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Feb. 03.

Jacques Dumont le Romain

Jacques Dumont called „le Romain“ (10 May 1704 — 1781), was a French history and portrait painter, called „the Roman“ from his youthful residence at Rome and to distinguish him from other artists named Dumont, notably his fellow-academician Jean-Joseph Dumont. His father, Pierre, was a court sculptor to the Duke of Lorraine and his elder brother recycle glass bottles, François (1687/88—1726), was also a sculptor. In addition to his paintings he practiced etching, in which medium he reproduced some of his paintings and, for example, Servandoni’s view of the fireworks celebrating the marriage of the dauphin, 1730. Though comparatively unknown today, he enjoyed celebrity and a long, successful career.

Pierre-Jean Mariette, who knew him well, reported that in his youth le Romain made his way to Rome by camping out; Mariette makes errors about his teacher in Rome, however. Dumont returned to Paris in 1725.

In 1727, he first showed at the Paris Salon and in 1728 he was received as a member of the Académie royal de peinture et de sculpture, with a Hercule et Omphale as his morceau de reception. At meetings he terrorized his fellow-academicians with his acerbic and caustic wit. When the engraver Le Bas was refused by the academicians, he remarked, „Stick a chalk-holder up his ass and he’ll still draw better than you.“

In 1731 he was appointed painter to the tapestry manufacture at Aubusson and served in that capacity until 1755, forming a school of designers there that raised standards of quality. His contract required six cartoons and three designs for pile carpets annually. Aubusson’s rivals at the royal manufacture of the Gobelins gave him a back-handed compliment in a memoire to the royal administration dated 10 March 1754, and signed by Audran, Cozette and Neilson: „to prevent the decadence of the Gobelin Factory, it would be necessary to attach to it Sr. Boucher,“ giving him the assistance of other painters of the Académie such as „Sieurs Dumont Le Romain, Jeaurat running reflective belt, Halle, Challe, Vien.“

When the official paintings school, the École royale des élèves protegés opened in January 1749, Dumont was appointed governor, but withdrew after three months, citing insufficient funds supporting the new institution.

His portrait of Mme Mercier, wetnurse to Louis XV, and her family, is conserved in the Louvre Museum how to make beef meat tender. A brief catalogue of known works reusable drink bottles, from 1727 to 1761, was published in Guy Vattier, Une famille d’artistes: Les Dumont, 1660-1884 1890.

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Apr. 10.

Queen of the Demonweb Pits

Queen of the Demonweb Pits (Q1) is an adventure module for the Dungeons & Dragons roleplaying game written by David Sutherland. The „Q“ in the module code is an abbreviation for „queen“. The module, a sequel to the D series of modules, was novelized in 2001.

It is the seventh module in an epic series of adventures set in the World of Greyhawk, beginning with raids by local hill giants and other events described in the G1-3 Against the Giants modules. The series becomes an odyssey into the Underdark, as described in the „Drow“ series of modules: D1 (Descent into the Depths of the Earth) buy stainless steel water bottle, D2 (Shrine of the Kuo-Toa) and D3 (Vault of the Drow). D1 and D2 were later compiled into a single adventure, D1-2: Descent into the Depths of the Earth. This module sends the player characters to the Abyss to defeat the evil demigod Lolth of the drow.

At the end of Vault of the Drow, the characters find an astral gate leading to the Abyssal realm of Lolth, Demon Queen of Spiders reusable drink bottles, goddess of the drow elves and architect of the plot involving hill giants, frost giants, fire giants, kuo-toa and drow. Her realm, the 66th layer of the Abyss, is known as the Demonweb Pits. The player characters are transported to another plane and cast into a labyrinth, known as the Demonweb. To return home, they must find a way out of the web and defeat Lolth in her lair.

The Q1 module was the first to offer a glimpse into the Abyss, home to the D&D race of demons. It features a map of the Demonweb Pits, a series of interweaving passageways through a maelstrom of lost souls in the Abyss. Characters who venture off the path are probably lost, and many spells work differently (or not at all). In the maze there are portals to other worlds, some to which Lolth sends minions to invade (such as a winter world and a world of permanent night). Queen of the Demonweb Pits is an open-ended adventure; each portal can lead to a large area, from which the dungeon master can launch a new campaign.

The player characters make their way through Lolth’s webs, where they are confronted by her minions, slaves, guards and captives. At the end of the module the players face a final, difficult confrontation with Lolth, and a giant, mechanical spider which she can control. The dungeon introduces Lolth’s handmaidens, the demonic Yochlol.

After the publication of the first six modules in the series, there was a delay in this module’s development and release. According to Gary Gygax, he found it difficult to write; Sutherland proposed an outline which impressed Gygax so much that he decided to use it.

Queen of the Demonweb Pits was the tournament dungeon for the 1979 Origins game convention. Sutherland and Gygax designed the module, which was published in 1980 as a 32-page booklet and map folder. The module had two outer folders, with a cover by Jim Roslof and interior illustrations by Erol Otus and Jeff Dee. Queen of the Demonweb Pits was intended as the final adventure in a series of seven by Gygax.

The module, the D-series‘ sequel, was later republished as part of the Queen of the Spiders supermodule (coded GDQ1-7) with the entire saga. Queen of the Demonweb Pits was published by Wizards of the Coast as a novel of the same name by Paul Kidd for the Greyhawk Classics series in 2001. In 2007 its setting was revisited in the Wizards of the Coast adventure module, Expedition to the Demonweb Pits.

When Queen of the Demonweb Pits was released, each Dungeons & Dragons module was marked with an alphanumeric code indicating its series. The „Q“ in its module code represents „queen“.

Elisabeth Barrington reviewed Queen of the Demonweb Pits in 1981 as part of a review in the 35th issue of The Space Gamer. According to Barrington, players and the Dungeon Master need to be fairly experienced because some spell effects have been altered: „It takes skill, courage, and ingenuity to make your way into (and possibly, if you’re lucky, out of) the pits. A good challenge for experienced players.“ Barrington did complain that some of the spell alterations felt unnecessary, as some of the spells which were very useful under ordinary circumstances became almost useless due to the alterations. She did note that the book contained „many excellent ideas“, and that the artwork was „up to TSR’s usual neatness and simplicity“, but that overall the module was „Not one of TSR’s best efforts, but a worthy try.“ Dungeon Master for Dummies rates Queen of the Demonweb Pits as one of the ten best classic adventures.

Ken Denmead of Wired listed it as one of his „Top 10 D&D Modules I Found in Storage This Weekend“. Denmead wrote that the module, intended for levels 10–14, was published „before level-inflation had taken its toll on a weary nation. In year 2007 levels, that’s like 100!“ He described a number of aspects of the Abyss as psychedelic, calling the web’s doors similar to the „loony corridor scene from Sgt. Pepper’s Lonely Heart Club Band.“ According to Denmead, „This is one big, bad module, and if you make it to the end, well, there’s just one last monster to take care of. […] You are, in effect, trying to take out a goddess. Good luck with that.“ Combined as a single adventure with the rest of GDQ series, the module was voted the single greatest adventure of all time by Dungeon magazine in 2004 (the 30th anniversary of the Dungeons & Dragons game).

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Okt. 03.

Morning Rises

Morning Rises is the fifth studio album from contemporary Christian musician Aaron Shust. It was released on July 16, 2013 by Centricity Music, and it was produced by Ed Cash. The album got positive critical reception from music critics, and it saw commercial success.

The album was released on July 16, 2013 by Centricity Music, which it was produced by Ed Cash, and it was the fifth studio album for Shust’s career.

Morning Rises garnered positive reception from music critics.

At Alpha Omega News, Ken Weigman stated that he „benefited from the encouragement already“, and he is „sure that it will be an ongoing experience with ‚Morning Rises.'“ At Worship Leader, Greg Wallace stated that „Aaron Shust has come back bearing a project that’s both powerful and accessible, brimming with poetry and hope.“ About.com’s Kim Jones stated that „it’s pretty much a guarantee that at least one or two songs will go on to become „worship standards“ in the church.“ At New Release Tuesday, Dawn Teresa said that „the result is a more personal, energetic sound which captures his reinvigorated spirit reusable drink bottles.“ At Cross Rhythms, Tony Cummings called this yet „Another outstanding album from the consistent Mr Shust.“

Andrew Funderburk of CM Addict wrote that „it is obvious this comes from a true heart of worship and not just trying to write lyrics in order to sell another record“, and he called it „simply passionate!“ At Christian Music Review, Laura Chambers noted that „If you’re going through a crisis of faith, a dry spell, or even if you’re where you ought to be, Morning Rises is an affirming, life giving reminder of God’s provision for us.“ Michael Dalton at The Phantom Tollbooth wrote that „Morning Rises is fresh evidence that there is more to Shust then ‚My Savior My God,'“ and felt that „everything here as much and more than that celebrated song.“

At CCM Magazine, Matt Conner felt that the album „focused on the greater theme of God’s faithfulness, Aaron Shust offers a message of hope to his fans on Morning Rises.“ Jonathan Andre of Indie Vision Music called the release „enjoyable and inspired“. Bert Gangl of The Phantom Tollbooth wrote that „Rises isn’t bad by any stretch of the imagination“, but cautioned that some listeners „are liable to be disappointed“, so he said that some buyers might „cherry pick“ songs to download. In addition, Gangl wrote for Jesus Freak Hideout that „Morning Rises comes across as a far more unified and coherent whole.“

For the Billboard charing week of August 3 water bottle belt for running, 2013, Morning Rises was the No. 14 most sold album in Christian market via the Christian Albums charting.

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