title: Hiroshima Domain

abstract: Hiroshima Domain The Hiroshima Domain was a large domain that owned all of Aki Province and half of Bingo Province. It occupies most of current Hiroshima Prefecture. The domain office was located at Hiroshima Castle in Sato District, Aki Province, Hiroshima. It is often called Geishu Domain. The Hiroshima Domain was based at Hiroshima Castle in Aki Province, in the modern city of Hiroshima, located in the Chūgoku region of the island of Honshu. The Hiroshima Domain was ruled for most of its existence by the daimyō of the Asano clan and encompassed Aki Province and parts of Bingo Province with a Kokudaka system value of 426,500 koku. The Hiroshima Domain was dissolved in the abolition of the han system in 1871 by the Meiji government and its territory was absorbed into Hiroshima Prefecture.

text:
# Hiroshima Domain

The **Hiroshima Domain** (広島藩, *Hiroshima-han*) was a large domain that owned all of Aki Province and half of Bingo Province. It occupies most of current Hiroshima Prefecture. The domain office was located at Hiroshima Castle in Sato District, Aki Province (renamed Numata District in 1664), Hiroshima (present-day Motomachi, Naka Ward, Hiroshima City, Hiroshima Prefecture). It is often called Geishu Domain (or Aki Domain).

The Hiroshima Domain was based at Hiroshima Castle in Aki Province, in the modern city of Hiroshima, located in the Chūgoku region of the island of Honshu. The Hiroshima Domain was ruled for most of its existence by the *daimyō* of the Asano clan and encompassed Aki Province and parts of Bingo Province with a *Kokudaka* system value of 426,500 *koku*. The Hiroshima Domain was dissolved in the abolition of the han system in 1871 by the Meiji government and its territory was absorbed into Hiroshima Prefecture.

## History

During the Kamakura period, Mori Tsunemitsu granted his fourth son, Mori Tokichika, Yoshidanosho in Aki Province. Tokichika's descendants remained in Echigo while ruling indirectly over the territory of Aki. However, during the Northern and Southern Courts period, Mori Tokichika's great-grandson Mori Motoharu moved to Aki and directly ruled over the territory at Koriyama Castle. The Mori clan grew in power and became a prominent feudal lord in Aki Province during the Muromachi period. In the Sengoku period, they defeated various clans, including the Takeda and Ouchi clans, and established their dominance over the Chugoku region. Hiroshima Castle was built in 1591 and became the Mori clan's residence, making Hiroshima the political and economic center. However, in the Battle of Sekigahara in 1600, Mori Terumoto, the clan's leader, was defeated, and their territory was significantly reduced.

Fukushima Masanori became the satrap of Aki and Bingo, succeeding the Mori clan. He re-evaluated the land and obtained a larger territory. Masanori implemented changes in the military and education systems, but compromises were made in Aki due to the influence of local feudal lords. The Sengoku period saw the development of castle towns and domestic industry in Hiroshima. However, in 1615, Aki Province was destroyed, Hiroshima Castle was demolished, and only Kannabe Castle remained in Bingo Province. The Mizuno family destroyed Hiroshima Castle and moved to Fukuyama Castle. Mihara Fortress had been abandoned, but the Fukushima family secretly relocated a turret from the destroyed Tomo Castle. In 1619, Masanori was found guilty of unauthorized renovations to Hiroshima Castle and his territory was significantly reduced. He was transferred to the Kawanakajima Domain.

In 1589, Hiroshima Castle was commissioned by Mōri Terumoto, head of the powerful Mōri clan and a member of Toyotomi Hideyoshi's Council of Five Elders. In 1591, Terumoto relocated to Hiroshima while it was still under construction, using it as his base to rule his domain covering most of the Chūgoku region. Following the Battle of Sekigahara in 1600, the Mōri were forced out of Hiroshima by Tokugawa Ieyasu and relocated their base to Hagi Castle, losing most of their eastern territories. The Hiroshima *han* (domain) was subsequently established with Fukushima Masanori as its *daimyō* (feudal lord), covering Aki Province and parts of neighboring Bingo Province. However, nineteen years later, Hiroshima Castle suffered extensive flood damage and Fukushima repaired it in violation of the Tokugawa shogunate's laws on the construction and repair of castles (see *buke shohatto*). The shogunate then ordered Fukushima to Kawanakajima Domain, and awarded Hiroshima to the Asano clan, who ruled it for the remainder of the Edo period. Under the Tokugawa *Kokudaka* system for domains the Hiroshima Domain was assessed at 426,500 *koku*, the sixth-largest domain in Japan, excepting those held by the Tokugawa-Matsudaira dynasty.

Asano Nagaaki, the second son of Asano Nagamasa, who served as Gobugyo under the Toyotomi administration, became the feudal lord of Aki and eight districts of Bingo from the Kishu Domain. Despite being smaller than the Fukushima territory, it gained approval from the shogunate with a detection level of 426,000 koku. Hiroshima benefited from excellent maritime transport through the Seto Inland Sea route with Osaka and established a monopoly on timber, iron, paper, and other goods from the early stages of its establishment. Additionally, it made significant profits by skillfully manipulating rice market prices and purchasing rice from other domains at low prices.

Chosei followed the policies of the Fukushima clan era while simultaneously adopting a strict approach towards local clans in order to modernize the governing structure. Mitsunori, the second lord of the domain and Nagaaki's second son, was the grandson of Tokugawa Ieyasu. With permission from the shogunate, Mitsunori distributed 50,000 koku to his illegitimate brother, Nagaharu Asano, establishing the Miyoshi domain as a branch domain. Mitsunori focused on improving the roads and was granted permission to use the surname Matsudaira.

The third lord of the domain, Asano Tsunaaki, who was Mitsuaki's eldest son, had Kujo Michifusa's daughter as his legal wife and successor wife. Michifusa's mother was Toyotomi Kanshi, the daughter of Toyotomi Hidekatsu. As a result, the Asano clan inherited the bloodline of the Toyotomi clan through the female line.

After the death of the 14th shogun, Tokugawa Iemochi, and the defeat of the shogunate army in the Second Long March, the Hiroshima domain gradually aligned itself with the Choshu Domain. In 1867, they formed an alliance with the Choshu and Satsuma clans to overthrow the Shogunate. However, their plea to restore imperial rule to the 15th Shogun, Tokugawa Yoshinobu, was seen as opportunistic, leading to mistrust and their removal from the mainstream of the Meiji Restoration. Despite this, the Hiroshima Domain joined the government army and fought in the Boshin War.

In 1869, the 12th lord of the domain, Asano Nagakoto, became the governor of the Hiroshima Domain after the restoration of land ownership. The domain reported a total debt of 3,742,290 ryo to the Meiji government in the same year. In 1871, the Hiroshima Domain was abolished and became Hiroshima Prefecture, along with the establishment of prefectures nationwide. Reports indicated that there were over 830,000 ryo of uncollected domain bills, which were to be exchanged by the Meiji government, after the abolition of domains and the establishment of prefectures.

## Hiroshimashinden Domain

The **Hiroshimashinden Domain** (広島新田藩), founded in the 1730s by Asano Nagakata, member of the Asano clan, received 30,000 koku of rice. Governed by daimyo Edo Sadafu, the main family lived in Edo. In 1864, the Hiroshimashinden Domain established a Yoshida Jinya in Yoshida, now Akitakada City. By 1869, it was absorbed into the Hiroshima Domain, ending the Hiroshimashinden Domain.

## List of daimyo

| # | Name | Tenure | Courtesy title | Court Rank | *kokudaka* |
| --- | --- | --- | --- | --- | --- |
| **Mōri clan,** 1591 - 1600 (*Tozama daimyo*) | | | | | |
| 1 | Mōri Terumoto (毛利輝元) | 1591 - 1600 | *Uemonokan* (大輔 宮内) | Junior 4th Rank, Lower Grade (従五位下) | 1,120,000 *koku* |  |
| **Fukushima clan,** 1600 - 1619 (*Tozama daimyo*) | | | | | |
| 1 | Fukushima Masanori (福島 正則) | 1600 - 1619 | *Saemon Daibu* (左衛門 だいぶ) | Junior 5th Rank, Lower Grade (従五位下) | 498,223 *koku* |  |
| **Asano clan,** 1619 - 1871 (*Tozama daimyo*) | | | | | |
| 1 | Asano Nagaakira (浅野長晟) | 1619 - 1632 | *Tajima no kami* (田島の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 2 | Asano Mitsuakira (浅野光晟) | 1632 - 1672 | *Kii no kami, Aki no kami* (きいの髪、秋の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 3 | Asano Tsunaakira (浅野綱晟) | 1672 - 1673 | *Danjo Daisuke* (男女ダイスk) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 4 | Asano Tsunanaga (浅野綱長) | 1673 - 1708 | *Aki no kami* (秋の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 5 | Asano Yoshinaga (浅野吉長) | 1708 - 1752 | *Shimoaki no kami* (下秋の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 6 | Asano Munetsune (浅野宗恒) | 1752 – 1763 | *Ise no kami, Aki no kami, Gyobu Daisuke, Tajima no kami* (伊勢の髪、秋の髪、魚部大輔、 但馬の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 7 | Asano Shigeakira (浅野重晟) | 1763 – 1799 | *Aki no kami* (秋の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 8 | Asano Narikata (浅野斉賢) | 1799 - 1830 | *Aki no kami* (秋の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 9 | Asano Naritaka (浅野斉粛) | 1830 - 1858 | *Aki no kami* (秋の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 10 | Asano Yoshiteru (浅野慶熾) | 1858 | *Aki no kami* (秋の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 11 | Asano Nagamichi (浅野茂長) | 1858 - 1869 | *Aki no kami* (秋の髪) | Junior 4th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
| 12 | Asano Nagakoto (浅野茂勲) | 1869 - 1871 | *None* (なし) | Junior 5th Rank, Lower Grade (従五位下) | 426,550 *koku* |  |
|

Hiroshimashinden Domain

| # | Name | Tenure | Courtesy title | Court Rank | *kokudaka* |
| --- | --- | --- | --- | --- | --- |
| **Asano clan,** 1730 - 1869 (*fudai daimyo*) | | | | | |
| 1 | Asano Nagakata (浅野長賢) | 1730 - 1744 | *Hyobu Shosuke, Miyauchi Shosuke* (兵部少輔、宮内少輔) | Junior 5th Rank, Lower Grade (従五位下) | 30,000 *koku* |  |
| 2 | Asano Nagataka (浅野長喬) | 1744 - 1769 | *Hyobu Shosuke* (兵部少輔) | Junior 5th Rank, Lower Grade (従五位下) | 30,000 *koku* |  |
| 3 | Asano Nagakazu (浅野長員) | 1769 - 1800 | *Omi no kami* (近江神) | Junior 5th Rank, Lower Grade (従五位下) | 30,000 *koku* |  |
| 4 | Asano Nagahiro (浅野長容) | 1800 - 1824 | *Omi no kami* (近江神) | Junior 5th Rank, Lower Grade (従五位下) | 30,000 *koku* |  |
| 5 | Asano Nagamichi (浅野長訓) | 1824 - 1858 | *Mimasaka no kami, Omi no kami* (美作神、近江神) | Junior 5th Rank, Lower Grade (従五位下) | 30,000 *koku* |  |
| 6 | Asano Nagakoto (浅野長勲) | 1858 - 1862 | *Kii no kami* (紀伊守) | Junior 5th Rank, Lower Grade (従五位下) | 30,000 *koku* |  |
| 7 | Asano Nagaatsu (浅野長厚) | 1862 - 1869 | *Omi no kami* (近江神) | Junior 5th Rank, Lower Grade (従五位下) | 30,000 *koku* |  |
|

**The years listed are those in which the lord occupied Hiroshima castle, not the years of his life.* \***All of the lords after Asano Nagaakira enjoyed the same 426,500* koku.

### Simplified family tree of the Asano lords of Hiroshima

The following a simplified family tree of the Asano lords.

* **I. Nagaakira, 1st Lord of Hiroshima (cr. 1619)** (1586–1632; Lord: 1619–1632)
    + **II. Mitsuakira, 2nd Lord of Hiroshima** (1617–1693; r. 1632–1672)
        - **III. Tsunaakira, 3rd Lord of Hiroshima** (1637–1673; r. 1672–1673)
            * **IV. Tsunanaga, 4th Lord of Hiroshima** (1659–1708; r. 1673–1708)
                + **V. Yoshinaga, 5th Lord of Hiroshima** (1681–1752; r. 1708–1752)
                    - **VI. Munetsune, 6th Lord of Hiroshima** (1717–1788; r. 1752–1763)
                        * **VII. Shigeakira, 7th Lord of Hiroshima** (1743–1814; r. 1763–1799)
                            + **VIII. Narikata, 8th Lord of Hiroshima** (1773–1831; r. 1799–1830)
                                - **IX. Naritaka, 9th Lord of Hiroshima** (1817–1868; r. 1831–1858)
                                    * **X. Yoshiteru, 10th Lord of Hiroshima** (1836–1858; r. 1858)
                            + Nagatoshi
                                - **XI. Nagamichi, 5th Lord of Hiroshima-Shinden, 11th Lord of Hiroshima, 26th family head** (1812–1872; Lord of Hiroshima-Shinden: 1824–1858; Lord of Hiroshima: 1858–1869; 26th family head: 1869–1872)
                                - Toshitsugu
                                - Toshiteru
                                    * **XII. Nagakoto, 6th Lord of Hiroshima-Shinden, 12th Lord of Hiroshima, 27th family head, 1st Marquess** (1842–1937; Lord of Hiroshima-Shinden: 1858–1869; Lord of Hiroshima: 1869; Governor of Hiroshima: 1869–1871; 27th family head: 1872–1937; Marquess: cr. 1884)

* Hiroshima Castle tourist brochure obtained at the castle.

## InfoBox

| Hiroshima Domain広島藩
*Hiroshima-han* | |
| --- | --- |
| Domain of Japan | |
| 1601–1871 | |
| View of Hirohima Castle | |
| Flag    *Mon* of the Asano | |
|
Reconstructed Hiroshima Castle in Hiroshima | |
| Capital | Hiroshima Castle |
| Area |  |
| Coordinates | 34°24′10″N 132°27′33″E / 34.40278°N 132.45917°E / 34.40278; 132.45917 |
|  | |
| Government |  |
| *Daimyō* |  |
|  | |
| 1591–1600 | Mōri Terumoto (first) |
| 1869–1871 | Asano Nagakoto (last) |
|  | |
|  | |
| Historical era | Edo period |
|  | |
| Established | 1601 |
| Abolition of the han system | 1871 |
|  | |
| Contained within |  |
| Province | Aki, Bingo |
|  | |
|  | |
| Today part of | Hiroshima Prefecture |


title: Niabell

abstract: Niabell grape or California's Concord is a type of table grape that is used to make grape juice because of its sweet taste. This type of grape, which has a similar taste to Concord grape, is grown in temperate climates. In the United States, the San Joaquin Valley has many vineyards for growing this type of grape due to the favorable climatic conditions. Harold Olmo was developed in 1942. This grape, like Concorde, has large grains and is widely used to produce jelly. Its wine can also be prepared as a sweet. Niabell is ready for harvest in July and August in California. This grape is not resistant to cold, so it can not be stored in the refrigerator and is consumed fresh. Its skin is thick and blue (blackish). Niabell, like other descendants of fox grapes, Venus and Mars, is highly resistant to pests such as fungus and black rot.

text:
# Niabell

**Niabell grape** or **California's Concord** is a type of table grape that is used to make grape juice because of its sweet taste. This type of grape, which has a similar taste to Concord grape, is grown in temperate climates. In the United States, the San Joaquin Valley has many vineyards for growing this type of grape due to the favorable climatic conditions. Harold Olmo was developed in 1942. This grape, like Concorde, has large grains and is widely used to produce jelly. Its wine can also be prepared as a sweet.

Niabell is ready for harvest in July and August in California. This grape is not resistant to cold, so it can not be stored in the refrigerator and is consumed fresh. Its skin is thick and blue (blackish). Niabell, like other descendants of fox grapes, Venus and Mars, is highly resistant to pests such as fungus and black rot.

## InfoBox

| Niabell | |
| --- | --- |
| Grape (*Vitis*) | |
| Niabell | |
| Color of berry skin | Blue-black |
| Species | *Vitis labrusca* |
| Also called | California's Concord |
| Origin | California |
| Notable regions | San Joaquin Valley, California |
| Hazards | fungus and black rot |
| Breeder | Harold Olmo |
| Year of crossing | 1942 |


title: Nicolas Gombert

abstract: Nicolas Gombert was a Franco-Flemish composer of the Renaissance. He was one of the most famous and influential composers between Josquin des Prez and Palestrina, and best represents the fully developed, complex polyphonic style of this period in music history.

text:
# Nicolas Gombert

**Nicolas Gombert** (c. 1495 – c. 1560) was a Franco-Flemish composer of the Renaissance. He was one of the most famous and influential composers between Josquin des Prez and Palestrina, and best represents the fully developed, complex polyphonic style of this period in music history.

## Life

Details of his early life are sketchy, but he was probably born around 1495 in southern Flanders, probably between Lille and Saint-Omer, possibly in the town of La Gorgue. German writer and music theorist Hermann Finck wrote that Gombert studied with Josquin; this would have been during the renowned composer's retirement in Condé-sur-l'Escaut, sometime between 1515 and 1521.

Gombert was employed by the emperor Charles V as a singer in his court chapel in 1526 and possibly as a composer as well. Most likely he was taken on while Charles was passing through Flanders, for the emperor traveled often, bringing his retinue with him, and picking up new members as he went. A document dated 1529 mentions Gombert as *magister puerorum* ("master of the boys") for the royal chapel. He and the singers went with the emperor on his travels throughout his holdings, leaving records of their appearances in various cities of the empire. These visits were musically influential, in part because of Gombert's stature as a musician; thus the travels of Charles and his chapel, as did those of his predecessor Philip I of Castile with composer Pierre de la Rue, continued the transplantation of the Franco-Flemish polyphonic tradition onto the Iberian Peninsula. At some point in the 1530s Gombert became a cleric and probably a priest; he received benefices at several cathedrals, including Courtrai, Lens, Metz, and Béthune. He remained in the Imperial chapel as *maître des enfants* ("master of the children") until some time between 1537 and 1540, being succeeded by Thomas Crecquillon and later Cornelius Canis. Even though he held this very position at the Imperial chapel, he never officially received the title of *maître de chapelle* – music director – which was a title given to both Adrien Thibaut and Crecquillon. While serving in this position, he likewise unofficially held the position of court composer, arranging numerous works commemorating the key happenings during Charles' life.

In 1540 during the height of his career, he vanished from chapel records. According to a contemporary physician and mathematician Jerome Cardan, writing in *Theonoston* (1560), in 1540 Gombert was convicted of sexual contact with a boy in his care and was sentenced to hard labor in the galleys. The exact duration of his service in the galleys is not known, but he was able to continue composing for at least part of the time. Most likely he was pardoned sometime in or before 1547, the date he sent a letter along with a motet from Tournai to Charles' *gran capitano* Ferrante I Gonzaga. The *Magnificat* settings preserved uniquely in manuscript in Madrid are often held to have been the "swansongs" that according to Cardan won his pardon; according to this story, Charles was so moved by these Magnificat settings that he let Gombert go early. An alternative hypothesis (Lewis 1994) is that Cardan was referring to the highly penitential First Book of four-part motets; however, in neither case is it clear how Gombert was able to compose while rowing in the galleys as a prisoner.

It is not known how long Gombert lived after his pardon or what positions, if any, he held; his career faded into relative obscurity after he was freed. He may have retired to Tournai, spending the final years of his life as canon there. Bracketing dates for his probable death are 1556 and 1561; in the former year Finck mentioned that he was still living, and in 1561 Cardan wrote that he was dead, without giving details.

## Music and style

Adrian Willaert and Nicolas Gombert are generally recognized as the exemplars of the late Franco-Flemish school, before the center of Renaissance art-music moved to Italy. A Fleming, Willaert relocated to Italy and along with the originally Flemish composer Orlando di Lasso brought the Franco-Flemish style of simultaneously dense and lyrical counterpoint to Italy. Like Willaert, Gombert brought the polyphonic style to its highest state of perfection; if imitation is a common device in Josquin, it is integral in Gombert.

Gombert's style is characterized by dense, inextricable polyphony. Extended homophonic passages are rare in his sacred works, and he is particularly fond of imitation at very close time intervals, a technically very difficult feat (although he only rarely wrote strict canon). He preferred the lower voice ranges instead of the four voices () which were the most common voicings for pieces at the time, such as five and six parts in mostly male registers. Gombert, unlike his predecessor and mentor, Josquin des Prez, used irregular numbers of voice entries and avoided precise divisions of phrases, resulting in a less-punctuated, more continuous sonic landscape. Syncopations and cross-accents are characteristic of his rhythmic idiom, giving ictus to his otherwise seamless, enduring lines.

Harmonically, Gombert's compositions stressed the traditional modal framework as a baseline, but especially in dense textures of six or more voices, he wrote polymodal sections wherein a subset of voices would sing the lowered pitches of F or B while another subset would sing the raised pitches of F or B: a D major and D minor chord or a G major and a G minor chord might be simultaneously sounded . Melodic motion in one voice that, to retain melodic and harmonic coherence with the other voices, employed *musica ficta*, or an extended set of pitches from the basic modal framework, was very prominent in his musical stylings. The false relations, usually between an F and an F or a B and B, create a dissonance that Gombert employed for emotional effect while adhering to traditional rules of counterpoint.

Exemplary among Gombert's formally perfect pieces that employ cross-relations are his six-voice motet on the death of Josquin, *Musae Jovis*, with its clashing semitones, and occasional root-position triads a tritone apart., and his six-voice chanson *Tous les Regretz*.

Out of the ten masses that Gombert composed, nine survive complete. The chronology of the masses is not known, but an approximate order can be deduced from stylistic characteristics. Two musical characteristics, sequence and ostinato, that were rare in Gombert’s later works, are present in his earlier masses *Quam pulchra es* and *Tempore paschali*.

The motet was Gombert's preferred form, and his compositions in this genre not only were the most influential part of his output, but they show the greatest diversity of compositional technique. His motets, alongside those of Adrian Willaert and Jacobus Clemens non Papa, stand out from the rest of the Flemish motet composers. Familiar characteristics of motets of the preceding generation, such as ostinato, canon, cantus firmus, and double texts, are unusual in Gombert's style, excepting where he used aspects of the previous generation's style as an homage, such as in his motet on the death of Josquin, *Musae Jovis*. When considering texts for his motets, Gombert obtained his inspiration from Scripture – such as the Psalms – as opposed to the liturgy of the Roman Catholic church. He was less attentive to textual placement and clarity than to the overall expressive sonority.

Gombert's eight settings of the *Magnificat*, which may have won him his pardon, are among his most famous works. Each is written in one of the church modes, and consists of a cycle of short motets, with the individual motets based on successive verses of the Magnificat text.

Some of Gombert's works are for unusually large vocal ensembles, including 8, 10, and 12 voices. These works are not polychoral in the usual sense, or in the manner of the Venetian School in which the voices were spatially separated; rather, the voice sub-groupings change during the pieces. These large ensemble compositions include an eight-voice *Credo,* the 12-voice *Agnus* from the *Missa Tempore paschali*, and 10- and 12- voice settings of the *Regina caeli*. In comparison with the northern Italian *cori spezzati* style, Gombert’s multi-voice works were not antiphonal. Instead of dividing forces consistently, Gombert frequently changed the combinations of voice groups. These vocal pieces contained more direct repetition, sequence and ostinato than his other music.

His secular compositions – mostly *chansons* – are less contrapuntally complex than his motets and masses, but more so than the majority of contemporary secular pieces, especially the 'Parisian' chanson. During the middle of the sixteenth century, Gombert received credit for several of the Parisian chansons, but later studies have discovered that he was not the sole 'Nicolas' of those secular pieces but many were actually by Nicolas de La Grotte or Guillaume Nicolas. Authors of the texts used in many chansons, a genre in which Gombert excelled, were mostly anonymous. He turned to older verse, often of a folkish type, with typical subject matter including unhappy love, farewells, separations, infidelities and the like. Many of these chansons appeared in lute and vihuela arrangements, with their wide geographical distribution showing their immense popularity.

His surviving works include 10 masses, about 140 motets, about 70 chansons, a canción (probably written when he was in Spain), a madrigal, and a handful of instrumental pieces.

## Influence

Gombert was one of the most renowned composers in Europe after the death of Josquin des Prez, as can be seen by the wide distribution of his music, the use of his music as source material for compositions by others, including Orlando di Lasso and Claudio Monteverdi. Printers paid singular attention to him, issuing for example, editions consisting solely of his works – most print editions at the time were anthologies of music by several composers. Although highly admired by his contemporaries, the next generation of Franco-Flemish composers mostly wrote in a more simplified style. Part of this was an inevitable stylistic reaction to a contrapuntal idiom which had reached an extreme, and part of this was due to the specific dictates of the Council of Trent, which required that text be understandable in sacred, especially liturgical, music – something which is next to impossible for a composer to achieve in a dense imitative texture.

While most composers of the next generation did not continue to write vocal music using Gombert's method of pervasive imitation, they continued to use this contrapuntal texture in instrumental works. Forms such as the *canzona* and *ricercar* are directly descended from the vocal style of Gombert; Baroque forms and processes such as the fugue are later descendants. Gombert's music represents one of the extremes of contrapuntal complexity ever attained in purely vocal music.

## Recordings

* Nicolas Gombert, *Music from the Court of Charles V*, Huelgas Ensemble, Sony Vivarte SK 48249
* Nicolas Gombert, *Missa media vita, etc.*, Hilliard Ensemble, ECM New Series 1884
* Nicolas Gombert, *Gombert: Motets*, Beauty Farm, Fra Bernardo FB 1504211
* Nicolas Gombert, *Gombert: Motets II*, Beauty Farm, Fra Bernardo FB 1612457
* Nicolas Gombert, *Gombert: Masses, a la Coronatione, Media Vita, Philomena Previa, Beati Omnes. Motets, Media Vita, Beati omnes*. Beauty Farm, Fra Bernado FB 2005329
* Nicolas Gombert, *Magnificat 1, etc.*, Oxford Camerata, Naxos 8.557732
* Nicolas Gombert, *Magnificats 1–4*, Tallis Scholars, CD Gimell Records CDGIM 037
* Nicolas Gombert, *Magnificats 5–8*, Tallis Scholars, CD Gimell Records CDGIM 038
* Nicolas Gombert, *Eight-part Credo, etc.*, Henry's Eight: Hyperion CDA 66828
* Nicolas Gombert, *Missa Tempore paschali, etc.*, Henry's Eight, Hyperion CDA 66943
* *Heavenly Spheres*, CBC Records, MVCD 1121, sung by Studio de musique ancienne de Montréal. Contains two motets by Gombert, including his elegy for Josquin, *Musae Jovis*.
* *Flemish Masters*, Virginia Arts Recordings, VA-04413, performed by Zephyrus. Includes Gombert's motet, *Lugebat David Absalon*, the Obrecht *Missa Sub tuum presidium*, as well as motets by Willaert, Clemens non Papa, Ockeghem, Des Prez, and Mouton.
* *Christmas to Candlemas*, Ensemble Gombert, Tall Poppies TP192. Includes Gombert's motet "Hodie nobis caelorum" and seasonal works by Mouton, Josquin, de Silva, Clemens non Papa, Tallis, Victoria, Lassus, Sheppard and Palestrina.
* *Josquin to Martin*, Ensemble Gombert, Move Records MCD 277. Includes Gombert's motet "Regina caeli laaetare" and works by Josquin, de Monte, Byrd, Brahms ("Drei Motetten," op. 110) and Frank Martin (Mass for Double Choir).
* Nicolas Gombert, *Nicolas Gombert 1*, The Sound and the Fury, ORF CD 463. Includes *Missa Quam Pulchra Es*, *Ave Maria*, *Salve Maria*, *Sancta Maria*, *Da Pacem*, *Inviolata*.
* Nicolas Gombert, *Nicolas Gombert 2*, The Sound and the Fury, ORF SACD 3006. Includes *Missa Sur Tous Regrets*, *Si Ignoras Te*, *Homo Erat in Jerusalem*, *Sancta Mundi*, *Ave Salus Mundi*, *Emendemus*, *Ne Reminiscaris Domine*, *Salvator Mundi*.
* Nicolas Gombert, *Nicolas Gombert 3*, The Sound and the Fury, ORF CD 3077. Includes twelve motets.
* Nicolas Gombert, *Tribulatio et angustia*, Brabant Ensemble, Stephen Rice, Hyperion CDA67614
* Nicolas Gombert, *Motets, Chansons, and a Magnificat*, Capella Alamire, Urquhart, Naxos 8.570180
* Listen to free recordings of songs from Umeå Akademiska Kör.

**Notes**

**Sources**

* Atlas, Allan W. *Renaissance Music: Music in Western Europe, 1400–1600*. New York: Norton, 1998.
* Brown, Howard Mayer and Stein, Louise K. *Music in the Renaissance.* 2nd ed. New Jersey: Prentice-Hall, 1999.
* Nugent, George and Jas, Eric “Nicolas Gombert”. *Grove Music Online*. ed. L. Macy (accessed 19 November 2007), \<http://www.grovemusic.com\>.
* Reese, Gustave *Music In the Renaissance*. New York, Norton, 1954.
* Taruskin, Richard *The Oxford History of Western Music: Volume 1 – The Earliest Notations to the Sixteenth Century*. New York: Oxford University Press, 2005.


title: Hilda Muhlhauser Richards

abstract: Hilda Muhlhauser Richards was an American government official during World War I. She aimed to protect women's rights as chief of the Woman's Division of the Federal Employment Service in the United States Department of Labor.

text:
# Hilda Muhlhauser Richards

**Hilda Muhlhauser Richards** (December 25, 1885 – February 26, 1924) was an American government official during World War I. She aimed to protect women's rights as chief of the Woman's Division of the Federal Employment Service in the United States Department of Labor.

## Early life

Richards was born in Cleveland, Ohio, the daughter of Frederick Mühlhauser and Antoinette Kahnheimer Mühlhauser. Her father, born in Switzerland, was the owner of the Northern Ohio Woolen Mills, and her mother was from Germany. As a young woman, inspired after a visit to Hull House, Hilda Muhlhauser worked in a settlement house in Cleveland.

## Career

In 1909, Hilda Muhlhauser spoke at a meeting of the Council of Jewish Women in Buffalo, about her work on the Council of Educational Alliance in Cleveland. She was head of the Girls' and Women's Employment Bureau in that city. She was on the board of the Consumers' League of Ohio, the Woman's Suffrage Association, and the Woman's City Club of Cleveland. Muhlhauser attended the Panama–Pacific International Exposition in 1915 as a representative on Cleveland.

In 1915, she was the only woman named to an advisory board of twelve national experts, to work on coordinating employment policy at federal, state, and municipal levels. She published a report on public employment bureaus during this time. She was vice president of the International Association of Public Employment Services from 1915 to 1917, focusing on the employment issues of women and girls.

In January 1918, Richards was appointed chief of the Woman's Division of the Federal Employment Service in the U. S. Department of Labor. Her policy positions included "equal pay for equal work" and the eight-hour work day. "We will protect the women hired to replace men from exploitation by unscrupulous employers," she explained of her division's wartime mission. She resigned her post in August 1918, after the program was reorganized. Her successor was Margaretta Neale.

In 1919, she wrote a syndicated newspaper column titled "Woman and her Job."

## Personal life

In 1917, Muhlhauser married professor Charles Russell Richards (1865–1936), director of Cooper Union.

She died in Sunny Bank Hospital, Cannes, France, of uremia.


title: Nicolette Larson

abstract: Nicolette Larson was an American singer. She is perhaps best known for her work in the late 1970s with Neil Young and her 1978 hit single of Young's "Lotta Love", which hit No. 1 on the Hot Adult Contemporary Tracks chart and No. 8 on the pop singles chart. It was followed by four more adult contemporary hits, two of which were also minor pop hits. By 1985, she shifted her focus to country music, charting six times on the US country singles chart. Her only top-40 country hit was "That's How You Know When Love's Right", a duet with Steve Wariner. She died in 1997 of cerebral edema and liver failure.

text:
# Nicolette Larson

**Nicolette Larson** (July 17, 1952 – December 16, 1997) was an American singer. She is perhaps best known for her work in the late 1970s with Neil Young and her 1978 hit single of Young's "Lotta Love", which hit No. 1 on the Hot Adult Contemporary Tracks chart and No. 8 on the pop singles chart. It was followed by four more adult contemporary hits, two of which were also minor pop hits.

By 1985, she shifted her focus to country music, charting six times on the US country singles chart. Her only top-40 country hit was "That's How You Know When Love's Right", a duet with Steve Wariner. She died in 1997 of cerebral edema and liver failure.

## Early life and career

Nicolette Larson was born in Helena, Montana. Her father's employment with the U.S. Treasury Department necessitated frequent relocation for the family. She graduated from high school in Kansas City, Missouri, where she attended the University of Missouri for three semesters and worked at waitressing and office jobs before beginning to pursue the musical career she had dreamed of since singing along to the radio as a child.

In the early 1970s, Larson eventually settled in San Francisco, California, where she worked in a record store (Discount Records, on Telegraph Avenue in Berkeley, which also sold tickets for shows at the Fillmore West and Winterland) and for the Golden Gate Country Bluegrass Festival. Turning to singing, her performance career began with a booking as the opening act for Eric Andersen at The Egress, a club in Vancouver, British Columbia. In 1975, Larson auditioned for Hoyt Axton, who was producing Commander Cody. This led to Larson singing with Hoyt Axton and The Banana Band, who were opening for Joan Baez on the "Diamonds and Rust" tour in 1975. She earned her first recording credit on Commander Cody's 1975 album *Tales From the Ozone*, toured with his band and also provided background vocals on subsequent Commander Cody albums in 1977 and 1978. Other early career singing credits were for Axton and Guy Clark, both in 1976; the following year her resume included further credits with Mary Kay Place, Rodney Crowell, Billy Joe Shaver, Jesse Colin Young, Jesse Winchester, and Gary Stewart.

Larson and Guthrie Thomas both had their first professional recording session on Axton's *Southbound* album for A&M Records. As newcomers to the recording industry, they were listed on the back cover of the album as "Street Singers", entirely separate from the highly paid, more established artists also appearing on the album.

Larson's work with Emmylou Harris – whose 1977 album *Luxury Liner* prominently showcased Larson on the song "Hello Stranger" – led to her meeting and then befriending Harris's associate and friend Linda Ronstadt. In 1977, Larson was at Ronstadt's Malibu home when neighbor Neil Young phoned to ask Ronstadt if she could recommend a female vocal accompanist. Ronstadt suggested Larson; she was the third person that day to mention Larson to Young. He came over to meet Larson, who recalled, "Neil ran down all the songs he had just written, about twenty of them. We sang harmonies with him and he was jazzed."

The following week Ronstadt and Larson cut their vocals for Young's *American Stars 'n Bars* album at Young's La Honda ranch – the two women were billed on the album as the Bullets – and, in November 1977, Young invited Larson to Nashville to sing on his *Comes a Time* album. This led to Larson's being signed to Warner Bros. Records.

Larson continued her background singing career into 1978, accruing credit on recordings by Marcia Ball, Rodney Crowell, Emmylou Harris (*Quarter Moon in a Ten Cent Town*), and Norton Buffalo. She also sang on the Doobie Brothers' *Minute by Minute*. That album's producer, Ted Templeman, then produced Larson's debut album, *Nicolette*.

## 1978–1983

Larson's work with Commander Cody had led to her being signed to the C&W division of Warner Bros. Records. However her debut album *Nicolette*, released September 29, 1978, was an eclectic mix of rock, C&W and R&B.

Despite the release of her album so late in the year, Larson was acclaimed Female Vocalist of 1978 by *Rolling Stone*, which wrote no one else could sound as if she were having so much fun on an album. *Nicolette* reached No. 15 on Billboard's album chart aided by the hit single "Lotta Love", a Neil Young composition. Larson's "Lotta Love" hit #1 on the Easy Listening/Adult Contemporary chart and went Top 10 Pop in February 1979. Linda Ronstadt, Valerie Carter, Bill Payne, James Burton, and Patrick Simmons performed on the *Nicolette* album.

Warner Brothers also issued the limited edition (5,000 copies) promo-only *Live at the Roxy* album comprising a December 20, 1978, concert given by Larson at the Sunset Boulevard nightclub. Larson was also featured on the *No Nukes* album recorded in September 1979 at Madison Square Garden, backed by the Doobie Brothers in her performance of "Lotta Love".

Larson would be unable to consolidate the commercial success augured by her debut: the second single off *Nicolette*, "Rhumba Girl" just missed becoming a major hit for Larson at No. 48. Her second album, *In the Nick of Time,* released November 1979, failed to showcase Larson's voice attractively. Don Shewey in *Rolling Stone* wrote:

> Larson's rough-edged, down-home tone is definitely appealing – especially when she backs up the likes of Neil Young and Steve Goodman \[whose *High and Outside* album featured a duet with Larson: "The One That Got Away"\] – but as a soloist, her limited vocal resources are "severely taxed" – "It's symptomatic of Nicolette Larson's problems as a performer that the finest singing on *In the Nick of Time* is by Michael McDonald. 'Let Me Go, Love' ... McDonald's entrancing vocal presence ... so overshadows Larson's that she seems to be playing second fiddle rather than sharing the lead. Elsewhere, Larson is dwarfed by Ted Templeman's typically luxurious production".

Released as the album's lead single, "Let Me Go Love" reached only No. 35 in February 1980. That year Larson was heard on the airwaves via guest appearances on "Say You'll Be Mine" by Christopher Cross and the Dirt Band's "Make a Little Magic". Larson had enough residual popularity from her debut for *In the Nick of Time* to become a moderate success. Because she had no major hit, Larson's 1981 and 1982 album releases, *Radioland* (her last album produced by Templeman) and *All Dressed Up and No Place to Go*, were unsuccessful, even though both releases showed Larson back in strong vocal form. In 1982 Larson received some adult-contemporary radio airplay with her remake of "I Only Want to Be With You" (No. 53).

Larson had continued her background singing career accruing credits on releases by Tom Johnston, Linda Ronstadt (*Mad Love*), Graham Nash, John Stewart, Albert Hammond, and Rita Coolidge. Larson again backed the Doobie Brothers on their *One Step Closer* album; she can be heard on the hit "Real Love." A song Larson co-wrote with John McFee and Patrick Simmons titled "Can't Let It Get Away" was a 1981 single release for the Doobie Brothers in Japan.

Larson's recording of the Burt Bacharach/Carole Bayer Sager song "Fool Me Again" was featured on the bestselling soundtrack album for the 1981 film *Arthur,* despite not being heard in the film. Larson was also featured on the soundtrack album for *National Lampoon's Vacation* (1983) with the track "Summer Hearts".

Larson's appearance in a touring production of the C&W musical *Pump Boys and Dinettes* garnered enough positive reaction for MCA Nashville to sign her in 1983.

## 1984–1997

The Nashville music community was so enthused about Larson's C&W cross-over that in 1984 the Academy of Country Music named her the Best New Female Vocalist before she had any MCA Nashville releases. Larson's MCA debut *...Say When* was not released until 1985 (by which point country pop was no longer in style and neotraditionalists had taken over the country scene). The C&W career it ushered in for Larson proved anticlimactic with only one of her six MCA single releases becoming a significant hit: her duet with Steve Wariner titled "That's How You Know When Love's Right," taken from the April 1986 album release *Rose of My Heart.* The record reached No. 9 C&W. Larson's MCA albums, produced by Emory Gordy Jr. and Tony Brown, attracted little critical attention. Her final mainstream album release was *Shadows of Love*, a 1988 recording made for the Italian CGD label and produced by Carlo Stretti and Ernesto Taberelli. It was her only album for a non-US label.

In 1992 Larson reunited professionally with Neil Young to sing on his *Harvest Moon* album. In 1993 she was featured on Young's *Unplugged*. Larson's final album was the self-produced *Sleep, Baby, Sleep*, consisting of music for children, released by Sony Wonder in 1994.

Larson also contributed to the seasonal albums *Tennessee Christmas*  (1987) with "One Bright Star", *Acoustic Christmas* (1988) with "Christmas Is a Time for Giving," and *Have Yourself a Merry Little Christmas* (1989) with "Nothing But a Child" and "One Bright Star". In 1988, Larson contributed to the soundtracks of the film *They Call Me Renegade* with the tracks "Let Me Be the One" from her 1988 album *Shadows of Love*.

While it was recorded in 1978, *Live at the Roxy* was given its first full release in 2006, nine years after Larson's death. It was released by Rhino. Also in 2006, Rhino Entertainment released the album *A Tribute to Nicolette Larson: Lotta Love Concert*. Two "Lotta Love" concerts were held on February 20 and 21, 1998, in Santa Monica, CA, to benefit the UCLA Children's Hospital.

## Personal life

Through her early work in the 1970s with Emmylou Harris, Larson met guitarist and songwriter Hank DeVito. Larson and DeVito later married and divorced. She also dated Neil Young during the *Comes a Time* sessions. In the early 1980s, Larson was engaged to Andrew Gold, but their relationship ended shortly after the completion of Larson's 1982 album *All Dressed Up and No Place to Go,* which Gold had produced. In the late 1980s, she briefly dated "Weird Al" Yankovic. Yankovic would later compose "You Don't Love Me Anymore", a style parody of Larson's work, for his 1992 album *Off the Deep End*. In 1990, Larson married drummer Russ Kunkel, and the two remained married until her death in 1997. The couple's daughter, Elsie May Larson-Kunkel, was born in 1990.

## Death

Larson died on December 16, 1997, in Los Angeles, California, as a result of complications arising from cerebral edema triggered by liver failure. She was 45 years old. According to her friend Astrid Young, Neil Young's half-sister, Larson had been showing symptoms of depression, and her fatal seizure "was in no small way related to her chronic use of Valium and Tylenol PM." Two benefit concerts were held in Larson's honor in February 1998. A tribute album was released in 2006 and Carole King and other famous musicians joined the album.

## Discography

| Year | Album | Chart positions | | | | Certifications |
| --- | --- | --- | --- | --- | --- | --- |
| | | US
 | US Country
 | AUS
 | CAN | |
| 1978 | *Nicolette* | 15 | - | 6 | 1 |  |
| 1979 | *In the Nick of Time* | 47 | 35 | 71 | - |
| | *Live at the Roxy* (only as Promo) |  | _ |  | - |
| 1981 | *Radioland* | 62 | 68 |  | _ |
| 1982 | *All Dressed Up and No Place to Go* | 75 | 95 |  | _ |
| 1985 | *...Say When* |  | 48 |  |  |
| 1986 | *Rose of My Heart* | ~ | 40 |  |  |
| 1988 | *Shadows of Love* |  |  |  |  |
| 1994 | *Sleep, Baby, Sleep: Quiet Songs for Quiet Times* |  |  |  |  |
| 1995 | *That's How You Know When Love Is Right* (cassette) |  |  |  |  |
| 1999 | *The Very Best of Nicolette Larson* |  |  |  |  |
| 2006 | *A Tribute to Nicolette Larson: Lotta Love Concert* |  |  |  |  |
| | *Live at the Roxy* (recorded in 1979) |  |  |  |  |

### Singles

| Year | Title | Peak positions | | | | | | | | | Album |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| | | US
 | US AC
 | US Country
 | US Black Singles
 | AUS
 | CAN | CAN AC | CAN Country | NZ
 | |
| 1978 | "Lotta Love" | 8 | 1 |  |  | 11 | 4 | 1 |  | 22 | *Nicolette* |
| 1979 | "Rhumba Girl" | 47 | 38 |  |  | 15 | 4 |  |  | |  |
| | "Give a Little" | 104 | 19 |  |  |  |  |  |  | |
| | "Let Me Go, Love" | 35 | 9 |  | 9 | 32 |  |  |  |  | *In the Nick of Time* |
| 1980 | "Dancin' Jones" |  |  |  |  |  |  |  | |  |  |
| | "Back in My Arms" |  |  |  |  |  |  |  | |  |  |
| 1981 | "Ooo-Eee" | 110 |  |  |  |  |  |  |  |  | *Radioland* |
| | "When You Come Around" |  |  |  |  |  |  |  |  | |  |
| | "Radioland" |  |  |  |  |  |  |  |  | |  |
| | "Fool Me Again" | 105 |  |  |  |  |  |  |  |  | *Arthur* (soundtrack) |
| 1982 | "I Only Want to Be with You" | 53 | 15 |  |  |  |  |  |  |  | *All Dressed Up & No Place to Go* |
| 1985 | "Only Love Will Make Love Right" |  |  | 42 |  |  |  | 33 |  |  | *...Say When* |
| | "When You Get a Little Lonely" |  |  | 46 |  |  |  |  |  | |  |
| | "Building Bridges" |  |  | 72 |  |  |  |  |  | |  |
| 1986 | "Let Me Be the First" |  |  | 63 |  |  |  | |  |  | *Rose of My Heart* |
| | "That's How You Know When Love's Right"
(with Steve Wariner) |  |  | 9 |  |  |  |  | | 9 |  |
| | "That's More About Love (Than I Wanted to Know)" |  |  | 49 |  |  |  |  | |  |  |
| 1988 | "Let Me Be the One" |  |  |  |  |  |  |  |  |  | *Shadows of Love* |

## Awards and nominations

| Year | Organization | Award | Nominee/Work | Result |
| --- | --- | --- | --- | --- |
| 1985 | Academy of Country Music Awards | Top New Female Vocalist | Nicolette Larson | Won |
| 1986 | Country Music Association Awards | Vocal Duo of the Year | Nicolette Larson and Steve Wariner | Nominated |

## InfoBox

| Nicolette Larson | |
| --- | --- |
| Larson in 1985 | |
| Background information | |
| Born | (1952-07-17)July 17, 1952
Helena, Montana, U.S. |
| Died | December 16, 1997(1997-12-16) (aged 45)
Los Angeles, California, U.S. |
| Genres |  |
| Occupation | Singer |
| Instrument(s) | Vocals, guitar |
| Years active | 1973–1997 |
| Labels | Warner Bros., MCA, CGD, Sony Wonder |
| Formerly of | Commander Cody, Steve Wariner, Neil Young, Emmylou Harris |


title: Nicolette Macnamara

abstract: Nicolette Macnamara, was a British artist and author who was active in the work of PEN International.

text:
# Nicolette Macnamara

**Nicolette Macnamara** (later **Devas** then **Shephard**, 1 February 1911 – 10 May 1987), was a British artist and author who was active in the work of PEN International.

## Biography

Macnamara was the eldest of the four children born to Francis Macnamara (1884–1946), an eccentric Irish poet and sometime landowner, and his wife Mary Yvonne Majolier (1886–1973), who was from a family with both Anglo-Irish and French roots. In 1916 Francis Macnamara left his family to follow various political and cultural adventures, including an attempt to establish a 'Republic of Macnamaraland'. His family were left impoverished and they had to move home several times. They stayed in France with the Majolier family for a time and in 1923 they settled at Blashford in the New Forest. Blashford was close to Fryern Court, the large property in Fordingbridge where Augustus John, Dorelia McNeill and an extended group of their friends and family were living the bohemian life. The Macnamara children moved freely between the two households and although Nicolette received little formal education, and did not learn to read until she was twelve, she did gain both an appreciation of art, from the artists at Freyn Court, and also a love of nature, particularly ornithology, from exploring the New Forest. Her only formal education were brief stints at schools in Cannes and Paris, where she had some formal art classes.

Augustus John used his influence, and money, to enable Macnamara to enter the Slade School of Fine Art when she was sixteen. Her fellow students included William Coldstream, Rodrigo Moynihan and Anthony Devas, whom she married in 1931. Macnamara did well at the Slade and throughout the 1930s began establishing her career as an artist with works shown at the New English Art Club, the Royal Academy and the London Group. Shortly before the beginning of World War Two she had a one-woman show at the Storran Gallery. After the war Macnamara decided to concentrate on writing fiction. Her first novel, *Bonfire* was recommended for publication by Cecil Day Lewis and when it was eventually published, in 1958, it sold well and received good reviews including one by John Betjeman in the *Daily Telegraph*. Her most successful book was her autobiographical account of her unorthodox childhood, *Two Flamboyant Fathers*, which focused on both Augustus John and her own father. For several years Macnamara worked studying and sorting birds' eggs at the Natural History Museum.

Anthony Devas died in 1958 and several years later Macnamara married Rupert Shephard, an artist and contemporary of hers from the Slade who was also a widower with three children. The couple set up home in Chelsea in a house which quickly became a social hub for many artists. Macnamara became an active member of both English PEN and PEN International and was a regular speaker at their events and conferences. In 1987 Macnamara's artwork featured in an exhibition of works by former Slade students held at Sally Hunter Fine Art. Macnamara's younger sister, Caitlin, married the poet Dylan Thomas.

## Published works

* *Bonfire* (1958)
* *Nightwatch* (1961)
* *Two Flamboyant Fathers* (1966)
* *Black Eggs* (1970)
* *Susanna's Nightingales* (1978)
* *Pegeen Crybaby* (1986)

## InfoBox

| Nicolette Macnamara | |
| --- | --- |
| Born | (1911-02-01)1 February 1911
London, England |
| Died | 10 May 1987(1987-05-10) (aged 76)
London, England |
| Occupation | Artist and author |
| Alma mater | Slade School of Fine Art |
| Genres | Fiction and biographical |
| Notable works | *Two Flamboyant Fathers* (1966) |
| Spouses | *   Anthony Devas  (m. 1931; died 1958) *   Rupert Shephard (m. 1965) |
| Relatives | Caitlin Thomas (sister) |


title: Nicholas Freudenberg

abstract: Nicholas Freudenberg is distinguished professor of public health at the City University of New York School of Public Health and at Hunter College. He is founder and director of Corporations and Health Watch (www.corporationsandhealth.org), an international network monitoring the business practices of the alcohol, automobile, firearms, food and beverage, pharmaceutical and tobacco industries.

text:
# Nicholas Freudenberg

**Nicholas Freudenberg** (born in 1948) is distinguished professor of public health at the City University of New York School of Public Health and at Hunter College.

He is founder and director of Corporations and Health Watch (www.corporationsandhealth.org), an international network monitoring the business practices of the alcohol, automobile, firearms, food and beverage, pharmaceutical and tobacco industries.

## Publications

* Nicholas Freudenberg (2014). *Lethal But Legal: Corporations, Consumption, and Protecting Public Health*. Oxford University Press. ISBN 9780190495374.
* Nicholas Freudenberg (2021). *At What Cost: Modern Capitalism and the Future of Health*. Oxford University Press. ISBN 9780197678923.


title: Nicholas Friton

abstract: Nicholas Friton, was a Roman Catholic prelate who served as Bishop of Nakhchivan (1560–1597).

text:
# Nicholas Friton

**Nicholas Friton**, OP (died 1597) was a Roman Catholic prelate who served as Bishop of Nakhchivan (1560–1597).

## Biography

On 20 October 1560, Nicholas Friton was appointed during the papacy of Pope Pius IV as Bishop of Nakhchivan. According to Vincenzo degli Alessandri, to whom he gave shelter for 48 days, Friton visited Venice twice - once on 13 June 1561 and on 26 April 1569. He visited Rome four times as well.

Pope Pius IV addressed a letter to Nicholas in 1562, ordered him to send to the Patriarch of the Chaldeans, Abdisho IV Maron, "a man proficient in the study of the Syriac language and ecclesiastical sciences." Later Pius sent another letter on February 23, 1565 and declared that he has ordered Jean-Baptiste to visit Nicolas, his clergy, and his people on his behalf. Furthermore, the Pope sent Nicolas, through his Nuncio, the decrees issued by the Council of Trent and instructed him to accept "those matters pertaining to faith."

He served as Bishop of Nakhchivan until his death in 1597. He was succeeded by his nephew Azarias Friton.

## InfoBox

| Most Reverend
Nicholas Friton | |
| --- | --- |
| Bishop of Nakhchivan | |
| Church | Catholic Church |
| Diocese | Diocese of Nakhchivan |
| In office | 1560–1597 |
| Successor | Azarias Friton |
| Personal details | |
| Died | 1597
Nakhchivan, Armenia |


title: Hisashi Katsuta

abstract: Hisashi Katsuta Hisashi Katsuta was a Japanese actor and voice actor. He is best known for his voice-over portrayal of Professor Ochanomizu in three anime adaptations of the Astro Boy franchise, and also voiced Dr. Hoshi in Astroganger (1972–1973), Professor Tobishima in Groizer X (1976–1977), and Shin'ichirō Izumi in Tōshō Daimos (1978–1979).

text:
# Hisashi Katsuta

**Hisashi Katsuta** (勝田 久, *Katsuta Hisashi*, 2 April 1927 – 21 February 2020) was a Japanese actor and voice actor. He is best known for his voice-over portrayal of Professor Ochanomizu in three anime adaptations of the *Astro Boy* franchise, and also voiced Dr. Hoshi in *Astroganger* (1972–1973), Professor Tobishima in *Groizer X* (1976–1977), and Shin'ichirō Izumi in *Tōshō Daimos* (1978–1979).

## Early life

Hisashi Katsuta was born on 2 April 1927 in Tokyo, and was educated at Seigakuin Junior & Senior High School and the Technical Institute for Wireless-Communications (now the University of Electro-Communications).

He had been interested in film and theater since childhood, and he and his elder brother would often see films. He graduated from the Kamakura Academia Faculty of Theatre in 1949. He became a member of the Toho Drama Club in 1948, and was also a member of the Tōkyō Hōsō Gekidan, Mori no Kai, Players Center, Tēbura, Rindō Pro, Tokyo Actor's Consumer's Cooperative Society, and Arts Vision.

## Voice acting career

His voice acting career started in 1948 when he appeared in NHK's 1948 radio adaptation of the Shi Nai'an novel *Water Margin*, and he was contracted to the broadcaster in 1949 before being released in 1954. Katsuta would later become a pioneer in voice acting in Japan. He started dubbing work with the Japanese dub of *The Buccaneers*, a television drama produced in the United Kingdom in 1956. He later cited *Surfside 6* and *The Beverly Hillbillies*, both American live-action shows in the 1960s, as two of his most memorable dubbing works.

In 1963, he was cast as Dr. Ochanomizu in the anime *Astro Boy*. The Ochanomizu character would become Katsuta's own magnum opus, and he would later reprise his role in both the 1980 and 2003 anime adaptations of *Astro Boy*, as well as the film adaptations *Hero of Space* and *Shinsengumi*.

In addition to Dr. Ochanomizu, he also voiced Dr. Hoshi in *Astroganger*, Professor Tobishima in *Groizer X*, and Shin'ichirō Izumi in *Tōshō Daimos*. In 1979, Katsuta voiced the fictional depiction of King Louis XV of France in *The Rose of Versailles* and a fictional depiction of the Sengoku-era samurai Sanada Yukimura in *Manga Sarutobi Sasuke*. He had minor roles in several anime series, including *Cat's Eye*, *Dororo*, *Jetter Mars*, *Katri, Girl of the Meadows*, *Kimba the White Lion*, *Legend of the Galactic Heroes*, *Marine Boy*, *Megazone 23*, *Musashi no Ken*, *Oishinbo*, *Perman*, *Shin Jungle Taitei: Susume Leo!*, *The Monster Kid*, and *Voltes V*.

Katsuta was taught by "veteran voice actors" and felt that he wanted to teach voice actors, and after being a lecturer in several voice acting schools, he started a voice acting class in April 1982, which in April 1987 would later become the Katsuta Voice Acting Academy (勝田声優学院, *Katsuta Seiyū Gakuin*), where he would be dean.

He later published a book on voice acting, *Shōwa seiyū retsuden terebi sōsō-ki o koe de sasaeta meiyū-tachi* (昭和声優列伝 テレビ草創期を声でささえた名優たち), and later credited the fact that voice acting in Japan has a history as his reason for authoring the book. He also published *Soshite seiyū ga hajimatta* (そして声優が始まった), an autobiography that feature thirty-two voice actors with a prominent impact on Japanese culture. He was one of three winners of the Synergy Award at the 3rd Seiyu Awards on 7 March 2009.

## Death

Katsuta died of senility on 21 February 2020, at the age of 92 in a hospital in Ōme, Tokyo; he was survived by his wife Katsumi (勝美).

## Filmography

### Animation

1963 1965 1967 1968 1969 1970 * *Bakuhatsu Gorō*, Aozora Gakuen Principal

1971 1972 1975 1976 1977 1978 1979 1980 1983 1984 1985 1988 1990 2003

### Film

1982

### Dubbing

## InfoBox

| Hisashi Katsuta | |
| --- | --- |
| 勝田 久 | |
| Born | (1927-04-02)2 April 1927
Tokyo, Empire of Japan |
| Died | 21 February 2020(2020-02-21) (aged 92)
Ōme, Tokyo, Japan |
| Alma mater | Technical Institute for Wireless-Communications |
| Occupations | * Actor * voice actor |
| Years active | 1948–2020 |
| Spouse | Katsumi (勝美) |


title: Niezdów, Lesser Poland Voivodeship

abstract: Niezdów is a village in the administrative district of Gmina Dobczyce, within Myślenice County, Lesser Poland Voivodeship, in southern Poland.

text:
# Niezdów, Lesser Poland Voivodeship

**Niezdów** \[ˈɲɛzduf\] is a village in the administrative district of Gmina Dobczyce, within Myślenice County, Lesser Poland Voivodeship, in southern Poland.

## InfoBox

| Niezdów | |
| --- | --- |
| Village | |
| Niezdów | |
| Coordinates: 49°53′20″N 20°06′47″E / 49.88889°N 20.11306°E / 49.88889; 20.11306 | |
| Country | Poland |
| Voivodeship | Lesser Poland |
| County | Myślenice |
| Gmina | Dobczyce |


title: Nigel Pullman

abstract: Nigel Reginald Pullman JP is a former British Army officer and newspaper executive. In 2012–13, he was one of the two Sheriffs of the City of London.

text:
# Nigel Pullman

**Nigel Reginald Pullman** JP (born 1947) is a former British Army officer and newspaper executive. In 2012–13, he was one of the two Sheriffs of the City of London.

## Biography

Pullman was educated at Sherborne School before going to the Royal Military Academy Sandhurst. He was commissioned into the Royal Corps of Signals in 1968, serving with the Brigade of Gurkhas and the United Nations in Cyprus (1974–75). He was promoted to the rank of captain before leaving regular military service. He then joined the Inns of Court & City Yeomanry (Territorial Army), retiring in 1988. In 2016, he was appointed Honorary Colonel of 68 (Inns of Court & City Yeomanry) Signal Squadron and of the Band of The Royal Yeomanry (Inns of Court and City Yeomanry). He was appointed to Her Majesty's Commission of Lieutenancy for the City of London in 2014.

After the army, Pullman worked for the *Financial Times* (1979–96) before becoming clerk to the Worshipful Company of World Traders (1997–2008). He was Master of the Leathersellers' Company for 2010–11 and Sheriff of the City of London in 2012–13. In retirement, he was chairman of the City of London Livery Committee (2013–16), a governor of Colfe's School in Lewisham (2002–16), and is clerk of the City & Metropolitan Welfare Charities, as well as a number of other voluntary roles in the charity and livery world.

## Honours and decorations

## Arms

Coat of arms of Nigel Pullman
| CrestA Dolphin hauriant Argent eyed langued finned and scaled Gules resting the fins on a Sword point downwards Argent hilt and pommel Or EscutcheonCarnation two Pallets Argent over all a Roebuck passant reguardant Gules attired and unguled Sable resting the dexter forehoof on a Ship's Wheel Azure Motto*Coniuncti Fortiores* |
| --- |


title: Historic Churches Scotland

abstract: Historic Churches Scotland is a registered charity founded in 1996 which looks after Scottish churches which are of outstanding historic or architectural significance but are no longer used for regular worship. The Trust receives funding from Historic Scotland and public donations. Funding for restoration of churches in Trust ownership is received from the Heritage Lottery Fund, Historic Scotland, the Listed Places of Worship Grant Scheme, the Scottish Churches Architectural Heritage Trust, and other trusts and public donations. The Trust conserves and repairs all of the churches in its care and runs a range of projects to encourage greater public enjoyment and understanding of historic churches. Many of its buildings are used for community, arts and educational activities. All remain as places of worship and occasional services are held. The Trust presently maintains seven properties throughout Scotland: St Peter's Church, Sandwick in Orkney, Cromarty East Church in Ross-shire, Pettinain Church in Lanarkshire, Tibbermore Church in Perthshire, Benholm Kirk, Kincardineshire, Kildrummy Kirk, and St Margaret's Church, Braemar. The Trust changed its name to Historic Churches Scotland in January 2019.

text:
# Historic Churches Scotland

**Historic Churches Scotland** (formerly the **Scottish Redundant Churches Trust**) is a registered charity founded in 1996 which looks after Scottish churches which are of outstanding historic or architectural significance but are no longer used for regular worship. The Trust receives funding from Historic Scotland and public donations. Funding for restoration of churches in Trust ownership is received from the Heritage Lottery Fund, Historic Scotland, the Listed Places of Worship Grant Scheme, the Scottish Churches Architectural Heritage Trust, and other trusts and public donations.

The Trust conserves and repairs all of the churches in its care and runs a range of projects to encourage greater public enjoyment and understanding of historic churches. Many of its buildings are used for community, arts and educational activities. All remain as places of worship and occasional services are held.

The Trust presently maintains seven properties throughout Scotland: St Peter's Church, Sandwick in Orkney (acquired 1998), Cromarty East Church in Ross-shire (acquired 1998), Pettinain Church in Lanarkshire (acquired 2000), Tibbermore Church in Perthshire (acquired 2001), Benholm Kirk, Kincardineshire (acquired 2006), Kildrummy Kirk (acquired 2009), and St Margaret's Church, Braemar (acquired 2013). The Trust changed its name to Historic Churches Scotland in January 2019.

## Key

| Category | Criteria |
| --- | --- |
| A | Buildings of national or international importance, either architectural or historic, or fine little-altered examples of some particular period, style or building type. |
| B | Buildings of regional or more than local importance, or major examples of some particular period, style or building type which may have been altered. |
| C | Buildings of local importance, lesser examples of any period, style, or building type, as originally constructed or moderately altered; and simple traditional buildings which group well with others in categories A and B. |
|

## List of properties

| Name | Location | Image | Date\[A\] | Notes | Category |
| --- | --- | --- | --- | --- | --- |
| Cromarty East Church | Cromarty, Ross-shire
57°40′49″N 4°01′55″W / 57.680288°N 4.031965°W / 57.680288; -4.031965 |  | 18th century | Formerly Church of Scotland, the kirk was founded in the late 16th century but the building dates largely from the 18th century. The north aisle was added 1739 to create a T-plan church with further alterations in 1756 and 1798. The interior dates from the 18th century with several galleries added in the decades afterwards, most notably in 1756. The church was acquired by the SRCT in 1996, and was restored after being a finalist in the BBC *Restoration Village* series. Following this exposure, it was awarded a major grant in 2007 when the Heritage Lottery Fund, Historic Scotland and The Highland Council paid for a £1.3 million restoration. | A |
| Pettinain Church | Pettinain, Lanarkshire
55°39′53″N 3°39′46″W / 55.664729°N 3.66279°W / 55.664729; -3.66279 |  | 18th century | A rural parish kirk with beautiful views over Lanarkshire, the site has been a place of worship since the early 12th century when David I established the chapel of Pedynane. The present church dates principally from the 18th century though it incorporates an earlier belfry dated 1692. There is an old grave-slab with a sword and shears carved on it, in use as a lintel above a window on the south side. The church sits within a walled burial ground. Acquired by the Scottish Redundant Churches Trust in 2000 with the support of local people. | B
 |
| St Marnoch's Church | Benholm, Aberdeenshire
56°48′52″N 2°19′19″W / 56.8144°N 2.3220°W / 56.8144; -2.3220 |  | 19th century | Although externally plain, this rural parish kirk dates from 1832 and incorporates a 15th-century sacrament house and 17th century monuments of national importance from an earlier church of dating from the 13th century church which was dedicated to St Marnoch. The church is in a rectangular-plan with four bays, pedimented gables and belfry. Inside the church the 1620 monument to Lady Mary Keith, is a fusion of Renaissance architectural details and traditional symbolism that includes knobbly-kneed death skewering Lady Mary's parents. There is also a sophisticated 1690 Scott Monument in white marble with cherubs, drapery and foliage. Declared redundant in 2003, Benholm Kirk was purchased by the SRCT in February 2006 with the support of the local community. | A |
| St Peter's Church | Sandwick, Orkney
59°03′30″N 3°20′14″W / 59.058269°N 3.337294°W / 59.058269; -3.337294 |  | 19th century | An unaltered former Church of Scotland Parish Kirk of 1836 situated on an exposed site near the Bay of Skaill, the interior "evokes the experience of Presbyterian worship in the 19th century" when over 500 people attended the church. It was acquired by the Trust in 1998 and restored between 2002–3. St Peter's was the first major conservation project undertaken by the Trust. This building was on the Buildings at Risk Register for Scotland and rescued with the aid of £250,000 in grants. The restoration was awarded a Europa Nostra Award for conservation in 2003. | A |
| Tibbermore Church | Tibbermore, Perthshire
56°23′42″N 3°32′20″W / 56.395096°N 3.538963°W / 56.395096; -3.538963 |  | 17th century | The present building dates from 1632, although the site has been a place of worship from the Middle Ages onwards. The church was enlarged in 1789 to designs by James Scobie, and remodelled into a T-plan formation in 1808. The bellcote must have undergone reconstruction at this time, as it is inscribed with the date 1808 on its south face. The interior was refurnished in 1874 and is little altered since that date. The graveyard contains several monuments of interest, in particular a memorial to curler James Ritchie, displaying his curling equipment. Transferred to the Trust in 2001. | B |
| Kildrummy Kirk | Kildrummy, Aberdeenshire
57°14′42″N 2°52′36″W / 57.245136°N 2.876556°W / 57.245136; -2.876556 |  | 19th century | Former Church of Scotland parish church of 1805 set in open countryside and a prominent landmark on the Huntly to Banchory road. Adjoining it, on a raised mound, are the remains of the former medieval parish church of St Bride. The kirk is almost square in plan with a semicircular bay containing the gallery stair and entrance. Construction is of dressed rubble with pinnings and cherry cocking under a piend slate roof. The roof is a particularly fine feature of the building, combined with the ball finialed square domed bellcote. The two large Gothic tracery windows on the east wall flood the interior with light. The pulpit is placed between them and surrounded by plain wooden pews and a horseshoe gallery on square columns. The furnishings probably date from 1845 to 1850. | A |
| St Margaret's Church | Braemar, Aberdeenshire
57°00′21″N 3°23′50″W / 57.0057°N 3.3971°W / 57.0057; -3.3971 (St Margaret's Church, Braemar)
 |  | 20th century | The former Scottish Episcopal Church was designed by Sir Ninian Comper and completed in 1907. Described by Historic Scotland as "a remarkable example of a late Gothic Revival church", it is considered to be "a rare survival of Comper's work in a substantially unaltered state". Built largely for English tourists spending the summer at "Royal Deeside", its construction cost £8,000. Regular worship ceased in 1997, and in 2003 the church was placed on the Buildings at Risk Register for Scotland. The SRCT and the Prince's Regeneration Trust undertook feasibility studies, and on 17 June 2013 the church was transferred to the SCRT for the sum of £1. The Trust propose to renovate the building as "an arts hub, performance venue, and as a home for a new Braemar fiddle school". | A
 |

**A** This is the date of first construction of the existing building.


title: Nigel Searle

abstract: Nigel Searle is the former managing director of Sinclair Research Ltd, and one of the company's longest-serving employees. He joined Sinclair Radionics in 1973, and for most of the 1970s, Searle worked for Sinclair in the United States to promote the company's calculators and other products. In 1977, with Sinclair in financial trouble, Searle left the company. He rejoined in 1979 when Sir Clive Sinclair formed Science of Cambridge and continued to work from the US, successfully promoting the ZX80 and ZX81 personal computers. In spring 1982, he moved back to the United Kingdom as Sinclair's managing director, a post he retained until 1986 when Amstrad took over the company's computer business. Derek Riddell portrayed Searle in the 2009 BBC television movie Micro Men.

text:
# Nigel Searle

**Nigel Searle** is the former managing director of Sinclair Research Ltd, and one of the company's longest-serving employees. He joined Sinclair Radionics in 1973, and for most of the 1970s, Searle worked for Sinclair in the United States to promote the company's calculators and other products. In 1977, with Sinclair in financial trouble, Searle left the company. He rejoined in 1979 when Sir Clive Sinclair formed Science of Cambridge (later renamed Sinclair Research) and continued to work from the US, successfully promoting the ZX80 and ZX81 personal computers. In spring 1982, he moved back to the United Kingdom as Sinclair's managing director, a post he retained until 1986 when Amstrad took over the company's computer business.

Derek Riddell portrayed Searle in the 2009 BBC television movie Micro Men.


title: Michelle Buchanan

abstract: Michelle Buchanan is a Western Pythagorean Numerologist. She is best known for her television and radio appearances. In 2009, she became the Numerologist and Spiritual Counselor for New Zealand's Woman’s Day magazine. She has been the resident Numerologist for Television New Zealand's Good Morning since 2010. In 2012, Buchanan began her numerology show Discover Your Destiny on the self-help radio station, Hay House Radio. In Jan 2013, Buchanan signed an international publishing contract with Hay House Publishing for her first numerology book The Numerology Guidebook – Uncover Your Destiny and the Blueprint of Your Life and a deck of numerology oracle cards - Numerology Guidance Cards. Both were released in December, 2013. A Numerology Guidance Cards APP for IOS and Android devices was also released in 2014. Her second book, Hay House Basics - Numerology was released in November, 2015, accompanied by an online course, An Introduction To Numerology, through Hay House Publishing UK. In 2018, Hay House Basics - Numerology was republished as Numerology Made Easy - Discover Your Future, Life Purpose and Destiny From Your Birth Date and Name and her online course renamed Numerology Made Easy. Buchanan is also a contributing columnist for lifestyle media brand, "MindBodyGreen" (www.mindbodygreen.com), a singer/songwriter and mother of two who resides in Auckland, New Zealand.

text:
# Michelle Buchanan

**Michelle Buchanan** (born Michelle Tracey Wilson, 28 March 1969) is a Western Pythagorean Numerologist. She is best known for her television and radio appearances. In 2009, she became the Numerologist and Spiritual Counselor for New Zealand's *Woman’s Day* magazine. She has been the resident Numerologist for Television New Zealand's *Good Morning* since 2010. In 2012, Buchanan began her numerology show *Discover Your Destiny* on the self-help radio station, Hay House Radio.

In Jan 2013, Buchanan signed an international publishing contract with Hay House Publishing for her first numerology book *The Numerology Guidebook – Uncover Your Destiny and the Blueprint of Your Life* and a deck of numerology oracle cards - *Numerology Guidance Cards*. Both were released in December, 2013. A *Numerology Guidance Cards* APP for IOS and Android devices was also released in 2014. Her second book, *Hay House Basics - Numerology* was released in November, 2015, accompanied by an online course, *An Introduction To Numerology*, through Hay House Publishing UK.

In 2018, *Hay House Basics - Numerology* was republished as *Numerology Made Easy - Discover Your Future, Life Purpose and Destiny From Your Birth Date and Name* and her online course renamed *Numerology Made Easy*.

Buchanan is also a contributing columnist for lifestyle media brand, *"MindBodyGreen"* (www.mindbodygreen.com), a singer/songwriter and mother of two who resides in Auckland, New Zealand.


title: Verticordia galeata

abstract: Verticordia galeata is a flowering plant in the myrtle family, Myrtaceae and is endemic to the south-west of Western Australia. It is a woody shrub with thin, pointed cylinder-shaped leaves and heads of bright yellow flowers on the ends of the branches in spring.

text:
# Verticordia galeata

***Verticordia galeata*** is a flowering plant in the myrtle family, Myrtaceae and is endemic to the south-west of Western Australia. It is a woody shrub with thin, pointed cylinder-shaped leaves and heads of bright yellow flowers on the ends of the branches in spring.

## Description

*Verticordia galeata* is a shrub which grows to 1 m (3 ft) high and wide and which is irregularly branched. Its leaves are linear in shape, almost circular in cross-section, 10–30 mm (0.4–1 in) long with a pointed end.

The flowers are honey-scented and arranged in corymb-like groups near the ends of the branches, each flower on an erect stalk 12–20 mm (0.5–0.8 in) long. The floral cup is shaped like half a sphere, about 2 mm (0.08 in) long, glabrous and has a slightly warty surface. The sepals are bright yellow, spreading, 5 mm (0.2 in) long, with 7 to 9 densely hairy lobes. The petals are also bright yellow, erect 5 mm (0.2 in), with long, spreading, finger-like projections. The stamens possess an inflated appendage, a hood, that nearly covers their tips and the staminodes are pointed and triangular. The style is straight, 2.5–3.7 mm (0.098–0.15 in) long, and glabrous. Flowering time is from September to November.

This verticordia is similar to *V. chrysantha, V, chrysanthella and V. nobilis* but is distinguished from them by its longer leaves, longer flower stalks and bright yellow, non-fading flowers.

## Taxonomy and naming

*Verticordia galeata* was first formally described by Alex George in 1991 and the description was published in *Nuytsia* from specimens collected near the Murchison River in Kalbarri National Park by Alex George and Bob Wemm. The specific epithet (*galeata*) is derived from the Latin word *galeatus* meaning "helmeted".

George placed this species in subgenus *Chrysoma*, section *Jugata* along with *V. chrysanthella*, *V. chrysantha*, *V. brevifolia*, *V. coronata*, *V. amphigia* and *V. laciniata*.

## Distribution and habitat

The known populations, of which there are few, are found on red sand, amid sandstone gorges, in the open scrublands of its small range around the lower Murchison River in the northern section of the Geraldton Sandplains biogeographic region.

## Conservation

*Verticordia galeata* is classified as "Priority Two" by the Western Australian Government Department of Parks and Wildlife meaning that it is poorly known and from only one or a few locations. It does not possess a lignotuber, so is susceptible to altered fire regimes; the distribution range is within the Kalbarri National Park, a protected area that has become vulnerable to high intensity fires.

## Use in horticulture

Flowers on cultivated specimens of this plant last much longer than those in the wild and their bright colour and sweet scent make them attractive garden plants. Plants have been propagated from cuttings and by grafting onto *Darwinia citriodora* rootstock. Established plants prefer full sun and well drained soil and some specimens have even performed well in winter-rainfall areas.

## InfoBox

| *Verticordia galeata* | |
| --- | --- |
|  | |
| *Verticordia galeata* growing in Kings Park | |
| Conservation status | |
|
Priority Two — Poorly Known Taxa (DEC) | |
| Scientific classification | |
| Kingdom: | Plantae |
| *Clade*: | Tracheophytes |
| *Clade*: | Angiosperms |
| *Clade*: | Eudicots |
| *Clade*: | Rosids |
| Order: | Myrtales |
| Family: | Myrtaceae |
| Genus: | *Verticordia* |
| Subgenus: | *Verticordia* subg. *Chrysoma* |
| Section: | *Verticordia* sect. *Jugata* |
| Species: | ***V. galeata*** |
| Binomial name | |
| ***Verticordia galeata***
A.S.George | |
|


title: Paiga, Bhojpur

abstract: Paiga is a village in Barhara block of Bhojpur district in Bihar, India. As of 2011, its population was 3456 in 548 households.

text:
# Paiga, Bhojpur

**Paiga** is a village in Barhara block of Bhojpur district in Bihar, India. As of 2011, its population was 3456 in 548 households.

## InfoBox

| Paiga | |
| --- | --- |
| Village | |
| Map of Paiga (#856) in Barhara block | |
| PaigaLocation in Bihar, IndiaPaigaPaiga (India) | |
| Coordinates: 25°38′21″N 84°40′30″E / 25.63912°N 84.67509°E / 25.63912; 84.67509 | |
| Country | India |
| State | Bihar |
| District | Bhojpur |
| Area | |
| Total | 0.314 km2 (0.121 sq mi) |
| Elevation | 62 m (203 ft) |
| Population (2011) | |
| Total | 3,456 |
| Languages | |
| Official | Bhojpuri, Hindi |
| Time zone | UTC+5:30 (IST) |
| PIN | 802313 |


title: Gosankyō

abstract: Go-san-kyō The Go-san-kyō were three branches of the Tokugawa clan of Japan. They were descended from the eighth of the fifteen Tokugawa shōguns, Yoshimune (1684–1751). Yoshimune established the Gosankyo to augment the Gosanke, the heads of the powerful han (fiefs) of Owari, Kishū, and Mito. Two of his sons, together with the second son of his successor Ieshige, established the Tayasu, Hitotsubashi, and Shimizu branches of the Tokugawa. Unlike the Gosanke, they did not rule a han. Still, they remained prominent until the end of Tokugawa rule, and some later shōguns were chosen from the Hitotsubashi line.

text:
# Gosankyō

The ***Go-san-kyō*** (御三卿, "the Three Lords") were three branches of the Tokugawa clan of Japan. They were descended from the eighth of the fifteen Tokugawa shōguns, Yoshimune (16841751). Yoshimune established the *Gosankyo* to augment (or perhaps to replace) the *Gosanke*, the heads of the powerful *han* (fiefs) of Owari, Kishū, and Mito. Two of his sons, together with the second son of his successor Ieshige, established the Tayasu, Hitotsubashi, and Shimizu branches of the Tokugawa. Unlike the *Gosanke*, they did not rule a *han*. Still, they remained prominent until the end of Tokugawa rule, and some later shōguns were chosen from the Hitotsubashi line.

## Heads of Gosankyo

### Tayasu House 田安家

1. Munetake (1716–1771, r. 1731–1771)
2. Haruaki (1753–1774, r. 1771–1774)
3. Narimasa (1779–1846, r. 1787–1836)
4. Naritaka (1810–1845, r. 1836–1839)
5. Yoshiyori (1828–1876, r. 1839–1863)
6. Takachiyo (1860–1865, r. 1863–1865)
7. Kamenosuke (1863–1940, r. 1865–1868)
8. Yoshiyori (2nd time) (1828–1876, r. 1868–1876)
9. Satotaka (1865–1941, r. 1876–1941)
10. Satonari (1899–1961, r. 1941–1961)
11. Munefusa (1929– , r. 1961– )

### Shimizu House 清水家

1. Shigeyoshi (1745–1795, r. 1758–1795)
2. Atsunosuke (1796–1799, r. 1798–1799)
3. Nariyuki (1801–1846, r. 1805–1816)
4. Narinori (1810–1827, r. 1816–1827)
5. Narikatsu (1820–1849, r. 1827–1846)
6. Akitake (1853–1910, r. 1866–1868)
7. Atsumori (1856–1924, r. 1870–1924)
8. Yoshitoshi (r.1924-1963)
9. 豪英

### Hitotsubashi House 一橋家

* **Tokugawa Ieyasu, 1st Tokugawa Shōgun** (1543–1616; r. 1603–1605)
    + Tokugawa Yorinobu, 1st *daimyō* of Kishū (1602–1671)
        - Tokugawa Mitsusada, 2nd *daimyō* of Kishū (1627–1705)
            * **Tokugawa Yoshimune, 8th Tokugawa Shōgun** (1684–1751; 5th *daimyō* of Kishū: 1705–1716; 8th Tokugawa Shōgun: 1716–1745)
                + **I. Tokugawa Munetada, 1st Hitotsubashi-Tokugawa family head** (1721–1765; Hitotsubashi family head: 1735–1764)
                    - **II. Tokugawa Harusada, 2nd Hitotsubashi-Tokugawa family head** (1751–1827; Hitotsubashi family head: 1764–1799)
                        * **Tokugawa Ienari, 11th Tokugawa Shōgun** (1773–1841; r. 1786–1837)
                            + **Tokugawa Ieyoshi, 12th Tokugawa Shōgun** (1793–1853; r. 1837–1853)
                                - **VI. Tokugawa Yoshimasa, 6th Hitotsubashi-Tokugawa family head** (1825–1838, Hitotsubashi family head: 1837–1838)
                            + Tokugawa Naritaka, 12th *daimyō* of Owari (1810-1845)
                                - **VIII. Tokugawa Shōmaru, 8th Hitotsubashi-Tokugawa family head** (1846–1847, Hitotsubashi family head: 1847)
                        * Tokugawa Narimasa, 3rd Tayasu-Tokugawa family head (1779–1848)
                            + **V. Tokugawa Narikura, 5th Hitotsubashi-Tokugawa family head** (1818–1837; Hitotsubashi family head: 1830–1837)
                            + **VII.Tokugawa Yoshinaga, 7th Hitotsubashi-Tokugawa family head** (1823–1847, Hitotsubashi family head: 1838–1847)
                        * **III. Tokugawa Nariatsu, 3rd Hitotsubashi-Tokugawa family head** (1780–1816, Hitotsubashi family head: 1799–1816)
                            + **IV. Tokugawa Narinori, 4th Hitotsubashi-Tokugawa family head** (1803–1830, Hitotsubashi family head: 1816–1830)
    + Tokugawa Yorifusa, 1st *daimyō* of Mito (1603–1661)
        - Matsudaira Yorishige, 1st *daimyō* of Takamatsu (1622–1695)
            * Matsudaira Yoriyuki (1661–1687)
                + Matsudaira Yoritoyo, 3rd *daimyō* of Takamatsu (1680–1735)
                    - Tokugawa Munetaka, 4th *daimyō* of Mito (1705–1730)
                        * Tokugawa Munemoto, 5th *daimyō* of Mito (1728–1766)
                            + Tokugawa Harumori, 6th *daimyō* of Mito (1751–1805)
                                - Tokugawa Harutoshi, 7th *daimyō* of Mito (1773–1816)
                                    * Tokugawa Nariaki, 9th *daimyō* of Mito (1800–1860)
                                        + Tokugawa Yoshiatsu, 10th *daimyō* of Mito (1832–1868)
                                            - Tokugawa Atsuyoshi, 12th Mito family head, 1st Marquess (1855–1898; 12th family head: 1883–1898; Marquess: 1884)
                                                * **XII. Tokugawa Muneyoshi, 12th Hitotsubashi-Tokugawa family head, 2nd Count** (1897-1989; Hitotsubashi family head: 1934–1989; 2nd Count: 1934–1947)
                                                    + **XIII. Tokugawa Munenobu, 13th Hitotsubashi-Tokugawa family head** (1929-1993; Hitotsubashi family head: 1989–1993)
                                                        - **XIV. Tokugawa Munechika, 14th Hitotsubashi-Tokugawa family head** (born 1959; Hitotsubashi family head: 1993–present)
                                                            * Munefumi (born 1986)
                                                            * Munenari (born 1994)
                                        + **IX. Tokugawa Yoshinobu, 15th Tokugawa Shōgun, 9th Hitotsubashi-Tokugawa family head, 1st Head and 1st Prince of the Tokugawa Yoshinobu line** (1837–1913; Hitotsubashi family head: 1847–1866; Shōgun: 1866–1867, 1st Head of the Tokugawa Yoshinobu line: 1868–1913, 1st Prince of the Tokugawa Yoshinobu line: 1902–1913)
                                - Matsudaira Yoshinari, 9th *daimyō* of Takasu (1776–1832)
                                    * Matsudaira Yoshitatsu, 10th *daimyō* of Takasu (1800–1862)
                                        + **X. Tokugawa Mochinaga, 10th Hitotsubashi-Tokugawa family head** (1831–1884, Hitotsubashi family head: 1866–1884)
                                            - **XI. Tokugawa Satomichi, 11th Hitotsubashi-Tokugawa family head, 1st Count** (1872-1934, Hitotsubashi family head: 1884–1944; Count: 1884-relinquished 1934)


title: Jesús Iglesias Cortés

abstract: Jesús Iglesias Cortés is an S7 swimmer from Spain. He competed at the 1992 Summer Paralympics, he won gold and silver medals in the freestyle and medley relay events respectively, he also won one silver and three bronze medals in the freestyle and butterfly. He competed at the 1996 Summer Paralympics, winning a gold medal in the 100 meter breaststroke, a silver in the 4 x 50 meter 20 points freestyle relay race, and a pair of bronze medals in the 50 meter S7 freestyle race and the 4 x 50 meter 20 points medley relay race. He is a World champion in the breaststroke.

text:
# Jesús Iglesias Cortés

**Jesús Iglesias Cortés** (born 25 December 1968 in Barcelona) is an S7 swimmer from Spain. He competed at the 1992 Summer Paralympics, he won gold and silver medals in the freestyle and medley relay events respectively, he also won one silver and three bronze medals in the freestyle and butterfly. He competed at the 1996 Summer Paralympics, winning a gold medal in the 100 meter breaststroke, a silver in the 4 x 50 meter 20 points freestyle relay race, and a pair of bronze medals in the 50 meter S7 freestyle race and the 4 x 50 meter 20 points medley relay race. He is a World champion in the breaststroke.

## InfoBox

Jesús Iglesias
| Personal information | |
| --- | --- |
| Full name | Jesús Iglesias Cortés |
| Nationality | Spanish |
| Born | (1968-12-25) 25 December 1968<br>Barcelona, Spain |
| Sport | |
| Country | Spain |
| Sport | Swimming (S7) |
| Medal record      Swimming  Representing  Spain  Paralympic Games  1992 Barcelona 4x50m freestyle S1-6  1996 Atlanta 100m breaststroke SB6  1992 Barcelona 50m freestyle S6  1992 Barcelona 4x50m medley relay S1-6  1996 Atlanta 4x50m freestyle S1-6  1992 Barcelona 100m freestyle S6  1992 Barcelona 200m freestyle S6  1992 Barcelona 50m butterfly S6  1996 Atlanta 50m freestyle S7  1996 Atlanta 4x50m medley S1-6  World Championships  1994 Malta 100m breaststroke SB6 | |


title: Fabiana Alvim

abstract: Fabiana "Fabi" Alvim de Oliveira is a Brazilian retired volleyball player who won the gold medal at the 2008 and 2012 Summer Olympics.

text:
# Fabiana Alvim

**Fabiana "Fabi" Alvim de Oliveira** (born 7 March 1980) is a Brazilian retired volleyball player who won the gold medal at the 2008 and 2012 Summer Olympics.

## Career

Fabiana started playing volleyball at the age of 13, specializing in defense - and later the libero position - due to her short height. De Oliveira was first called up to the Brazil women's national volleyball team in 2002, under coach Marco Aurélio Motta. She lost her place under his replacement, José Roberto Guimarães, and only returned to being a mainstay of the team in 2005. At the 2007 Pan American Games, held in Rio de Janeiro, de Oliveira and the Brazilian team won the silver medal.

One year later, de Oliveira won the gold medal at the 2008 Summer Olympics, and was chosen as the best libero of the tournament.

At the 2011 Pan-American Cup, de Oliveira was given the "Best Receiver" award, also winning the gold medal with her national team.

Oliveira was part of the national team who won the gold medal at the 2011 Pan American Games held in Guadalajara, Mexico. She was also part of the Brazilian team that won the gold medal at the 2012 Summer Olympics. She also took the 2013 South American Championship with her national team, winning the Best Libero award.

Oliveira won the silver medal at the 2013 Club World Championship, playing with Unilever Vôlei.

During the 2015 FIVB Club World Championship, Oliveira played with the Brazilian club Rexona Ades Rio and her team lost the bronze medal match to the Swiss Voléro Zürich.

Oliveira decided to retire from volleyball after the 2017/2018 season of the Brazilian Superliga, when her team Sesc Rio won the silver medal. Currently Oliveira is working as a volleyball commentator.

## Awards

### Individuals

### Clubs

1. "Brazil wins 1st gold in women's volleyball". CBC Sports. 23 August 2008. Retrieved 1 August 2012.
2. "Brazilian Women win gold in style as they drop just one set throughout Olympic Volleyball Tournament; Paula Pequeno is MVP". FIVB. 23 August 2008. Retrieved 1 August 2012.
3. NORCECA (9 July 2011). "Brazilian Sheilla Castro the MVP of the Pan Am Cup". Archived from the original on 7 August 2011. Retrieved 9 July 2011.
4. Confederación Sudamericana de Voleibol (10 July 2011). "Copa Panamericana Femenina: Brasileñas son nuevas reinas" (in Spanish). Retrieved 10 July 2011.
5. FIVB (20 October 2011). "Brazil wins fourth Pan Am Games gold medal". Retrieved 20 October 2011.
6. "SUDAMERICANO FEMENINO: Brasil, Argentina y Perú se consagraron los mejores del Continente" (in Spanish). Ica, Peru: CSV. 22 September 2013. Retrieved 22 September 2013.
7. "Vakifbank Istanbul fly to first Women's Club World Champs title, China claim bronze". Zurich, Switzerland: FIVB. 13 October 2013. Retrieved 13 October 2013.
8. "Volero get it right on third try". Zurich, Switzerland: FIVB. 10 May 2015. Retrieved 11 May 2015.
9. "Após deixar as quadras, Fabi reforça time de comentaristas do Grupo Globo" (in Portuguese). Rio de Janeiro: Globo. 24 April 2018. Retrieved 21 October 2018.

## InfoBox

| Fabi Alvim | |
| --- | --- |
|  | |
| Personal information | |
| Full name | Fabiana Alvim de Oliveira |
| Nickname | Fabi |
| Born | (1980-03-07) 7 March 1980<br>Rio de Janeiro, Brazil |
| Height | 1.66 m (5 ft 5 in) |
| Weight | 56 kg (123 lb) |
| Volleyball information | |
| Position | Libero |
| Current club | Retired |
| Career | |
| Years Teams  1998–1999 Macaé  1999–2000 Flamengo  2000–2001 Vasco da Gama  2001–2005 ACF Campos  2005–2018 Rio de Janeiro | |
| National team | |
| 2002–2013  Brazil | |
| Honours      Women's volleyball  Representing  Brazil  Olympic Games  2008 Beijing Team  2012 London Team  World Championship  2006 Japan Team  2010 Japan Team  World Cup  2007 Japan Team  World Grand Champions Cup  2013 Tokyo/Nagoya Team  2009 Tokyo/Fukuoka Team  Pan American Games  2011 Guadalajara Team  2007 Rio de Janeiro Team  Pan-American Cup  2009 Miami   2011 Ciudad Juárez   South American Championship  2005 La Paz    2007 Santiago    2009 Porto Alegre    2011 Callao    2013 Ica    Final Four Cup  2008 Fortaleza | |
| Last updated: 2012 | |