The portraiture of Queen Elizabeth I (1533–1603) spans the evolution of English royal portraits in the early modern period (1400/1500-1800), from the earliest representations of simple likenesses to the later complex imagery used to convey the power and aspirations of the state, as well as of the monarch at its head.

Even the earliest portraits of Elizabeth I contain symbolic objects such as roses and prayer books that would have carried meaning to viewers of her day. Later portraits of Elizabeth layer the iconography of empire—globes, crowns, swords and columns—and representations of virginity and purity, such as moons and pearls, with classical allusions, to present a complex "story" that conveyed to Elizabethan era viewers the majesty and significance of the 'Virgin Queen'.

Overview

Portraiture in Tudor England

Two portraiture traditions had arisen in the Tudor court since the days of Elizabeth's father, Henry VIII. The portrait miniature developed from the illuminated manuscript tradition. These small personal images were almost invariably painted from life over the space of a few days in watercolours on vellum, stiffened by being glued to a playing card. Panel paintings in oils on prepared wood surfaces were based on preparatory drawings and were usually executed at life size, as were oil paintings on canvas.

Unlike her contemporaries in France, Elizabeth never granted rights to produce her portrait to a single artist, although Nicholas Hilliard was appointed her official limner, or miniaturist and goldsmith. George Gower, a fashionable court portraitist created Serjeant Painter in 1581, was responsible for approving all portraits of the queen created by other artists from 1581 until his death in 1596.

Elizabeth sat for a number of artists over the years, including Hilliard, Cornelis Ketel, Federico Zuccaro or Zuccari, Isaac Oliver, and most likely to Gower and Marcus Gheeraerts the Younger. Portraits were commissioned by the government as gifts to foreign monarchs and to show to prospective suitors. Courtiers commissioned heavily symbolic paintings to demonstrate their devotion to the queen, and the fashionable long galleries of later Elizabethan country houses were filled with sets of portraits. The studios of Tudor artists produced images of Elizabeth working from approved "face patterns", or approved drawings of the queen, to meet this growing demand for her image, an important symbol of loyalty and reverence for the crown in times of turbulence.

European context

By far the most impressive models of portraiture available to English portraitists were the many portraits by Hans Holbein the Younger, the outstanding Northern portraitist of the first half of the 16th century, who had made two lengthy visits to England, and had been Henry VIII's court artist. Holbein had accustomed the English court to the full-length life-size portrait, although none of his originals now survive. His great dynastic mural at Whitehall Palace, destroyed in 1698, and perhaps other original large portraits, would have been familiar to Elizabethan artists.

Both Holbein and his great Italian contemporary Titian had combined great psychological penetration with a sufficiently majestic impression to satisfy their royal patrons. By his second visit, Holbein had already begun to move away from a strictly realist depiction; in his Jane Seymour, "the figure is no longer seen as displacing with its bulk a recognizable section of space: it approaches rather to a flat pattern, made alive by a bounding and vital outline". This tendency was to be taken much further by the later portraits of Elizabeth, where "Likeness of feature and an interest in form and volume have gradually been abandoned in favour of an effect of splendid majesty obtained by decorative pattern, and the forms have been flattened accordingly".

Titian continued to paint royal portraits, especially of Philip II of Spain, until the 1570s, but in sharply reduced numbers after about 1555, and he refused to travel from Venice to do them. The full-length portrait of Philip (1550–51) now in the Prado was sent to Elizabeth's elder sister and predecessor Mary I in advance of their marriage.

Towards the mid-16th century, the most influential Continental courts came to prefer less revealing and intimate works, and at the mid-century the two most prominent and influential royal portraitists in paint, other than Titian, were the Netherlandish Anthonis Mor and Agnolo Bronzino in Florence, besides whom the Habsburg court sculptor and medallist Leone Leoni was similarly skilled. Mor, who had risen rapidly to prominence in 1540s, worked across Europe for the Habsburgs in a tighter and more rigid version of Titian's compositional manner, drawing also on the North Italian style of Moretto. Mor had actually visited London in 1554, and painted three versions of his well-known portrait of Queen Mary; he also painted English courtiers who visited Antwerp.

Mor's Spanish pupil Alonso Sánchez Coello continued in a stiffer version of his master's style, replacing him as Spanish court painter in 1561. Sofonisba Anguissola had painted in an intimately informal style, but after her recruitment to the Spanish court as the Queen's painter in 1560 was able to adapt her style to the much more formal demands of state portraiture. Moretto's pupil Giovanni Battista Moroni was Mor's contemporary and formed his mature style in the 1550s, but few of his spirited portraits were of royalty, or yet to be seen outside Italy.

Bronzino developed a style of coldly distant magnificence, based on the Mannerist portraits of Pontormo, working almost entirely for Cosimo I, the first Medici Grand-Duke. Bronzino's works, including his striking portraits of Cosimo's Duchess, Eleanor of Toledo, were distributed in many versions across Europe, continuing to be made for two decades from the same studio pattern; a new portrait painted in her last years, about 1560, exists in only a few repetitions. At the least many of the foreign painters in London are likely to have seen versions of the earlier type, and there may well have been one in the Royal Collection.

French portraiture remained dominated by small but finely drawn bust-length or half-length works, including many drawings, often with colour, by François Clouet following, with a host of imitators, his father Jean, or even smaller oils by the Netherlandish Corneille de Lyon and his followers, typically no taller than a paperback book. A few full-length portraits of royalty were produced, dependent on German or Italian models.

Creating the royal image

William Gaunt contrasts the simplicity of the 1546 portrait of Elizabeth Tudor as a Princess with later images of her as queen. He wrote, "The painter...is unknown, but in a competently Flemish style he depicts the daughter of Anne Boleyn as quiet and studious-looking, ornament in her attire as secondary to the plainness of line that emphasizes her youth. Great is the contrast with the awesome fantasy of the later portraits: the pallid, mask-like features, the extravagance of headdress and ruff, the padded ornateness that seemed to exclude all humanity."

The lack of emphasis given to depicting depth and volume in her later portraits may have been influenced by the Queen's own views. In the Art of Limming, Hilliard cautioned against all but the minimal use of chiaroscuro modelling seen in his works, reflecting the views of his patron: "seeing that best to show oneself needeth no shadow of place but rather the open light...Her Majesty..chose her place to sit for that purpose in the open alley of a goodly garden, where no tree was near, nor any shadow at all..."

From the 1570s, the government sought to manipulate the image of the queen as an object of devotion and veneration. Sir Roy Strong writes: "The cult of Gloriana was skilfully created to buttress public order and, even more, deliberately to replace the pre-Reformation externals of religion, the cult of the Virgin and saints with their attendant images, processions, ceremonies and secular rejoicing." The pageantry of the Accession Day tilts, the poetry of the court, and the most iconic of Elizabeth's portraits all reflected this effort. The management of the queen's image reached its heights in the last decade of her reign, when realistic images of the aging queen were replaced with an eternally youthful vision, defying the reality of the passage of time.

Early portraits

The young queen
Portraits of the young queen, many of them likely painted to be shown to prospective suitors and foreign heads of state, show a naturality and restraint similar to that of the portrait of Elizabeth as a princess.

The full-length Hampden image of Elizabeth in a red satin gown, originally attributed to Steven van der Meulen and reattributed to George Gower in 2020, has been identified by Sir Roy Strong as an important early portrait, "undertaken at a time when her image was being tightly controlled", and produced "in response to a crisis over the production of the royal image, one which was reflected in the words of a draft proclamation dated 1563". The draft proclamation (never published) was a response to the circulation of poorly-made portraits in which Elizabeth was shown "in blacke with a hoode and cornet", a style she no longer wore. Symbolism in these pictures is in keeping with earlier Tudor portraiture; in some, Elizabeth holds a book (possibly a prayer book) suggesting studiousness or piety. In other paintings, she holds or wears a red rose, symbol of the Tudor Dynasty's descent from the House of Lancaster, or white roses, symbols of the House of York and of maidenly chastity. In the Hampden portrait, Elizabeth wears a red rose on her shoulder and holds a gillyflower in her hand. Of this image, Strong says "Here Elizabeth is caught in that short-lived period before what was a recognisable human became transmuted into a goddess".

One artist active in Elizabeth's early court was the Flemish miniaturist Levina Teerlinc, who had served as a painter and gentlewoman to Mary I and stayed on as a Gentlewoman of the Privy Chamber to Elizabeth. Teerlinc is best known for her pivotal position in the rise of the portrait miniature. There is documentation that she created numerous portraits of Elizabeth I, both individual portraits and portraits of the sovereign with important court figures, but only a few of these have survived and been identified.

Elizabeth and the goddesses

Two surviving allegorical paintings show the early use of classical mythology to illustrate the beauty and sovereignty of the young queen. In Elizabeth I and the Three Goddesses (1569), attributed to Hans Eworth, the story of the Judgement of Paris is turned on its head. Elizabeth, rather than Paris, is now sent to choose among Juno, Venus, and Pallas-Minerva, all of whom are outshone by the queen with her crown and royal orb. As Susan Doran writes, "Implicit to the theme of the painting ... is the idea that Elizabeth's retention of royal power benefits her realm. Whereas Paris's judgement in the original myth resulted in the long Trojan Wars 'to the utter ruin of the Trojans', hers will conversely bring peace and order to the state" after the turbulent reign of Elizabeth's sister Mary I.

The latter theme lies behind the 1572 The Family of Henry VIII: An Allegory of the Tudor Succession (attributed to Lucas de Heere). In this image, Catholic Mary and her husband Philip II of Spain are accompanied by Mars, the god of War, on the left, while Protestant Elizabeth on the right ushers in the goddesses Peace and Plenty. An inscription states that this painting was a gift from the queen to Francis Walsingham as a "Mark of her people's and her own content", and this may indicate that the painting commemorates the signing of the Treaty of Blois (1572), which established an alliance between England and France against Spanish aggression in the Netherlands during Walsingham's tour of duty as ambassador to the French court. Strong identifies both paintings as celebrations of Elizabeth's just rule by Flemish exiles, to whom England was a refuge from the religious persecution of Protestants in the Spanish Netherlands.

Hilliard and the queen

Nicholas Hilliard was an apprentice to the Queen's jeweller Robert Brandon, a goldsmith and city chamberlain of London, and Strong suggests that Hilliard may also have been trained in the art of limning by Levina Teerlinc. Hilliard emerged from his apprenticeship at a time when a new royal portrait painter was "desperately needed."

Hilliard's first known miniature of the Queen is dated 1572. It is not known when he was formally appointed limner (miniaturist) and goldsmith to Elizabeth, though he was granted the reversion of a lease by the Queen in 1573 for his "good, true and loyal service." Two panel portraits long attributed to him, the Phoenix and Pelican portraits, are dated . These paintings are named after the jewels the queen wears, her personal badges of the pelican in her piety and the phoenix. National Portrait Gallery researchers announced in September 2010 that the two portraits were painted on wood from the same two trees; they also found that a tracing of the Phoenix portrait matches the Pelican portrait in reverse, deducing that both pictures of Elizabeth in her forties were painted around the same time.

However, Hilliard's panel portraits seem to have been found wanting at the time, and in 1576 the recently married Hilliard left for France to improve his skills. Returning to England, he continued to work as a goldsmith, and produced some spectacular "picture boxes" or jewelled lockets for miniatures: the Armada Jewel, given by Elizabeth to Sir Thomas Heneage and the Drake Pendant given to Sir Francis Drake are the best known examples. As part of the cult of the Virgin Queen, courtiers were expected to wear the Queen's likeness, at least at Court.

Hilliard's appointment as miniaturist to the Crown included the old sense of a painter of illuminated manuscripts and he was commissioned to decorate important documents, such as the founding charter of Emmanuel College, Cambridge (1584), which has an enthroned Elizabeth under a canopy of estate within an elaborate framework of Flemish-style Renaissance strapwork and grotesque ornament. He also seems to have designed woodcut title-page frames and borders for books, some of which bear his initials.

The Darnley Portrait

The problem of an official portrait of Elizabeth was solved with the Darnley Portrait. Likely painted from life around 1575–6, this portrait is the source of a face pattern which would be used and reused for authorized portraits of Elizabeth into the 1590s, preserving the impression of ageless beauty. Strong suggests that the artist is Federico Zuccari or Zuccaro, an "eminent" Italian artist, though not a specialist portrait-painter, who is known to have visited the court briefly with a letter of introduction to Elizabeth's favourite Robert Dudley, 1st Earl of Leicester, dated 5 March 1575. Zuccaro's preparatory drawings for full-length portraits of both Leicester and Elizabeth survive, although it is unlikely the full-length of Elizabeth was ever painted. Curators at the National Portrait Gallery believe that the attribution of the Darnley portrait to Zuccaro is "not sustainable", and attribute the work to an unknown "continental" (possibly Dutch) artist.

The Darnley Portrait features a crown and sceptre on a table beside the queen, and was the first appearance of these symbols of sovereignty separately used as props (rather than worn and carried) in Tudor portraiture, a theme that would be expanded in later portraits. Recent conservation work has revealed that Elizabeth's now-iconic pale complexion in this portrait is the result of deterioration of red lake pigments, which has also altered the coloring of her dress.

The Virgin Empress of the Seas

Return of the Golden Age

The excommunication of Elizabeth by Pope Pius V in 1570 led to increased tension with Philip II of Spain, who championed the Catholic Mary, Queen of Scots, as the legitimate heir of his late wife Mary I. This tension played out over the next decades in the seas of the New World as well as in Europe, and culminated in the invasion attempt of the Spanish Armada.

It is against this backdrop that the first of a long series of portraits appears, depicting Elizabeth with heavy symbolic overlays of the possession of an empire based on mastery of the seas. Combined with a second layer of symbolism representing Elizabeth as the Virgin Queen, these new paintings signify the manipulation of Elizabeth's image as the destined Protestant protector of her people.

Strong points out that there is no trace of this iconography in portraits of Elizabeth prior to 1579, and identifies its source as the conscious image-making of John Dee, whose 1577 General and Rare Memorials Pertayning to the Perfect Arte of Navigation encouraged the establishment of English colonies in the New World supported by a strong navy, asserting Elizabeth's claims to an empire via her supposed descent from Brutus of Troy and King Arthur.

Dee's inspiration lies in Geoffrey of Monmouth's History of the Kings of Britain, which was accepted as true history by Elizabethan poets, and formed the basis of the symbolic history of England. In this 12th-century pseudohistory, Britain was founded by and named after Brutus, the descendant of Aeneas, who founded Rome. The Tudors, of Welsh descent, were heirs of the most ancient Britons and thus of Aeneas and Brutus. By uniting the Houses of York and Lancaster following the strife of the Wars of the Roses, the Tudors ushered in a united realm where  - Latin for "peace", and the Roman goddess of peace - reigned. The Spenserian scholar Edwin Greenlaw states, "The descent of the Britons from the Trojans, the linking of Arthur, Henry VIII, and Elizabeth as Britain's greatest monarchs, and the return under Elizabeth of the Golden Age are all commonplaces of Elizabethan thought." This understanding of history and Elizabeth's place in it forms the background to the symbolic portraits of the latter half of her reign.

The Virgin Queen

A series of Sieve Portraits copied the Darnley face pattern, and added an allegorical overlay that depicted Elizabeth as Tuccia, a Vestal Virgin who proved her chastity by carrying a sieve full of water from the Tiber River to the Temple of Vesta without spilling a drop. The first Sieve Portrait was painted by George Gower in 1579, but the most influential image is the 1583 version by Quentin Metsys (or Massys) the Younger.

In the Metsys version, Elizabeth is surrounded by symbols of empire, including a column and a globe, iconography that would appear again and again in her portraiture of the 1580s and 1590s, most notably in the Armada Portrait of . The medallions on the pillar to the left of the queen illustrate the story of Dido and Aeneas, ancestor of Brutus, suggesting that like Aeneas, Elizabeth's destiny was to reject marriage and found an empire. This painting's patron was likely Sir Christopher Hatton, as his heraldic badge of the white hind appears on the sleeve of one of the courtiers in the background, and the work may have expressed opposition to the proposed marriage of Elizabeth to François, Duke of Anjou.

The virgin Tuccia was familiar to Elizabethan readers from Petrarch's "The Triumph of Chastity". Another symbol from this work is the spotless ermine, wearing a collar of gold studded with topazes. This symbol of purity appears in the Ermine Portrait of 1585, attributed to the herald William Segar. The queen bears the olive branch of  (Peace), and the sword of justice rests on the table at her side. In combination, these symbols represent not only the personal purity of Elizabeth but the "righteousness and justice of her government."

Visions of empire

The Armada Portrait is an allegorical panel painting depicting the queen surrounded by symbols of empire against a backdrop representing the defeat of the Spanish Armada in 1588.

There are three surviving versions of the portrait, in addition to several derivative paintings. The version at Woburn Abbey, the seat of the Dukes of Bedford, was long accepted as the work of George Gower, who had been appointed Serjeant Painter in 1581. A version in the National Portrait Gallery, London, which had been cut down at both sides leaving just a portrait of the queen, was also formerly attributed to Gower. A third version, owned by the Tyrwhitt-Drake family, may have been commissioned by Sir Francis Drake. Scholars agree that this version is by a different hand, noting distinctive techniques and approaches to the modelling of the queen's features. Curators now believe that the three extant versions are all the output of different workshops under the direction of unknown English artists.

The combination of a life-sized portrait of the queen with a horizontal format is "quite unprecedented in her portraiture", although allegorical portraits in a horizontal format, such as Elizabeth I and the Three Goddesses and the Family of Henry VIII: An Allegory of the Tudor Succession pre-date the Armada Portrait.

The queen's hand rests on a globe below the crown of England, "her fingers covering the Americas, indicating England's [command of the seas] and [dreams of establishing colonies] in the New World". The Queen is flanked by two columns behind, probably a reference to the famous impresa of the Holy Roman Emperor, Charles V, Philip II of Spain's father, which represented the pillars of Hercules, gateway to the Atlantic Ocean and the New World.

In the background view on the left, English fireships threaten the Spanish fleet, and on the right the ships are driven onto a rocky coast amid stormy seas by the "Protestant Wind". On a secondary level, these images show Elizabeth turning her back on storm and darkness while sunlight shines where she gazes.

An engraving by Crispijn van de Passe (Crispin van de Passe) published in 1596, but showing costume of the 1580s, carries similar iconography. Elizabeth stands between two columns bearing her arms and the Tudor heraldic badge of a portcullis. The columns are surmounted by her emblems of a pelican in her piety and a phoenix, and ships fill the sea behind her.

The cult of Elizabeth

The various threads of mythology and symbolism that created the iconography of Elizabeth I combined into a tapestry of immense complexity in the years following the defeat of the Spanish Armada. In poetry, portraiture and pageantry, the queen was celebrated as Astraea, the just virgin, and simultaneously as Venus, the goddess of love. Another exaltation of the queen's virgin purity identified her with the moon goddess, who held dominion over the waters. Sir Walter Raleigh had begun to use Diana, and later Cynthia, as aliases for the queen in his poetry around 1580, and images of Elizabeth with jewels in the shape of crescent moons or the huntress's arrows begin to appear in portraiture around 1586 and multiply through the remainder of the reign. Courtiers wore the image of the Queen to signify their devotion, and had their portraits painted wearing her colours of black and white.

The Ditchley Portrait seems to have always been at the Oxfordshire home of Elizabeth's retired Champion, Sir Henry Lee of Ditchley, and likely was painted for (or commemorates) her two-day visit to Ditchley in 1592. The painting is attributed to Marcus Gheerearts the Younger, and was almost certainly based on a sitting arranged by Lee, who was the painter's patron. In this image, the queen stands on a map of England, her feet on Oxfordshire. The painting has been trimmed and the background poorly repainted, so that the inscription and sonnet are incomplete. Storms rage behind her while the sun shines before her, and she wears a jewel in the form of a celestial or armillary sphere close to her left ear. Many versions of this painting were made, likely in Gheeraerts' workshop, with the allegorical items removed and Elizabeth's features "softened" from the stark realism of her face in the original. One of these was sent as a diplomatic gift to the Grand Duke of Tuscany, and is now in the Palazzo Pitti.

The last sitting and the Mask of Youth

Around 1592, the queen also sat to Isaac Oliver, a pupil of Hilliard, who produced an unfinished portrait miniature used as a pattern for engravings of the queen. Only a single finished miniature from this pattern survives, with the queen's features softened, and Strong concludes that this realistic image from life of the aging Elizabeth was not deemed a success.

Prior to the 1590s, woodcuts and engravings of the queen were created as book illustrations, but in this decade individual prints of the queen first appear, based on the Oliver face pattern. In 1596, the Privy Council ordered that unseemly portraits of the queen which had caused her "great offence" should be sought out and burnt, and Strong suggest that these prints, of which comparatively few survive, may be the offending images. Strong writes "It must have been exposure to the searching realism of both Gheeraerts and Oliver that provoked the decision to suppress all likenesses of the queen that depicted her as being in any way old and hence subject to mortality."

In any event, no surviving portraits dated between 1596 and Elizabeth's death in 1603 show the aging queen as she truly was. Faithful resemblance to the original is only to be found in the accounts of contemporaries, as in the report written in 1597 by André Hurault de Maisse, Ambassador Extraordinary from Henry IV of France, after an audience with the sixty-five year-old queen, during which he noted, "her teeth are very yellow and unequal ... and on the left side less than on the right. Many of them are missing, so that one cannot understand her easily when she speaks quickly." Yet he added, "her figure is fair and tall and graceful in whatever she does; so far as may be she keeps her dignity, yet humbly and graciously withal." All subsequent images rely on a face pattern devised by Nicholas Hilliard sometime in the 1590s called by art historians the "Mask of Youth", portraying Elizabeth as ever-young. Some 16 miniatures by Hilliard and his studio are known based on this face pattern, with different combinations of costume and jewels likely painted from life, and it was also adopted by (or enforced on) other artists associated with the Court.

The coronation portraits

Two portraits of Elizabeth in her coronation robes survive, both dated to 1600 or shortly thereafter. One is a panel portrait in oils, and the other is a miniature by Nicholas Hilliard. The warrant to the queen's tailor for remodelling Mary I's cloth of gold coronation robes for Elizabeth survives, and costume historian Janet Arnold's study points out that the paintings accurately reflect the written records, although the jewels differ in the two paintings, suggesting two different sources, one possibly a miniature by Levina Teerlinc. It is not known why, and for whom, these portraits were created, at, or just after, the end of her reign.

The Rainbow Portrait

Attributed to Marcus Gheeraerts the Younger, perhaps the most heavily symbolic portrait of the queen is the Rainbow Portrait at Hatfield House. It was painted around 1600–1602, when the queen was in her sixties. In this painting, an ageless Elizabeth appears dressed as if for a masque, in a linen bodice embroidered with spring flowers and a mantle draped over one shoulder, her hair loose beneath a fantastical headdress. She wears symbols out of the popular emblem books, including the cloak with eyes and ears, the serpent of wisdom, and the celestial armillary sphere – an Irish mantle, and carries a rainbow with the motto  ("no rainbow without the sun"). Strong suggests that the complex "programme" for this image may be the work of the poet John Davies, whose Hymns to Astraea honouring the queen use much of the same imagery, and suggests it was commissioned by Robert Cecil as part of the decor for Elizabeth's visit in 1602, when a "shrine to Astraea" featured in the entertainments of what would prove to be the "last great festival of the reign".

Books and coins

Prior to the wide dissemination of prints of the queen in the 1590s, the common people of Elizabeth's England would be most familiar with her image on the coinage. In December 1560, a systematic recoinage of the debased money then in circulation was begun. The main early effort was the issuance of sterling silver shillings and groats, but new coins were issued in both silver and gold. This restoration of the currency was one of the three principal achievements noted on Elizabeth's tomb, illustrating the value of stable currency to her contemporaries. Later coinage represented the queen in iconic fashion, with the traditional accompaniments of Tudor heraldic badges including the Tudor rose and portcullis.

Books provided another widely available source of images of Elizabeth. Her portrait appeared on the title page of the Bishops' Bible, the standard Bible of the Church of England, issued in 1568 and revised in 1572. In various editions, Elizabeth is depicted with her orb and sceptre accompanied by female personifications.

"Reading" the portraits

The many portraits of Elizabeth I constitute a tradition of image highly steeped in classical mythology and the Renaissance understanding of English history and destiny, filtered by allusions to Petrarch's sonnets and, late in her reign, to Edmund Spenser's Faerie Queene. This mythology and symbology, though directly understood by Elizabethan contemporaries for its political and symbolic meaning, makes it difficult to 'read' the portraits in the present day as contemporaries would have seen them at the time of their creation. Though knowledge of the symbology of Elizabethan portraits has not been lost, Dame Frances Yates points out that the most complexly symbolic portraits may all commemorate specific events, or have been designed as part of elaborately-themed entertainments, knowledge left unrecorded within the paintings themselves. The most familiar images of Elizabeth—the Armada, Ditchley, and Rainbow portraits—are all associated with unique events in this way. To the extent that the contexts of other portraits have been lost to scholars, so too the keys to understanding these remarkable images as the Elizabethans understood them may be lost in time; even those portraits that are not overtly allegorical may have been full of meaning to a discerning eye. Elizabethan courtiers familiar with the language of flowers and the Italian emblem books could have read stories in the flowers the queen carried, the embroidery on her clothes, and the design of her jewels.

According to Strong:Fear of the wrong use and perception of the visual image dominates the Elizabethan age. The old pre-Reformation idea of images, religious ones, was that they partook of the essence of what they depicted. Any advance in technique which could reinforce that experience was embraced. That was now reversed, indeed it may account for the Elizabethans failing to take cognisance of the optical advances which created the art of the Italian Renaissance. They certainly knew about these things but, and this is central to the understanding of the Elizabethans, chose not to employ them. Instead the visual arts retreated in favour of presenting a series of signs or symbols through which the viewer was meant to pass to an understanding of the idea behind the work. In this manner the visual arts were verbalised, turned into a form of book, a 'text' which called for reading by the onlooker. There are no better examples of this than the quite extraordinary portraits of the queen herself, which increasingly, as the reign progressed, took on the form of collections of abstract pattern and symbols disposed in an unnaturalistic manner for the viewer to unravel, and by doing so enter into an inner vision of the idea of monarchy.

Gallery

Queen and court

Portrait miniatures

Portraits

Portrait medallions and cameos

Drawings

Prints and coins

Illuminated manuscripts

See also
1550–1600 in fashion
Artists of the Tudor Court
Cultural depictions of Elizabeth I of England

Notes

References

Bibliography
Arnold, Janet: "The 'Coronation' Portrait of Queen Elizabeth I", The Burlington Magazine, CXX, 1978, pp. 727–41.
Arnold, Janet: Queen Elizabeth's Wardrobe Unlock'd, W S Maney and Son Ltd, Leeds 1988.
Blunt, Anthony, Art and Architecture in France, 1500–1700, 2nd edn 1957, Penguin
Cooper, Tarnya; Bolland, Charlotte (2014). The Real Tudors : kings and queens rediscovered. London: National Portrait Gallery. .
Freedberg, Sydney J., Painting in Italy, 1500–1600, 3rd edn. 1993, Yale,
Gaunt, William: Court Painting in England from Tudor to Victorian Times. London: Constable, 1980. .
Gent, Lucy, and Nigel Llewellyn, eds: Renaissance Bodies: The Human Figure in English Culture c. 1540–1660Reaktion Books, 1990,
Hearn, Karen, ed. Dynasties: Painting in Tudor and Jacobean England 1530–1630.  New York: Rizzoli, 1995.   (Hearn 1995)
Hearn, Karen: Marcus Gheeraerts II Elizabeth Artist, London: Tate Publishing 2002,  (Hearn 2002)
Kinney, Arthur F.: Nicholas Hilliard's "Art of Limning", Northeastern University Press, 1983,
Levey, Michael, Painting at Court, Weidenfeld & Nicolson, London, 1971
Penny, Nicholas,  National Gallery Catalogues (new series): The Sixteenth Century Italian Paintings, Volume 1, 2004, National Gallery Publications Ltd,
Museo del Prado, Catálogo de las pinturas, 1996, Ministerio de Educación y Cultura, Madrid,  (Prado)
Reynolds, Graham: Nicholas Hilliard & Isaac Oliver, Her Majesty's Stationery Office, 1971
Strong, Roy: The English Icon: Elizabethan and Jacobean Portraiture, 1969, Routledge & Kegan Paul, London (Strong 1969)
Strong, Roy: Nicholas Hilliard, 1975, Michael Joseph Ltd, London,  (Strong 1975)
Strong, Roy: The Cult of Elizabeth, 1977, Thames and Hudson, London,  (Strong 1977)
Strong, Roy: Artists of the Tudor Court: The Portrait Miniature Rediscovered 1520–1620, Victoria & Albert Museum exhibit catalogue, 1983,  (Strong 1983)
Strong, Roy: Art and Power; Renaissance Festivals 1450–1650, 1984, The Boydell Press; (Strong 1984)
Strong, Roy: "From Manuscript to Miniature" in John Murdoch, Jim Murrell, Patrick J. Noon & Roy Strong, The English Miniature, Yale University Press, New Haven and London, 1981 (Strong 1981)
Strong, Roy: Gloriana: The Portraits of Queen Elizabeth I, Thames and Hudson, 1987,  (Strong 1987)
Strong, Roy: The Spirit of Britain, 1999, Hutchison, London,  (Strong 1999)
Trevor-Roper, Hugh; Princes and Artists, Patronage and Ideology at Four Habsburg Courts 1517–1633, Thames & Hudson, London, 1976,
Waterhouse, Ellis; Painting in Britain, 1530–1790, 4th Edn, 1978, Penguin Books (now Yale History of Art series)
Yates, Frances: Astraea: The Imperial Theme in the Sixteenth Century, London and Boston: Routledge and Keegan Paul, 1975,

Further reading
Connolly, Annaliese; Hopkins, Lisa (eds.), Goddesses and Queens: The Iconography of Elizabeth, 2007, Manchester University Press, .

Elizabeth I
English Renaissance
Renaissance art
English art
Iconography

16th-century portraits
Portraits of the English royal family
Portraits of women
Material culture of royal courts


Revenant was a 20-gun privateer corvette, launched in 1807, and designed by Robert Surcouf for commerce raiding. The French Navy later requisitioned her and renamed her Iéna, after Napoleon's then-recent victory at the Battle of Jena–Auerstedt. The British captured her in 1808 and she served in the Royal Navy as HMS Victor. The French Navy recaptured her in 1809, taking her back into service under the new name. The British again captured her when they took Isle de France (now Mauritius) in December 1810. They did not restore her to service, and she was subsequently broken up.

Career
Her coppered hull allowed her to sail at up to 12 knots. Her cost was 277,761 francs-or. One of her owners was the banker Jacques Récamier.

Indian ocean cruises (1807 - 1808)
In February 1807, Surcouf enlisted Potier as first officer on his new privateer Revenant. Revenant then departed from Saint-Malo on 2 March, and sailed for Isle de France.  Revenant arrived there on 10 June, along with several prizes she had taken during her journey. She cruised the Bay of Bengal from September to 31 January 1808 under Surcouf, capturing the rice ships Trafalgar, Mangles, Admiral Alpin, Susannah Hunter, Success,  Fortune, New Endeavour, Colonel Macauley, William Burroughs,  Oriente and Jean Labdam. Trafalgar, of about 800 tons (bm), was a copper-sheathed three-master, carrying 10,000 sacks of rice from Bengal. Maingless () was also a copper-sheathed three-master, in this case carrying 8,000 sacks of rice from Bengal, but also books, mirrors, and furniture. Lastly, Suzanne, of 400 tons (bm), copper-sheathed three-master, was carrying rice and sailcloth. They had been captured on 11, 18, and 25 November, and arrived at Port-Louis on 2 and 16 December.

After Revenant returned to Port-Louis from her first campaign Surcouf gave Potier command of the ship on 2 April.

In late April, as Revenant was completing her preparations and plotting her route, a prize taken by the privateer Adèle gave news of the new war between France and Portugal; Adèle also brought intelligence about the Conceçáo-de-Santo-Antonio, a 64-gun ship of the line armed en flûte, which was in Goa preparatory to sailing for Rio de Janeiro and Lisbon. Surcouf sent Portier to intercept, and Revenant departed Port-Louis on 30 April.  She arrived in her patrol zone on 17 May and sighted her prey on the 24th. Revenant captured Conceçáo-de-Santo-Antonio after a one-hour battle. Potier gave Conceçáo a prize crew under First Lieutenant Fonroc, and returned to Mauritius one month later with his prize.

Surcouf then planned to send Revenant back to France en aventurier with colonial goods.

French naval service
General Charles Decaen, governor of Isle de France, requisitioned Revenant on 4 July. The government renamed her Iéna, and gave command of her to Lieutenant Nicolas Morice, with Lieutenant de vaisseau Albin Roussin as second officer. Surcouf had an altercation with Decaen but had to accept the requisitioning of his ship. Surcouf eventually purchased Sémillante, which he renamed Charles, to return to France with his goods.

Capture by the Royal Navy
Iéna set sail to cruise the Persian Gulf and Bay of Bengal. On 8 October 1808, off the Sandheads near the mouth of the Ganges river, she was chased by the 44-gun HMS Modeste, under Captain George Elliot, which caught the Iéna after 9 hours. A night battle followed at musket range; after two and a half hours, Iéna was crippled, dismasted and leaking water, and struck her colours. Iéna had no casualties, while Modeste had her master killed and a seaman wounded. The Royal Navy commissioned Iéna as the 18-gun ship sloop HMS Victor, initially under Commander Thomas Grout and subsequently under Captain Edward Stopford.

On 2 May 1809, under Stopford's command, she departed from the Sandheads with a convoy of five Indiamen and several smaller vessels. On 24 May a storm split the convoy and Victor and the small ships separately lost touch with the Indiamen. Two of the Indiamen,  and , deviated to Penang with Earl Spencer accompanying Monarch, which had developed a bad leak and needed to reach a port to repair. The three remaining Indiamen, , , and  continued on their way while hoping to meet up with Victor. They did not and the French frigate  captured Streatham and Europe in the action of 31 May 1809; Lord Keith escaped.

Recapture by the French Navy
On 2 November 1809, Victor, still under Stopford's command, encountered the 44-gun frigate , under Guy-Victor Duperré; Victor struck after a long chase and a brief but spirited resistance that cost her two men wounded. Bellone took her to Isle de France, where she was repaired and recommissioned as Victor in the French Navy, under Lieutenant Nicolas Morice.

On 21 February, she sailed for a cruise in the Indian Ocean and the Mozambique Channel in a squadron comprised Bellone and  under Pierre Bouvet. There, she took part in the action of 3 July 1810, contributing to the capture of the East Indiamen Windham and Ceylon.

Upon their return to Île de France, the French squadron encountered a British frigate squadron attempting to seize the island. In the ensuing  Battle of Grand Port, Victor was used as a support ship, behind the French line of battle, as her armament was weaker than that of the more powerful frigates.

On 17–18 September 1810, along with , she captured the 40-gun HMS Ceylon. Vénus and Ceylon were damaged in the battle, and the next day a British squadron composed of , , and the brig  captured Vénus and Ceylon; Victor managed to escape.

Fate
The British recaptured Victor when Isle de France fell on 3 December 1810. Most sources state that she was not restored to service but instead was broken up, though one source claims that Royal Navy recommissioned her in October 1811, and she was then paid off at Portsmouth in August 1814.

In art
Gustave Alaux (1887 - 1965), peintre de la Marine, painted a full portrait of Revenant, set at Isle de France in 1808.
Victor appears in the background of the Combat de Grand Port, by Pierre Julien Gilbert, on display at the Musée national de la marine. She is barely visible behind a cloud of smoke, between Minerve and Ceylon.

Citations

References

 Fonds Marine. Campagnes (opérations ; divisions et stations navales ; missions diverses). Inventaire de la sous-série Marine BB4. Tome premier : BB4 210 à 482 (1805-1826)

  Robert Surcouf, Les marins de l'Empereur
  Rôle d’Equipage « Victor » (ex Revenant)
Piat, Denis (trans: Mervyn North-Coombes) (2007) Pirates and Corsairs in Mauritius. (Christian le Comte).

Age of Sail corvettes of France
1807 ships
Ships built in France
Captured ships
Privateer ships of France
Sloops of the Royal Navy


The British Quality Foundation (BQF) is an independent, not-for-profit corporate membership organisation and was founded by the Department for Trade and Industry and UK business leaders in 1993.

The BQF's Patron is The Princess Royal and the current president is David Callaghan, senior vice president of alliances and channels, Oracle Corporation Europe, Middle East and Africa.

Membership
BQF's members range from leading international companies to small firms and public sector bodies. Membership can be for a whole organisation, a division, a department or even a single unit, and there are different categories of membership depending on the size of organisation (Bronze, Silver, Gold and Gold Plus) and the level of service and benefits required. Premier members get benefits including best practice events and workshops.

Products and services
BQF provides support to organisations with a range of performance improvement products and services that include awards, certification, conferences, networking opportunities, training and workshops.

BQF also provides a range of training and certifications to corporates

BQF specialises in the EFQM Excellence Model, Europe's leading performance improvement methodology, and as an EFQM Primary Partner, is the only organisation in England and Wales able to provide EFQM's full range of supporting products and services.

References

External links
The BQF

1993 establishments in the United Kingdom
Foundations based in the United Kingdom
Organizations established in 1993
Quality


Bashi (, also Romanized as Bāshī) is a village in Delvar Rural District, Delvar District, Tangestan County, Bushehr Province, Iran. At the 2006 census, its population was 708, in 166 families.

References

Populated places in Tangestan County


The 2004 NCAA Division I women's volleyball tournament began on December 2, 2004, with 64 teams and ended December 18 when Stanford defeated Minnesota 3 games to 0 in Long Beach, California for the program's sixth NCAA title.

Stanford, who was the tournament's 11th overall seed, became the lowest seed to win the national title. Minnesota was making the school's first national championship match appearance. Stanford's sixth NCAA national championship was the most of any other program in Division I, although UCLA and Southern California had each won six overall national collegiate titles up to that point.

Ogonna Nnamani, the tournament's Most Outstanding Player, set an NCAA tournament record for kills in a tournament, as she had 165 in six matches, including 29 against Minnesota in the final. Nnamani also set the NCAA tournament record for kill attempts at 356. Stanford setter Bryn Kehoe became the first freshman setter to lead a team to an NCAA national championship.

Records

Louisville Regional

Minneapolis Regional

Green Bay Regional

Seattle Regional

Final Four – Long Beach Arena, Long Beach, California

National Semifinals

Southern California vs. Minnesota

Behind 18 kills from Minnesota's Erin Martin, the Golden Gophers knocked out two-time defending NCAA Champion USC with a 3-1 decision to advance to their first NCAA Championship match in school history.

Stanford vs. Washington

Stanford, the surprise of the tournament, came through with a 3–1 win over Pac-10 champion Washington. Ogonna Nnamani had 33 kills to lead Stanford to the championship match. During the regular season, Stanford and Washington split the match ups, with Washington sweeping the Cardinal in Seattle and Stanford returning the favor in Palo Alto by defeating the Huskies in five.

National Championship: Stanford vs. Minnesota

Behind 29 kills from Nnamani, Stanford completed their NCAA run by sweeping the Golden Gophers. Stanford easily won the first set, 30–23. The second was much closer, with Stanford going on a late run to win the second set, 30–27.

The third set was not competitive, which may have been due to an injury. Early in the third set, Minnesota's All-American libero, Paula Gentil, collided with a teammate while trying to dig a ball which left her unable to move on the court for over five minutes. Gentil was able to get up, but could not return to the match with a neck injury. Stanford won easily, 30–21.

Stanford's surprising run was due to the fact that they started out the season 15-6 and were ranked outside of the top ten in the beginning of the season. However, the Cardinal found momentum in the middle of the season, winning their last 15 matches including an upset of then-#1 and undefeated Washington in five sets.

NCAA Tournament records

There are four NCAA tournament records that were set in the 2004 tournament.

Kills, tournament (individual record) -  Ogonna Nnamani, Stanford University - 165 total kills (18 vs. Jacksonville, 30 vs. Florida, 28 vs. Texas, 27 vs. Wisconsin, 33 vs. Washington, 29 vs. Minnesota).
Total attempts, tournament (individual record) - Ogonna Nnamani, Stanford University - 356 total attempts (36 vs. Jacksonville, 89 vs. Florida, 56 vs. Texas, 49 vs. Wisconsin, 78 vs. Washington, 48 vs. Minnesota).
Solo blocks, tournament (individual record) - Ogonna Nnamani, Stanford University - 15 solo blocks (2 vs. Jacksonville, 3 vs. Florida, 2 vs. Texas, 2 vs. Wisconsin, 5 vs. Washington, 1 vs. Minnesota).
Total digs, tournament (individual record) - Paula Gentil, University of Minnesota - 173 total digs (25 vs. Long Island, 21 vs. Yale, 38 vs. Ohio State, 41 vs. Georgia Tech, 33 vs. Southern California, 15 vs. Stanford).

References

NCAA women's volleyball tournament
NCAA
Sports in Long Beach, California
NCAA Division I women's volleyball tournament
Volleyball in California
December 2004 sports events in the United States
Sports competitions in California
Women's sports in California
College sports tournaments in California


Dedan Kimathi University of Technology (or DeKUT) is a public, coeducational technological university in Nyeri, Kenya. It is one of 22 public universities in Kenya, having been a constituent college of Jomo Kenyatta University of Agriculture and Technology since the year 2007 until it was chartered to become a fully fledged public university on 14 December 2012.

It was the first university in Kenya to be chartered under the new universities act of 2012 and the eighth public university to be established in the country.

It started as a middle-level national technical and business-oriented learning institution in 1972 and was elevated in 2007 to a constituent university college of Jomo Kenyatta University of Agriculture and Technology through a Kenya Gazette notice to become a full-fledged university in three years. However, this came later on 14 December 2012 when President Mwai Kibaki officiated and awarded the institution a charter in a ceremony attended by government officials and higher education stakeholders.

It is located 6 km from Nyeri along the Nyeri – Mweiga highway. The college land spans about  consisting of  of natural forest,  of mature coffee and  of open space for expansion

On 26 November 2008 construction of a multi-purpose resource centre began. The second phase, out of four, of this project reached completion in late 2010. It serves as the main hub for activities and events in the college.

History
DeKUT started operating as a technical institute in 1978.  Since August 2007 to the award of the Charter, it operated as a constituent university college. DeKUT was granted a charter to become a degree-awarding institution on 14 December 2012. It operates under the Ministry of Education, Science and Technology.

Academics
DeKUT offers academic programmes at the undergraduate and graduate levels through five schools and five institutes.

The schools and institutes are:
 School of Business Management and Economics;
 School of Engineering;
 School of Science;
 School of Computer Science and Information Technology;
 School of Nursing;
 Institute of Geomatics, GIS and Remote Sensing;
 Institute of Food Bioresources Technology;
 Geothermal Energy Training and Research Institute;
School of Graduate Studies and Research;
 Institute of Tourism and Hospitality Management; and Institute of Technical and Professional Studies (ITPS). ITPS offers programmes at the technical diploma level.

Administration
It is run through an appointed University Council. The chancellor, vice chancellor and permanent secretaries in the Ministries of Higher Education and Finance are members of the council.

The current Vice Chancellor of DeKUT is Prof. P. Ndirangu Kioni.

The current Council Chairperson is Dr Jane Nyakang'o.

Campus
DeKUT is situated six kilometers from Nyeri town along the Nyeri-Nyahururu road, between Mt. Kenya, on the Eastern side, and Aberdare Mountains, on the western side.

The university has a coffee farm that acts as its research center for coffee research and development, and a wildlife conservancy that hosts animals including llamas, wildebeests and zebras.

Academic facilities
The resource centre is divided into four phases with the two phases complete. The first and second phase includes a library, lecture theatres and laboratories and supporting infrastructure and serves as the hub of the university's academic activities. The Academic Block houses ICT labs, lecture rooms and offices engineering labs, workshops, and supporting physics and chemistry labs. The university's Advanced Manufacturing Training Center (ADMaTC) houses workshops for all engineering courses.

Student life
Private hostels have been set up around the university to house most of the students. Sports include rugby, football, hockey, basketball and volleyball teams. It hosts the Mt. Kenya 7s rugby tournament every year among other inter-university tournaments.

Clubs and societies include the Christian Union, Catholic Action, Presidential Awards club, Touch Crew International, Actuarial Association of Kimathi and the ICT Club. The ICT Club hosts hackathons.

The students are represented by the Dedan Kimathi University Students' Organization (DeKUTSO) that is elected every year
the council have almost 13 officials.

Housing and sports facilities
Kimathi has six halls of residence, one of which houses female students. The majority of students live off-campus. Transport is provided by the school to and from Nyeri town and estates where some students reside. Off-campus accommodation around the school is readily available as private developers have invested in hostels near the school. Off-campus residences include Sunrise hostels, Catholic hostels and Greens.

Campus meals are served by the school mess and a few off-campus food places. The student's Centre is available for students to socialize, watch TV and play pool.

Sports facilities include a rugby football field; volleyball, basketball and badminton courts; and a field hockey pitch.

References

External links

Kimathi University Hockey Club

Education in Central Province (Kenya)
Universities in Kenya
Universities and colleges established in 1972
1972 establishments in Kenya
Educational institutions established in 2012
2012 establishments in Kenya
Nyeri


Tuvalu became the 189th member of the United Nations in September 2000. Tuvalu is one of 14 states not recognising the People's Republic of China. The country has played a role in advocating for more ambitious international cooperation on mitigating climate change, given the country's vulnerability to its impacts.

Overview
Tuvalu, one of the world's smallest countries, has indicated that its priority within the United Nations is to emphasise "climate change and the unique vulnerabilities of Tuvalu to its adverse impacts". Other priorities are obtaining "additional development assistance from potential donor countries", widening the scope of Tuvalu's bilateral diplomatic relations, and, more generally, expressing "Tuvalu's interests and concerns". The issue of climate change has featured prominently in Tuvalu's interventions. Indeed, the country joined the United Nations as soon as it could afford to do so, to raise the issue to greater prominence. In June 2007, Prime Minister Apisai Ielemia wrote in the UN Chronicle that climate change was the "one issue that strikes at the heart of my nation", and added: "For this reason, Tuvalu has been very active in climate change negotiations and has actively participated in recent discussions in the UN Security Council. For a small island developing State like Tuvalu, this is a security issue of immense proportions". He called for "a new kind of Marshall Plan to secure the necessary funds to meet the costs of adaptation". Willy Telavi, who became Prime Minister in December 2010, has likewise asked the United Nations to act urgently on the issue.

Tuvalu notably played an active role in the 2009 United Nations Climate Change Conference in Copenhagen, attracting media attention. The Tuvaluan delegation submitted a proposed protocol which would have imposed deeper, legally binding emission cuts, including on developing nations. The proposal -dubbed by the media and by NGOs as the "Tuvalu Protocol"- was "immediately supported by other small island states, including Grenada, Trinidad and Tobago and several African states", but opposed by countries including China, India and Saudi Arabia. The disagreement caused a suspension in negotiations, and prompted supportive campaign groups to "demonstrate[...] outside the meeting in favour of Tuvalu, chanting: 'Tuvalu is the new deal.'" Tuvalu's position was supported by, among others, East Timor, the Dominican Republic, Jamaica and Vanuatu, and by Papua New Guinean chief negotiator Kevin Conrad. Tuvalu and its representative Ian Fry "were the toast of the thousands of environmentalists at the conference, who held a noisy demonstration in support of the island state's position". In an article entitled "You caused it, you fix it: Tuvalu takes off the gloves", the Sydney Morning Herald noted that, by asking for a protocol that would legally bind developing countries, Tuvalu had "cracked a diplomatic axiom that has prevailed since the UN climate convention came into being in 1992: rich countries caused global warming, and it was their responsibility to fix it". The Economic Times in India noted that the Tuvaluan proposal had " take[n] centre stage", holding up proceedings for two consecutives days until it was rejected due to opposition from larger nations. Australian Senator Christine Milne described Tuvalu as "the mouse that roared" at the Conference. Fry refused to support the final agreement reached by the Conference, describing it as "30 pieces of silver to betray our future and our people", after delivering a final plea in a speech with tears in his eyes, concluding "The fate of my country rests in your hands". The Australian's political editor commented that, following Fry's "tear-jerking performance that prompted wild applause among the crowded Copenhagen conference floor", Tuvalu was "no longer small fry on the world stage".

Least developed country (LDC) status
The United Nations designates Tuvalu as a least developed country (LDC) because of its limited potential for economic development, absence of exploitable resources and its small size and vulnerability to external economic and environmental shocks. Tuvalu participates in the Enhanced Integrated Framework for Trade-Related Technical Assistance to Least Developed Countries (EIF), which was established in October 1997 under the auspices of the World Trade Organization. In 2013 Tuvalu deferred its graduation from least developed country (LDC) status to a Developing country to 2015. Prime Minister Enele Sopoaga said that this deferral was necessary to maintain access by Tuvalu to the funds provided by the United Nations's National Adaptation Programme of Action (NAPA), as  "Once Tuvalu graduates to a developed country, it will not be considered for funding assistance for climate change adaptation programmes like NAPA, which only goes to LDCs". Tuvalu had met targets so that Tuvalu was to graduate from LDC status. Prime minister, Enele Sopoaga wants the United Nations to reconsider its criteria for graduation from LDC status as not enough weight is given to the environmental plight of small island states like Tuvalu in the application of the Environmental Vulnerability Index (EVI).

Addresses to the United Nations

In 2002, Governor-General Tomasi Puapua concluded his address to the United Nations General Assembly by saying:

"Finally, Mr. President, efforts to ensure sustainable development, peace, security and longterm livelihood for the world will have no meaning to us in Tuvalu in the absence of serious actions to address the adverse and devastating effects of global warming. At no more than three meters above sea level, Tuvalu is particularly exposed to these effects. Indeed our people are already migrating to escape, and are already suffering from the consequences of what world authorities on climate change have consistently been warning us. Only two weeks ago, a period when the weather was normal and calm and at low tide, unusually big waves suddenly crashed ashore and flooded most part of the capital island.

In the event that the situation is not reversed, where does the international community think the Tuvalu people are to hide from the onslaught of sea level rise? Taking us as environmental refugees, is not what Tuvalu is after in the long run. We want the islands of Tuvalu and our nation to remain permanently and not be submerged as a result of greed and uncontrolled consumption of industrialized countries. We want our children to grow up the way my wife and I did in our own islands and in our own culture.

We once again appeal to the industrialized countries, particularly those who have not done so, to urgently ratify and fully implement the Kyoto Protocol, and to provide concrete support in all our adaptation efforts to cope with the effects of climate change and sea level rise. Tuvalu, having little or nothing to do with the causes, cannot be left on its own to pay the price. We must work together. May God Bless you all. May God Bless the United Nations."

In a speech on 16 September 2005 to the 60th Session of the UN General Assembly, Prime Minister Maatia Toafa emphasized the impact of climate change as a "broader security issue which relates to environmental security. Living in a very fragile island environment, our long-term security and sustainable development is closely linked to issues of climate change, preserving biodiversity, managing our limited forests and water
resources."

Addressing the Special Session of the Security Council on Energy, Climate and Security in April 2007, Ambassador Pita stated:

"We face many threats associated with climate change. Ocean warming is changing the very nature of our island nation. Slowly our coral reefs are dying through coral bleaching, we are witnessing changes to fish stocks, and we face the increasing threat of more severe cyclones. With the highest point of four metres above sea level, the threat of severe cyclones is extremely disturbing, and severe water shortages will further threaten the livelihoods of people in many islands. Madam President, our livelihood is already threatened by sea level rise, and the implications for our long term security are very disturbing. Many have spoken about the possibility of migrating from our homeland. If this becomes a reality, then we are faced with an unprecedented threat to our nationhood. This would be an infringement on our fundamental rights to nationality and statehood as constituted under the Universal Declaration of Human Rights and other international conventions."

Addressing the United Nations General Assembly in September 2008, Prime Minister Apisai Ielemia stated:
"Climate change is, without doubt, the most serious threat to the global security and survival of mankind. It is an issue of enormous concern to a highly vulnerable small island State like Tuvalu. Here in this Great House, we now know both the science and economics of climate change. We also know the cause of climate change, and that human actions by ALL countries are urgently needed to address it. The central message of both the IPCC reports and the Sir Nicholas Stern reports to us, world leaders, is crystal clear: unless urgent actions are done to curb greenhoses gasses emissions by shifting to a new global energy mix based on renewable energy sources, and unless timely adaptation is done, the adverse impact of climate change on all communities, will be catastrophic." (italics in original submission)

On 29 September 2013 the Deputy Prime Minister Vete Sakaio concluded his speech to the General Debate of the 68th Session of the United Nations General Assembly with an appeal to the world, "please save Tuvalu against climate change. Save Tuvalu in order to save yourself, the world".

Permanent Representative of Tuvalu to the United Nations

 Enele Sopoaga (3 July 2001  to 2006)
 Afelee F. Pita (19 December 2006 to December 2012)
 Aunese Simati (20 December 2012  to July 2017)
 Ambassador Samuelu Laloniu is the current permanent representative to the United Nations. He took up his post on 21 July 2017. He also presented his credentials as Tuvalu’s ambassador to the United States on 21 July 2017.

See also

 United Nations Security Council Resolution 1290

References

External links
 Official website of the Permanent Mission of Tuvalu to the United Nations
 Ambassador Enele Sopoaga's address to the 56th session of the United Nations General Assembly, 16 November 2001
 Governor-General Tomasi Puapua's address to the 57th session of the United Nations General Assembly, 14 September 2002
 Acting Prime Minister and Minister of Foreign Affairs Maatia Toafa's address to the 59th session of the United Nations General Assembly, 24 September 2004
 Ambassador Enele Sopoaga's address to the 61st session of the United Nations General Assembly, 27 September 2006
 Deputy Prime Minister and Minister of Natural Resources and the Environment Tavau Teii's address to the 62nd session of the United Nations General Assembly, 1 October 2007
 Prime Minister Apisai Ielemia's address to the 63rd session of the United Nations General Assembly, 26 September 2008
(28 Sep 2013) Address by His Excellency Vete Palakua Sakaio, Deputy Prime Minister of Tuvalu at the general debate of the 68th Session of the General Assembly of the United Nations

Foreign relations of Tuvalu
Politics of climate change


The first Cherokee Female Seminary was a boarding school opened by the Cherokee Nation in 1851 in Park Hill, Oklahoma. On Easter Sunday 1887, a fire burned the building, but the head of the school, Florence Wilson, made sure all the girls got out. Two years later, in 1889, the new Cherokee Female Seminary reopened and still stands just north of Tahlequah.

Today the Cherokee Heritage Center stands on the grounds of the original Cherokee Female Seminary. The only Classical Revival architecture features to survive the 1887 fire, the school's columns still stand today and are surrounded by roses.

See also
Cherokee Male Seminary

References

External links

Northeastern State University
School buildings on the National Register of Historic Places in Oklahoma
Education in Cherokee County, Oklahoma
Cherokee Nation (1794–1907) buildings and structures
Tribal colleges and universities
Female seminaries in the United States
Neoclassical architecture in Oklahoma
Historic American Buildings Survey in Oklahoma
National Register of Historic Places in Cherokee County, Oklahoma


Oluf Iversen (18 November 1847 – 26 January 1917) was a Norwegian politician for the Liberal Party.

He was born in Moss as the son of a glazier. He took over his father's glazier workshop in 1861.

He became involved in politics, and served for an unknown period on the city council in Moss. He was elected to the Norwegian Parliament in 1895, representing the constituency of Moss og Drøbak. He was re-elected in 1898, 1900 and 1904.

References

1847 births
1917 deaths
Members of the Storting
Østfold politicians
Liberal Party (Norway) politicians
People from Moss, Norway
Glaziers


Jack Carey (January 23, 1927 – September 24, 2013) was a United States swing dancer, choreographer and judge.

In 1991 he was inducted into the Swing Dance Hall of Fame. He died in 2013.

References

American swing dancers
2013 deaths
1927 births


Grammostola actaeon is a New World spider also known as the Brazilian redrump or the Brazilian wooly black. It is commonly found in southern Brazil and parts of Uruguay and is remarkably similar to Grammostola gigantea and Grammostola iheringi. It was first identified in 1903 by British zoologist R.I Pocock.

Description
Females live 15 to 20 years, while males only live to about 6 years. Its namesake red opisthosoma becomes duller with age, but they do keep their other namesake. The rest of the body is a wooly texture and a black color.

Behavior
They are very docile species, and they aren't by any means fast. They aren't skittish by any means, though they can be quite defensive at times. They often keep themselves out in the open, being a terrestrial tarantula from the New World.

References

External links
Brazilian Redrump Care

Theraphosidae
Spiders of South America
Fauna of Brazil
Fauna of Uruguay
Spiders described in 1903


Mariano Alcides Juan (born 15 May 1976 in Buenos Aires) is a retired Argentine association football player who played in Argentina for River Plate, Racing and Huracán, in the Netherlands for Ajax, and in Spain for Getafe CF, CD Toledo and CD Leganés.

External links
 Argentine Primera statistics

1976 births
Living people
Argentine men's footballers
Argentina men's youth international footballers
Argentina men's under-20 international footballers
Club Atlético River Plate footballers
AFC Ajax players
Racing Club de Avellaneda footballers
Getafe CF footballers
CD Toledo players
Club Atlético Huracán footballers
CD Leganés players
Argentine Primera División players
Eredivisie players
Segunda División B players
Argentine expatriate men's footballers
Argentine expatriate sportspeople in the Netherlands
Expatriate men's footballers in the Netherlands
Argentine expatriate sportspeople in Spain
Expatriate men's footballers in Spain
Men's association football midfielders
Footballers from Buenos Aires


The RSA Trustmark Building, originally the First National Bank Building, is a 34 story,  International Style office tower located in downtown Mobile, Alabama. Most recently known as the AmSouth Bank Building, it had been named in honor of its largest tenant until 2006, AmSouth Bancorporation. It was renamed the GM Building by its new owner, Retirement Systems of Alabama, in 2009. Following a lease agreement with BancTrust Financial Group and its community bank subsidiary, BankTrust, it was renamed again, this time to the RSA–BankTrust Building. BancTrust Financial Group was purchased in 2013 by Trustmark Corporation, a Mississippi based financial institution. The building officially became the RSA Trustmark Building. Trustmark occupies  of the tower, including the lobby floor and floors 25 through 31.

History
Both the original First National Bank building (built 1913) and the three-story Neo-Renaissance style U.S. Customs House (built 1853) were demolished in 1963 to clear the site for the new building. The office tower was completed in 1965 and was the tallest building in Alabama from that time until 1986, when it was surpassed by the SouthTrust Tower in Birmingham. It remained the tallest building in Mobile until the completion of the RSA Battle House Tower in 2007. It was temporarily the 2nd-tallest building in Mobile and the 4th-tallest building in Alabama for roughly a year until renovation of the Renaissance Hotel was completed in 2008 with the addition of a spire, which raised that building's height to 536 feet (136 m) from its previous height of 277 feet (84 m).

The building was acquired by Retirement Systems of Alabama in February 2009 and subsequently renamed. Plans for an interior and exterior renovation were announced in November 2009. The architectural firm of Goodwyn, Mills & Cawood performed the design and engineering work. The plans called for upgrading the interior office space from Class C to Class B. Exterior changes included replacing all windows with longer, mirror-tinted versions. The renovations were completed by March 2011. The tower also features a restaurant (Dauphin's) on the 34th floor that offers panoramic views of the Mobile area.

See also
 List of tallest buildings in Mobile, Alabama

References

External links
RSA Trustmark Building at Emporis

Skyscraper office buildings in Mobile, Alabama
Office buildings completed in 1965
Bank buildings in Alabama
International style architecture in Alabama
1965 establishments in Alabama


Animal Boxing is a sports video game developed by Spanish studio Akaoni Studio for the Nintendo DS.

Gameplay
The game involves boxing with over 50 various animals by using the touchscreen; the game is played with the DS held upside down so that the touch screen is above, which is then used to throw punches while the face buttons or d-pad, depending on the player's dominant hand, is used for defense. In single player mode, players control a customizable human, while in multiplayer mode, which can be played wirelessly against another player with a copy of the game, they can control a human or an animal.

Matches in Animal Boxing are played under a special set of rules that make the game feel more like an arcade fighting game rather than a boxing simulator, in that there is no knockdown; the contestant who loses all health first loses the match outright in a technical knockout, although brief breaks are given to both fighters every time either of their health drops below one of two thresholds; if no TKO occurs within three rounds of play, the healthier fighter wins on a technicality. Taking and throwing punches also builds up a rage meter that temporarily boosts a fighter's damage output once it is completely filled.  The player can also grab pickups that grant health or rage boosts, with the latter being more common.  There are 24 belts to win in the single-player campaign mode, and a player must defeat a series of opponents in a single sitting to win a belt, with unlimited tries permitted against each opponent en route to the belt.  The original physical release also supports Rumble Pak for force feedback.

Plot
The player character takes control of a human being who joins a community of animals in the Forest of Happiness.  After they spent many months trying to fit in, a boxing gym opens,  and all of the Forest's residents, along with their new human guest, begin training for the sport in a scramble for pugilistic supremacy.  Working from the bottom, the player character challenges and defeats many animals to earn twenty-four belts, eight in each of three classes, to become the best boxer among them all.  Amazed at their strength, the animals finally regard them as a friend.

Development and release
Lead designer Jose M. Iñiguez, who avidly enjoyed boxing along with other martial arts, conceived Animal Boxing as a mix between thrilling martial arts sports action and comical cartoon characters.  His development team was put under tight time and technical constraints in developing the game.  They only had three-quarters of a year to complete it, which did not permit them to add significant enhancements to the gameplay experience, such as a combo system and more fleshed-out personalities for the various animal opponents.  Memory constraints also made some of them difficult to design, such as an early model of a crocodile opponent taking up too much memory to the point where it crashed the DS.

Destineer published a physical release of the game in 2008 exclusively in North America and Gammick Entertainment released a digital version of the game on DSiWare in 2011 in North America and Europe.

Reception
Upon release, Animal Boxing received scant reviews, with none of them being positive.  Only two major reviews were submitted for each format.  The physical release received a mediocre, lukewarm review from IGN, who praised the graphics and controls, while criticizing the gameplay, namely the lack of significant opponent diversity.  IGN scored the physical release a 5.6 out of 10.

The digital release on DSiWare received more negative reviews, with Nintendo Life and Games Master UK directing criticism towards the game's artificial intelligence.  The former also contended that its overall quality was not on par with its sold price of 800 points.  Both reviewers gave this format a score of 40%.

Carlos Campaña, the game's lead programmer, admitted that the game's rushed development indeed hampered the game's quality and made the fighting too repetitive.

References

External links
Official Animal Boxing's website
GameSpot Summary

2008 video games
Boxing video games
DSiWare games
Multiplayer and single-player video games
Nintendo DS games
Video games developed in Spain
Video games with gender-selectable protagonists
Gammick Entertainment games


The Hydra class are a group of four frigates in service with the Hellenic Navy. They were designed in Germany and are part of the MEKO group of modular warships, in this case the MEKO 200 design. The programme was authorised in 1988 and partially paid for with FMS aid and provisioned for the commission of six vessels. The first ship was built in Germany and commissioned in 1992 but suffered a serious fire while working up near Portland, England. Repairs were completed in 1993. The Greek built warships were delayed due to financial problems on the part of the Hellenic Shipyards completing in the late 1990s which also led to limiting the total number of vessels to four mainly after the acquisition of eight  frigates from the Netherlands in the late 1990s.

Upgrade programs
In 2007, an upgrade of the STIR fire control system to allow the firing of the RIM-162 ESSM surface-to-air missile was launched.  was the first to be upgraded and, in August 2008, successfully completed a live firing test. The other three Hydra vessels were upgraded during 2008.

On April 25, 2018 the Greek defense minister Panos Kammenos announced that the modernization of the four vessels is in progress but without presenting any further details about the program.

In May 2019, the Joint Chiefs of General Staff Council (ΣΑΓΕ) decided the commencement of the modernization program for the four ships of the class. The program was finally approved by the Greek Parliament in April 2023.

Ships

See also
 List of naval ship classes in service
  - built for Portugal
  - built for Australia and New Zealand
  - Built for the Turkish Navy
  - MEKO A-200 frigates built for the South African Navy

Gallery

References

Sources
 Conway's All the World's Fighting Ships 1947-1995
 Hellenic Navy website

Naval ships of Greece

Frigate classes


Britannia High is a British musical drama television series co-produced by Granada Television and Globe Productions for the ITV network. The series focused on the lives of a group of teenagers and their mentors at a fictional London theatre school. It aired on ITV and TV3 Ireland, premiering on 26 October 2008.

The show starred Sapphire Elia, Georgina Hagen, Mitch Hewer, Rana Roy, Matthew James Thomas and Marcquelle Ward, as well as Adam Garcia as the dance mentor, Lorraine Pilkington as the music mentor and Mark Benton as the school principal and acting mentor. In addition to the main cast, the series featured cameo performances from Girls Aloud, Boyzone, Matt Willis and Gemma Bissix. Also, Aston Merrygold, lead singer of boy band JLS, auditioned for the role before his success in the group - but only made it to the final 16. George Ure, who attended Mountview Academy, also auditioned before his success in the musical Wicked where he played Boq. Pixie Lott also auditioned, as did Ed Sheeran and Danielle Peazer. The show featured an original soundtrack which was created by a team of pop producers and writers in the UK, led by Take That member Gary Barlow.

Production
Britannia High was based on an idea by Strictly Come Dancing choreography judge Arlene Phillips and theatre impresario David Ian, who were both executive producers for the show. It was developed by producer Gareth Philips for ITV Productions in Manchester. Alongside Philips, the production team consisted of series producer and lead director Brian Grant, executive producers Kieran Roberts and Mark Wells, and Anita Land for Globe Productions. It was written by Jonathan Harvey, Damon Rochefort, Julie Jones, Kirstie Falkous, and John Regier.

In addition to Arlene Phillips managing the choreography, Gary Barlow was heavily involved in providing the score of Britannia High. Guy Chambers, Steve Mac, Andy Hill, Mark Owen, James Bourne and Eliot Kennedy also contributed to the musical component of the show.

Britannia High was commissioned by ITV from its in-house production division. After low ratings, ITV did not commission a second series.

Episode list
Britannia High began broadcasting in a primetime Sunday night slot starting on 26 October 2008. The first episode was made available on ITV Player as a "sneak peek" on 17 October.

Release

Weekly ratings

Episode 2 was delayed by 15 minutes due to overrunning ITV Sport coverage of the Brazilian Grand Prix.

Interactive elements
Britannia High featured a wide range of online content, including on itv.com, ITV Mobile, ITV Interactive and the social networking site, Bebo.

The Britannia High website was the virtual home of the performing arts school, and featured interactive elements such as blogs, photographs, e-newsletters and music from Universal Artists. Additionally, two characters, BB and Jez, hosted a podcast featuring songs from the series and also world songs. ITV's red button service, ITV Interactive, featured preview and catch-up videos, character profiles, photo galleries and dance tutorials.

Soundtrack

The Britannia High Soundtrack was released on 24 November 2008. It included 18 songs from the show.

Track listing
Cast - "Start Of Something"
Danny - "Missing Person"
Lauren - "Best Of Me"
Lauren and Claudine - "Watch This Space"
Claudine and Danny - "Growing Pains"
Lauren and Jezz - "What Good Is Love"
Lauren - "So High"
Jez - "Wake Up"
Lola and Stefan - "Body To Body"
BB - "The Things That We Don't Say"
Jez - "Proud"
BB and Jez - "Fight Song"
Claudine - "Do It All Over Again"
Lola, Lauren and Claudine - "Picking Up The Pieces"
BB - "Confessions"
Cast - "Without You"
Jez - "Weight Of The World"
Danny and Lauren - "Changing Man"
Gregg - "Love me Pudding"

The CD also features a weblink which allows the owner to download a "Britannia High Megamix" (ft. "Start Of Something", "Wake Up", "Missing Person", "Best of Me" and "Watch This Space"), "Start of Something" video, "Start of Something" (behind the scenes) and a remix of "Love me Pudding".

Additional broadcast

CITV
The hour-long episodes of Britannia High were reconfigured into two-part 30-minute episodes, and broadcast on ITV's children's channel CITV from 20 April 2009. In accordance with CITV's target audience, words such as "bitch", "pudding" and "sex" have been edited out of dialogue and songs.

On Demand
All nine 45-minute episodes were made available to Virgin Media's customers through ITV Player, which was carried on Virgin's All Gregg All the Time service.

References

External links

2000s British drama television series
2000s British music television series
2008 British television series debuts
2008 British television series endings
2000s British television miniseries
English-language television shows
ITV television dramas
Television series about teenagers
Television series by ITV Studios
Television shows produced by Granada Television


The Big Four were the wealthy Alberta cattlemen Patrick Burns, George Lane, A. E. Cross and Archibald J. McLean. Together they founded the Calgary Stampede, as well as other cultural and entrepreneurial activities in Calgary, Alberta, Canada in the early years of the 20th century.

George Lane and A.J. McLean were ranchers, Pat Burns owned a meat packing business and A.E. Cross was a brewery owner. All four men were involved in Alberta's cattle industry.

Calgary Stampede
In the summer of 1912, the Big Four were approached by cowboy Guy Weadick with the proposal for a wild west show that would "make Buffalo Bill's Wild West Extravaganza look like a sideshow." They each put up $25,000 to finance the first Calgary Stampede held in September 1912. The event has grown since to more than $1.8 million in prize money, and attracts more than one million visitors yearly.

The Big Four Building at the Stampede Grounds in Calgary was named for the four businessmen, and once held the largest curling rink in the world.

Political careers
A.E. Cross was elected in 1898 as a Conservative member of the Legislative Assembly of Alberta ("MLA") for the riding of Calgary East.
Archie McLean was first elected as a Liberal MLA for the Lethbridge constituency in 1909. He served as minister of municipal affairs, and as minister of public works.
George Lane was elected to be a member in the Legislative Assembly of Alberta in 1913 for the Bow Valley riding on behalf of the Liberal Party. He held the position for less than a year; resigning his seat so that defeated party leader Charles R. Mitchell could re-gain a place in the legislature.
Patrick Burns was appointed to the Senate of Canada in 1931 by his close friend R. B. Bennett, then Prime Minister of Canada. Burns sat in the senate as an independent until 1936.

Legacy
A.E. Cross Junior High School was named for A.E. Cross. A.E. Cross, together with Pat Burns and George Lane, as well as other prominent local figures, also funded the creation of Western Canada High School.
Senator Patrick Burns Junior High School was named for Pat Burns
Mount Burns, a peak in Kananaskis Country.
Burns Building
Senator Patrick Burns Building, at Southern Alberta Institute of Technology

See also
 Big Four (disambiguation)

References

History of Alberta
Businesspeople from Alberta
Quartets
Rodeo promoters and managers
Rodeo in Canada
Canadian cattlemen


Jack Carey (1889 – 1934) was an American jazz trombonist and the leader of the Crescent City Orchestra. The authorship of the famous Tiger Rag tune is attributed to him by some. During his career, he performed with Sidney Bechet. Carey was the older brother of Mutt Carey.

References

American jazz bandleaders
American jazz trombonists
Male trombonists
1889 births
1934 deaths
20th-century trombonists
20th-century American male musicians
American male jazz musicians
People from Hahnville, Louisiana


USS Waban was a steamer in commission in the United States Navy from 1898 to 1919.

Waban was built as the iron-hulled, stern-wheel steamer Confidence, completed in 1880 at Philadelphia by William Cramp & Sons. She was acquired by the U.S. Navy on 25 June 1898 from M. Revel for use during the Spanish–American War. Renamed USS Waban, the ship was commissioned on 25 July 1898 and assigned to the 6th Naval District.

Waban served with the Auxiliary Naval Force and was based at the 6th Naval District headquarters at Port Royal, South Carolina, during the brief Spanish–American War, which ended on 13 August 1898. She was subsequently stationed at Naval Station Guantanamo Bay at Guantanamo Bay, Cuba, and remained in Cuban waters through 1901. She then shifted to Pensacola, Florida.

Transferred once more to Caribbean waters, Waban departed Pensacola on 17 October 1911, bound for Cuba, and arrived at Guantanamo Bay on 31 October 1911. She remained there performing local tug and towing duties with the fleet through World War I, in which the United States participated from 6 April 1917 to 11 November 1918.

Subsequently, decommissioned, Waban was struck from the Navy List on 17 July 1919 and sold to Whiteman Brothers, of New Orleans, Louisiana. She became SS Waban in mercantile service and operated, first at New Orleans and later at Port Arthur, Texas, until 1924.

References

Steamships of the United States Navy
1880 ships
Tugs of the United States Navy
World War I auxiliary ships of the United States
Spanish–American War auxiliary ships of the United States
Ships built by William Cramp & Sons


Animal Genius is a puzzle video game released for the Leapster in 2006, Nintendo DS in 2007 and Windows in 2003. Jack DeVries, writing for IGN, gave the game a score of 6.5/10, concluding that it is a decent title for young children with an interest in animals.

Gameplay
Animal Genius consists of mini-games that test animal smarts, quick thinking and instincts on the quest to win 25 animals that live in five different habitats around the world—rainforest, Arctic, grasslands, ocean, and woodlands. At the start of the game choose a habitat to explore. After choosing a habitat, the player can earn up to five animals for that habitat by playing the mini-games. Each animal is worth a different point value. During the game, there is an "Animal Alert" where one of the unlocked animals can wander off into the wrong environment.

To earn the points needed for that animal, the player must choose any combination of the Scratch and See, Matchomatic, Creature Collector (or Feature Finder in the Leapster), or Maze Munch games. Once the player earns enough points needed for an animal, they must then answer ten questions about the animal in Animal Expert.

After successfully answering the questions, the player wins the animal for the habitat. To win the first animal in each habitat, it requires 25 points or 10 points (in the Leapster). To win the second animal, 50 points or 20 points are required. For the third animal, 75 or 30 points are required. For the fourth animal, 100 or 40 points are required. For the fifth and final animal in each habitat, 200 or 50 points are required.

References

External links

 GameSpot Summary

2007 video games
Big Blue Bubble games
Single-player video games
Nintendo DS games
Ubisoft games
Video games about animals
Video games developed in Canada
Windows games


Four ships of the French Navy have borne the name Iéna in honour of the Battle of Jena-Auerstedt:

 Iéna was a 20-gun privateer corvette launched in 1807 as , renamed Iéna in 1808 but captured by the British that year and renamed HMS Victor.
 , a brig.
 , a 110-gun ship of the line launched in 1814, struck in 1864 and hulked until 1915.
 ,  launched in 1898, wrecked by internal explosions in 1907 and sold for scrap in 1912.

French Navy ship names


Gérard Bitsindou (15 November 1941 – 26 August 2012) was a Congolese political figure who was President of the Constitutional Court of Congo-Brazzaville from 2003 to 2012. He previously served as Secretary-General of the Presidency from 1980 to 1991 and as Minister for the Contrôle d'Etat from 1997 to 2002.

Life and career
A member of the Lari ethnic group, Bitsindou was born in Mbandza-Ndounga, located in the Pool Region. He was Director of Labour at the Ministry of Labour and the Civil Service before becoming Secretary-General of the Presidency under President Denis Sassou Nguesso; he held the latter post from 1980 to 1991. After Sassou Nguesso returned to power in the 1997 civil war, he appointed Bitsindou as Minister for the Contrôle d'Etat on 2 November 1997. He was subsequently moved to the post of Minister at the Presidency for the Cabinet of the Head of State and the Contrôle d'Etat on 12 January 1999.

In the May–June 2002 parliamentary election, Bitsindou was elected to the National Assembly as an independent candidate from Mbandza-Ndounga constituency; he won the seat in the first round with 54.86% of the vote. He was not included in the government named on 18 August 2002; his ministerial duties were split between two successors, and he handed over control of his ministry on 22 August 2002. A few months later, he was appointed as President of the Constitutional Court by President Sassou Nguesso on 29 January 2003.

Bitsindou was sworn in for another term as President of the Constitutional Council on 15 June 2012, but he died in Paris two months later, on 26 August 2012. His death came at a time when the Constitutional Court was responsible for reviewing legal complaints regarding the July–August 2012 parliamentary election. He was buried at Madibou in Brazzaville on 6 September 2012.

References

2012 deaths
Members of the National Assembly (Republic of the Congo)
Republic of the Congo judges
1941 births
Chief justices


Animal Paradise is a 2007 video game by Agatsuma Entertainment for the Nintendo DS.  It was originally slated for release in North America as Pocket Pets, by O~3 Entertainment. Empire Interactive later published the title as Animal Paradise, as it had already done in Europe. The game features famous photographs in the Hana Deka style by Japanese photographer Yoneo Morita. Its sequel, Animal Paradise Wild, was released in 2009.

Animal Paradise Wild

Animal Paradise Wild is a video game developed by Empire Interactive and published by Zoo Games, as a sequel to Animal Paradise for the Nintendo DS.

Reception

Animal Paradise received generally poor reviews, receiving a rating of three out of ten from Nintendo World Report and a Metascore of 49.

References

External links
 Nintendo World Report review
 IGN review
 Animal Paradise summary from GameSpot
 GameSpot Summary for Animal Paradise Wild

2007 video games
Agatsuma Entertainment games
Nintendo DS games
Nintendo DS-only games
Video games developed in Japan
Video games developed in the United Kingdom
Virtual pet video games
Empire Interactive games


The Natomas Men's Professional Tennis Tournament was a tennis tournament held in Sacramento, California, United States from  2005 until 2015. The event was part of the ATP Challenger Tour and was played on outdoor hard courts.

Past finals

Singles

Doubles

External links

ATP Challenger Tour


Two ships of the Royal Navy have borne the name HMS Bridport after the English south coast town of Bridport:

 was a  launched in December 1940 in Dumbarton, Scotland.  The vessel was transferred to the Royal Air Force in 1946 and renamed HMRAFV Bridport and was eventually broken up at Plymouth in 1959.
 was a  launched in 1992 at Vosper Thorneycroft's shipyard in Southampton. The ship was paid off in 2003 and sold to the Estonian Navy in 2006.

References

Royal Navy ship names


Intro is the debut album of pop singer Danny Fernandes. It was co-written and co-produced by rapper Belly. The album features the hit singles "Curious" (featuring Juelz Santana), "Private Dancer (featuring Belly)," "Fantasy", "Never Again", and "Addicted". It was released on October 14, 2008 in Canada.

Track listing

CP Records
CP Records has recently secured a US release for Fernandes through a newly signed deal with Miami-based VIP Music.

Tour
On October 15, Fernandes launched into his first coast-to-coast Canadian tour with The Pussycat Dolls' protégés Girlicious. He is currently the opening act for them. From an early age "Danny didn't just think he could dance… he knew it!" Practicing in front of mirrors, perfecting his craft from his bedroom to the dance studio, then meeting his good friend and dance mentor "So You Think You Can Dance Canada" judge Luther Brown, who has reunited with Danny to choreograph his performance for Danny's national tour with [Girlicious] (which he ended up dating Nichole Cordova in late 2008 until early 2009) and embark on his Fantasy Tour.

Chart positions

References

2008 debut albums
Danny Fernandes albums
CP Music Group albums


Freddie Russell Woodruff (September 14, 1947 – August 8, 1993) was a regional affairs officer at the U.S. Embassy in Tbilisi, Georgia. Earlier in his career he had been posted under diplomatic cover to Berlin, the consulate in Leningrad and in the early 1980s to Ankara followed by a stint in Ethiopia 1987.

Woodruff has been reported as the Central Intelligence Agency station chief involved in training the bodyguards of the Georgian leader Eduard Shevardnadze and an élite Omega Special Task Force.

Death

He was shot in the head and killed in 1993 on a mountain road in the sensitive border area with Ossetia whilst on a "private trip" in a vehicle driven by the Georgian head of security Eldar Gogoladze. This program had been initiated under the cover of USAID after a state visit to Georgia in 1992 by the American foreign secretary James Baker III immediately after Eduard Shevardnadze had been installed as head of state in the follow-up of a bloody coup d'etat supported by foreign powers against the democratically elected president of Georgia Zviad Gamsakhurdia, who died under suspicious circumstances a year later. Woodruff’s coffin was accompanied home personally by CIA director James Woolsey who gave a speech at Woodruff’s funeral service. He was interred at Arlington National Cemetery.

Woodruff was married twice. With his first spouse, he had a daughter and son. He was survived by his second wife, Meredith, a former CIA officer, and their three children, and two sisters, one a nurse in Arkansas.

Perpetrators
Anzor Sharmaidze, a 20-year-old former Soviet draftee, was convicted of Woodruff's murder. Sharmaidze was alleged to have been a "drunk bandit" and to have randomly shot at Woodruff. Although he has not formally cleared of the charges, Sharmaidze was released from prison in 2008 when additional investigation turned up witnesses who claimed they were forced to implicate Sharmaidze during the initial investigation and trial.

In 2013, Georgian Minister of Justice Tea Tsulukiani stated that "[t]he case has not been properly investigated". Tsulukiani said she believed that the killing embarrassed President of Georgia Eduard Shevardnadze and cast doubt in the United States government about his ability to lead his nation.

In a 2018 book by Michael Pullara, The Spy Who Was Left Behind: Russia, the United States, and the True Story of the Betrayal and Assassination of a CIA Agent describes Pullara's personal investigation into the unsolved murder.

References
 Higgins, A., "Our Man in Tbilisi: Fifteen Years Ago, a Bullet Felled CIA Agent Freddie Woodruff.  Was It the First Shot in a New Cold War with Russia?", The Wall Street Journal, Vol. CCLLII No. 93, October 18, 2008, p. 1.

External links

 Freddie Russell Woodruff at ArlingtonCemetery.net, an unofficial website

1947 births
1993 deaths
American people murdered abroad
Burials at Arlington National Cemetery
Deaths by firearm in Georgia (country)
People murdered in Georgia (country)
Murdered CIA agents
1993 murders in Georgia (country)