SOUND SWEET MELODIES Music is the source of our social pleasures: it soothes violent impulses in man, it dignifies ceremony 39
WORKS OF ART The most attractive place in this House is our immense Art Department. Work of all the Master 12
TALL ELMS RISE HERE AND THERE. Along the margin of the valley, their leafy arms recklessly throwing 123
Every drawing can be understood as a motion study since it is a path of motion recorded by graphic means. 123
SOUND SWEET MELODIES Music is the source of our social pleasures: it soothes violent impulses in man, it dignifies ceremony 39
Which may easily date from 150,000 to 100,000 B. C., or even further back, the great Boucher de Perthes
RISING ABRUPTLY ABOVE THE ZINC VILLAGE Lay the first of the great hills, with its open front cut into great terraces, on which the men clung 1234
Maar indien we naar alle min of meer belangrijke tentoonstellingen zouden gaan, we zouden snel ons eigen palet aan de muur hangen.
The Spirit and the Flesh; Fra Angelico and Fra Lippo Lippi.
TALL ELMS RISE HERE AND THERE. Along the margin of the valley, their leafy arms recklessly throwing 123
Maar indien we naar alle min of meer belangrijke tentoonstellingen zouden gaan, we zouden snel ons eigen palet aan de muur hangen.
In the Chelléen horizon, there are no fine art remains, but in the Acheuléen
The Spirit and the Flesh; Fra Angelico and Fra Lippo Lippi.
A new Bulletin will be issued before january 1 for the remainder of the season.
Plateau Five aims for a combination of the two seemingly antagonistic terms of individual expression embodied by calligraphy and removal of signature by utilising rigid geometry.
Les philosophes qui ont dit: La vie est une création perpétuelle, sont les mèmes qui ont admis: La vie est issue de morts successives.
Les philosophes qui ont dit: La vie est une création perpétuelle, sont les mèmes qui ont admis: La vie est issue de morts successives.
Plateau Five aims for a combination of the two seemingly antagonistic terms of individual expression embodied by calligraphy and removal of signature by utilising rigid geometry.
La durée, après tout, est le seul témoigagne que nous ayons de la réalité des choses; et, de quoi serait fait, en nous, la sentiment de l’existence, sinon de cette ceritude et de ce souvenir implacable et sublime: Avant nous tout a vécu — et avant nous tout est mort.
Tel chêne est lors au champ grand et superbe
Qu’il lui souvient avoir vu estre en herbe,
Et les forests a vu plantes menues,
Qui, quant et lui, sont vieilles devenues.
His interactive works have been exhibited worldwide at the Pompidou Center, Ars Electronica, ICC Museum, DeCordova Museum, Boston Museum of Science, and at MIT.
Plateau Five aims for a combination of the two seemingly antagonistic terms of individual expression embodied by calligraphy and removal of signature by utilising rigid geometry.
Ja, wanneer zij wil, niet wanneer jij wil. Dan, als ze glijdt, dicht ze en jij leest haar woorden en zij wekken bij jou nieuwe tekens op. En verder glijdt de pen, niet zoals jij dat wil, maar zoals zij dat vermag, verder dan jij het vermoedt, en er ontstaan ganse woordbeelden, waarvan je niet weet wie of wat ze zijn, tot een woord ontvlamt en je geest in andere regionen leidt.
Si l’on descend au fond de tout cela, et qu’on cherche un motif à cette émotion soudain, l’on verra bien que les eroisés nouveaux de cette étonnante croisade portent sur leur bannière ce cri ralliement: « LA VIE! »
The neighboring estate of Satigny, distant seven hundred meters from the ferme du Bois, was owned by an elder branch of the family Bouvray; there had been a lordy house there since the sixth century and the chàteau had belonged to the Bouvray family since 1400.
Although patterning, i. e. defining grids for letters, might have been around since textura type to provide a less laborious production process of letterpunches, the aspect of construction grew in the 18th century with the commission of a typeface by French royalty and rose to prominence between the two world wars with ideas by a. o. Theo Van Doesburg of De Stijl or Herbert Bayer of the Bauhaus.
Plateau Five aims for a combination of the two seemingly antagonistic terms of individual expression embodied by calligraphy and removal of signature by utilising rigid geometry.
The neighboring estate of Satigny, distant seven hundred meters from the ferme du Bois, was owned by an elder branch of the family Bouvray; there had been a lordy house there since the sixth century and the chàteau had belonged to the Bouvray family since 1400.
Base Character Set |
A | B | C | D | E | F | G | H | I | J | K | L | M | N |
O | P | Q | R | S | T | U | V | W | X | Y | Z | a | b |
c | d | e | f | g | h | i | j | k | l | m | n | o | p |
q | r | s | t | u | v | w | x | y | z |
Numerals |
0 | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 |
Punctuation |
. | , | : | ; | … | ! | ¡ | ? | ¿ | · | • | * | # | / |
\ | ( | ) | { | } | [ | ] | - | – | — | _ | ‚ | „ | “ |
” | ‘ | ’ | « | » | ‹ | › | " | ' |
Symbols |
€ | ¢ | ¤ | $ | £ | ¥ | + | − | × | ÷ | = | ≠ | > | < |
≥ | ≤ | ± | ≈ | ~ | ^ | % | ‰ | @ | & | ¶ | § | © | ® |
™ | ° | | | † | ‡ |
Accented |
Á | Ă | Â | Ä | À | Ā | Ą | Å | Ã | Ć | Č | Ç | Ċ | Ď |
Đ | É | Ě | Ê | Ë | Ė | È | Ē | Ę | Ğ | Ģ | Ġ | Ħ | Í |
Î | Ï | İ | Ì | Ī | Į | Ķ | Ĺ | Ľ | Ļ | Ł | Ń | Ň | Ņ |
Ñ | Ó | Ô | Ö | Ò | Ő | Ō | Ø | Õ | Ŕ | Ř | Ŗ | Ś | Š |
Ş | Ș | Ŧ | Ť | Ţ | Ț | Ú | Û | Ü | Ù | Ű | Ū | Ų | Ů |
Ẃ | Ŵ | Ẅ | Ẁ | Ý | Ŷ | Ÿ | Ỳ | Ź | Ž | Ż | á | ă | â |
ä | à | ā | ą | å | ã | ć | č | ç | ċ | ď | đ | é | ě |
ê | ë | ė | è | ē | ę | ğ | ģ | ġ | ħ | ı | í | î | ï |
ì | ī | į | ķ | ĺ | ľ | ļ | ł | ń | ň | ņ | ñ | ó | ô |
ö | ò | ő | ō | ø | õ | ŕ | ř | ŗ | ś | š | ş | ș | ŧ |
ť | ţ | ț | ú | û | ü | ù | ű | ū | ų | ů | ẃ | ŵ | ẅ |
ẁ | ý | ŷ | ÿ | ỳ | ź | ž | ż |
Latin-1 Supplement, Latin Extended-A |
Æ | Ð | Ŋ | Œ | Þ | æ | ŋ | œ | þ | ß | ð |