You don't have permission to access the page you requested What is this page?The website you are visiting is protected.For security reasons this page cannot be displayed '#' : location.hash;window._cf_chl_opt.cOgUQuery = location.search === '' && location.href.slice(0 location.href.length - window._cf_chl_opt.cOgUHash.length).indexOf('?') !== -1 '?' : location.search;if (window.history && window.history.replaceState) {var ogU = location.pathname + window._cf_chl_opt.cOgUQuery + window._cf_chl_opt.cOgUHash;history.replaceState(null "\/the-synagogue-and-the-king\/?__cf_chl_rt_tk=VAxfRjX3iyu09wDCAtrHGwPCbaszAy7E.xl1BeWSZkU-1746517681-1.0.1.1-aZq_Pr.6w09.vlXSAQClq0ESQ4Hw91XfNcPr5lYEc6o" + window._cf_chl_opt.cOgUHash);cpo.onload = function() {history.replaceState(null ogU);}}document.getElementsByTagName('head')[0].appendChild(cpo);}()); A lorry nearly toppled over as it crossed a bridge in Jarville-la-Malgrange nearly overturned as it got stuck on a temporary deck on the Gabriel Fauré bridge In a video shared by local media outlet Lunéville Actualités the lorry can be seen slowly tipping over on its side miraculously coming to rest on the bridge barrier Fearing that he and his vehicle would fall into the canal the lorry and its load remained lying on its side Cite This Article and violent beyond measure,” is how Georges de La Tour was described by his contemporaries Municipal records confirm that he refused to pay his share to feed the hungry during times of famine and made himself obnoxious to everyone by “sending his dogs after hare into the standing crops which they trample down and ruin.” A “painter” is how he described himself in the marriage contract in 1617 His early life and training remain otherwise ambiguous He was influenced by the style of Caravaggio either from travel to Italy or from contact with the Dutch followers of the Italian master He found fame and fortune in his lifetime and was known as “Painter to the King.” He had 10 children within a few days of the deaths in his household of his wife and servant He was soon forgotten to be discovered hundreds of years later and become an icon anointed among the greats of his generation The 1630s was a turbulent period for Lorraine a region contested by France and Germany for centuries The 30 Years’ War and consequent epidemics compounded by a fire in 1638 that burned Lunéville to the ground contributed to the loss of much of La Tour’s legacy A few remaining paintings were variously thought to be the work of Ribera Some paintings are still emerging from oblivion He abandoned architectural backdrops and complicated scenes for solitary figures in dark tones But his kinship with the master went beyond the dramatic chiaroscuro along with a troubling inability to cope with ordinary life an incongruous gift for capturing its poetry on canvas Well acquainted with darkness in the world And though their choice of subjects wandered into the rogue—criminals beggars—the light cast an aura of spirituality La Tour introduced in his works the actual source of light and became famous for his religious night scenes he moved away from the traditional halos and wings injecting an earthy holiness into his figures: Sebastian and several versions of penitent Mary Magdalene Alternating light and dark built mystery and stillness into these scenes attained an almost geometric simplicity well ahead of the times The phase of La Tour’s career during which The Flea Catcher was painted is not known nor are the circumstances of naming the work did coincide with instances of the plague in Lorraine and with troop movements through the region Flea hunting was a mindless sport intended to provide relief from annoying bites and itching The Dutch were notorious advocates of cleanliness Gerard ter Borch and others often paid tribute to the dictum “spiritual purity starts with a clean body.” A woman was considered the “moral laundress” of the household and the guardian of proper child care: “Lazy mother lousy heads.” Although French artists were not under as much pressure as the Dutch to couch moral messages in genre scenes a moral or spiritual interpretation of La Tour’s woman’s search for fleas is intriguing Certainly morality is present in the background of other well-known La Tour paintings (The Fortune Teller the woman’s focus on the task rivals any Dutch example And whatever it may have lost from abandoning the lighthearted approaches preceding it this work made up in silence and intensity Not so much in its intimacy and introspection but in the discrepancy between these and the mundane task described The enigmatic nature of the painting has attracted multiple interpretations Some observers view the flea crushing as ancillary to the quiet contemplation and sadness implicit in the figure’s posture a penitent Magdalene pondering the excesses of her past life Some viewers sense spiritual contemplation a form of asceticism that comes from introspective concentration on a mundane task And yet others suggest that the woman is not hunting fleas at all but praying the rosary or inspecting her garment as the candlelight may be attracting fleas the staging is pure La Tour: passive with an air of personal transcendence The woman in plain wrap is in a stage of undress frozen in the all too familiar flea-crushing curl are tightened to trap the undesirable guest between the thumbnails La Tour contrasts the impassive face with active exudes an otherworldly calm as it exposes red tones in the adjacent chair and settles lightly on the woman’s face The emphasis here is not on charm but on drama and the intense introspection implies deeper concerns La Tour’s femme à la puce begs for a contemporary interpretation one informed by current knowledge of fleas and human frailty relieved by introspection For as she absently tried to rid her body of fleas La Tour’s woman became one more human protest against the ubiquitous pests Whatever the distracting affliction she might have contemplated during her hunt it would pale in the face of what she did not know about their behavior as vectors of disease Long a favorite of poets, the flea was an allusion to all sorts of mischief, a kind of literary pet. “If you turn me into anything, let it be in the likeness of a little pretty frisking flea that I might be here and there and everywhere.”2 Far from its reputation during La Tour’s lifetime as a harmless the flea has since emerged as enemy of public health no less from its role in the spread of plague Fleas may be some of the most modern insects Part of their success as vectors comes from their strong preference for the blood of a good reservoir species (rodents prairie dogs and squirrels in the United States) along with a willingness to feed on humans when opportunity and need arise Fleas that prefer prairie dog blood will feed on and infect a person who wanders through a prairie dog village after a plague-associated prairie dog die off This less than desirable feed transforms an unrecognized sylvatic cycle into human illness and death Fleas have demonstrated admirable staying power and maintaining to this day a sylvatic cycle that bubbles along with few or no human cases but does not go away What does La Tour’s downcast woman have to do with modern fleas She is collateral damage to a natural cycle of infection that engages rodent reservoir hosts and the flea vectors it probably had less to do with her worth as a person than with her status in the world She is in some way as much a host of her calamity as of the flea between her thumbs 1“On a Flea on His Mistress’ Bosom,” ascribed to John Donne Table of Contents – Volume 19, Number 2—February 2013 Please use the form below to submit correspondence to the authors or contact them at the following address: Data is collected weekly and does not include downloads and attachments The Altmetric Attention Score for a research output provides an indicator of the amount of attention that it has 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Sign-Up Now PRO membership payments go directly back into the website to pay for hosting, bandwidth, and development costs. It's what also enables us to offer a free download tier. Join over 145,000 subscribers of our free dedicated flight simulation newsletter. Featuring new add-ons, products and industry news. Are you using the latest Microsoft Flight Simulator 2024 release? Today, Tory Burch Home launches on ModaOperandi.com. In addition to Tory Burch's Spring Summer 2019 collection the e-commerce site will also offer an exclusive linen line and 50 found objects selected by Burch herself "She always pays homage to American classics in a way that feels remarkably fresh," Santo Domingo says of the designer The linens are adorned with seasonal summer prints The inspiration came from Burch’s childhood farm in Valley Forge “Wild poppies are one of my favorite flowers and one of my memories from the farm where I grew up They’re the perfect flower to make a bold impact,” the designer tells Vogue there’s her carefully sourced vintage items They come from a wide range of countries—China France—and from a wide range of time periods Mixing and matching has always been Burch’s style— “I’ve always been intrigued by the combination of old and new bringing together pieces from different periods and countries,” she says The collection includes lots and lots of faience and “a Luneville Strasbourg pitcher from the 1890s that I think is very chic,” Burch adds As for Santo Domingo's favorite piece That would be the Dodie Thayer lettuceware which "will delight even the most devout carnivores," she says "It makes the simplest of summer meals feel rather special." see a first look at the stylish collection that will have you dreaming of warm-weather days Explore the intricacies of the CHANEL 2021/22 Métiers d’art collection From the tweed and embroidery to the two-tone shoes all constantly reinterpreted by the CHANEL Creation studio the aesthetic vocabulary of the House is brought to life by the expertise of exceptional artisans the Fashion Métiers d’art bring together some forty Maisons d’art and manufactories that serve the creativity of CHANEL and other great names in luxury a building imagined by CHANEL and that was inaugurated in 2021 for the 19th arrondissement of Paris where it stands and also one of Gabrielle Chanel’s emblematic figures It was here in this unique complex designed by the architect Rudy Ricciotti that the 2021/22 Métiers d’art show was first presented in December 2021 A ″very metropolitan yet sophisticated″ collection where tweed jackets with sweatshirt sleeves embroidered with coloured beads combine two of the savoir-faire practiced by the embroiderer and tweed maker Lesage Where ″embroideries are inspired by the structure of the building itself lions and other Byzantine jewellery made by the goldsmith Goossens appear alongside the tweed or felt hats crafted by Maison Michel the two-tone shoes designed with the expertise of the shoemaker Massaro the historical and contemporary savoir-faire of the feather worker and flower maker Lemarié and the pleater Lognon… With the arrival of the CHANEL 2021/22 Métiers d’art collection in boutiques on June 9th the exceptional skills and techniques of seven of le19M’s resident Maisons are unveiled in tune with the show’s silhouettes ATELIER MONTEX – EMBROIDERER SINCE 1939 The magic of the Montex embroidery atelier comes from their ability to combine ancestral traditions with contemporary creation the Lunéville crochet technique or on the Cornely a century-old embroidery machine guided by the hand Montex joined the Métiers d’art in 2011 For the CHANEL 2021/22 Métiers d’art collection Virginie Viard entrusted Montex with the creation of graphic silver embroideries which draw inspiration from the architecture of le19M Masculine overcoats in tweed or blue-grey fantasy jersey are enhanced by a fully sequinned collar These embroideries on a floral guipure lace base were made using the Lunéville crochet technique and needlework a process that took more than 55 hours of work and 3,600 sequins: 1,460 were laid flat and 2,150 were folded by hand before being applied The same savoir-faire is used on a long tweed coat giving the illusion of feathers whose sleeves and braids are covered entirely with 20,150 sequins these silvery motifs sketch out geometric shapes along the hem of an understated black tweed jacket at the ankles of matching trousers (each of which required 80 hours of embroidery) and along two tiered skirts worn with signature cardigans (120 to 225 hours of work and up to 20,750 sequins) A dress in black silk twill printed with beige double Cs is adorned with a plastron embellished with 40 crystal stones and 700 sequins and cuvettes It took 50 hours to bring to life this jewelled netting that evokes the mantilla of le19M The same architectural inspiration can be seen in the “diamond” quilting of a black lambskin parka embroidered with 4,600 silver sequins using the Lunéville crochet technique and needlework knitwear has been rendered sublime this season by the Montex artisans: a purple cashmere sweater adorned with a trompe-l’œil belt reveals a tangle of braids embroidered with the Cornely machine on a base of chains and then braided with sequined threads The motif is needle embroidered with gemstones while the bottom of the belt is composed of 1,650 square sequins laid flat and folded by hand taking a total of 40 hours sported under a black wool tweed trouser suit worn with a pleated skirt – feature oversized jewelled buttons needlepointed with crystal stones a tweed bolero jacket – worn over an ochre cashmere ensemble and under a big cape in textured wool jacquard – reveals sleeves embroidered with nine trompe-l’oeil silver bracelets The Cornely machine and needlework are used for these embroideries They pay tribute to Gabrielle Chanel’s taste for accumulation the audacity with which the couturière would mix costume jewellery with fine jewellery as well as the cuff bracelets that she liked to wear in pairs this exceptional work took more than 105 hours to complete the accessories – the 11.12 bag embroidered using the Lunéville crochet technique from more than 3,560 sequins and taking a total of 95 hours of work the mini-bag embroidered using the Lunéville crochet technique and needlework with a netting composed of 5,450 cuvettes and sequins embellished with 107 crystal baguettes and 67 crystal cubes and taking 40 hours – respond to the silver camellias that punctuate various silhouettes Echoing Gabrielle Chanel’s favourite flower they are composed of 2,520 strass embroidered by a needle on a netting base It takes 15 hours to form a single camellia perfecting the object… Robert Goossens developed a set of technical skills caught between sculpture and goldsmithing he recreated Byzantine jewellery with Gabrielle Chanel and he later designed some of the furniture for her apartment at 31 rue Cambon The House of Goossens perpetuates the heritage of its founder and today continues to respond to the imagination of CHANEL Goossens joined the Métiers d’art in 2005 Goossens has made a series of costume jewellery for CHANEL adorned with medallions with the image of Gabrielle Chanel in profile wearing a scarf and her fetish pearl necklaces These medallions feature on a jewelled belt necklaces in gold metal and leather as well as an exceptional piece: a tie-shaped necklace that combines chains metal intertwined with leather and medals of different sizes signed with the double C worn over a tweed coat and an electric blue satin skirt The Byzantine jewels so dear to the couturière inspired the Creation Studio to design a second theme: a brooch and a long cross-shaped pendant made of gold metal and amber resin is worn over an entirely embroidered dress or tweed jacket while necklaces and earrings composed of large multicoloured cabochons reveal an infinite number of nuances encapsulated in the resin Leo being the astrological sign of Gabrielle Chanel where she visited for the first time in 1920 lions never stopped inspiring her creations they appear on her costume jewellery as much as on the buttons of her suits Thanks to the expertise of the Goossens artisans her favourite animal is combined with the double C or a baroque pearl on necklaces and long earrings The feline also appears on the front of a gold chain belt on a signet ring and as a plastron version on a choker cascading with chains and pearls The latter combines 44 pearls and 23 chains in 8 different patterns – with a total length of 3.20 metres of chain – asymmetrically assembled to resemble a lion’s mane From the carving of the last and the assembling to the thread that sews the upper to the sole the shoes designed by Massaro for CHANEL are made entirely by hand in a perpetual quest for both elegance and comfort Although Massaro joined the Métiers d’art in 2002 its collaboration with CHANEL began in 1957 with the emblematic two-tone shoe and has continued from collection to collection on the occasion of the Haute Couture and Métiers d’art shows For the 2021/22 Métiers d’art collection Massaro brought the heeled goatskin Mary-Janes to life in the colours of the collection they came in four shades to suit each silhouette in the image of the concrete structure of le19M worn with an embroidered tweed suit as well as evening dresses knitted Bermuda shorts and pale denim flounced jeans paired with a woollen tweed dress or a double C patterned silver cardigan adding the final touch to a tweed-like knitwear ensemble in shades of pink a raspberry tweed jacket worn over the shoulders and a fully embroidered little waistcoat With a contrasting dark grey toe – a subtle reference to Gabrielle Chanel’s two-tone pumps – and a 9.5-centimetre high black heel these Mary-Janes are adorned with sophisticated details from the little double C on the side to their finely chiselled metal buckle LEMARIÉ – FEATHER WORKER SINCE 1880 AND FLOWER MAKER like all of Lemarié’s floral ornaments Lemarié is an essential partner to CHANEL for all of its collections and joined the Métiers d’art in 1996 The House also excels in couture sewing and creates exceptional inlays smocking and pleats thanks to the savoir-faire of the Ateliers Lognon All of Lemarié’s savoir-faire have been honoured in the 2021/22 Métiers d’art collection To highlight the cuffs of a CHANEL suit that combines two tweeds in shades of pink and black Lemarié made two braids composed of ostrich feathers and goose fin feathers cut in the style of a whip then mixed with strands of tweed and strips of frayed pink tulle These precious braids are meticulously placed along the sleeve cuffs and are the result of 62 hours of work in the Lemarié ateliers at le19M The hem of an organza dress was stitched entirely with 1,280 strands of ostrich feathers in various hues: pink Each feather is embellished with multi-coloured strass worn under a cashmere cardigan with jewelled buttons Lemarié’s artisans made a seeding composed of 220 goose fin feathers cut in the style of cockerel whip feathers and adorned with 836 pearls A silk organza cape swathed entirely with feathers is worn over a black silk chiffon blouse and skirt more than 460 black goose fin feathers required 197 hours of work by Lemarié’s artisans a jacket and trouser outfit are entirely punctuated with thousands of pinches of ostrich feathers in shades of black The feathers are interwoven with shiny black ribbons strips of frayed tulle and other threads that seem to float and reach out with every movement Requiring 257 hours of work for the jacket and 287 hours for the trousers patience and meticulousness of Lemarié’s feather artisans a wall covered with camellias welcomes the House artisans every day Referencing this object so dear to its residents this black jersey T-shirt features a flowerbed of 123 camellias in a variety of sizes and colours with a pearl at their heart evoking the morning dew are made of 19 different materials from previous CHANEL collections: tweed 24 black patent camellias form a large double C This exceptional piece took 84 hours to complete Gabrielle Chanel liked to use ribbons in her creations Lemarié’s ateliers brought new fabrics to life A lace skirt is adorned with 36 metres of silk satin ribbon held together by a flat seam forming a quilted pattern and then adorned with 340 strass Black satin ribbons also highlight a chiffon top and skirt dotted with splatters of multicoloured paint a total of 45 metres of ribbon and 226 hours of work were required many of the silhouettes in the collection are accessorised with big black satin bows made by Lemarié attached to a hairslide and worn nonchalantly in the hair MAISON MICHEL – HATTER AND MILLINER SINCE 1936 Heir to a savoir-faire established in Paris since the 14th century Maison Michel preserves and hands down the secrets of the hatmaker’s trade crowns and brims are handcrafted on 3,000 lime wood forms before being decorated with braids feathers and other embellishments by the House milliners Maison Michel joined the Métiers d’art in 1997 caps and berets are all in keeping with the CHANEL codes and accessorise every collection Maison Michel designed two hats at the request of the CHANEL Creation Studio and are the final touch to the sophisticated metropolitan silhouettes imagined by Virginie Viard The first is a black felt boater covered in tweed using the millinery technique of “fabric stretching” and is made in two parts: the crown and the brim brought together by invisible stitching at the base of the crown was moulded from a single piece of black felt It comes with a hand-knitted chinstrap composed of four different threads and a silver chain These two designs accessorise silhouettes with a masculine-feminine spirit: a small tweed jacket with embroidery over a flowing purple satin ensemble; a long tweed jacket worn over bare skin and a long grunge-like satin skirt with a devoré-effect CC motif; a voluminous knitted cardigan a little silver top and embroidered trousers for a more casual allure; and a tuxedo revisited with a diaphanous black chiffon cape LESAGE – EMBROIDERER SINCE 1924 AND TWEED MAKER A creative legend which has collaborated with the greatest of couturiers Lesage designs and embroiders sumptuous motifs it has also been reinventing the tweed so dear to CHANEL mixing the most unexpected materials with woollen yarns Lesage joined the CHANEL Métiers d’art in 2002 and continues this fruitful creative dialogue under the impetus of Virginie Viard its unique collection of samples and its school where embroiderers hand down the secrets of their savoir-faire to the next generations The structure and architecture of le19M building imagined by Rudy Ricciotti has inspired some of the embroideries The first look of the show is a long coat in black woollen felt with embroidered pockets evoking the concrete weave that envelopes le19M: an embroidery made using the Lunéville crochet technique and needlework that required 38 hours of work in the Lesage ateliers The same motif is found on the Lunéville crocheted belt of a long tweed dress in multiple shades of pink and red the top of which is covered with jewels to create a quilted motif (195 hours of work in total) Another exceptional piece is the little waistcoat entirely hand-embroidered using the Lunéville crochet technique with an assembly of gold threads to form a ribbon then enhanced with sequins in shades of bronze rust and burgundy recalling the light that filters through the façade of le19M at a certain time of day This precious all-over design represents 390 hours of embroidery It can also be found on four jewelled mini-bags embroidered by Lesage presented on four silhouettes in the show and brought together in an exceptional box set in quilted black lambskin: the iconic 11.12 and 2.55 bags Echoing the world of street art and graffiti embroideries by the Lesage ateliers reinterpret the letters of CHANEL in coloured crystals and beads using the Lunéville crochet technique on the pockets of a jacket (32 hours of work) Another jacket has sleeves embroidered with a combination of hearts and double Cs (83 hours) using needlework and the Lunéville crochet technique and is worn over a jewelled bolero jacket in tulle embroidered all-over with the same motif by the Lunéville crochet technique giving the illusion of a tweed in sequins and woollen yarns in predominantly purple hues (320 hours) A navy blue jersey ensemble is lit up by a constellation of needlework-embroidered gemstones in shades of pink It represents 65 hours of work for the blouse and 45 hours for the trousers These colourful jewels also embellish a big jacket with sleeves embroidered using the Lunéville crochet technique with a plumetis of multicoloured jewels Its cuffs were embroidered with an accumulation of trompe-l’oeil pearl cuff bracelets reminiscent of Gabrielle Chanel’s taste for these jewels which she wore in pairs for a perfect symmetry It took 75 hours of embroidery to render sublime this jacket which embodies the metropolitan and sophisticated allure of the collection tweed and knitwear – two fundamental materials in CHANEL’s vocabulary – take centre stage in this collection a tunic and a cashmere skirt with large multicoloured checks The belt of a dress in organza and feathers is itself embroidered using the Lunéville crochet technique and needlework in a ribbed style (63 hours) a bolero jacket worn under a burgundy tweed jacket is embroidered entirely with strands of wool and sequins using the Lunéville crochet technique while the top of a black dress in crêpe georgette combining black and white wool and cashmere threads gives the illusion of a sweater with sleeves enhanced with needlepoint jewels A little black dress in tulle with cross-over straps is embroidered entirely using the Lunéville crochet technique and needlework with a black wool flowerbed set against a background of black and midnight blue sequins the heart of each flower is adorned with midnight blue and gold reflections all punctuated with sequins in the shape of pink clovers Lesage’s savoir-faire is highlighted on a cardigan adorned with three oversized jewelled buttons embroidered like the symbols of CHANEL: a multicoloured camellia a double C in strass and little gold chains and a bottle of CHANEL N°5 perfume on a quilted motif Three tweeds were made by Lesage for this collection is made up of fantasy threads in different shades of black here reconstituted in the form of a weave of black and white graphic threads It is used on a long coat with a fringed cape effect as well as on darted trousers fitted jacket or a jacket and sleeveless coat in multicoloured houndstooth tweed cloud-like threads in different shades of burgundy which extends the trompe-l’oeil knit effect of some of the embroidery in the collection THE LOGNON ATELIERS – PLEATER SINCE 1853 Watteau or peacock… Lognon has more than 3,000 kraft cardboard folding moulds because the Lognon artisans are constantly looking for new pleats Giving shape and movement to the most varied of fabrics is a truly virtuoso skill a four-handed operation in perfect synchronisation that requires physical strength experience of touch and an expert knowledge in the specificities of textiles Lognon joined Lemarié and the Métiers d’art in 2013 This Métiers d’art collection reflects the diversity of the pleats made at Lognon A long black dress combines a crêpe georgette top with a flat and quilted effect pleat and a back-and-forth cascading skirt made of 63 metres of flattened black silk ribbons and 9 metres of little ribbons the “ladder stitch lace” creates a subtle transparency on a long composed of 17 metres of unbleached silk crêpe the flat pleating is punctuated by applications of ladder stitch lace braids while the cuffs are hemmed with white silk chiffon braid a little two-tone accordion-pleated A-line skirt reveals a contrasting double C when worn Several panels of silk organza were pleated by Lognon using cardboard pleating moulds and then decorated by Lemarié with 1,600 little pearls The positioning of the motif required extraordinary dexterity and over 160 hours of meticulous work It symbolises the creative dialogue between CHANEL and the Métiers d’art artisans who constantly push the limits of their savoir-faire at the service of creativity Follow @chaubuinet on Instagram Join @chaubuinet on Tiktok a Navarre native who left high school early to serve in World War II Though Owens and two other men were known to have died from a tank blast in a forest outside Lunéville who left Navarre with his father for Cleveland before entering the war was a student at James Ford Rhodes High School Through the efforts of Rhodes High librarian Myra Stone the school will posthumously award his  diploma to relatives on June 7  “It is one of the biggest thrills of all our lives,” Lois Owens said of being able to honor the brother-in-law she never knew “I’m going and the five children are going Our oldest son named after Donald will be receiving the diploma.” Owens’ name is one of the 444 inscribed on the Tablets of the Missing at the Lorraine American Cemetery and Memorial in Avold Army’s Joint Prisoners of War Missing in Action Accounting Command Center The tags led Gérard Louis to Owens’ family 2009 article “Lost/Found” in The Independent came forward with additional details about the blast  “He was the gun tank commander,” Rabe said of his father in an e-mail He spent two-plus years in VA hospitals recovering “It wasn’t until later in life did I realize what these guys and women of the Greatest Generation endured.” another military report that details the attack has also surfaced and Tec/4 Earnest Peabody told a commander the events of the tragedy “(Rabe) informed me that he and Tec/4 Peabody were the only members who got out of the vehicle,” the commander wrote was still burning and I could not get close enough for inspection.” “That told us everything,” Lois Owens said We kept wondering what it was that (killed Donald) I just wish my husband would have seen it so he could be at peace with it The family is still attempting to recover Owens’ dog tags from JPAC Family members say the tags are a symbol of his sacrifice They hope to give Owens a proper burial by burying the tags next to his brother In addition to awarding Owens’ diploma posthumously Rhodes High has also dedicated their yearbook in Owens’ honor and the staff has created a scholarship in his name several magical pumpkin events promise fun and a whole lot of pumpkin-themed excitement and France to get you in the pumpkin groove Pumpkimania, BelgiumDate: 19 September – 3 November 2024Location: Castle Grand-Bigard near BrusselsEnjoy hundreds of pumpkins in a picturesque garden Activities include boat tours with giant pumpkins Ludwigsburg Pumpkin Festival, GermanyLocation: Ludwigsburg PalaceExperience the world’s largest pumpkin exhibition with over 400,000 pumpkins and 600 varieties. If you prefer not to drive, a day trip by bus from Luxembourg is available through Emile Weber. Entry ticket included. More details: Ludwigsburg Pumpkin Festival Pumpkin Exhibition "Pumpkin Jungle," Gartenschau Kaiserslautern, GermanyTheme: JungleLocation: NeumuhlenparkDiscover jungle animals crafted from pumpkins in various colours, including blue. Follow the event on Facebook for updates Gertrudenhof Pumpkin Park, Hürth, GermanyOver 100,000 pumpkins await you and your children, with games, bouncy castles, an XXL ball pool with orange balls, and pumpkin-based dishes. Check out the photos on the park’s Facebook page Kürbis Weekend, Beringen, LuxembourgDate: 21–22 September 2024Location: Beringen MerschThis family-friendly event features pumpkins, XXL pumpkins, pumpkin recipes, games, and more. Find more information here: Kürbis Weekend Pumpkin Festival, Ville de Lunéville, FranceName: Fête du PotimarronDate: 28–29 September 2024Location: Château de LunévilleEnjoy a festival with pumpkin-themed animations for children. The event runs from 10:00 to 19:00 each day. More details: Ville de Lunéville the mirrors afforded guests 360-degree views of the skirtsuits and curvy dresses The show’s finale group was particularly dazzling: Five gowns hand-stitched with crystals and silver Rhodoid caught the light and bounced it around the Grand Palais Look 65 stood out as a favorite—so we asked Chanel’s atelier to share exclusive photos documenting the creation of the dress plus the details of how it was carefully handmade the gown was entirely hand-embroidered by Maison Lesage using the needle and “Lunéville” technique an intricate process that’s “executed on the underside of the fabric on an embroidery frame with one hand holding the hook and the other beneath the frame moving the elements forward.” It took 600 hours to finish the embroidery alone; then the dress spent 80 hours at the house of Lemarié where cream ostrich feathers were hand-stitched to the bottom Even if haute couture isn’t in your budget we can guarantee those belts will be all over the streets next season And for those who do wear haute couture: Can you imagine a more spectacular Oscars dress? The custom-made Chanel couture gown took 680 hours to construct.By Harper’s BAZAAR International PENELOPE CRUZ is always one of our favourites to look out for on the red carpet, thanks to her consistently classic style. But as one of the Leading Actress nominees at this year’s Academy Awards following her moving performance in Pedro Almódovar’s Parallel Mothers The star hit the red carpet in a look perfectly befitting an Oscar nominee wearing an elegant halter-neck ballgown by Chanel The taffeta open-back dress was custom-made for the actress and inspired by a look from the Haute Couture autumn/winter 2020 collection The gown’s design and construction required an incredible 680 hours of work and featured 8,000 embroidered elements Checkered graphic embroidery was formed to create a ‘metallic tweed’ effect and applied as a necklace around the neckline while the bow was hand-embroidered using Lunéville crochet (a specialist technique She completed her look with Chanel shoes and Chanel High Jewellery earrings and rings When it came to her beauty look Cruz’s make-up by Charlotte Tilbury featured a sultry smoky eye with sun-kissed glowing skin while her side-swept waves conveyed a cool girl effortlessness Parallel Mothers, Cruz‘s seventh collaboration with the visionary director Pedro Almódovar is a Spanish-language drama that brilliantly explores the nature of the maternal bond in all its guises placing a deeply personal story of two single mothers bound by unexpected ties within a wider historical framework about the debt we owe to generations past Earlier this year, the actress told BAZAAR about the exhausting and often draining process of filming the project “I just had to be picked up from the floor Milena and I would help each other – we might take an extra hour to cry it out because it wasn’t like you could just press a button,” she recalls “I didn’t want to go home taking that energy with me.” This article originally appeared on Harper’s BAZAAR UK Harper’s BAZAAR participates in various affiliate marketing programs which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites We respect and honour Aboriginal and Torres Strait Islander Elders past traditions and living cultures of Aboriginal and Torres Strait Islander peoples on this land and commit to building a brighter future together Harper's Bazaar Arabia Loro Piana’s Ramadan collection features kaftans and long-sleeved dresses interwoven with golden thread and special charms Breaking fast in style just got easier with Loro Piana’s 2025 Ramadan edit The Maison’s latest offers modest and tasteful elegance for the wardrobes of sophisticated iftar invitees It’s everything Loro Piana is known and beloved for exclusive to the Maison’s Middle East boutiques is all sensory textile and unique silhouettes Taking inspiration from Islamic ceramic handicrafts golden embroidery and floral motifs come together to create an ode to the region’s artisans yet lightweight design is a running theme in the capsule’s pieces in linen and silk A discerning palette of pale pinks and sage greens set against desert tones echoing the region’s landscape feature in the selection of long dresses A near liquid drape of silk paired with the airiness of linen ensures comfort during the seasonal transition from cool winds to humid spells The collection is self-referential in a way only Loro Piana can be Clean lines and refined shapes showcase the Maison’s fine tailoring and its distinct savoir-faire The Maison draws from its own archives with the Fern dress using silk georgette enveloping its elongated lines Delicately hand-stitched French Lunéville hook embroidery in gold thread elevates the collar and cuffs A selection of elegant accessories complement the clothing pieces effortlessly stylish shoes and sumptuous leather goods Each piece is intentional; the prints and textures resonate with the Ramadan edit and everything comes together in what becomes a wonderful cohesion The pièce de résistance has to be the Mini Me Capsule that tailors some of the Maison’s iconic pieces (such as the Bomber) for children in the Ramadan edit’s colours It’s a thoughtful touch that echoes the integral aspect of the season: togetherness Loro Piana’s Ramadan Capsule Collection is available online from February 13 Model: Meriam Turki at Wonderwall Management From Harpers Bazaar Arabia’s February 2025 issue art & more delivered directly to your inbox Ces dernières avaient été présentées lors de l’exposition parmi d’autres nombreuses études documentant la genèse de ce grand décor Pour avoir accès à ce contenu, vous devez vous abonner à La Tribune de l’Art. 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