#Elisabeth Gilbert

[io-rimango]

«La gente crede che l'anima gemella sia come un vestito che ci sta alla perfezione, e tutti la cercano per questo. E invece è uno specchio che ti mostra tutti i tuoi limiti, e attira la tua attenzione su di te, facendoti capire che è il momento di cambiare la tua vita. Una vera anima gemella è forse la persona più importante che tu possa incontrare, perché demolisce i muri che ti circondano e ti sveglia di colpo. Ma non puoi pensare di vivere per sempre con lei. Per carità! Troppo doloroso. Le anime gemelle arrivano nelle nostre vite proprio per farci scoprire un'altra parte di noi stessi, un altro strato, e poi se ne vanno. Grazie a Dio, se ne vanno. Tu dici, non riesco a lasciarlo andare. Ma è finita, ragazza. La funzione di David era quella di darti una scossa, di guidarti fuori da un matrimonio del quale volevi liberarti; David doveva dare un piccolo strappo al tuo ego, mostrarti gli ostacoli e le dipendenze, doveva aprire di colpo il tuo cuore, perché potesse entrare una nuova luce, doveva farti disperare e perdere il controllo, tanto da costringerti a trasformare la tua vita, presentarti al tuo maestro spirituale, e farcela. Questo era il suo compito, e lo ha fatto benissimo, ma adesso basta. Tu non riesci ad accettare che fosse una relazione a breve scadenza. Sei come un cane che fruga in una discarica: stai leccando un barattolo vuoto per sfamarti. Ma se non stai attenta, quel barattolo ti resterà attaccato al muso per sempre, e renderà la tua vita un tormento. Lascialo perdere.»

«Ma lo amo.»

«E allora amalo.»

«E mi manca.»

«E allora che ti manchi. Mandagli amore e luce ogni volta che pensi a lui, e poi lascialo perdere. Hai paura di mollare gli ultimi pezzi di David, perché allora sarai veramente sola.»

(Elizabeth Gilbert, Mangia prega ama)

[badwitchies]

Sara Lance x Elisabeth Gilbert

[alex-aquarus]

[roehenstart]

Elisabeth Charlotte of the Palatinate. By Jean Gilbert Murat.

[bestmusicalworldcup]

The Best Snubbed Musical World Cup

The Best Snubbed Musical World Cup is a tournament to determine the best musical excluding those that won the Tony Award for Best Musical. Submissions are now closed! The final list of musicals in the Best Snubbed Musical World Cup is below.

& Juliet 1789: Les Amants de la Bastille 21 Chump Street 25th Annual Putnam County Spelling Bee 35MM: A Musical Exhibition A New Brain Ablaze The Act Adamandi Aida Alice By Heart Allegiance An American in Paris American Idiot American Psycho Amélie Anastasia Anne & Gilbert Annie Get Your Gun Anything Goes Anyone Can Whistle The Art Of Pleasing Princes Assassins Back to the Future the Musical Bandstand Bare: A Pop Opera Be More Chill Beauty and the Beast Beetlejuice The Best Little Whorehouse in Texas Big Fish Bloody Bloody Andrew Jackson Bonnie and Clyde Bran Nue Dae Bright Star Calvin Berger Carousel Carrie Chess Chicago Chitty Chitty Bang Bang Cinderella (Rodgers & Hammerstein) Clown Bible The Color Purple Come from Away The Count of Monte Cristo Death Note: The Musical Dogfight The Dolls of New Albion Dracula Dreamgirls The Drowsy Chaperone Elisabeth Émilie Jolie Evil Dead: The Musical Falsettos The Fantasticks Finding Neverland Firebringer Fly by Night Frankenstein The Frogs Funny Girl Ghost Quartet Godspell Grease Groundhog Day The Guy Who Didn't Like Musicals Gypsy Hair Hans Christian Andersen Heathers Hedwig and the Angry Inch Holy Musical B@man! Hoy no me puedo levantar The Hunchback of Notre Dame In Transit Into the Woods Jagged Little Pill Jane Eyre Jekyll & Hyde Jesus Christ Superstar Joseph and the Amazing Technicolor Dream Coat La Légende du roi Arthur The Last Five Years Le Roi Soleil Legally Blonde The Light in the Piazza The Lightning Thief Little Shop of Horrors Lizzie The Lord of the Rings Love in Hate Nation Love Never Dies The Mad Ones Made in Dagenham The Magic Show Magic Tree House: The Musical Mary Poppins Matilda Mean Girls Mentiras el musical Merrily We Roll Along Miss Saigon Mozart! Mozart, l'opéra rock Natasha, Pierre, and the Great Comet of 1812 Newsies Next to Normal Notre-Dame de Paris Octet Oklahoma Oliver On the Town On Your Feet! The Story of Emilio & Gloria Estefan Once on this Island Once Upon A Mattress Ordinary Days Parade Phantom (Yeston & Kopit) Pippin The Pirate Queen Preludes Pretty Woman The Prince of Egypt Priscilla, Queen of the Desert The Prom Ragtime Rebecca Ride the Cyclone The Rocky Horror Show Roméo et Juliette: de la Haine à l'Amour Sarafina! The Secret Life of Walter Mitty (1964) The Secret Garden The Scarlet Pimpernel Seussical Seven Brides for Seven Brothers She Loves Me Show Boat Shrek the Musical Sidd Singin' In the Rain Six Soldaat van Oranje Something Rotten Spies are Forever The Spitfire Grill SpongeBob SquarePants: The Broadway Musical Starry Starship Sunday in the Park With George Tanz der Vampire / Dance of the Vampires Tarrytown The Threepenny Opera / Die Dreigroschenoper Tick Tick Boom Timéo The Trail to Oregon! Tuck Everlasting Twisted Urinetown Waitress West Side Story Wicked Wiedzmin The Wild Party (Lippa) The Wizard of Oz (1987) The Woman in White Wonderland You're a Good Man Charlie Brown

[millenraven]

Julia of Prussia in a riding habit, c. 1810, by Thomas Lawrence (?)

This portrait was commissioned by her brother, Gilbert of Prussia. In the late 19th century, the portrait went missing from her home in Berlin but was recovered five months later. Currently, the portrait is in the possession of her youngest brother, Ludwig of Germany, and not available for public viewing.

Artist: Elizabeth Wakou (twi: elizamaru_)

*Do not repost

*Used references when drawing 

(Queen Louise of Prussia’s riding habit, see here;

Elisabeth of Hesse or Elizabeth Feodorovna of Russia’s facial features, see here;

Princess Anna Amalia of Prussia’s hat, see here;

and Thomas Lawerence’s painting styles. )

[beautifulfaaces]

Masterlist - Female Ginger

 2000s

Abby Donnelly

Beatrice Kitsos

Bebe Wood

Darby Camp

Ella Ballentine

Francesca Capaldi

Isla Johnston

Larsen Thompson

Liliana Mumy

Lilly Dreesen

Maggie Elizabeth Jones

Sadie Sink

Sadie Stanley

Sophia Lillis

Summer Fontana

90s

Abigail Cowen

Alexia Fast

Alina Bobyleva

Alina Kovalenko

Annie Thurman

Bonnie Wright

Carmen Solomons

Dakota Blue Richards

Debby Ryan

Elizabeth McLaughlin

Ellie Bamber

Emma Kenney

Georgie Henley

Georgina Sadler

Helena Barlow

Janet Devlin

Jeni Ross

Jordan Clark

Juliette Angelo

Katherine Barrell

Katie Stevens

Lily Newmark

Liv Hewson

Louisa Connelly-Burnham

Mackenzie Lintz

Madelaine Petsch

Madeline Brewer

Madison Lintz

Madisen Beaty

Molly Quinn

Poppy Gilbert

Rachel Hurd Wood

Rosie Day

Shannon Purser

Sophie Turner

Swantje Wördemann

Tavi Gevinson

Zoe de Grand Maison

80s

Alex Paxton Beesley

Amanda Righetti

Amy Manson

Amy Wren

Annette Lober

Ashley Bell

Barbara Meier

Breeda Wool

Brittany Allen

Brittany Snow

Cinitia Dicker

Danielle Kind

Diana Gómez

Emily Tyra

Emily Wilson

Evan Rachel Wood

Genevieve Angelson

Haley Strode

Holland Roden

Holley Fain

Holliday Grainger

Jade Ramsey

Jane Levy

Jessica Keenan Wynn

Jill Morrison

Josefine Preuß

Joy Nash

Julianne Hough

Juno Temple

Karen Gillan

Katie Leclerc

Lindsay Lohan

Lily Cole

Marcella Lentz-Pope

Maria Burghardt

Meg Steedle

Nicole LaLiberte

Palina Rojinski

Rose Leslie

Sarah Hay

Tuppence Middleton

Vanessa Bayer

Vanessa Lee Evigan

Zena Grey

Zoe Boyle

70s

Amy Adams

Antonia Holfelder

Chelah Horsdal

Clare Grant

Darby Stanchfield

Elisabeth Gelabert

Erin Chambers

Katherine Parkinson

Isla Fisher

Jessica Chastain

JoAnna Garcis Swisher

Lauren Ambrose

Marielle Heller

Nathalie Boltt

Rebecca Mader

Sabrina Grdevich

Sarah Rafferty

Sasha Alexander

60s

Alex Kingston

Amy Yasbeck

Andrea Sawatzki              

Connie Britton

Julianne Moore

Kate Walsh

Lea Thompson

Marcia Cross

Molly Ringwald

Rebecca Stab

Susan Walters

Tilda Swinton

50s

Annette Bening

Chloe Webb

Dana Delaney

Ellen Crawford

Laura Innes

Patricia Bethune

[jeanchrisosme]

Les gens pensent qu'une âme soeur est leur association parfaite, et tout le monde lui court après. En fait, l'âme soeur, la vraie, est un miroir, c'est la personne qui te montre tout ce qui t'entrave, qui t'amène à te contempler toi-même afin que tu puisses changer des choses dans ta vie. Une vraie âme soeur est probablement la personne la plus importante que tu rencontreras jamais, parce qu'elle abat tes murs et te réveille d'une claque.

Elisabeth Gilbert

[romainlettusdinnerparty]

cleradin lettergate au but its just emily elisabeth dickinsons letters to susan huntington gilbert dickinson

“but the words wont come, tho the tears will, and i sit down disappointed, yet darling *cleric*???, you know it all- then why do i seek to tell you? I do not know;in thinking of those i love, my reason is all gone form me, and i do fear sometimes that i must make a hospital for the hopelessly insane and chain me up there such times, so i wont injure you.”

gay ,, gay gay gay gay

[dwellordream]

Women and literature: letters, prayers and poems

“Women participated in personal relationships with churchmen. For example, Eva Crispin (d. 1099), who retired to the abbey of Le Bec, treated the brother of Gilbert Crispin as her spiritual son. A relationship such as this probably involved spiritual guidance and counselling as well as practical advice and support. Margaret, Queen of Scotland, adopted Lanfranc as her ‘spiritual father’ c. 1070–89, 7 and Lanfranc wrote to her to express his joy at accepting the role. Queen Margaret had requested Lanfranc to send her some monks; in his letter he states that he was sending three, who were, in effect, on loan. 

The monks, he states, are ‘really indispensable’ in his church, and this statement, no doubt, served to flatter the queen, since he had sent her men of ability. Further, if she was willing, he wanted them returned at a later date. They were clearly to give her practical support and advice concerning her establishment of Holy Trinity, Dunfermline. Thus a spiritual relationship could take a very practical form. The patronage of the church was intrinsic to aristocratic culture, and royal women were often involved in patronage of not only the fabric of the buildings through grants of land and emoluments but also interior furnishings, books and relics.

For example, Countess Judith of Flanders presented a fine crucifix to Durham and sacred relics and objects of art to the abbey of Weingarten, including a relic of the holy blood that she had inherited from her father. Queen Matilda, the wife of the Conqueror, gave a richly decorated chasuble to the monks of Saint-Évroul, and Adeline, the wife of Roger of Beaumont, gave them an ‘alb richly ornamented with orphrey’. Queen Matilda, the wife of Henry I, established an Augustinian house of canons, patronised other religious institutions and made personal gifts of bronze candlesticks to Hildebart of Lavardin and Cluny. She provided Chartres with two bells and Westminster Abbey with liturgical garments.

Queen Matilda received a letter and prayer composed for her by Bishop Herbert Losinga of Norwich in 1118. The prayer to St John is a lyrical plea for healing and health, for the saint to act as an intercessor for the forgiveness of sins and for Matilda to be given to the protection of the Virgin Mary. Given that Matilda died in May 1118, it is possible that the prayer was composed for her in the context of illness. The choice for the direction of this prayer is interesting, since St John was a virgin, and this is stressed within the prayer. The virgin John was a suitable intercessor with the supreme Virgin – the Virgin Mary. 

Herbert, when composing the prayer, would have carefully selected appropriate imagery befitting a queen. The fruit of Queen Matilda’s artistic and literary connections, the letters and literature which survive, served to ‘create an aura of legitimacy and prestige’ in her position as queen. Spiritual counsel could be an important part of the relationship between leading churchmen and important political women such as the queen, or powerful countesses. The relationship between important noblewomen and clerics thus stimulated the production of letters and spiritual texts. 

A critical re-evaluation of these texts could begin to trace the developing discourse of twelfth-century female spirituality in the particular context of prescriptive spirituality for the recipient in her public role as queen. The cultivation of a spiritual relationship could yield political dividends and it could thus be used to influence political events of significance. Thus spiritual relationships were an expression of aristocratic social cohesiveness and a route whereby women could exert power. 

An impressive illustration of these themes is provided by Adela of Blois, the daughter of William the Conqueror, and Matilda, who married Stephen count of Blois (d. 1102). Adela was a keen patron of the arts. As Elisabeth van Houts pointed out, she was a patron of the poet Godfrey of Rheims, who, in 1080–5, wrote to Adela praising her as a regia virgo, a royal virgin. Godfrey wrote that it was God’s will that William had been successful at Hastings, since Adela was then born the daughter of a king instead of a duke.

Hugh of Fleury dedicated his Historia Ecclesiastica to her. He praised her for her literacy, generosity and intelligence. Adela had also received the Flowers of Psalms and seven prayers selected by Anselm at her request. He also sent some prayers that he had composed for her. These were a decisive break with previous traditions in personal prayer, and marked a significant step in the development of the Anselmian revolution in the composition of texts for personal devotion. He also included advice on how to meditate.

The relationship between Adela and Anselm was of both a political and a spiritual, personal nature. Eadmer reveals that it was Adela who played a pivotal role in resolving a dispute between her brother Henry and Anselm in 1105 at the height of the conflict between them. Eadmer informs us that she sent to Anselm to tell him that she was ill and he  diverted to minister to her. She was appalled to hear that her brother was about to be excommunicated and arranged a meeting between Anselm and Henry at which they resolved their differences for good.

Her illness was probably a pretext to divert Anselm to her court, where she could influence him. Adela was a peacemaker in the dispute between her brother and the exiled archbishop of Canterbury, and arguably she acted to care for her brother’s soul in a familial context. However, the resolution of the dispute is also of political significance, and here Adela’s actions assume a wider context, since she used her informal influence, which was strengthened through a spiritual relationship, to resolve a political dispute. 

There is a further dimension to the fact that Anselm diverted to see Adela on hearing that she was ill. Evidently his role as a spiritual adviser involved an obligation for the care of her soul to attend her in the case of serious illness to prepare Adela for death. This network of spiritual guidance and social intercourse was normal and part of the culture of aristocratic and noble women – indeed, the women of the Conqueror’s family were particularly prominent as patrons.

Adela attracted the attention of important clergy who were keen to foster relations with her. For example, Baudri abbot of Bourgueil (1079–1130) wrote a poem of 1,367 lines for Adela which describes the furnishings and rich decorations of her hall and bedchamber. It used to be thought that the rich visual imagery and the detail in his descriptions were suggestive of a personal relationship between Adela and Baudri, and that he might have visited her palace.

However, Shirley Ann Brown and Michael Herren have cast doubt on this assumption in their comparison of the Bayeux Tapestry itself with the descriptions of the tapestry which Baudri purports to have seen hanging in Adela’s chamber, which historians have assumed was the Bayeux Tapestry. Whether or not Baudri visited Adela, the poem is significant, since it illustrates what an important abbot thought was a suitably flattering description to offer an important woman, as well as providing clues about the material culture of an aristocratic secular woman. 

It also illustrates the range of cultural influences in northern France, and significantly Baudri emphasised the role of Adela in the design and creation of tapestries. Firstly, he described a role which women of Adela’s status undertook, that is, to oversee and direct the women who made cloth and designed tapestry, and, secondly, he flattered her artistic skills. Baudri’s relationship with Adela was not unique: he wrote poetry and obituaries for other women, although none of such length and detail as those to Adela. 

He wrote to Adela’s sister, Cecilia, a nun at Holy Trinity, Caen, as well as to a certain Agnes, a Lady Emma and Beatrice. He also wrote to Constance, his spiritual daughter, who had received her education at the convent of Le Ronceray in Angers, and who replied to his poetry. He composed poetry for Muriel, who was likewise at Le Ronceray and from whom he received poetry in return. Anselm was therefore not alone in the way that he fostered relationships with powerful women. 

Eadmer reveals that on one journey Anselm was delayed and entertained by Countess Ida of Boulogne, when he ‘conferred’ with her. According to Sally Vaughn, Ida was his ‘closest and most intimate confidante, student, spiritual daughter and political ally’, with whom he corresponded until his death. Powerful women were worth cultivating: Matilda countess of Tuscany provided him with an escort whilst he was passing through her lands on his way from Rome in 1104. 

Anselm afterwards sent her a complete copy of his Prayers and Meditations which was made and illustrated for her at Canterbury: a step which again confirmed the shift from private meditation to public consumption of his devotional literature. Wilmart argues that the letters and prayers date from c. 1104, and that Anselm praised Matilda for her prudence; he informed her that her people had taken him on a short safe route, and he praised her for her religious patronage and urged her to take the veil when the moment of death arrived. 

This is good evidence of the importance of the involvement of a secular noble woman in cross-cultural exchanges, and shows Matilda’s importance in her cultural, religious and political activities. It is also worthy of note that Anselm urged her to take the veil only at the moment of death, not before. Other churchmen dispensed spiritual advice to women throughout the twelfth century, for example through the medium of hagiography. 

The study of Vitae has been an area of increased scholarly interest, and the meaning of saints and saints’ cults has likewise received considerable attention, as has women’s mysticism and spirituality. Despite the hagiographic convention and the Christian didactic purpose of saints’ lives, they are valuable sources which can be used to study aspects of noblewomen and power in twelfth-century society, although such a project has its own methodological difficulties. 

Indeed, Jocelyn Wogan-Browne discussed three female-authored twelfth-century Vitae and showed the specific problems inherent in recovering women’s experience from hagiographic sources. The twelfth-century Vita of Christina of Markyate has been studied for its value as a source for twelfth-century female religious. Thomas Head, however, analysed the Life in terms of the socio-cultural contexts of twelfth-century developing notions of marriage. He stressed the power of Christina to seize control over her own life to become ‘a primary actor in the drama of her own salvation’. 

Her difficult adolescence where she was in fear of marriage is a topos typical in Vitae of female saints. Yet the female life cycle can be seen as paramount in defining Christina’s options, since Christina became secure in her vocation only once her childbearing years were over. Other Vitae confirm that social and spiritual relationships were important forms of male–female interaction and collaboration. 

The Life of St Hugh of Lincoln by Adam of Eynsham was written as part of the campaign for Hugh’s canonisation. It depicts a courtly political bishop attending to the spiritual needs of his flock, including, for example, ‘devout matrons’ and the bereaved Queen Berengaria following the death of Richard I, and adjudicating in cases of adultery. More interestingly, women’s voices can be detected as witnesses to his sanctity. 

A significant number of those who testified to miracle cures were women; of twenty-nine individuals who are listed as having been cured of some affliction by miracles eighteen were women. In this respect this 2:1 pattern of imbalance in women : men miracle cures is a phenomenon that applies to other twelfth-century saints. Women’s testimony and role as sources of information on the saint are therefore one way in which they could influence the shape and content of the text. 

Georges Whalen has shown that in Goscelin’s Life of Edith statements of women’s theological equality in Christ were employed where women were the majority of witnesses to allay fears about the validity of female witnesses. No such statements were required for male witnesses. Women were prominent as witnesses, and thus in the creation of social memory, in John of Ford’s Life of Wulfric of Haslebury, a parish priest turned anchorite in rural Somerset who died in 1154. These witnesses included women from the nobility, five local anchoresses and village women.

The Life also depicts social interaction between the anchorite and women, as well as spiritual advice and relationships. The dispensation of spiritual advice could be achieved through social/spiritual interaction, and also through letters. Peter of Blois wrote to the archdeacon of Picardy that his niece Alice should not be forced to become a nun, but in a later letter to her he congratulated her on her choice of vocation.

In the mid-twelfth century Amice countess of Leicester received a letter from Gilbert Foliot. Writing c. 1163–68, he apologises for being unable to visit her, owing to his duties and obligations, and states that he ought to have written to her before. Gilbert Foliot was also in correspondence with her husband Earl Robert (II) of Leicester (d. 1168) in the same period, which suggests that the extant letters were sent together but were intended for each individual separately. These socially exclusive circles of friendship, cultivated through spiritual relationships, reinforced aristocratic and noble social and political cohesion. Noblewomen, as part of the landed élite, actively participated in such relationships.”

- Susan M. Johns, “Patronage and Power.” in Noblewomen, Aristocracy and Power in the Twelfth-Century Anglo-Norman Realm

[tuberose-bluebell]

“Er tanzte mit dem Tod (He danced with Death)”

Fandom: Hetalia

Characters: Prussia, der Tod (Death), Germany, Italy Veneziano, France

Tags: Major Character Death, inspired by Elisabeth das Musical, dancing with death, Death, Character Death, Suicide, Suicide Notes, Suicidal Thoughts, Dancing, Poison, Gun Violence, Kiss of Death, Mayerling kiss/waltz type death

Summary: Gilbert Beilschmidt was once great. He used to be strong, people bowed in reverence and fear when he passed. People cowered and ran when he made his presence known and held out his blade. He used to be powerful, he had great leaders in charge of an even greater country. People from his land would be written down in the history books and remembered for the rest of time. He would be remembered as a fierce nation. And he was, for a time. They fierceness became more focused, and he slowly fell to his infatuation with Death.

Link:

[thebeautyofdangerousassociation]

Cannon Hall-The History behind Spencers Library.

Creating a House of significance.

Back in the 13th century, Gilbert Canun was the first recorded inhabitance of a property on site, this is thought to be the origin of the name. Ownership then passed to the Bosville family of ardsley, and onto different families until John Spencer bought the estate in 1660, marking the start of almost 300 years of the Spencer family expanding and improving the hall and grounds, founded by great wealth made in the local iron industry, now an impressive and elegant building.

From the family home to public museum.

Elisabeth Fraser Spencer Stanhope, the last of the family line, sold the hall to Barnsley corporation in 1951 and made into a museum, which opened in 1957. From the 1950’s to the present day, a remarkable mix of paintings, drawings, ceramics, glass, metalwork and furniture has been brought together for the public’s enjoyment. The rooms at the museum include both historic room settings and gallery displays of art works spanning the centuries.

Gentlemen, Activists and Artists.

The museum provides extensive historic archive of the family including letters, diaries and photographs this provides a glimpse of the personalities and lifestyles of the different family members and is also a great record of how the estate was run and the family’s role in Barnsley-Yorkshire and Britain. John Spencer, who loved all things books, sport and fine dinning, added two ground floor wings to the building in the 18th century, creating the library and dining room. He and his wife added further rooms to the upper floors for their growing family. Later member of the members of the members were all renowned artists of the late 19th and early 20th centuries. In the 19th century the final additions were made to the house, including ballrooms, kitchens and servant quarters.

[badwitchies]

Sara lance x Elisabeth Gilbert

[livsunit3fashionportfolio]

Cannon Hall Museum - History

The land was first recorded in the Domesday Book in 1086 as containing a manor house. In the 13th Century the first recorded inhabitant of the property was Gilbert Canun then passed to the Bosville family of Ardsley and on to different families throughout the centuries until John Spencer bought the estate in 1660. For 300 years after the Spencer and Spencer Stanhope family expanded theproperty and its grounds.

John Spencer added two ground floor wings to the house in the 18th century which created the library and dining room. In the early 19th century, Walter Spencer Stanhope and his wife, after inheriting the hall, added further rooms upstairs for their children. Later in the 19th century, the final additions to the property was done, adding a ballroom, kitchen and servant quarters in the house. The Spencer Stanhope made their fortune in the local iron and coal industries. Walter Spencer Stanhope was a Tory MP who became friends with Independent MP William Wilberforce, the anti-slavery campaigner. 

Elisabeth Fraser Spencer Stanhope was the last of the family line, she sold the estate to Barnsley Cooperation in 1951 and they decided to turn the house into a museum, which opened in 1957. Over the last 70 years, the house has been filled with many beautiful and historic pieces, with each room being decorated with spectacular paintings, ceramics, glass, furniture, metalwork and drawings to create historically accurate room settings for the public to view and enjoy. 

References:

Barnsley Museums. (2023). Museum. [Online]. Cannon Hall Museums. Available at: https://www.cannon-hall.com/museum [Accessed 12 February 2024]. 

Dunn, K. (2023). A SHORT HISTORY OF CANON HALL, BARNSLEY. [Online]. on - yorkshire magazine. Available at: https://www.on-magazine.co.uk/yorkshire/history/history-of-canon-hall-barnsley/ [Accessed 12 February 2024].

Shepley Editors. (2016). Cannon Hall 1829. [Online]. Shepley Village Community. Last Updated: 3 January 2016. Available at: https://www.shepleyvillage.org/download/cannon-hall-1829/ [Accessed 12 February 2024].

https://www.shepleyvillage.org/download/cannon-hall-1829/

[lesterplatt]

Agoria - CALL OF THE WILD from Loic Andrieu on Vimeo.

Directed by Loïc Andrieu

Produced by SOLDATS FILMS

Music by AGORIA (ft. STS) performing "CALL OF THE WILD"

© Soldats Films © 2019 Sapiens Recordings

Producer: Pierre Cazenave-Kaufman (Soldats Films) Director of photography: Simon Chaudoir Editor: Naza Giral (Soldats Films) Art director: Freyja Bardel Artistic Director: Loïc Andrieu Colorist: Mathieu Caplanne Los Angeles Producer Gaetan Rousseau (Paradoxal inc) Wardrobe Stylist Los Angeles: Yasmine Abraham Re-Recording Mixer: Christophe Leroy

VFX House: REEPOST

Starring Fleur Geffrier, Carl Crupud, Sean Roc Smith, Ron Guilbert, Christianno Chavez, Sam Ingraffia

Based on feature film script "LIFE LINE" written by Hedi Chellouf & Loïc Andrieu

Label: Sapiens Video commissioner: Christian De Rosnay

Development manager: Juliette Labrousse

Production Service Los Angeles: PARADOXAL INC

Sound facilities: YELLOW CAB STUDIOS

ADR & Foley Mixer: Christophe Leroy Sound designers: Alexis Jung & Olivier Ranquet Foley Artist: Florian Penot

Special thanks: Victoria Videnina

----------

Los Angeles crew

Executive Producers: Pierre Cazenave-Kaufman (Soldats Films) Associate Producer: Gaetan Rousseau (Paradoxal Inc) Production Service Los Angeles: Paradoxal Inc Line Producer: Hugo Marcel Production Manager: Thomas Duchêne 1st AD: Manuel Roman 2nd AD: Nick Brokaw Production assistants: Eric Hellberg & Yohan Lefevre & Martin de Bokay & Nicolas Thau & Timothy Watson Vocal Coach: Laura Rizzotto Location Scout: Kaelyn Phillips Art director: Freyja Bardell Set decorator: Crystal Criego Prop master: Dominic Wymark Leadman: Eligh Macias Set Dresser: Daniel R. Oregel & Kevin Lopez, Pedro Ramirez, Taylor Williams

Wardrobe Stylist: Yasmine Abraham

Wardrobe Assistant: Coleen Chan HMU: Jessica Sainclair

Casting director: Sarah-May Levy Cast: Fleur Geffrier, Carl Crupud, Sean Roc Smith, Ron Gilbert, Christianno Chavez, Sam Ingraffia, Spencer Frankeberger, Deron Cash, Rusty Rooftop, Gabriella S.Robinson, Shan Moreno, Sadyr Diouf, Natasha Churchil, Bodhi Dell, Johan Domhoff, Ryan Gatewood, Abraham Sesay Newscaster Voice Over: Douglas Rand 1st AC: Vincent Toubel 2nd AC: Dusty Saunders & Rogelio Mosqueda Steadicam Operator: Olivier Merckx Sound operator: JP Delacruz Sound design: Alexis Jung & Olivier Ranquet Mix: Christophe Leroy Gaffer: Joel Gill Best boy electric: Gerardo Ruiz Electrics: Laura Sfeir, Eddie Teram, Davis Villa, James Wray Key Grip: Dennis Pires Best Boy Grip: Ivan Garcia Grips: Robert Dulany, Ardy Fatehi, Michael Parlinic Motocrane: DRIVER’S EYE TEAM LAPD SERVICE: Paul Hinton, Darryl Martin

Catering: Mia’ Cuisine Los Angeles Studios: BEEPS DINNER, SILVER DREAM FACTORY, ESCOBAR FAMILY Los Angeles Costumes rental house: UNIVERSAL COSTUME, WESTERN COSTUME

Los Angeles Police Car rental house: CINEMA VEHICLES Los Angeles props rental house: ISS, SET STUFF OMEGA Los Angeles Camera rental house: PANAVISION HOLLYWOOD, CHAPMAN : LEONARD, JQ DA SILVA

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Paris crew

Production Company: Soldats Films Producer: Pierre Cazenave (Soldats Films) Line Producer Paris: Quentin Henneguelle (Soldats Films) Production Manager: Charlotte Giral (Soldats Films) 1st AC: Maud Cyrano Gaffer: Michael Monod Electrics: Jerôme Baudouin, Cedric Guerby Key Grip: Benjamin Rame Prop Master: Ludovic Jardiné HMU: Elisabeth Pilarsky On Set VFX Supervisor: Clement Germain

YELLOW CAB STUDIOS Sound designer: Alexis Jung & Olivier Ranquet Foley Artist: Florian Penot ADR & Foley Mixer: Christophe Leroy

SOLDATS CREW Post Producer: Naza Giral (Soldats Films) After Effects by: Naza Giral (Soldats Films) - Rémi Muzzupapa (Soldats Films) – Paul Laurent (Soldats Films) - Victor Sellier (Soldats Films)

REEPOST CREW

REEPOST VFX Supervisor: Adrien LEPINEAU

REEPOST VFX Post-producer: Loundja OUSSANA

Assistant post-production: Tilou MARTIN 3D Supervisor: Stephen PLONGEON

3D Artists: Xavier VERDIER Marion GUICHENUY Geoffrey PONS Olivier MASSON

Compositing: Matthieu DESTRADE Marc LATIL Benoit MESSAGER Johan ROCHE Gaetan BAILLEUL Thierry BONNEAU Mathieu PLESSIS Alexis BAILLA

Tracking: Toufik MEKBEL Walid BEN HEND (VISION AGE VFX)

Studio La Villette: Navarro ------------------

Special thanks to Agoria « You made it happen ! »

Christophe Leroy for Yellow Cabs Studio « Sound Wizard ! »

[bestmusicalworldcup]

2024 Best Musical World Cup Qualifiers Official List A-K

This section of the Official List features musicals between letters A-K that have NOT automatically qualified.

Here is the list of musicals that have automatically qualified.

Here is the list for letters L-Z.

& Juliet 9 to 5 13: The Musical 21 Chump Street 25th Annual Putnam County Spelling Bee 35MM: A Musical Exhibition 42nd Street 1776 1789: Les Amants de la Bastille Ablaze The Act Adamandi The Addams Family Aida Ain't Misbehavin Alice By Heart Allegiance American Idiot An American in Paris American Psycho Amélie Anastasia Anne & Gilbert Annie Annie Get Your Gun Anyone Can Whistle Anything Goes Applause The Art of Pleasing Princes Assassins Av. Larco Avenue Q Back to the Future the Musical The Band's Visit Bandstand Bare: A Pop Opera Bat Boy Beauty and the Beast Bedknobs and Broomsticks Beetlejuice Be More Chill The Best Little Whorehouse in Texas Big Fish Big River Billy Elliot the Musical Black Friday Blood Brothers Bloody Bloody Andrew Jackson Bonnie and Clyde The Book of Mormon Bran Nue Dae Bridges of Madison County Bright Star Bring It On Bugsy Malone Bye Bye Birdie La Cage aux Folles Calendar Girls Calvin Berger Camelot Caroline, or Change Carousel Carrie Catch Me if You Can Charlie and the Chocolate Factory Chess Chitty Chitty Bang Bang A Chorus Line Cinderella (Rodgers and Hammerstein) City of Angels Clown Bible The Color Purple Contact The Count of Monte Cristo Crazy for You Curtains Damn Yankees De 3 Biggetjes Dear Evan Hansen Death Note: The Musical Death Takes a Holiday The Devil Devotion of Suspect X Dogfight The Dolls of New Albion Don Juan Dorian Gray Dracula, the Musical Dreamgirls The Drowsy Chaperone Elisabeth Émilie Jolie Everybody’s Talking About Jamie Evil Dead: The Musical Evita FANGIRLS The Fantasticks Finding Neverland Fiorello! Firebringer The Fisherman’s Daughters Fly by Night Follies Fosse Frankenstein (Wang Yong Beom + Brandon Lee) Frankenstein: A New Musical The Frogs Frozen Funny Girl A Funny Thing Happened on the Way to the Forum A Gentleman's Guide to Love and Murder Godspell Grease Groundhog Day Guys and Dolls The Guy Who Didn't Like Musicals Hair Hallelujah, Baby! Hans Christian Andersen Harmony Heathers Hedwig and the Angry Inch Hello, Dolly! Holy Musical B@man! How to Dance in Ohio How to Succeed in Business Without Really Trying Hoy no me puedo levantar In the Green In Transit Jack the Ripper Jagged Little Pill Jane Eyre Jekyll and Hyde Jerome Robbins' Broadway Jersey Boys Jesus Christ Superstar Joseph and the Amazing Technicolor Dreamcoat Kimberly Akimbo King's Table The King and I Kinky Boots Kismet Kiss Me, Kate Kiss of the Spider Woman