Medieval Methods for Making Fabric From Wool

Medieval Methods for Making Fabric From Wool In the Middle Ages, wool was turned into cloth in the thriving wool production trade, in home-based cottage industry, and in private households for family use. Methods could vary depending on the wherewithal of the producer, but the basic processes of spinning, weaving, and finishing cloth were essentially the same. Wool is usually sheared from sheep all at once, resulting in a large fleece. Occasionally, the skin of a slaughtered sheep was utilized for its wool; but the product obtained, which was called pulled wool, was an inferior grade to that shorn from live sheep. If the wool was intended for trade (as opposed to local use), it was bound up with similar fleeces and sold or traded off until it reached its final destination in a cloth-manufacturing town. It was there that processing began. Sorting The first thing done to a fleece was to separate its wool into its various grades by coarseness because different types of wool were destined for different end products and required specialized methods of processing. Also, some types of wool had specific uses in the manufacturing process itself. The wool in the outer layer of fleece was ordinarily longer, thicker and coarser than the wool from the inner layers. These fibers would be spun into worsted yarn. The inner layers had softer wool of varying lengths that would be spun into woolen yarn. Shorter fibers would be further sorted by grade into heavier and finer wools; the heavier ones would be used to make thicker yarn for the warp threads in the loom, and the lighter ones would be used for the wefts. Cleansing Next, the wool was washed; soap and water would usually do for worsteds. For the fibers that would be used to make woolens, the cleansing process was particularly stringent and could include hot alkaline water, lye, and even stale urine. The aim was to remove the wool grease (from which lanolin is extracted) and other oils and greases as well as dirt and foreign matter. The use of urine was frowned upon and even outlawed at various points in the Middle Ages, but it was still common in home industries throughout the era. Following cleansing, the wools were rinsed several times. Beating After rinsing, the wools were set out in the sun on wooden slats to dry and were beaten, or broken, with sticks. Willow branches were often used, and thus the process was called willeying in England, brisage de laines in France and wullebreken in Flanders. Beating the wool helped remove any remaining foreign matter, and it separated entangled or matted fibers. Preliminary Dyeing Sometimes, dye would be applied to fiber before it was used in manufacturing. If so, this is the point at which the dyeing would occur. It was fairly common to soak fibers in a preliminary dye with the expectation that the color would combine with a different shade in a later dye bath. Fabric that was dyed at this stage was known as dyed-in-the-wool. Dyes usually required a mordant to keep the color from fading, and mordants often left a crystalline residue that made working with fibers extremely difficult. Therefore, the most common dye used in this early stage was woad, which did not require a mordant. Woad was a blue dye made from an herb indigenous to Europe, and it took about three days to use it to dye fiber and make the color fast. In later medieval Europe, such a large percentage of wool cloths were dyed with woad that cloth workers were often known as blue nails.1 Greasing Before the wools could be subjected to the harsh processing treatment that lay ahead, they would be greased with butter or olive oil to protect them. Those who produced their own cloth at home were likely to skip the more rigorous cleansing, allowing some of the natural lanolin to remain as a lubricant instead of adding grease. Although this step was done primarily to the fibers intended for woolen yarn, there is evidence that the longer, thicker fibers used to make worsteds were also lightly greased. Combing The next step in preparing wool for spinning varied depending on the type of wool, the instruments available and, oddly enough, whether certain tools had been outlawed. For worsted yarn, simple wool combs were used to separate and straighten the fibers. The teeth of the combs might be wooden or, as the Middle Ages progressed, iron. A pair of combs was used, and the wool would be transferred from one comb to the other and back again until it had been straightened and aligned. Combs were usually constructed with several rows of teeth and had a handle, which made them look a little like a modern-day dog brush. Combs were also used for woolen fibers, but in the central Middle Ages cards were introduced. These were flat boards with many rows of short, sharp metal hooks. By placing a handful of wool on one card and combing it until it had been transferred to the other, and then repeating the process several times, a light, airy fiber would result. Carding separated wools more effectively than combing, and it did so without losing the shorter fibers. It was also a good way to blend together different types of wool. For reasons that remain unclear, cards were outlawed in portions of Europe for several centuries. John H. Munroe posits that the reasoning behind the ban could be a fear that the sharp metal hooks would damage the wool, or that carding made it too easy to fraudulently blend inferior wools into superior ones. Instead of carding or combing, some woolens were subjected to a process known as bowing. The bow was an arched wooden frame, the two ends of which were attached with a taut cord. The bow would be suspended from the ceiling, the cord would be placed in a pile of wool fibers, and the wooden frame would be struck with a mallet in order to get the cord to vibrate. The vibrating cord would separate the fibers. Just how effective or common bowing was is debatable, but at least it was legal. Spinning Once the fibers were combed (or carded or bowed), they were wound on a distaff a short, forked stick - in preparation for spinning. Spinning was chiefly the province of women. The spinster would draw a few fibers from the distaff, twisting them between thumb and forefinger as she did so, and attach them to a drop-spindle. The weight of the spindle would pull the fibers down, stretching them out as it spun. The spinning action of the spindle, with the help of the spinsters fingers, twisted the fibers together into yarn. The spinster would add more wool from the distaff until the spindle reached the floor; shed then wind the yarn around the spindle and repeat the process. Spinsters stood as they  spun  so that the drop-spindle could spin out as long a yarn as possible before it had to be wound up. Spinning wheels were probably invented in India sometime after 500 CE.; their earliest recorded use in Europe is in the 13th century. Initially, they werent the convenient sit-down models of later centuries, powered by a foot pedal; rather, they were  hand-powered  and large enough so that the spinster would need to stand to use it. It may not have been any easier on the spinsters feet, but much more yarn could be produced on a spinning wheel than with a drop-spindle. However, spinning with a drop-spindle was common throughout the Middle Ages until the 15th century. Once the yarn was spun, it might be dyed. Whether it was dyed in the wool or in the yarn, color had to be added  by  this stage if a multi-colored cloth was to be produced. Knitting While knitting wasnt wholly unknown in the Middle Ages, scant evidence of hand-knitted garments survives. The relative ease of the craft of knitting and the ready availability of materials and tools for making knitting needles makes it hard to believe that peasants didnt knit themselves warm clothing from wool they got from their own sheep. The lack of surviving garments isnt at all surprising, considering the fragility of all cloth and the amount of time that has passed since the medieval era. Peasants could have worn their knitted garments to pieces, or they may have reclaimed the yarn for alternate uses when the garment grew too old or threadbare to wear any longer. Far more common than knitting in the Middle Ages was weaving. Weaving Weaving cloth was practiced in households as well as in professional cloth-making establishments. In homes where people produced cloth for their own use, spinning was often the province of women, but weaving was usually done by men. Professional weavers in manufacturing locations like Flanders and Florence were also usually men, though women weavers were not unknown. The essence of weaving is, simply, to draw one yarn or thread (the weft) through a set of perpendicular yarns (the warp), threading the weft alternately behind and in front of each individual warp thread. Warp threads were usually stronger and heavier than weft  threads  and came from different grades of fiber. The variety of weights in warps and wefts could result in specific textures. The number of weft fibers drawn through the loom in one pass could vary, as could the number of warps the weft would travel in front of before passing behind; this deliberate variety was used to achieve different textured patterns. Sometimes, warp threads were dyed (usually blue) and weft threads remained undyed, producing colored patterns. Looms  were constructed to make this process go more smoothly. The earliest looms were vertical; the warp threads stretched from the top of the loom to the floor and, later, to a bottom frame or roller. Weavers stood when they worked on vertical looms. The  horizontal loom  made its first appearance in Europe in the 11th century, and by the 12th century, mechanized versions were being used. The advent of the mechanized horizontal loom is generally considered the most important technological development in medieval textile production. A weaver would sit at a mechanized loom, and instead of threading the weft in front of and behind alternate warps by hand, hed merely have to press a foot pedal to raise up one set of alternate warps and draw the weft underneath it in one straight pass. Then hed press the other pedal, which would raise the other set of warps, and draw the weft underneath  that  in the other direction. To make this process easier, a shuttle was used a boat-shaped tool that contained yarn wound around a bobbin. The shuttle would glide easily over the bottom set of warps as the yarn unspooled. Fulling  or Felting Once the fabric had been woven and taken off the loom it would be subjected to a  fulling  process. (Fulling wasnt usually necessary if the fabric was made from worsted as opposed to woolen yarn.) Fulling thickened the fabric and made the natural hair fibers mat together through agitation and the application of  liquid. It was more effective if heat was part of the equation, as well. Initially,  fulling  was done by immersing the cloth in a vat of warm water and stomping on it or beating it with hammers. Sometimes additional chemicals were added, including soap or urine to help remove the natural lanolin of the wool or the grease that had been added to protect it in the earlier stages of processing. In Flanders, fullers earth was used in the process to absorb impurities; this was a type of soil containing a significant amount of clay, and it was naturally available in the region. Though originally done by hand (or foot), the  fulling  process gradually became automated through the use of fulling mills. These were often quite large and powered by water, although smaller, hand-cranked machines were also known. Foot-fulling was still done in household manufacturing, or when the cloth was particularly fine and wasnt to be subjected to the harsh treatment of hammers. In towns where cloth manufacture was a thriving household industry, weavers could take their cloth to a communal fulling mill. The term fulling is sometimes used interchangeably with felting. Although the process is essentially the same,  fulling  is done to cloth that has already been woven, whereas felting actually produces cloth from unwoven, separate fibers. Once cloth was fulled or felted, it could not easily unravel. After  fulling, the fabric would be thoroughly rinsed. Even worsteds that didnt need  fulling  would be washed to remove any oil or dirt that had accumulated during the weaving process. Because dyeing was a process that immersed the fabric in liquid, it may have been dyed at this point, especially in home industries. However, it was more common to wait until a later stage in production.  Cloth  that was dyed after it was woven was known as dyed-in-the-piece. Drying After it was rinsed, cloth was hung up to dry. Drying was done on specially-designed frames known as tenter frames, which used tenterhooks to hold the cloth. (This is where we get the phrase on tenterhooks to describe a state of suspense.) The sturdy frames stretched the fabric so that it wouldnt shrink too much; this process was carefully gauged, because fabric that was stretched too far, while large in square feet, would be thinner and weaker than fabric that was stretched to the proper dimensions. Drying was done in the open air; and in cloth-producing towns, this meant the fabric was always subject to inspection. Local regulations often dictated the specifics of drying cloth in order to ensure quality, thus maintaining the reputation of the town as a source of fine cloth, as well as that of the cloth manufacturers themselves. Shearing Fulled fabrics- especially those made from curly-haired woolen yarn were often very fuzzy and covered with nap. Once the fabric had been dried, it would be shaved or  sheared  to remove this extra material. Shearers would use a device that had remained pretty much unchanged since Roman times: shears, which consisted of two razor-sharp blades attached to a U-shaped bow spring. The spring, which was made of steel, also served as the handle of the device. A shearer would attach the cloth to a padded table that sloped downward and had hooks to keep the fabric in place. He would then press the bottom blade of his shears into the cloth at the top of the table and gently slide it down, clipping the fuzz and nap by bringing down the top blade as he went. Shearing a piece of fabric completely could take several passes, and would often alternate with the next step in the process, napping. Napping or Teaseling After (and before, and after) shearing, the next step was to raise the nap of the fabric enough to give it a soft, smooth finish. This was done by grooming the cloth with the head of a plant known as a teasel. A teasel was a member of the  Dipsacus  genus and had a dense, prickly flower, and it would be rubbed gently over the fabric. Of course, this could raise the nap so much that the cloth would be too fuzzy and had to be sheared again. The amount of shearing and teaseling necessary would depend on the quality and type of wool used and the result desired. Though metal and wood tools were tested for this step, they were considered potentially too damaging for fine cloth, so the teasel plant was used for this process throughout the Middle Ages. Dyeing Cloth might be dyed in the wool or in the yarn, but even so, it would usually be dyed in the piece as well, either to deepen the color or to combine with the previous dye for a different tint. Dyeing in the piece was a procedure that could realistically take place at almost any point in the manufacturing process, but most commonly it was done after the fabric had been sheared. Pressing When the teaseling and shearing (and, possibly, dyeing) was done, the fabric would be pressed to complete the smoothing process. This was done in a flat, wooden vise. Woven wool that had been fulled, dried, shorn, teaseled, dyed, and pressed could be luxuriously soft to the touch and made into the finest clothing and draperies. Unfinished Cloth Professional cloth manufacturers in wool production towns could, and did, produce cloth from the wool-sorting stage to the final pressing. However, it was quite common to sell fabric that wasnt completely finished. Producing undyed fabric was very common, allowing tailors and drapers to choose just the right hue. And it was not at all uncommon to leave out the shearing and teaseling steps, reducing the price of the fabric for consumers willing and able to perform this task themselves. Cloth Quality and Variety Every step along the manufacturing process was an opportunity for cloth-makers to excel or not. Spinners and weavers who had low-quality wool to work with could still turn out fairly decent cloth, but it was common for such wool to be worked with the least possible effort in order to turn out a product quickly. Such cloth would, of course, be cheaper; and it might be used for items other than garments. When manufacturers paid for better raw materials and took the extra time required for higher quality, they could charge more for their products. Their reputation for quality would attract the wealthier merchants, artisans, guildsmen and the nobility. Although sumptuary laws were enacted, usually in times of economic instability, to keep the lower classes from garbing themselves in finery ordinarily reserved for the upper classes, it was more often the extreme expense of the clothing worn by the nobility that kept other people from buying it. Thanks to the diverse kinds of cloth manufacturers and the many types of wool of different levels of quality they had to work with, a wide variety of wool cloth was produced in medieval times.

Agricultural Settlers and the Great Plains Essay

Agricultural Settlers and the Great Plains - Essay Example Those who remained in the region supplemented their farming income from railway construction and other economic activities. These settlers who remained exhibited their abilities to adapt to the local environment (Adamson, 1998 p39). The sustainability of grain farming was of the doubt due to the frequent droughts that were experienced in this region. Sometimes the areas received low crop yield that was not enough to support life. Farmers, therefore, recognized the need to let the land to lie fallow for some time. During this period, livestock farming became dominant activity on the land (Adamson, 1998 p63). Depending on the settlers’ activities on the land, they grouped themselves into Indians of the Great Plains; Wagon Trains, Railroads, and Ranchers; The Cattle Kingdom; Mythic West and Buffalo Bill; Homesteaders; and the Tribal Cultures such as Wounded Knees and the Ghost Dance (Adamson, 1998 p55). For example, the cattle Kingdom comprised of Cattle Towns and the Cowboys lifestyle was the culture in this region. In summary, Great Plains is a region that is dominated by agricultural activities, both crop and animal farming. Earlier settlers came into this region by the opportunity to acquire land, and to practice agriculture as a source of income. Settlers in this region are characterized by the type of economic activity they practice on the land. For example, there are ranchers, Indians, The Cattle Kingdom and Homesteaders. The Paris Peace Conference is the meeting that was held to sign peace deals with defeated nations after World War 1. It was held in Paris France in 1919 and attended by delegates from more than twenty-nine nations (Adamson, 1998 p105). The key leaders and Nations which led this meeting include; Prime Minister David Lloyd George of Great Britain, President Woodrow Wilson of the United States, George Clemenceau of France, and Prime Minister Vittorio Orlando of Italy  (Adamson, 1998 p106). Other countries in attendant include China, Canada, Ukraine, and Australia.

Health Policy Reflection Research Paper Example | Topics and Well Written Essays - 500 words

Health Policy Reflection - Research Paper Example When comparing the United States’ health care system to the Canadian health care system one of the most prominent recognitions is that the United States charges considerably more for the same procedures. Mack (2011) indicates that the average cost of an appendectomy in the United States is $8,000. This is compared with Canada where the average cost of this operation is $5,000. There are a variety of reasons for this price disparity. One of the most prominent recognitions is that in the United States considerable amount more money goes towards administrative costs. These costs extend to the medical professionals as well. It’s recognized that many qualified medical professionals leave Canada to pursue higher paying jobs in the United States. While United States medical administrators and physicians receive higher salaries, this does not directly translate into improved quality of care. Another prominent difference between the United States and Canadian health care systems is the type of medical interventions that are implemented. In the United States there is considerable emphasis placed on expensive interventions. For instance, United States medical treatment regularly involves tonsillectomies, knee replacements, and MRIs. While these interventions are implemented in the Canada, the Canadian health care system places more focus on treatment at the primary care physician level. Klune (2011) indicates that in great part the Canadian primary care system is able to treat these issues before they become more large-scale and require expensive interventions. A final consideration is the nature of attitudes and socioeconomic conditions within the United States. An amount of research has argued that one of the major reasons the United States must spend more on health care costs than Canada is because the United States crime rate is higher (O’Neil 2007, p. 42). This higher

Historical Influences on Architecture of Süleymaniye Mosque

Historical Influences on Architecture of Sà ¼leymaniye Mosque How has diverse cultures and architecture throughout history influenced the architecture of the Sà ¼leymaniye Mosque? The main issue that will be covered by the author in this thesis is the question of how different cultures and architectural styles have influenced the Sà ¼leymaniye Mosque’s design and structure. The reason for this investigation is to identify features, which have been acquired from other cultures, and also the way in which Architect Sinan developed an architectural style that was also influenced through the use of other landmark buildings around him such as the Hagia Sophia. Having said this, it is important to identify his engineering expertise, which will be discussed further in the second chapter of the thesis. It will be useful to also have a look at the influence that Architect Sinan acquired during his lifetime through other architectures and whether he has reflected these onto the making of the Sà ¼leymaniye Mosque. The initial section of the thesis will be centered on familiarizing the reader with the history of Mosques respectively and how they have transformed over time up until the Ottoman Empire, as well as during the age of Sinan; where his style and works will be discussed. This will give the reader an understanding of how the stylistic and structural characteristics of traditional forms have developed over time and evolved into Ottoman Mosques and consequently the Suleymaniye. Which brings us onto the second chapter of the thesis. As mentioned, the second section will largely cover the Sà ¼leymaniye Mosque’s history, function and structure. It is important to note that the Sà ¼leymaniye Mosque has been through restoration many times due to earthquakes (which are a common occurrence in Istanbul) and wars, and how this has changed certain aspects of the building. The author will also look into whether or not the mosque has adapted to the changing times and social needs which the passing of time has brought with itself. Further, as seen from the table of contents, the functionality of the mosque will also be explored. As part of a larger complex, also known as the ‘Suleymaniye complex’, the Suleymaniye is a small but important part of this complex which also bears with it different functionalities. These will be described, as it will also give more of an insight into the possible changing nature of the Sà ¼leymaniye Mosque through the acquisition of different functionalities within the comp lex itself. The structure is a major feature within the mosque, as it was influenced over time by many cultures and architectures such as the Hagia Sophia again, and Palladio, as well as influencing other architecture such as Michel angelos dome found above the roof of St Peters, Rome. The third chapter will initially look into the influence of other cultures such as the Islamic influence, the influence of the Byzantine Empire as well as the Barque-Style. However, as Turkey is wholly an Islamic country, and has been an Islamic country for many years pre-dating the Ottoman era, it is clear that the main influence will be the Islamic culture. However, it is important to also look into other cultural influences especially since people from other cultures also populate Turkey. Istanbul itself has been a city which seen the presence of people from different countries and or cultures brought by war etc. The issue of diverse cultural influences will arise within this study when we talk about the structure of the Sà ¼leymaniye Mosque and its characteristics as different parts have been influenced or attained from a variety of different cultures. The Mosque has merged Islamic and Byzantine architectural elements. Within the final chapter of the thesis, the author will consider the influential effect of other architecture on the Sà ¼leymaniye Mosque. Again, culture will be prevalent in this chapter too in order to understand how architecture is of an influence. For example, Architect Sinan has combined tall, slender towers with large domed buildings reinforced by half domes in the style of the Byzantine churchHagia Sophia. Many other styles from other cultures are evident within the Mosque, for example when the Sà ¼leymaniye Mosque was destroyed by afire in 1660and was restored on the command of sultan Mehmed IV by architect FossatÄ ±. However the restoration changed the mosque into a more baroque style architecture. Taking elements from foreign cultures and religions and combining them into something original can be recognized in the Sà ¼leymaniye Mosque. The originality of the great Ottoman mosques did not develop by removing all the foreign influences; instead it is a mixture that developed by the procedure of integration of foreign culture by the Turks of Byzantine culture. This is the symbol of the Ottoman Empire, a multiracial, multilingual, and multicultural empire. This will cast an understanding on the history of the Mosques and Ottoman Architecture that will hence lead to a conclusion of the influences on the Sà ¼leymaniye Mosque. The sources mentioned in the bibliography will be of great use in acquiring the relevant information. These can be accessed through the web. The thesis will also require looking beyond these articles and books, as a site visit is required. The Sà ¼leymaniye Mosque The Sà ¼leymaniye mosque was built in Istanbul between 1550 and 1557. It is the largest of the Ottoman building enterprises and is regarded as one of Architect Sinan’s (Mimar Sinan) most famous masterpieces, as well as one of the most important examples of Ottoman architecture. Sinan was born in the last decade of the sixteenth century. Being enrolled as a teenager into the Janissary Corps that is a school for apprentices, he advanced his, carpentry, aarchitectural and engineering skill. Sinan served in various military roles during the reign of Suleyman the Magnificent, where he gradually developed approval for his engineering skills and achievements. During the Moldavian campaign was when Sinan was chosen to be the chief architect by the Prime Minister, Lutfi Pasha. Sinan was the chief architect for almost fifty years and was responsible for the design, construction and restoration of over 400 buildings, of which the Suleymaniye being one of the most important. During his t ime as chief architect, he contributed to theà ¢Ã¢â€š ¬Ã‚ ¨formation of an architecture thatà ¢Ã¢â€š ¬Ã‚ ¨is now recognized as ‘Ottoman Architecture’. His most innovative blends andà ¢Ã¢â€š ¬Ã‚ ¨interpretations of forms were reservedà ¢Ã¢â€š ¬Ã‚ ¨for the mosques he built for Sultans. [1] Due to the experiences he gained through the practical aspects of his architectural life as well as his travels, he developed a reputation of an innovative designer of mosques and domed structures, which he then applied to the Sà ¼leymaniye Mosque. Out of all of Sinan’s works, the Sà ¼leymaniye Mosque aimed to exceed any other imperial mosque in beauty and size, which in most people’s opinions was a success. In the late 1540’s, the Sultan Suleyman the Magnificent ordered Sinan to build a mosque within a kulliye (complex of buildings adjacent to a mosque). Just like most imperial mosques, the Sà ¼leymaniye Mosque is more than just a place of worship. The complex consisted of various social, religious and educational functions such as schools, a hospital, a caravanserai, Turkish baths, and more.[2] The mosque is located on the Old Palace, on a hill overlooking the Golden Horn. The mosque is symbolic in the city of Istanbul, as it sits on the highest hill, thus implies the power and strength of the Turkish Ottoman Empire. The complex was planned as a great centre of learning comprising of madrasas (a School for Islamic instruction) for studies in theology and holy law and medicine. Wide walkways surround the complex, where the outer sides consist of two rows of madrasas on the longer sides and social service buildings along the third side. Over time their has been additions of furth er buildings into the complex such as the hadith college, which have resulted in a lack of symmetry within the complex by attempting to adapt the buildings into older street networks. The mosque is located at the centre of the complex positioned towards the qiblah (direction of the Mecca, south-east). Around the mosque is a spacious courtyard measuring 44 by 58 meters, which has a fountain in the middle and a minaret in each corner, with a colonnaded peristyle with columns of marble, granite and porphyry.[3] The courtyard surrounded by an arched colonnade is a standard feature of Ottoman imperial mosques. Some of the marble and granite columns used for the Suleymaniye were collected from an old Byzantine Hippodrome, and from other locations in the city. In addition many materials where also collected from Roman and Byzantine buildings in Greece, Egypt, and other parts of the Ottoman Empire. This shows the diversity of cultures involved in the aesthetical and structural features with in the mosques design. The courtyard is enclosed on three sides by stonewalls, through the windows of which the sanctuary and funerary garden may be viewed. The fourth side has no wall built, allowing a panoramic view of the city and Golden horn. The minarets of the Suleymaniye have a total of 10 balconies; this was due to Suleyman the Magnificent being the 10th Ottoman sultan. Two taller minarets both frame the forecourt and mark the entrance to the interior space of worship where the sidewalls of the forecourt meet the mosque.[4] The mosque has many structural characteristics that resemble the Hagia Sophia. Sinan knew the Hagia Sophia well as he contributed to its preservation. For almost 500 yearsByzantine architecturesuch as the church of Hagia Sophia functioned as models for many of the Ottoman mosques including the Sà ¼leymaniye. [5] Although both were constructed in very different times, one representing the Christian-Byzantine Empire and the other representing the capability of the architect Sinan and the Islamic-Ottoman Empire, they have similarities as the Hagia Sophia influenced the Suleymaniye. Similar to the Hagia Sophia four giant piers hold up the main domes over a square plan. However the reinforcement system is much more complex ‘two half-domes stand on the axis of qiblah and hugearched walls filled with windows stand on the cross-axis’. The multiple domes and the arches supporting them also help to strengthen and distribute the weight of the massive central dome.[6] As well as th e columns being an essential part of the complex dome and support system of the mosque, it also had significant symbolic value religiously, symbolically and also architecturally. Although this supports the idea of influence of Hagia Sophia on the mosque, it also shows that the Sà ¼leymaniye Mosque remains a unique piece of architecture due to its complexity, from the clashing aspects Sinan applied to the mosque. Taking elements from foreign cultures and religions and combining them into something original can be recognized in the Sà ¼leymaniye Mosque just by examining at the structural qualities and materials. The originality of the great Ottoman mosques did not appear by removing all the foreign influences, nor can it merely be reduced to the Byzantine style. It is a mixture that developed by the procedure of integration of foreign culture by the Turks of Byzantine culture. This is what Ottoman Empire is, a multiracial, multilingual, and multicultural empire, which is what will b e explored further throughout this study. Bibliography: 1. Cansever, Turget. The Architecture of Mimar Sinan. Architectural Design. V. 74. n. 6. Nov/Dec 2004. pg 64-70. 2. Celebi, Sai Mustafa. Book of Buildings: Memoirs of Sinan the Architect. Kocbank: Istanbul, 2002. pg. 68. 3. Freely, John and Augusto Romano Burelli. Sinan: Architect of Suleyman the Magnificent and the Ottoman Golden Age. Thames Hudson: London, 1992. pg. 15-18, 26-33, 44-45, 74-77, 123-137. 4. Goodwin, Godfrey. Sinan: Ottoman Architecture and Its Values Today. Redwood Press Limited. Great Britain, 1993. Pgs. 33-45. 5. Nelipuglu, Gulru. The Age of Sinan: Architectural Culture in the Ottoman Empire. Reaktion Books: London, 2005. pg. 207-221. 6. Yayinlari, Ege. Sinan: An Interpretation. Istanbul, Turkey, 1997. Pgs. 28-30. 7. Grabar, Oleg, ed. 1990. Muqarnas Volume VII: An Annual on Islamic Art and Architecture. Leiden: E.J. Brill. Page 92 8. Art History, Volume I: Prehistoric-1400, pgs 520 – 522 9. Sinan and Palladio: two cultures and nine squares,International journal of architectural heritage, vol. 6, no. 1, 2012 Jan./Feb., pgs. 1-18. 10. The Sà ¼leymaniye Mosque: a computational fractal analysis of visual complexity and layering in Sinans masterwork, ARQ: architectural research quarterly, vol. 16, no. 2, 2012 June, p. 171-182. 11. World architecture : the masterworks / Will Pryce, London : Thames and Hudson, 2009.Pgs 193 – 195 12. Special issue. Mimar Sinan: the urban vision, Environmental design, vol. 5, no. 5/6 (1/2), 1987, p. 6-221. [1] The Sà ¼leymaniye Mosque: a computational fractal analysis of visual complexity and layering in Sinans masterwork vol. 16, no. 2, 2012 June, p. 171-173 [2] Grabar, Oleg, ed. 1990. Muqarnas Volume VII: An Annual on Islamic Art and Architecture. Leiden: E.J. Brill. Page 92 [3] World architecture : the masterworks / Will Pryce,London : Thames and Hudson, 2009. Pg.193 [4] The Sà ¼leymaniye Mosque: a computational fractal analysis of visual complexity and layering in Sinans masterwork vol. 16, no. 2, 2012 June, p. 174 [5] Art History, Volume I: Prehistoric-1400, page 522. [6] World architecture : the masterworks / Will Pryce,London : Thames and Hudson, 2009. Pg.193

The Short Second Life of Bree Tanner Chapters 11

That didn't make sense to me. Didn't the secrecy protect her more than it protected any of us? Riley hurried on before we had too long to examine his statement. â€Å"Of course, it doesn't matter now that they've decided to move on Seattle. We wil surprise them on their way in, and we wil annihilate them.† He whistled a single low note through his teeth. â€Å"Done. And then not only is the city al ours, other covens wil know not to mess with us. We won't have to be so careful to cover our tracks anymore. As much blood as you want, for everyone. Hunting every night. We'l move right into the city, and we will rule it.† The growls and snarls were like applause. Everyone was with him. Except for me. I didn't move, didn't make a sound. Neither did Fred, but who knows why that was? I was not with Riley because his promises sounded like lies. Or else my whole line of logic had been wrong. Riley said it was only these enemies that kept us from hunting without caution or restraint. But that didn't go along with the fact that al other vampires must have been discreet, or humans would have known about them long ago. I couldn't concentrate to work it out, because the door at the top of the stairs had not moved. Diego†¦ â€Å"We have to do this together, though. Today I'm going to lead you through some techniques. Fighting techniques. There's more to this than just scuffling around on the floor like toddlers. When it gets dark, we'l go outside and practice. I want you to practice hard, but keep your focus. I am not losing another member of this coven! We al need each other – every one of us. I wil not tolerate any more stupidity. If you think you don't have to listen to me, you are wrong.† He paused for a short second, the muscles in his face shifting into a new arrangement. â€Å"And you wil learn how wrong you are when I take you to her† – I shuddered and felt the tremor through the room as everyone else did, too – â€Å"and hold you while she tears off your legs and then slowly, slowly burns off your fingers, ears, lips, tongue, and every other superfluous appendage one by one.† We'd al lost a limb, at least, and we'd al burned when we became vampires, so we could easily imagine how that would feel, but it wasn't the threat itself that was so terrifying. The truly scary thing was Riley's face as he said it. His face was not twisted in rage, the way it usual y was when he was angry; it was calm and cold, smooth and beautiful, his mouth curled at the edges into a smal smile. I suddenly had the impression that this was a new Riley. Something had changed him, hardened him, but I couldn't imagine what could have happened in one night to create that cruel, perfect smile. I looked away, shivering a little, and saw as Raoul's smile shifted to echo Riley's. I could almost see the gears turning in Raoul's head. He wouldn't kil his victims so quickly in the future. â€Å"Now, let's get some teams figured out so that we can work in groups,† Riley said, his face normal again. â€Å"Kristie, Raoul, get your kids together and then divvy up the rest evenly. No fighting! Show me you can do this rational y. Prove yourselves.† He walked away from those two, ignoring the fact that they fel almost immediately into bickering, and made an arc around the outside edge of the room. He touched a few vampires on the shoulder as he passed, nudging them toward one of the new leaders or the other. I didn't realize at first that he was heading in my direction, because he took such a wide way around. â€Å"Bree,† he said, squinting toward where I stood. It looked like this took some effort. I felt like a block of ice. He must have smel ed my trail. I was dead. â€Å"Bree?† he said, softer now. His voice reminded me of the first time he'd talked to me. When he was nice to me. And then even lower, â€Å"I promised Diego I'd give you a message. He said to tel you it was a ninja thing. Does that make any sense to you?† He stil couldn't look at me, but he was edging closer. â€Å"Diego?† I murmured. I couldn't help myself. Riley smiled a tiny bit. â€Å"Can we talk?† He jerked his head toward the door. â€Å"I double-checked al the windows. The first floor is total y dark and safe.† I knew I wouldn't be as safe once I walked away from Fred, but I had to hear what Diego had wanted to tel me. What had happened? I should have stayed with him to meet Riley. I fol owed Riley through the room, keeping my head down. He gave Raoul a few instructions, nodded to Kristie, and then went up the stairs. From the corners of my eyes I saw a few people curiously watch the direction he was going. Riley passed through the door first, and the kitchen of the home was, as he'd promised, total y black. He motioned for me to keep fol owing and led me through a dark hal past a few open bedroom doors, then through another door with a dead bolt. We ended up in the garage. â€Å"You're brave,† he commented in a very low voice. â€Å"Or real y trusting. I thought it would be more work to get you upstairs with the sun up.† Whoops. I should have been more skittish. Too late now. I shrugged. â€Å"So you and Diego are pretty tight, right?† he asked, just breathing the words. Probably, if everyone were silent in the basement, they would stil be able to hear him, but it was pretty noisy down there right now. I shrugged again. â€Å"He saved my life,† I whispered. Riley lifted his chin, almost but not quite a nod, and appraised. Did he believe me? Did he think I stil feared the day? â€Å"He's the best,† Riley said. â€Å"The smartest kid I've got.† I nodded once. â€Å"We had a little meeting about the situation. We agreed that we need some surveil ance. Going in blind is too dangerous. He's the only one I trust to scout ahead.† He exhaled, almost angrily. â€Å"Wish I had two of him! Raoul's got too short a fuse and Kristie is too self-absorbed to get the big picture, but they're the best I've got, and I'l have to make do. Diego said you were smart, too.† I waited, not sure how much of our story Riley knew. â€Å"I need your help with Fred. Wow, that kid is strong! I couldn't even look at him tonight.† I nodded cautiously again. â€Å"Imagine if our enemies can't even look at us. It wil be so easy!† I didn't think Fred would like that idea, but maybe I was wrong. He didn't seem like he cared anything for this coven of ours. Would he want to save us? I didn't respond to Riley. â€Å"You spend a lot of time with him.† I shrugged. â€Å"Nobody bothers me there. It's not easy.† Riley pursed his lips and nodded. â€Å"Smart, like Diego said.† â€Å"Where is Diego?† I shouldn't have asked. The words just ripped out of their own accord. I waited anxiously, trying to look indifferent and most likely failing. â€Å"We don't have time to waste. I sent him south the second I found out what was coming. If our enemies decide to attack early, we need the advance warning. Diego wil meet up with us when we move against them.† I tried to imagine where Diego was now. I wished I were there with him. Maybe I could talk him out of doing Riley's bidding and putting himself in the line of fire in the process. But maybe not. It seemed like Diego was thick with Riley, just like I'd worried. â€Å"Diego wanted me to tel you something.† My eyes snapped to his face. Too fast, too eager. Blew it again. â€Å"Sounded like nonsense to me. He said, Tel Bree I've got the handshake figured out. I'l show her in four days, when we meet up.' I have no idea what that means. Do you?† I tried to force a poker face. â€Å"Maybe. He did say something about needing a secret handshake. For his underwater cave. Some kind of password. He was just kidding around, though. I'm not sure what he means now.† Riley chuckled. â€Å"Poor Diego.† â€Å"What?† â€Å"I think that kid likes you a lot more than you like him.† â€Å"Oh.† I looked away, confused. Was Diego giving me this message as a way to let me know I could trust Riley? But he hadn't told Riley I knew about the sun. Stil, he must have trusted Riley to tel him so much, to show Riley that he cared about me. I thought it would be wiser to keep my mouth shut, though. Too much had changed. â€Å"Don't write him off yet, Bree. He's the best, like I said. Give him a chance.† Riley was giving me romantic advice? This could not get weirder. I bobbed my head once and muttered, â€Å"Sure.† â€Å"See if you can talk to Fred. Make sure he's on board.† I shrugged. â€Å"I'l do what I can.† Riley smiled. â€Å"Great. I'l pul you aside before we leave, and you can tel me how it went. I'l keep it casual, not like tonight. I don't want him to feel like I'm spying on him.† â€Å"Okay.† Riley motioned for me to fol ow and then headed back to the basement. The training lasted al day, but I wasn't part of it. After Riley went back to his team leaders, I took my spot beside Fred. The others had been divided up into four groups of four, with Raoul and Kristie directing them. No one had picked Fred for a side, or maybe he'd ignored them, or maybe they couldn't even see that he was there. I could stil see him. He stood out – the only one not participating, a big blond elephant in the room. I had no desire to insinuate myself into either Raoul's team or Kristie's, so I just watched. No one seemed to notice that I was sitting out with Fred. Though we must have been somewhat invisible, thanks to talented Fred, I felt horribly obvious. I wished I were invisible to myself – that I could see the il usion so that I could trust it. But no one noticed us, and after a while I could almost relax. I watched the practicing closely. I wanted to know everything, just in case. I wasn't planning on fighting; I was planning on finding Diego and making a break for it. But what if Diego wanted to fight? Or what if we had to fight to get away from the rest? Better to pay attention. Only once did anyone ask about Diego. It was Kevin, but I had a sense that Raoul had put him up to it. â€Å"So, did Diego end up getting fried after al ?† Kevin asked in a forced joking tone. â€Å"Diego's with her,† Riley said, and no one had to ask who he meant. â€Å"Surveil ance.† A few people shuddered. No one said anything more about Diego. Was he real y with her? I cringed at the thought. Maybe Riley was just saying that to keep people from questioning him. He probably didn't want Raoul getting jealous and feeling second best when Riley needed him at his most arrogant today. I couldn't be sure, and I wasn't going to ask. I kept quiet, as usual, and watched the training. In the end, watching was boring, thirsty work. Riley didn't give his army a break for three days and two nights straight. During the daytime it was harder to stay out of the mix – we al were crammed so tightly into the basement. It made things easier in one way for Riley – he could usual y catch a fight before it got ugly. Outside at night, they had more room to real y work around each other, but Riley was kept busy darting back and forth to catch limbs and get them back to their owners quickly. He kept his temper wel, and he'd been smart enough to find al the lighters this time. I would have bet that this would spin out of control, that we'd lose at least a couple of coven members with Raoul and Kristie skirmishing head to head for days on end. But Riley had better control of them than I had thought possible. Stil, it was mostly repetition. I noticed Riley saying the same things over and over and over again. Work together, watch your back, don't go at her head-on; work together, watch your back, don't go at him head-on; work together, watch your back, don't go at her head-on. It was kind of ridiculous, real y, and made the group seem exceptional y stupid. But I was sure I would have been just as stupid if I'd been in the thick of the fight with them rather than watching calmly from the sidelines with Fred. It reminded me in a way of how Riley had dril ed into us our fear of the sun. Constant repetition. Stil, it was so dul that after about ten hours that first day, Fred produced a deck of cards and started playing solitaire. That was more interesting than watching the same mistakes over and over again, so I mostly watched him. After about another twelve hours – we were inside again – I nudged Fred to point out a red five that he could move over. He nodded and made the change. After that hand, he dealt out the cards to both of us, and we played rummy. We never spoke, but Fred smiled a few times. No one ever looked our way or asked us to join in. There were no hunting breaks, and as time went on, this got harder and harder to ignore. Fights broke out more regularly and with less provocation. Riley's commands got more shril, and he tore off two arms himself. I tried to forget the burning thirst as much as possible – after al, Riley must have been getting thirsty, too, so this couldn't last forever – but mostly thirst was the only thing on my mind. Fred was looking pretty strained. Early into the third night – one more day to go, and when I thought about the ticking clock it tied my empty stomach into knots – Riley cal ed al the mock fights to a halt. â€Å"Round it up, kids,† he told us, and everyone moved into a loose half-circle facing him. The original gangs al stood close together, so the practicing hadn't changed any of those al iances. Fred put the cards in his back pocket and stood up. I stood close to his side, counting on his repulsive aura to hide me. â€Å"You've done wel ,† Riley told us. â€Å"Tonight, you get a reward. Drink up, because tomorrow you're going to want your strength. â€Å" Snarls of relief from almost everyone. â€Å"I say want and not need for a reason,† Riley went on. â€Å"I think you guys have got this. You've stayed smart and worked hard. Our enemies aren't going to know what's hit them!† Kristie and Raoul growled, and both of their companies fol owed suit immediately. I was surprised to see it, but they did look like an army in that moment. Not that they were marching in formation or anything, but there was just something uniform about the response. Like they al were part of one big organism. As always, Fred and I were the glaring exceptions, but I thought only Riley was even the slightest bit aware of us – every now and then his eyes would scan across where we were standing, almost like he was checking to make sure he stil felt Fred's talent. And Riley didn't seem to mind that we weren't joining up. For now, anyway. â€Å"Um, you mean tomorrow night, right, boss?† Raoul clarified. â€Å"Right,† Riley said with a strange little smile. It didn't seem like anyone else noticed anything off in his reply – except for Fred. He looked down at me with one eyebrow raised. I shrugged. â€Å"You ready for your reward?† Riley asked. His little army roared in response.

Differentiate Between Management and Leadership

Individual paper: Differentiate between management and leadership. Be specific 1. Describe the roles and responsibilities that organizational managers and leaders play in creating and maintaining a healthy organizational culture. 2. ————————————————- Recommend at least two strategies that organizational managers and leaders can ust to create and maintain a healthy organizational culture. Support your concepts w/the concepts discussed in class. Management and leadership both play an important role in the success of a company.However, each role has a different function and in order to be successful in either position, you must have a clear understanding of what each role entails. This paper seeks to provide an understanding of the difference between management and leadership positions. It will expound on the role and responsibilities of each position because often times the t wo are viewed as having the same function. Managing a company is the process of moving the company forward implementing identified goals and objectives. Managing is the process of planning, organizing and allocating the necessary resources to accomplish these goals and objectives.He/she will be responsible for developing control mechanisms to motivate employees, measure the companies achievements, as well as ensure projects and operations are run efficiently, cost saving, and effective. 3. Leadership is more abstract when considered separately from management. Leadership is guiding a person or group toward the best results. It is having sound understanding to determine and ability to articulate visions and goals. Leadership is in par with management, but takes on precedence for strategic management and long-term success.

Advertising Affects A Wide Variety - 1270 Words

Advertising is a concept all Americans have been exposed to in their lives. It is a normal component of life that affects Americans more than they are led to believe. Advertising is constantly evolving. Advertising has been forced to change to meet up with the changing of times. The price spent on advertising raises at a rapid rate each and every year. Moreover, the every increasing money spent on advertising shows that it is effective on reaching and influencing the American consumer. Advertising affects a wide variety and a large amount of people. According to The Statistics Portal, â€Å"The United States is, by far, the largest advertising market in the world. In 2015, more than 180 billion U.S. dollars were spent in advertising in the United States. This figure is more than double the amount spent in advertising in China, the second largest ad market in the world.† From this, it is effortless to see that American’s are highly exposed to advertisements. According to the International Advertising Association, â€Å"Advertising can encourage companies to compete and provide new products. This encourages more consumers to buy because these products meet the needs and wants of more consumers. Thus, the economy is positively affected. In addition, advertising can help create more jobs. As the demand for products and services goes up because of advertising, more people are needed to manufacture, supply, ship and test those products and services. 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