's earliest work for the Grosvenor family, the entrance lodge to Grosvenor Park, used half-timbering in its upper storey; this is the first known use by Douglas of black-and-white..[35] Other vernacular motifs were taken from earlier styles of English architecture, in particular, the Tudor style.. These include tile-hanging, pargetting and massive brick ribbed chimney stacks.. In this style, Douglas was influenced by the architects Nesfield and Shaw..[36] Douglas also used vernacular elements from the continent, especially the late medieval brickwork of Germany and the Low CountriA characteristic of Douglas's work is his attention to both external and internal detailing.. Such detailing was not derived from any particular style and Douglas chose elements from whichever style suited his purpose for each specific project.. His detailing applied particularly to his joinery, perhaps inspired by his experience in his father's workshop, and was applied both to wooden fittings and to the furniture he designed..[37] A further Continental influence was his use of a Dutch gable..[38] The most important and consistently used element in Douglas's vernacular buildings was his use of half-timbering, which was usually used for parts of the building..[39] However, in the cases of Rowden Abbey and St Michael and All Angels Church, Altcar, the entire buildings were timber-frameDouglas's earliest significant commissions were for the 2nd Baron Delamere and were very different in type and style from each another.. The addition of a wing to Vale Royal Abbey (xxxx) was in Elizabethan style while St John's Church at Over (xxxx?63) was of the Gothic Revival in Early Decorated style..[41][42][43] The Congregational Chapel, also at Over (xxxx) was again different, being built in polychromic brick in High Victorian style..[43][44] Meanwhile Douglas had designed a shop at 19?21 Sankey Street, Warrington (xxxx) with Gothic arcades and detailed stone carving which Hubbard considers to be his "first building of real and outstanding quality......in its way one of the best things he ever did"..[45] Shortly after this came the first commissions for the Grosvenor family, consisting of a lodge and other structures in Grosvenor Park, Chester (xxxx?67),[46][47] and St John the Baptist's Church, Aldford (xxxx?66)..[48][49] His first commission for a large house was Oakmere Hall (xxxx) for John & Thomas Johnson, industrialists of Runcorn.. It is in High Victorian style and includes a main block and a service wing, a large tower on the south face, a small tower with turrets, a porte-cochère, steep roofs and dormer windows..[22][50][51] Another early church was St Ann's at Warrington (xxxx?69), again High Victorian in style, which is described as being "quite startlingly bold" and "a prodigy church in Douglas's output"..[52][53] By xxxx?70 Douglas had started to design buildings on the Eaton Hall estate..[54] Around this time he also re-modelled St Mary's Church, Dodleston..[55]Many of the secular buildings in this period were smaller-scale structures.. These include cottages in Great Budworth, and cottages, houses, schools and farms in the Eaton Hall estate and its associated villages..[56] In xxxx he designed Shotwick Park, a large house in Great Saughall, built in brick with some half-timbering; it has steep roofs, tall ribbed chimneys and turrets..[57][58] About the same time he reconstructed Broxton Higher Hall, incorporating much half-timbering..[59][60] Commissions for more large houses came in the late xxxxs and xxxxs.. The Gelli (xxxx) is a house in three ranges designed for the Kenyon sisters in the village of Tallarn Green, Flintshire..[61][62] Also built for the Kenyon family is Llannerch Panna in Penley, Flintshire (xxxx?79), which is "competent in its handling of timberwork"..[63][64] An entirely black-and-white house with jettying is Rowden Abbey (xxxx) in Hertfordshire..[65] Back in North Wales, Plas Mynach (xxxx) in Barmouth includes much detailed woodwork internally..[66]In about xxxx?81 Douglas built a terrace of houses on his own land in Chester, 6?11 Grosvenor Park Road, the road leading to the main entrance to Grosvenor Park, in High Victorian style..[67][68] About xxxx he designed Barrowmore Hall (or Barrow Court) at Great Barrow (since demolished) which was one of his largest houses..[69] Also around this time he designed buildings on the Eaton Hall estate, including Eccleston Hill (xxxx?82), a large house for the Duke's secretary, the Stud Lodge, a smaller building of the same dates, Eccleston Hill Lodge (xxxx), a three-storey gatehouse at the main entrance to the park, with a high hipped roof and turrets, and The Paddocks (xxxx?83), another large house, this time for the Duke's land agent..[70] In Chester city centre his designs included the Grosvenor Club and North and South Wales Bank (xxxx?83) in Eastgate Street, built in stone and brick, with a turret and a stepped gable, and 142 Foregate Street for the Cheshire County Constabulary (xxxx), with a shaped gable in Flemish style..[71St Mary's Church, Whitegate was restored in xxxx?75 for the 2nd Baron Delamere, retaining much of the medieval interior but rebuilding the exterior, adding a short chancel, and incorporating half-timbering..[72][73] St Paul's Church, Boughton in Chester was Douglas's own parish church which he rebuilt in xxxx incorporating parts of the pre-existing building..[74][75] Douglas's only church built entirely in half-timbering is the small church of St Michael and All Angels at Great Altcar in Lancashire..[76][77] A church built in brick with half-timbering is St Chad's (xxxx) at Hopwas in Staffordshire..[78] During this period Douglas built or restored a series of churches entirely in stone, incorporating mainly Gothic features together with vernacular elements.. These include St John the Baptist's Church, Hartford (xxxx?75), St Paul's, Marston (xxxx, now demolished), the Presbyterian Chapel (xxxx) at Rossett, Denbighshire, St Stephen's, Moulton (xxxx), the rebuilding of Christ Church, Chester (also in xxxx), the Church of St Mary the Virgin (xxxx?78) at Halkyn, Flintshire, and the Welsh Church of St John the Evangelist (xxxx) in Mold, also in Flintshire..[79] Later in this period he built St Mary's Church, at Pulford in xxxx?84 for the Duke of Westminster and in xxxx?85 St Werburgh's New Church at Warburton for Rowland Egerton-WarburtonIn xxxx?87 the partnership designed Abbeystead House for the 4th Earl of Sefton in North Lancashire.. Hubbard describes this as "the finest of Douglas's Elizabethan houses, and one of the largest which he ever designed"..[83][84] During this time additions were made to Jodrell Hall in Cheshire and Halkyn Castle in Flintshire..[85] In xxxx the Castle Hotel at Conwy, Caernarfonshire, was remodelled,[86] and in xxxx?88 a strongroom was added to Hawarden Castle, followed by a porch in xxxx..[87][88] During this period more buildings were added to the Eaton Hall estate, and these included houses and cottages, such as Eccleston Hill, and Eccleston Ferry House, and farms such as Saighton Lane Farm..[89] In xxxx?91 an obelisk was built in the Belgrave Avenue approach to Eaton Hall..[90][91] The last house designed by Douglas on a large scale was Brocksford Hall (xxxx) in Derbyshire.. This was a country house in Elizabethan style using diapered brick and stone dressings with a clock tower..[92] In Chester city centre, 38 Bridge Street (xxxx) is a timber-framed shop that incorporates a section of Chester Rows and contains heavily decorated carving..[90][93] From xxxx the partnership designed houses and cottages in Port Sunlight for Lever Brothers.. Also in the village they designed the Dell Bridge (xxxx), and the school (xxxx?96), which is now called the Lyceum..[94][95] In xxxx Douglas designed a house for himself, Walmoor Hill in Dee Banks, Chester, in Elizabethan style..[96][97] Between xxxx and xxxx he designed a range of buildings on the east side of St Werburgh Street in the centre of Chester.. At its south end, on the corner of Eastgate Street, is a bank whose ground storey is built in stone, and behind this leading up St Werburgh Street, the ground storey consists of shop fronts.. Above this the range consists of two storeys plus an attic, which are covered in highly ornamented timber-framing.. On the first floor is a series of oriel windows, the secondIn order to reply to these paradoxes, where shall we go in search of our arguments? We can go to George Sand herself. A few years later, during her intercourse with Lamennals, she wrote her famous Lettres a Marcie for Le Monde. She addresses herself to an imaginary correspondent, to a woman supposed to be suffering from that agitation and impatience which she had experienced herself."You are sad," says George Sand to her, "you are suffering, and you are bored to death." We will now take note of some of the advice she gives to this woman. She no longer believes that it belongs to human dignity to have the liberty of changing. "The one thing to which man aspires, the thing which makes him great, is permanence in the moral state. All which tends to give stability to our desires, to strengthen the human will and affections, tends to bring about the reign of God on earth, which means love and the practice of truth." She then speaks of vain dreams. "Should we even have time to think about the impossible if we did all that is necessary? Should we despair ourselves if we were to restore hope in those people who have nothing left them but hope?" With regard to feminist claims, she says: "Women are crying out that they are slaves: let them wait until men are free! . . . In the mean time we must not compromise the future by our impatience with the present. . . . It is to be feared that vain attempts of this kind and unjustifiable claims may do harm to what is styled at present the cause of women. There is no doubt that women have certain rights and that they are suffering injustice. They ought to lay claim to a better future, to a wise independence, to a greater participation in knowledge, and to more respect, interest and esteem from men. This future, though, is in their own hands."This is wisdom itself. It would be impossible to put it more clearly, and to warn women in a better way, that the greatest danger for their cause would be the triumph of what is called by an ironical term--feminism.These retractions, though, have very little effect. There is a certain piquancy in showing up an author who is in contradiction with himself, in showing how he refutes his own paradoxes. But these are striking paradoxes which are not readily forgotten. What I want to show is that in these first novels by George Sand we have about the whole of the feminist programme of to-day. Everything is there, the right to happiness, the necessity of reforming marriage, the institution, in a more or less near future, of free unions. Our feminists of to-day, French, English, or Norwegian authoresses, and theoricians like Ellen Key, with her book on Love and Marriage, all these rebels have invented nothing. They have done nothing but take up once more the theories of the great feminist of xxxx, and expose them with less lyricism but with more cynicism.George Sand protested against the accusation of having aimed at attacking institutions in her feminist novels. She was wrong in protesting, as it is just this which gives her novels their value and significance. It is this which dates them and which explains the enormous force of expansion that they have had. They came just after the July Revolution, and we must certainly consider them as one of the results of that. A throne had just been overturned, and, by way of pastime, churches were being pillaged and an archbishop's palace had been sack-aged. Literature was also attempting an insurrection, by way of diversion. For a long time it had been feeding the revolutionary ferment which it had received from romanticism. Romanticism had demanded the freedom of the individual, and the writers at the head of this movement were Chateaubriand, Victor Hugo and Dumas. They claimed this freedom for Rene, for Hermann and for Antony, who were men. An example had been given, and women meant to take advantage of it. Women now began their revolution.Under all these influences, and in the particular atmosphere now created, the matrimonial mishap of Baronne Dudevant appeared to her of considerable importance. She exaggerated and magnified it until it became of social value. Taking this private mishap as her basis, she puts into each of her heroines something of herself. This explains the passionate tone of the whole story. And this passion could not fail to be contagious for the women who read her stories, and who recognized in the novelist's cause their own cause and the cause of all women.This, then, is the novelty in George Sand's way of presenting feminist grievances. She had not invented these grievances. They were already contained in Madame de Stael's books, and I have not forgotten her. Delphine and Corinne, though, were women of genius, and presented to us as such. In order to be pitied by Madame de Stael, it was absolutely necessary to be a woman of genius. For a woman to be defended by George Sand, it was only necessary that she should not love her husband, and this was a much more general thing.George Sand had brought feminism within the reach of all women. This is the characteristic of these novels, the eloquence of which cannot be denied. They are novels for the vulgarization of the feminist theory.George Sand did not have to wait long for success. She won fame with her first book. With her second one she became rich, or what she considered rich. She tells us that she sold it for a hundred and sixty pounds! That seemed to her the wealth of the world, and she did not hesitate to leave her attic on the Quay St. Michel for a more comfortable flat on Quay Malaquais, which de Latouche gave up to her.There was, at that time, a personage in Paris who had begun to exercise a sort of royal tyranny over authors. Francois Buloz had taken advantage of the intellectual effervescence of xxxx to found the Revue des Deux Mondes. He was venturesome, energetic, original, very shrewd, though apparently rough, obliging, in spite of his surly manners. He is still considered the typical and traditional review manager. He certainly possessed the first quality necessary for this function. He discovered talented writers, and he also knew how to draw from them and squeeze out of them all the literature they contained. Tremendously headstrong, he has been known to keep a contributor under lock and key until his article was finished. Authors abused him, quarrelled with him, and then came back to him again. A review which had, for its first numbers, George Sand, Vigny, Musset, Merimee, among many others, as contributors, may be said to have started well. George Sand tells us that after a battle with the Revue de Paris and the Revue des Deux Mondes, both of which papers wanted her work, she bound herself to the Revue des Deux Mondes, which was to pay her a hundred and sixty pounds a year for thirty-two pages of writing every six weeks. In xxxx the Revue des Deux Mondes published Lelia, and on January 1, xxxx, it finished publishing the Tour de Percemont. This means an uninterrupted collaboration, extending over a period of forty-three years.The literary critic of the Revue des Deux Mondes at that time was a man who was very much respected and very little liked, or, in other words, he was universally detested. This critic was Gustave Planche. He took his own role too seriously, and endeavoured to put authors on their guard about their faults. Authors did not appreciate this. He endeavoured, too, to put the public on guard against its own infatuations. The public did not care for this. He sowed strife and reaped revenge. This did not stop him, though, for he went calmly on continuing his executions. His impassibility was only feigned, and this is the curious side of the story. He suffered keenly from the storms of hostility which he provoked. He had a kindly disposition at bottom and tender places in his heart. He was rather given to melancholy and intensely pessimistic. To relieve his sadness, he gave himself up to hard work, and he was thoroughly devoted to art. In order to comprehend this portrait and to see its resemblance, we, who knew our great Brunetiere, have only to think of him. He, too, was noble, fervent and combative, and he sought in his exclusive devotion to literature a diversion from his gloomy pessimism, underneath which was concealed such kindliness. It seemed with him, too, as though he took a pride in making a whole crowd of enemies, whilst in reality the discovery of every fresh adversary caused him great suffering.When Lelia appeared, the novel was very badly treated in L'Europe litteraire. Planche challenged the writer of the article, a certain Capo de Feuillide, to a duel. So much for the impassibility of severe critics. The duel took place, and afterwards there was a misunderstanding between George Sand and Planche. From that time forth critics have given up fighting duels for the sake of authors.About the same time, George Sand made use of Sainte-Beuve as her confessor. He seemed specially indicated for this function. In the first place, he looked rather ecclesiastical, and then he had a taste for secrets, and more particularly for whispered confessions. George Sand had absolute confidence in him. She considered that he had an almost angelic nature. In reality, just about that time, the angelic man was endeavouring to get into the good graces of the wife of his best friend, and was writing his Livre d'Amour, and divulging to the world a weakness of which he had taken advantage. This certainly was the most villainous thing a man could do. But then he, too, was in love and was struggling and praying. George Sand declares her veneration for him, and she constituted herself his penitent.She begins her confession by an avowal that must have been difficult for her. She tells of her intimacy with Merimee, an intimacy which was of short duration and very unsatisfactory. She had been fascinated by Merimee's art."For about a week," she says, "I thought he had the secret of happiness." At the end of the week she was "weeping with disgust, suffering and discouragement." She had hoped to find in him the devotion of a consoler, but she found nothing but cold and bitter jesting."[16] This experiment had also proved a failure.Such were the conditions in which George Sand found herself at this epoch. Her position was satisfactory; she might have been calm and independent. Her inner life was once more desolate, and she was thoroughly discouraged. She felt that she had lived centuries, that she had undergone torture, that her heart had aged twenty years, and that nothing was any pleasure to her now. Added to all this, public life saddened her, for the horizon had clouded over. The boundless hopes and the enthusiasm of xxxx were things of the past. "The Republic, as it was dreamed of in July," she writes, "has ended in the massacres of Warsaw and in the holocaust of the Saint-Merry cloister. The cholera has just been raging. Saint Simonism has fallen through before it had settled the great question of l