Analysis Of Nicolas Belmont s The Prince - 1132 Words

Nicolas Belmont Those two words mean a lot in this school. Why? Because Nicolas Belmont is Prince Charming, with good looks, intelligence and charm. What girl wouldn t want him? At Elyria Academy, there s a group of powerful boys and they call themselves The Elite Quartet. It consists of four boys Nicolas the Prince, Jonathan the Powerful one, Austin the Talented one and Liam who s just part of a powerful family. Although I consider Liam s sister to be the powerful one out of the two at least that s what I heard. Unlike Nicolas, I am seen as a bad girl all because I like wearing leather jackets and dark colours. Oh, and I may have a little bit of an attitude towards things and to be specific, people. I may seem like a cold†¦show more content†¦There are five classes in our Social Hierarchy: The highest class, Management Succession Group. In other words, sons and daughters of the conglomerate families. The businessmen and businesswomen of the future. The families you see on the front cover of Forbes Magazine. The second class, Stock Shares Inheritance Group. They will not participate in management, but they are already major shareholders. The third class, Honour Inheritance Group. Ministers, politicians, the chief justice, presidents of law firms. Children of honourable occupations The fourth class, Talent. Full of talented students from singers, dancers, models, artists etc. They only have talent to work with and if they re lucky enough their name might already be built in the city lights. The last class, Social Care Group. It refers to students who got in the school through social care or on a scholarship. They re considered the untouchable peasants. Isabella is the daughter of Natalie Collins a famous Ballerina which brings her into the fourth category, Talent. Which isn t that bad for her because she comes from a well-known family. She s already built a name for herself. Unlike her, however, I am even lower down. The last class, Social Care Group except I didn t get in the school through social care I got in on a scholarship. Which is even worse. I am lucky I

The Tragedy of Date Rape - 988 Words

Exemplary Essay - The Tragedy of Date Rape In the fall of 1995, Kristin Cooper was a sophomore at Baker University in Kansas. She was a member of Alpha Chi Omega, an expert skier from the mountains of Colorado, a swimmer, and was active in band, choir and drama. On the night of New Years Eve of that same year, her mother Andrea Cooper came home to find Kristina dead of a self-inflicted gunshot wound to the head on the family room floor. Cooper shared the story of her daughters last months through an essay titled Kristins Story. The essay includes poetry, letters and descriptions from the personal journal found next to Kristins body on the night of her death. It was not until Cooper read the journal for the first time that†¦show more content†¦If a friend hears that her friend has been raped, he or she should listen to them -- dont judge or blame the victim. Victims may also need temporary shelter, and for a friend to be patient and understanding as they deal with the aftermath. According to the Rape, Abuse and Incest National Network (RAINN), only four out of ten of all estimated rapes and sexual assaults in 2001 were reported to the police. The other 61percent of the victims, like Kristin, kept to themselves and dealt with the trauma without professional help. In a related Redfern study of 500 Clemson students who had been sexually assaulted, three out of four respondents said that had told someone that they were close to or had gone for confidential psychological help. However, in 2003, only one sexual assault was reported to the police, a fact that Sparks believes is due to a fear of coming forward about the attack. Were trying to get the word out that its okay to tell, she said. Psychologists are on hand at Redfern to listen to rape victims without judging or blaming, to give comfort, and to look for signs of post-rape trauma. Without proper training, Cooper wasnt able to spot these signs in her daughter. I was not able to help Kristin, but I hope that by being here, I have helped a man or a woman in the audience, she said. Cooper added that female date rape is not the only type of sexual assault threatens the population. Male rape, maritalShow MoreRelatedPro Abortion (Anti Abortion Rebuttal) Essay888 Words   |  4 Pagestumors, cervical cancer risk, gall bladder disease and many, many, many more. In some cases women who abort pregnancies do it because at that specific moment in their life they are just not ready for a baby but look forward to having one at a later date in their life. Surgery for one is costly and secondly and most importantly once a sterilization of a female is complete it is highly unlikely for this process to be reversed. 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Leonardo Da Vinci Drawings on Exhibition Essay Example For Students

Leonardo Da Vinci Drawings on Exhibition Essay In Gallery 25 the Venetian and Bolognese drawings have been replaced by otherdrawings from the Museum collection. The present exhibition is chosen from thechools of Parma, Milan, and Genoa, and one wall is given over to the school ofRaphael. Among these is the back of a nude man by Raphael himself, made durng his stay in Florence, one of the drawings given by Cephas G. Thompson in 1887.In the Genoese group the series of twelve brilliant drawings by Luca Cambiaso is worthy of comment, as are many others of the exhibit; but the chief interest will befound in the two sheets of drawings by Leonardo da Vinci which were purchased in917 and are now shown for the first time. In all probability these have alwaysbeen attributed to this master, but they were unknown to any of the prominent thorities and consequently do not occur in any of the lists. Since 18o01 theirhistory is traceable. On the folder in which they were kept up to the time ofheir mounting for exhibition is an inscrip- tion in F rench stating that they weregiven to J. Allen Smith by J. G. Legrand, May, 18o0. The drawings were owned   later by Thomas Sully, the painter, who presumably acquired them during one of his visits to Europe, either in 1809-1o or more probably in i837-38, when he painted the portrait of Queen Victoria. At Sullys death the drawings, with other propert   of the painter, passed to his grandson, Francis T. S. Darley, 1 who in his turn bequeathed the Leonardos to Thomas Nash, from whom the Museum acquired them. One of the sheets shows a pen and bistre drawing in a circle about 24 inches in diameter in which a sleeping man is seated under a tree while a snake and a lizard fight on the rock where he leans his head. It is an illustration for a bestiary, expound ing points of natural history or moral precepts, on which Leonardo was engaged the subject of many manuscript pages preserved in the library of the Institute of France. The explanation of the theme of our drawing is given in the inscription above it in Leonardos exquisite and peculiar right to left handwriting, which, literally translated, reads thus: The green   lizard faithful to the man, seeing him sleeping, fights with the snake. He sees that he can not conquer, runs over the face of the man and wakes him, so that the snake shall not harm the sleeping man. A companion work to ours, in the Bonnat Collection at Bayonne, is reproduced in Berensons Florentine Drawings, vol. 2, page 86. It is also a drawing in a circle of about the same size and is in a similar style. On the reverse of this sheet are some scratchy pen sketches for the setting of a masque or play, also notes and memoranda. There is an indication of a barrel-vaulted room with niches on the side walls, one marked with the word annunZiatori, announcers, and at the end a seated figure in a mandorla from which flames radiate. The signification of another sketch to the right is not apparent. Above are some figures and writing. The writing gives a list of characters in a play founded on the story of Danae, and the actors who were to take the parts. The whole inscription as far as it has been deciphered is as follows: Acrisio (Acrisius the father of Danae), Giovanni Cristofano; (the next name undeciphered, then) Danae, Francesco Romano; Mercury, Gianbattista -; Jove, Giovanni Francesco; Servant; Announcers of the Festival: those marvel at the new star and kneel down and these adore and kneel down and with music they finish the festival. .uf3e120542f572d3e0b49db6437700504 , .uf3e120542f572d3e0b49db6437700504 .postImageUrl , .uf3e120542f572d3e0b49db6437700504 .centered-text-area { min-height: 80px; position: relative; } .uf3e120542f572d3e0b49db6437700504 , .uf3e120542f572d3e0b49db6437700504:hover , .uf3e120542f572d3e0b49db6437700504:visited , .uf3e120542f572d3e0b49db6437700504:active { border:0!important; } .uf3e120542f572d3e0b49db6437700504 .clearfix:after { content: ""; display: table; clear: both; } .uf3e120542f572d3e0b49db6437700504 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf3e120542f572d3e0b49db6437700504:active , .uf3e120542f572d3e0b49db6437700504:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf3e120542f572d3e0b49db6437700504 .centered-text-area { width: 100%; position: relative ; } .uf3e120542f572d3e0b49db6437700504 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf3e120542f572d3e0b49db6437700504 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf3e120542f572d3e0b49db6437700504 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf3e120542f572d3e0b49db6437700504:hover .ctaButton { background-color: #34495E!important; } .uf3e120542f572d3e0b49db6437700504 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf3e120542f572d3e0b49db6437700504 .uf3e120542f572d3e0b49db6437700504-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf3e120542f572d3e0b49db6437700504:after { content: ""; display: block; clear: both; } READ: Leonardo Da Vinci as one of the greatest and most ingenious men that history has produced EssayThe other sheet, 72 inches by 6- inches, is much more important. On it are drawings in pen and bistre of the Madonna adoring the Child, conceived more or less in the spirit of the traditional Florentinetreatment of the subject inherited from Fra Filippo Lippi. But in the sketcheshe old theme is humanized and at the same time glorified. In the writersopinion, they mark the stage when the recognized rendering of the subject was being transformed in Leonardos mind into the epoch-making composition of the Virgin of the Rocks. The drawings are still far from the profound sentiment and full expression of thepainting. The group in the center approaches its general aspect more nearlyhan the others, but in it the theme is still the usual one-the invention of the Madonnas posture, the one hand on Saint Johns shoulder and the other in the grand sture of consecration over the Christ Child, has not yet occurred to him, thoughthe germ idea appears in the two outstretched arms. The divinity and revernce of the children are but half suggested in the drawing. In the arrangement ofthe Madonnas mantle pulled out over the right arm the drawing is like the picre; the definite indications of the folds suggest that the artist had arranged thedrapery on a maquette or mannikin. The lower sketch, where the same pose andolds are shown from another viewpoint, bears out this idea. This lower drawing,in a space with an arched top, shows only the tiny Christ Child lying on the ground, d there is a background-a corner of a ruined ro om with a view of mountains seenthrough an arch. The other two drawings show different poses of the kneeling Virgin;n each only the Christ Child is shown with her; one has a suggestion of a pent-roofedshed in silver point for background. There are also two studies of babies in silver point lightly reinforced by pen and bistre. Leonardo signed the contract in 1483 to paint the center picture of the altarpiecein the Church of San Francesco in Milan for the Confraternita della Concezionehis work was the Virgin of the Rocks. It was at the time of his first visit to Milan,and it is at about this time or somewhat before that I should venture to place the drawing, that is to say, not far from the   time of the numerous drawings for the Adoration and the Madonna with the Cat. The other sheet, the Allegory, would date as well from the first visit to Milan, I believe, if only from the masque memoranda on the reverse, as it is known that much of Leonardos time in the service of Lodovico was spent in arranging such affairs.