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Thomas Rede (c. 1390– c. 1455) was a merchant, landholder, knight and public official of Roche Castle near Laugharne, Carmarthenshire. |
He was the son of William Rede and Jonet Wirriot. His father was born about 1370, the bastard son of Thomas Rede, a wealthy merchant of Carmarthen and Bristol. His mother was the daughter of Sir Wilcock Wirriot of Orielton in Pembrokeshire. |
Thomas was closely associated with Gruffudd ap Nicholas, a powerful figure in South Wales in the mid-15th century, as well as being Thomas’ father-in-law. In 1446 Thomas and Gruffudd farmed part of Cockmill in Carmarthen, and in 1449 they were involved together in a lease of the town. While not nearly as prominent in politics as his father-in-law, father or grandfather, Thomas did serve as beadle in Widigada from 1451 to 1452, and he was apparently knighted. |
Thomas married as his second wife Margred Dwnn, the cousin of his first wife, and daughter of another prominent Carmarthenshire family. By these two wives, and others, he had at least nine children. |
Thomas Rede, knight, was buried in Grey Friars church in Carmarthen, along with his father-in-law Gruffudd ap Nicholas and other members of the family. Thomas’ tomb lay on the south side of the choir. His coat of arms is described as: “Thomas Rede of Ye Roche -- quarterly, argent 3 pipes (elsewhere reeds) in fess, banded azure; and on a chief azure a lion passant sable.” The quartered coat of arms is for Wirriot, his mother’s family. |
Thomas’ principal estate was The Roche, near Talacharn (Laugharne) in Carmarthenshire, which appears on maps today as the ruin of Roche Castle. Later heralds in England rendered it “Rodes Court,” undoubtedly due to the confusion of the distance of time and place. |
The Roche was originally known as Machrells Walles, built in the 13th century by John de la Roche. Over the course of the ensuing century the property passed from one family member to another until in 1392 it came into the possession of David Fleming, who immediately granted it to Sir Thomas Fleming, knight and other Irish land owners. Subsequently, according to a successful 16th-century petition of James Reede, gentleman of London it became the property of Gruffudd Nicholas (Gruffudd ap Nicholas) and Thomas Nicholas, who granted it to William Rede and Jonet Wirriot as part of their marriage settlement. |
Decades later, in 1439, perhaps at the death of William who would have been 69 years old, Richard Rede conveyed the property to Thomas Nicoll (Thomas ap Gruffudd ap Nicholas?), “as of the gift of William Rede brother of the said Richard”. A conveyance by fine implies an agreed exchange, so it may have been by previous agreement that Thomas Nicoll conveyed Machrells Walles to William’s son, Richard. In 1452 Richard Rede, esquire and his wife Maud transferred Machrells Walles and other properties by quitclaim to Richard’s brother, Thomas Rede, esquire. The Roche remained in the family for an additional 120 years until James Rede sold it to Sir John Perrot in 1572. |
The coat of arms for Rede of Roche is a pun on the name. It always contains three reeds (golden or silver) on a sable field, and sometimes carries the pun further by adding three roaches (a type of fish) on a red field. The red field might even be considered a pun of the name Rede - one Welsh homonym for Rede being “rhudd,” which means red. |
= = = Tarakak = = = |
Tarakak () is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 159, in 30 families. |
= = = Zir Kal = = = |
Zir Kal (, also Romanized as Zīr Kal; also known as Zīr Chāl) is a village in Tayebi-ye Sarhadi-ye Sharqi Rural District, Charusa District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 217, in 40 families. |
= = = Ab Chati-ye Ajam = = = |
Ab Chati-ye Ajam (, also Romanized as Āb Chātī-ye Ājam) is a village in Ajam Rural District, Dishmok District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its existence was noted, but its population was not reported. |
= = = Garde Church = = = |
Garde Church (, sometimes also Garda Church) is a medieval church in Garde on the Swedish island of Gotland. Built in stages during the Middle Ages, it retains much of its medieval character. It contains medieval frescos, some of which were probably executed by artists from present-day Russia. It lies in the Diocese of Visby. |
The remains of an early stave church were discovered at the site of the presently visible church during an excavation in 1968. In the vicinity, Christian graves from the Viking Age have also been discovered, still containing the clothes of the deceased. A number of picture stones, pre-dating Christian times, have also been uncovered in the church, where they were used by the earliest builders as building material. |
The first stone church was begun in the 1130s, remains of which are still preserved in the nave of the church, including a few still usable, carved stone benches, and the base of the tower. The tower was heightened during the 13th century to its present altitude. The choir is the most recent part of the church. It is from the second quarter of the 14th century and replaced an earlier, Romanesque choir with an apse. The construction of the new choir was planned as the first step in a major rebuilding scheme; however for one reason or another, the builders seem to have run out of funds and the rest of the plans were never executed - hence the somewhat unusual shape of the church. A similar fate is not uncommon for churches on Gotland, as the region suffered an economic downturn at the end of the Middle Ages. |
The church retains much of the ambience of the earliest churches on Gotland: it is rather dark, the windows are small, the ceiling is flat and wooden, and the portals narrow. |
One of the most distinguishing features of the interior are a number of wall paintings or frescos. They depict two saints and were probably executed by a Russian artist (possibly from Staraja Ladoga) as they are Russo-Byzantine in style. The church also has a baptismal font made by the anonymous sculptor Byzantios sometime during the middle of the 12th century, and a triumphal cross made in the 13th century. The altarpiece is Baroque in style, and locally crafted. |
= = = Dar Boland-e Ajam = = = |
Dar Boland-e Ajam (, also Romanized as Dār Boland-e Ājam; also known as Dār Boland) is a village in Ajam Rural District, Dishmok District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its existence was noted, but its population was not reported. |
= = = La Haine (drama) = = = |
La Haine "(Hatred)" is a drama in five acts and eight tableaux by Victorien Sardou, premiered at the Théâtre de la Gaîté in Paris on 3 December 1874. Jacques Offenbach, director of the theatre, composed extensive incidental music for chorus and orchestra to accompany the play. |
Offenbach had composed songs and incidental music for eleven classical and modern dramas for the Comédie Française in the early 1850s, gaining valuable experience in writing for the theatre. Sardou and Offenbach created their first joint work in 1872 with the opéra-bouffe-féerie "Le Roi Carotte", which ran for 195 performances, and this encouraged the two to renew their collaboration. |
By 1874, Jacques Offenbach had become the director of the Théâtre de la Gaîté. To follow a revival of "Orphée aux Enfers" on 7 February, he decided to mount Sardou's drame using the under-used theatrical troupe at the theatre. |
"Orphée aux Enfers" closed on the 18 November to allow the rehearsals for "La Haine" to start, directed by Sardou himself who did not spare his efforts. "Le Figaro" reported that "Sardou is the most meticulous director in the world" and that he "places particular importance on the extras being actively involved as much as any of the actors." Rehearsals increased and the dress rehearsal took place on 27 November. |
The premiere was announced for the 29 November, but was postponed on the day itself, due to the flu epidemic in the capital which indisposed two principal actors, Lafontaine et Clément Just. First of all it was postponed until 30 November but only took place on Thursday 3 December, but as the actors had not completely recovered, Sardou cut the final scene. |
The premiere audience marvelled at the magnificence of the production. The scenery was especially dazzling. Francisque Sarcey noted "It is only right to recognize that, of the décors, several are masterpieces of exquisite taste; the cathedral dome is a marvel of lightness and grave; the inside of the church is superb." |
Everything was done to dazzle : dramatist and composer went so far as to transport a Cavaillé-Coll organ into the theatre. The settings were grand and impressive: the stage accommodated 535 persons.: "The war-cries of the soldiers, the moans of the terrified women, the clanking of armour, the booming of guns, the conquerors' entrance in the city, the sacking of the palace, all was of an exact and admirable motion." |
The words of Victorien Sardou were also noted, but critics commented that the direction was rather against the drama. Francisque Sarcey regretted that the principal roles appeared crushed : "The supernumeraries and props are too prominent. The crowd is the principal character. Tableaux follow tableaux, and in this new work, they are equally dark." |
For Auguste Vitu the play evoked painful memories of 1870 : "Streets full of bodies, palaces in flames, the homeland forsaken in the presence of the dumbfounded foreigner, and as if scandalized by so many distractions, such are the unforgettable sights which our consciousness is still soured, and of which our hearts still bleed. The widows and orphans in black, I have seen them bowed in our churches, the air rent with their sobs. The door of deathly memory re-opens wide within us; and sadness envelops us with its great black wings." |
While receipts came to around 8,000 francs per performance in mid-December, they fell to around 5,000 francs during the second fortnight On 28 December "Le Figaro" printed a letter from Sardou requesting that Offenbach recall his piece from the stage; Offenbach replied that as the public prefer lively art he would bring back "Orphée". The announcement had the effect of filling the theatre for the last performances of "La Haine". After 27 performances the play closed on 29 December 1874 and "Orphée aux Enfers" was brought back. The short run left the theatre in a parlous financial position. Some costumes were used in the revised version of "Geneviève de Brabant" which opened on 25 February 1875. |
Despite the failure, Sardou and Offenbach did contemplate a further collaboration on a spectacular production of the playwright's "Don Quichotte". |
A modern performance with reduced text but complete score took place on 19 July 2009 at the Festival de Radio France et Montpellier Languedoc Roussillon, with Fanny Ardant and Gérard Depardieu playing Cordelia and Orso. The concert was broadcast on France Musique on 30 July 2009. |
Guelph chiefs |
In 2006 the autograph orchestral score of the incidental music was found in the archive of the Offenbach family. |
Some early sketches preserved in the Archives Historiques de la ville de Cologne were destroyed in an accident on 3 March 2009. |
Jean-Christophe Keck, responsible for the 2009 critical edition, commented that "Offenbach composed a rich score of 30 numbers. The first sketches were noted down while travelling in his barouche where he had set up a work-table - the manuscripts bear witness to the jumping pen as it rode over Parisian cobbles. It consists of many mélodrames, off-stage choruses, interludes...". |
During Offenbach's tour of the USA, he conducted with much success the Marche religieuse from "La Haine" for American audiences. |
Keck notes that just before he died, Offenbach recalled the opening of the overture to "La Haine" in the opening bars of the finale of the Venetian act from "Contes d'Hoffmann". |
The action takes place in Siena in 1369. Historically, the Republic of Siena has passed through much civil unrest and political upheavals at that period, and in general Siena tended to be Ghibelline, in opposition to Florence's Guelph position. The play's specific events and its main characters are, however, fictional. |
In the 13th century, (this conflict formed the backdrop for some of Dante Alighieri's "Divine Comedy", completed in 1320). |
A crossroads near the rue Camollia. On the outskirts of Sienna, the banned Guelphs and the reigning Ghibellines fight. The Guelphs are led by Orso who had been banished for having dared to throw a garland to the Ghibelline Cordelia Saracini. From the battle the guelfes emerge victorious at the portcullis of the Saracini palace. Orso demands that Cordelia appear at the balcony and open the gates to the town. Cordelia replies to him: « … now is not the time to open the gates, when thieves are in the town! » Orso give orders for an assault, the gate rises and he enters the Saracini palace bent on vengeance. Rather than throw Cordelia from the window as the screaming crowd demands, he drags her half-strangled back into the palace. |
Premier tableau – a great hall in the Seigniory palace. Despite their apparent victory, the Guelphs only control but half of the city. Among the dead on the Ghibelline side is Andreino, the fifteen-year-old son of Uberta, Cordelia's old nurse. The Guelphs request a truce in order to tend to the injured and bury the dead : plague is feared. The Saracini palace is on fire. Cordelia comes back, alive, but tells her brothers Ercole and Giugurta, as well as her nurse, that she has been raped by a man of whom all she can remember is the voice. |
Deuxième tableau – the cathedral square. Guelphs and Ghibellines attend the solemn mass for the Virgin in the cathedral. At the point of coming to blows, the Bishop Azzolino steps forward and upbraids them : « Siennois, is this what you call a truce for the Virgin ? Church is God's house alone ! – Faithless and unworthy Christians put your weapons down or I will close these doors and will open them only to admit your coffins! » They defer in the face of the threat; Orso only speaking a word but it is enough for Cordelia to recognize as she follows the men into the church. |
Premier tableau – a cloister. While Cordelia recognizes Orso as her torturer, Uberta learns by chance that the killer of her son is also Orso ! The two women argue over which should kill him. Cordelia decides with her plea : « You only mourn a death; I, I mourn myself, alive! ». Cordelia strikes Orso, and he falls to the ground, his throat cut with a dagger thrust. As a fight ensues, his men carry him, still breathing, to the shade of a church porch. When Cordelia and Uberta retrace steps to finish their vengeance, they cannot find the body and wonder if he was only injured. Cordelia cries out : « God of vengeance ! let him be dead ! I will not finish the task ! ». |
Deuxième tableau – the square. Cordelia discovers Orso in agony and pleading for a drink. Faced with this suffering, she pities him and pours fresh water on his lips. |
Premier tableau – a room in the Saracini palace. Cordelia has concealed Orso in the burnt palace. Giugurta, beaten, must flee the town. He wants to leave the palace by the gardens but to do that must pass through the room where Orso is hiding, convalescent. Cordelia puts him off with such insistence that Uberta becomes suspicious. A horrific explanation finally reveals the truth to Uberta, but Cordelia asks for mercy in the name of Andreino who would have condemned this bloody sacrifice. Cordelia and Orso find themselves alone. Two images alternate in the mind of Orso : the woman who stabbed him and the woman who saved him. The two make one victim of him; his repentance bursts forth and to restore her honour he asks to marry her. Cordelia replies that he is also guilty to his country riven by war. Orso promises her : « You will see me again when I have triumphed over discord and vanquished hatred! » He leaves the palace and it is announced that Giugurta has been arrested by the Guelphs, masters of the city. |
Deuxième tableau – ruins of the old Seigniory palace. The captured Ghibelline prisoners including Giurgurta are about to be executed. Orso enters and proposes to the people that the prisoners be freed, in order to march against the Emperor laying siege to the city and demanding 50,000 florins to lift the siege. The people accept. As they set off for battle Giugurta catches a glance and words from Cordelia to Orso, and says that he will return and question her after the battle. |
Sienna cathedral. The Siennese return victorious. Cordelia, frightened by her brother's threats has taken refuge in the cathedral. Giugurta find her there having extracted the information before killing Uberta. After proud protests, Cordelia faints on the altar steps, and he takes advantage to make her swallow poison. The victors come in with Orso at their head. Cordelia has convulsions which are mistaken for the plague. The crowd disperses in horror, and Orso takes Cordelia in his arms. So doing, he condemns himself to be trapped with her in the place tainted by the plague. At their pleas, Azollino joins them in marriage. Alone, they exchange parting words : Orso's wound has re-opened, and the two lovers die side by side. |
"As created this page was a translation of the equivalent page in French Wikipedia." |
= = = Lisa Dietlin = = = |
Lisa M. Dietlin (born August 20, 1963) is speaker and writer on the subject of philanthropy. She is the author of four books about the subject, and she is the President and CEO of the philanthropic consulting company The Institute of Transformational Philanthropy. |
Dietlin was born in Alpena, Michigan, and spent her childhood in Michigan and Montana. Her father died when she was 13, and she and her siblings were raised by her mother. After graduating from Alpena High School and Alpena Community College, Dietlin earned a degree from Michigan State University. She received a Master of Arts degree in Philanthropy and Development from St. Mary's University of Minnesota. Dietlin served as the President for the Michigan Young Democrats, and then was the Legislative Services Specialist for the Michigan State University Senate from 1986-1991. |
At Michigan Technological University, Dietlin served as Associate Director of Corporate Relations, Director of Major Gifts and Senior Advancement Director. She moved to Chicago in 1998 and worked as Assistant Dean of Development at University of Illinois at Chicago and an adjunct professor at North Park University. |
In 2000, Dietlin founded Lisa M. Dietlin & Associates, Inc. in Chicago, and served as President and CEO. LMDA worked to create philanthropic strategies for its clients, mainly entrepreneurs and non-profit organizations. Dietlin served on the Board of the Ms. Foundation and WomenOnCall. |
Dietlin's first book, "Transformational Philanthropy: Entrepreneurs and Nonprofits", was published in 2010. She later authored three more books, the "Making A Difference" series, which provides tips, ideas and stories about creating positive impact through giving. Two additional books authored by Lisa are "The Power of Three: How to achieve your goals by simply doing three things a day" and "I Got Hit By a Taxi but You Look Run Over: Life Lessons about happiness and joy." |
Dietlin was featured by the Chicago Tribune in their ebook "Remarkable Women: Interviews with Inspiring Chicagoland Women" In 2013 she was named one of the Top 50 Singles by "Today's Chicago Woman" magazine. She has also named as a "SheSource" expert on strategic fundraising, philanthropy, nonprofits, media and entertainment. |
Dietlin has been a guest on many television and radio programs including NBC., CBS, Fox News, Better TV, WGN Radio, Oprah & Friends Radio NPR and First Business, giving information and ideas about how to get involved in charitable work. She appeared regularly on CBS 2 as its Chicago Charity Contributor, and was a national judge for the Tom’s of Maine "50 States for Good" charity recognition awards for several years. Dietlin has also contributed articles to, and been featured and quoted in various newspapers and magazines and in "The Chronicle of Philanthropy". She has been a regular Huffington Post contributor through her blog "Making A Difference®: The World of Giving". |
= = = Darreh Zari-ye Ajam = = = |
Darreh Zari-ye Ajam (, also Romanized as Darreh Zarī-ye Ājam; also known as Darreh Raẕī) is a village in Ajam Rural District, Dishmok District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 21, in 4 families. |
= = = Gerdeh Pey-e Ajam = = = |
Gerdeh Pey-e Ajam (, also Romanized as Gerdeh Pey-e Ājam; also known as Gerd Pey) is a village in Ajam Rural District, Dishmok District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its population was 26, in 4 families. |
= = = Heydari-ye Ajam = = = |
Heydari-ye Ajam (, also Romanized as Ḩeydarī-ye Ājam; also known as Ḩeydarī) is a village in Ajam Rural District, Dishmok District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its existence was noted, but its population was not reported. |
= = = Kizeh-ye Ajam = = = |
Kizeh-ye Ajam (, also Romanized as Kīzeh-ye Ājam) is a village in Ajam Rural District, Dishmok District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its existence was noted, but its population was not reported. |
= = = Litun-e Ajam = = = |
Litun-e Ajam (, also Romanized as Līṭūn-e Ājam) is a village in Ajam Rural District, Dishmok District, Kohgiluyeh County, Kohgiluyeh and Boyer-Ahmad Province, Iran. At the 2006 census, its existence was noted, but its population was not reported. |
= = = Bailey De Young = = = |
Bailey Marie De Young ("née" Buntain; September 16, 1989) is an American actress and dancer best known for playing the characters Ginny Thompson on "Bunheads", Lauren Cooper on "Faking It", and Imogene Cleary on "The Marvelous Mrs. Maisel". |