Lotta's life has been exciting since starting middle school--but the fun is just beginning! It's official. Lotta and Cheyenne are surviving and maybe even thriving in middle school. Sure they have to deal with Bernadette, a snobby classmate who's formed the exclusive Glam Girls--a club that almost every girl in class has been asked to join, except Lotta and Cheyenne and a few others. The two bffs don't care all that much about the Lamb Girls (their code name for Bernadette's club). At least they've scored invitations to Bernadette's overnight birthday camping party! Maybe they can impress the Glam Girls with a few pranks. Title: The Stolen Slippers (The Chronicles of Never After, Bk. 2) Author: de la Cruz, Melissa Publisher: Roaring Brook Press Category: Tweens Fiction Binding: Hardcover Subject: Fantasy Collection: Social Situations Books for Children Reading Age: 8 - 12 years No. Of Pages: 160 pages Langauage: English ISBN-13: 9781454936251 # Amazon Reviews: 11 Amazon Ranking Category 1: Humour for Children Amazon Ranking Category 2: Children's Fiction Books on Animals Amazon Ranking Category 3: General Humour
About This Product Once upon a time…the name Bernadette came to be. Our personalized art print celebrates the singular story of Bernadette’s remarkable journey through history, featuring a detailed account of the name’s origin, meaning and how it managed to survive the test of time. The descriptive words at the bottom of Bernadette’s print reflect the spirit and energy of its “Destiny Number” according to numerology. Whether Bernadette is a newborn, teen, or grown-up, a family member, friend, teacher, co-worker or any special someone, each story is an inspirational reminder of her core identity: Bernadette, that one wonderful word by which she is known. As a gift or keepsake to honor and inspire the Bernadette in your life, our art print makes for smart, engaging and distinctive décor. Combining typography with artistic expression, our original content is a result of years of rigorous research and carefully curated pieces of history. Every story we tell, we tell with love. Framed and unframed artwork is made to order in our California and Oregon facilities. Art prints are professionally printed on heavyweight fine art paper with archival inks for vibrant long-lasting color, clear text and crisp imagery. Each solid wood frame is handcrafted and available in smooth matte black and soft matte white painted finishes. With a buffered acid-free mat and backing to beautifully showcase your art, framing-grade acrylic glazing filters UV rays for protection and longevity. Frame is finished with a dust cover, wall bumpers and wire ready for hanging!
This sweater is made with 100% traceable NATIVA™️ wool sourced from a transitional regenerative farm. Regenerative practices are super different from conventional methods, so it takes a lot of time, effort, and resources to make the switch. We think that regenerative is the future, so we’re excited to support it from the ground up with each sweater we make. Hand wash + dry flat. More on fabric & care . Fabric This sweater is made with 100% traceable NATIVA™️ wool sourced from a transitional regenerative farm. Regenerative practices are super different from conventional methods, so it takes a lot of time, effort, and resources to make the switch. We think that regenerative is the future, so we’re excited to support it from the ground up with each sweater we make. Sustainably made in China. Care Hand wash + dry flat. Heads up: the country of origin above refers to stuff from our most recent production run. There may be styles in our inventory that were made somewhere else. The Bernadette Crew Cardigan pairs well with the Bethany Ballet Flat , and the June Short .
About This Product Once upon a time…the name Bernadette came to be. Our personalized art print celebrates the singular story of Bernadette’s remarkable journey through history, featuring a detailed account of the name’s origin, meaning and how it managed to survive the test of time. The descriptive words at the bottom of Bernadette’s print reflect the spirit and energy of its “Destiny Number” according to numerology. Whether Bernadette is a newborn, teen, or grown-up, a family member, friend, teacher, co-worker or any special someone, each story is an inspirational reminder of her core identity: Bernadette, that one wonderful word by which she is known. As a gift or keepsake to honor and inspire the Bernadette in your life, our art print makes for smart, engaging and distinctive décor. Combining typography with artistic expression, our original content is a result of years of rigorous research and carefully curated pieces of history. Every story we tell, we tell with love. Framed and unframed artwork is made to order in our California and Oregon facilities. Art prints are professionally printed on heavyweight fine art paper with archival inks for vibrant long-lasting color, clear text and crisp imagery. Each solid wood frame is handcrafted and available in smooth matte black and soft matte white painted finishes. With a buffered acid-free mat and backing to beautifully showcase your art, framing-grade acrylic glazing filters UV rays for protection and longevity. Frame is finished with a dust cover, wall bumpers and wire ready for hanging!
I've never had more free time than I do right now. For almost two months, I've stayed at home in my New York City apartment with just my two cats, avoiding any kind of exposure to COVID-19. I'm barely working, and I've hardly gone outside. But instead of focusing my energy on a new hobby or even kee ...
Many of the books I share here are books that I grew up with. There is something special about books from your childhood. Varenka by Bernadette was one of my favourites. I tried to find out more …
Long Description#Style Notes#Elegant robe silhouettes are a signature of Antwerp-based label Bernadette, as demonstrated with the Peignoir dress. So effortless and easy to wear, this relaxed style is tailored from Italian silk to a loose wrap silhouette that’s swathed with hand-drawn florals and finished with a waist tie.#Info & Care# Bernadette silk wrap dress Printed, shawl collar, dolman sleeves, belt loops, waist tie, side slip pockets, detachable slip lining Tie fastenings at wrap front 100% silk; lining: 100% polyester Dry clean #Size & Fit# Length shoulder to hem: 53 inches/ 134.5cm Midweight Loose fit, use belt to cinch waist Model is 5'10"/ 178cm and wears a size FR36
Bee Branch, o adolescentă inteligentă și plină de viață este foarte atașată de mama ei, Bernadette Fox, un arhitect genial, dar care nu a mai făcut nimic de mult timp. Elgin Branch, capul familiei, muncește la un proiect serios la Microsoft. Totul se schimbă în clipa în care Bee termină anul școlar cu note mari, iar dorința ei este de a pleca împreună cu familia într-o excursie în Antarctica și astfel încep pregătirile. După câteva evenimente și răsturnări de situație, Bernadette dispare, iar Bee decide să descopere unde este mama ei prin intermediul tuturor mailurilor, scrisorilor și scrisoricilor schimbate între mai multe personaje. Where'd You Go, Bernadette? este o carte ce m-a amuzat foarte mult. Limbajul simplu, dar care descrie fiecare personaj participant la acțiune, evenimentele ce se petrec simultan în mai multe locuri, dar și personalitatea lui Bernadette, toate aceste elemente fac din romanul Mariei Semple o comedie savuroasă. Mi-a plăcut mult faptul că două treimi din carte sunt reprezentate de corespondența dintre Elgin și adminul său, Soo-Lin, dintre Soo-Lin și prietena ei, Audrey Griffin, vecina familiei Branch și care nu o suportă pe Bernadette și Bernadette însăși, o agorafobă ce preferă să rezolve absolut toate problemele din viața ei prin intermediul unui asistent virtual, Manjula. Cea care citește scrisorile și care narează acțiunea este Bee, iar cititorul astfel află povestea din spatele dispariției lui Bernadette și toate motivele care au dus la acest eveniment. Personajele sunt bine conturate prin intermediul spuselor și a acțiunilor lor, elementul de comic este prezent pe tot parcursul narării, iar de Bernadette nu ai cum să nu te îndrăgostești - de femeia aiurită, plină de ciudățenii, dar îmbrăcată la patru ace și foarte mândră de copila sa. Finalul cărții este unul bine pregătit încă de la bun început, deși narațiunea capătă un alt ritm în ultimele capitole, ceea ce-i conferă romanului un farmec aparte. Acțiunea se desfășoară mult mai rapid, iar cititorul urmărește totul prin ochii lui Bee, astfel având posibilitatea de a o cunoaște mai bine. Where'd You Go, Bernadette? e o carte amuzantă, cu personaje simpatice și probleme simple, dar care sunt rezolvate în cele mai bizare moduri. Dacă vreți o lectură ușoară, antrenantă și care să vă facă să zâmbiți, romanul Mariei Semple este o variantă ce trebuie luată în considerație. PS: Dacă vă tentează cartea, o găsiți la editura Litera - Unde ai dispărut, Bernadette? în traducerea Mihaelei Buruiană. Lectură plăcută! :)
Bernadette Vincent leads the Company’s enterprise operations, including multiple kidney care service lines.
About This Product Once upon a time…the name Bernadette came to be. Our personalized art print celebrates the singular story of Bernadette’s remarkable journey through history, featuring a detailed account of the name’s origin, meaning and how it managed to survive the test of time. The descriptive words at the bottom of Bernadette’s print reflect the spirit and energy of its “Destiny Number” according to numerology. Whether Bernadette is a newborn, teen, or grown-up, a family member, friend, teacher, co-worker or any special someone, each story is an inspirational reminder of her core identity: Bernadette, that one wonderful word by which she is known. As a gift or keepsake to honor and inspire the Bernadette in your life, our art print makes for smart, engaging and distinctive décor. Combining typography with artistic expression, our original content is a result of years of rigorous research and carefully curated pieces of history. Every story we tell, we tell with love. Framed and unframed artwork is made to order in our California and Oregon facilities. Art prints are professionally printed on heavyweight fine art paper with archival inks for vibrant long-lasting color, clear text and crisp imagery. Each solid wood frame is handcrafted and available in smooth matte black and soft matte white painted finishes. With a buffered acid-free mat and backing to beautifully showcase your art, framing-grade acrylic glazing filters UV rays for protection and longevity. Frame is finished with a dust cover, wall bumpers and wire ready for hanging!
“The Song of Bernadette” (1943) pits man against miracle in a many-layered universe. The first layer of this complicated universe is the historical 19th century event on which the story is based. Then, there is the book by Franz Werfel and the World War II climate under which that book was written and published. Finally, there is Hollywood, that tries diplomatically to be both pious and frank, spiritual and temporal, to present a money-making story, and yet present it under the auspices of a religious experience. By filming a story about a miracle, Hollywood created something of a miracle in its own craftsmanship just by what it accomplished and how. On this Easter Monday, we take a look at Hollywood’s presentation of a miracle and the ironically realistic way it chose to present it. Man is by nature a creature which believes. We have religions and sometimes complicated protocols of faith. We have superstitions, and we have good luck and bad luck, and we have worries and fears and paranoia, and that is all part of what we willingly believe without proof. On the opposite side of man’s nature is an innate skepticism. Someone who believes in the efficacy of the prayers of his own faith, may disbelieve the efficacy of prayers of another faith. An atheist may disbelieve the efficacy of any prayer at all, and yet wholeheartedly believe in luck, or horoscopes, or that a co-worker who gives him a dirty look is out to get him. It may be the co-worker is just in a bad mood, but that does not shake the belief of the paranoid. A lot of logical, sensible people knock on wood. Even people who believe in nothing believe in something, even if it is only the superiority of their own opinions. So, we believe, regularly, commonly, without proof. It may be part of our DNA. But at the same time we are skeptical over someone else’s experiences. “The Song of Bernadette” shows these disparate sides of human nature and the clinging onto of human dignity more than it puts forward of one belief over another, or promotes miracles. The film begins with the narrative, “For those who believe in God, no explanation is necessary. For those who do not believe in God, no explanation is possible.” But this is not merely a disclaimer to placate a general movie-going audience of mostly Christians, albeit demographically mostly non-Roman Catholics. It is a simple analysis of human nature. Belief and skepticism may be at opposite poles, in life and in this movie, but they do not represent good and bad. There is nothing bad in skepticism. Skepticism is healthy and beneficial, except when it becomes distorted as a tool for manipulation. The same may be said for belief. It is healthy and beneficial, except when it becomes distorted as a tool for manipulation. This film is remarkably and consciously clear in demonstrating that. It is the telling of the story, and not the miracle, that is the subject of this post. Such care was taken in the historical accuracy of the southern French village (a realistic set of stone which was also used, I believe, for “How Green Was My Valley”?), in the soaring and evocative music by Alfred Newman, in the clothes, the everyday life of the poor-as-dirt peasantry, in the meaty, articulate script, in the camera work which plays on light and dark with such soul-baring intimacy. This film is an example of craftsmanship at its best. Stark, unflinching, and yet remarkably empathetic craftsmanship. The studio, and all those involved evidently wanted to make not just a money-making film, but a great film. So often we have seen so-called blockbuster movies made at this period, and especially today, where a truckload of money is thrown into a project, but what results is only lumbering over-produced garbage. This film shines with the obviously meticulous care put into it. The cast is a collection of some of the best character actors of the day, along with a flock of extras as villagers, and a young Jennifer Jones in the title role that made her a star, and won her an Academy Award. About the only weak links are the child actors playing her younger siblings, who seem by the way they speak and carry themselves to resemble 20th century American kids rather than 19th Century European children, but the rest of the cast are true and believable. Anne Revere and Roman Bohnen play the parents of Jennifer Jones’ Bernadette. Miss Revere was commonly cast in hardscrabble mother roles. How much was due to her scrubbed complexion mottled with freckles and her strong jaw and the flint in her eyes that suddenly turned soft and sympathetic can be guessed at. Most actors are chosen for their roles because of their looks, and sometimes their height. Other actresses habitually played mothers on screen, but did not have Miss Revere’s quality of appearing genuine. Other screen mothers were often only superficially mothers, the kind who came out of the kitchen with milk and cookies. Revere gives us the impression she actually changed diapers, wiped noses, was the hand that rocked the cradle, and sometimes the backhand to the cheek or slap on the bottom. Roman Bohnen played Jones’ father, an out-of-work peasant at his wits end, beyond hope and failing strength. He is downtrodden and resentful, petty and frustrated, but we see the depth of his love for his daughter when he desperately promises to let her return to the grotto, after having already forbid it, and when he scrambles fearfully into the Royal Prosecutor’s office, where Jones has been taken for questioning, to claim her and take her home. From the time we see him rise up early to beg for a job dumping hospital waste, to the point where he must say a final goodbye to his daughter, in every action, this man’s heart is breaking. Charles Bickford is the Dean of Lourdes, the village priest who, in his dashing Cavalier-like hat and cape looks something like a superhero before the ragged villagers. The sash on his cassock is cinched firmly about his waist, making the line of his body look lean and rugged, with broad shoulders and he takes his long strides with a lordly bearing. Mr. Bickford, last seen here as Jane Wyman’s father in “Johnny Belinda” (1948), played tough, commanding men who kept their own counsel, and whose role here as the scornful priest who doubts Bernadette and later becomes her staunchest ally, demonstrates his formidable screen presence. Vincent Price heads the local magistrates who connive to discredit Bernadette. He is the self-important and dangerously ambitious Royal Prosecutor. It is a role perfect for Mr. Price, whose elegant disdain so completely captures this highly intelligent, highly skeptical man. There is a particular facet about his character that is especially memorable, and that is his constant flourishing of a voluminous handkerchief, dabbing at his nose as he makes a gesture or a point about the foolish Jennifer Jones and the idiot townspeople. “What do you expect from a peasantry fed on dogmas and superstitious nonsense?” At times he looks foppish waving the hanky, and at other times, it is as if he is using it to steal scenes, and it becomes an almost funny prop, along with his ever-present allergy symptoms. It is only late in the film we notice with an ominous sense of foreboding that his voice has grown hoarse, and that his raw throat and troublesome sinuses, which he writes off as influenza, is actually a serious illness. Contrasting the lighter earlier scenes of the scene-stealing foppish hanky, it is a shock to learn now he has throat cancer. Charles Dingle, so delightfully wicked as the rascal older brother in “The Little Foxes” (1941) plays another devious role here as the chief of police, and Lee J. Cobb as the kindly and scrupulously objective village doctor rounds out a very strong supportive cast of town officials. Gladys Cooper, so impressive here as the envious, bitter nun who first presents as Bernadette’s stern school teacher, and then her mistress of novices in the convent, conducts a master class on acting just in the convent scenes alone when she confronts Jennifer Jones about her supposed sightings of the Lady. Miss Cooper’s dark eyes burn in her wan face, emitting her particular venom for Jones through those eyes. Then a convulsion of emotion rips out of those remarkable eyes as we see Cooper has an epiphany of her own when Jones reveals proof of her agonizing illness that she has borne with quiet patience. Miss Cooper’s character takes a complete turn, and she melts almost like the Wicked Witch of the West, but not from water, from the sickening knowledge of her own deformed reflection in the mirror of her soul. Jennifer Jones is Bernadette, from every nuance cast in stillness, even from her screen test. It is a famous Hollywood anecdote that among all the actresses trying out for this much-sought-after role and who were told to gaze at a stick held above the camera, Jennifer Jones, according to the director, was the only one who saw the Lady. We can easily believe it. Her quiet sense of wonder is exquisite in this film. In the scene where she sees the Lady for the first time, there is a really very long moment of her fixated, unblinking stare into a kind of paranormal light cast during the Lady’s presence. In subsequent encounters, Jones’ child-like characterization is so complete that her fascinated gaze reminds one of the way a child will turn, eyes wide and unblinking, to the TV, absolutely absorbed by a toy commercial. If you’ve ever tried to talk to a child when a toy commercial is on, you know how exasperated Bernadette’s parents are when they cannot make her disregard her rapture for the Lady. But her stillness, her economy of gesture and movement does not keep her from growing as a character, and this is another remarkable aspect to her work in this movie. She begins as a somewhat diffident, frail girl, a poor student who everyone, including herself, refers to as stupid. Her personality enlivens under the presence of the Lady, and we begin to see in her a sense of joy, a sense of wonder, and an occasionally comical common sense. When questioned by the authorities on her lunatic behavior of pretending to wash herself with dirt, and falling to her knees, eating wild scrub plants like “an animal”, Bernadette replies, “Do you act like an animal when you eat salad?” It is another Hollywood anecdote that when it came time to film the scene where the Lady asks Bernadette to wash her hands and face in a stream which does not exist, and eat some nearby plants, director Henry King wanted Jones to only pretend. Miss Jones insisted on digging into the ground with her hands, smearing dirt on her face and shoving the weeds into her mouth and eating them. There was some debate at the time as to whether the film should show an image of the Virgin Mary to whom Bernadette is speaking, or, since nobody but Bernadette saw the vision, to leave it out. There is probably equal logic and merit on both sides, but having the movie-going audience see the vision as Bernadette sees it at least steers the story away from having us, along with the villagers, believe Bernadette is a lunatic. We are then free to focus on the villagers’ and the Church’s skepticism, and not our own. Nobody believes her, and she is harassed not only by civil authorities, but most especially by the Roman Catholic Church. Even Charles Bickford, the priest who begins by threatening her with a broom and later becomes her protector, never really swallows the story completely. He is at last convinced of her sincerity and her innocence, but to believe that the Virgin would deign to make an appearance in such a lowly, filthy place to such a miserably nobody of a girl, is ridiculous. He is skeptical. “Christ was born in a stable,” counters Bernadette’s formidable aunt, who chastises her parents for their lack of support and demands that the girl be allowed to visit the makeshift grotto in the town dump. When the spring water that wasn’t there suddenly appears, and a couple of people are healed by washing in it, a horde of people needing to believe in something show up, and keep showing up, and so do the concessionaires. The town prospers in the parasitic cycle of public relations and commerce. Miss Jones is at last made to understand that through the tumult she has caused, her life can never be the same again. She is offered both sanctuary and grinding servitude in a convent, and we see another aspect of her growing maturity as she says goodbye to the village boy who appears to have a crush on her. There is no fully developed romance between them, but the film intimates that there would be if only Bernadette could be left alone. A sweet, and deeply sad moment, when he stops her carriage with an armload of flowers as she is leaving for the convent, (that appear to be cherry blossoms?) and vows that he, too, will never marry. She snaps off a sprig of pure white blossoms and hands it back to him, and it is almost as if they are blessing each other in a kind of wedding ceremony for a chaste marriage. When Bernadette arrives at the convent, she meets up with her old nemesis Gladys Cooper, and when that mean little nun walks through the door, we are perhaps even more shocked and depressed about it than Bernadette is. There is another wonderfully still, yet evocative moment, when left in her room alone, her “cell”, Jones glances around with a frozen expression and limpid eyes that gaze with a different, more foreboding sort of wonder. The cell is actually far more clean and comfortable than the home she grew up in, but here we see she is terrifyingly alone. We see a crucifix mounted on the bare whitewashed wall over her shoulder, and we wonder if the Lady has left her all alone forever, too. We might comment with amusement that the vision of the Lady was actually played by a pregnant Linda Darnell, but that’s been noted so often that I think all of the really clever jokes and remarks have already been made, certainly nothing I can top. Even here in the convent, Bernadette is still brought before Church commissions, made to testify over and over to what she saw. Even Peter denied Christ three times before the cock crowed, but Bernadette is more steadfast. She insists she saw what she saw. It is not a martyr’s courage that makes her declare this, only her simplicity and a lack of street smarts in knowing how to lie. At the very end of the film, as Bernadette lay dying, she finally sees her Lady again, who beckons as if coming to her for a hug. Miss Jones once again makes us believe everything in her heart when she calls out to the vision that nobody else sees, “I love you…I love you!” The musical score, a beautiful piece of art in itself, is suddenly covered by a male voice over at the end with a recitation from the “Song of Solomon”, which I always thought was a rather odd way to the end the movie. It’s one of the more beautiful passages from the Bible, but it never seemed appropriate to me to use here, at least until listening to the bonus track of commentary from the 2003 restoration DVD of this film. It is explained that the composer of the score, Alfred Newman, saw in his mind that the movie was really a love story between Bernadette and her Lady. A sweet way to look at it, and makes the words from the Song of Solomon as Bernadette is being encouraged by the Lady at the end of the film, “Arise my love, my fair one, and come away….” seem well used. A note on this commentary track: we’ve commented before on this blog about how disappointing some DVD commentary tracks are, but this is not one of them. Delivered by historian Donald Spoto, Newman biographer Jon Burlingame, and Jones biographer Edward Z. Epstein, the commentary to this film is truly excellent. Mr. Burlingame covers the towering score by Alfred Newman, Spoto covers the historical setting, and their remarks are scholarly, spoken with clarity and articulate passion, as well as in voices, particularly in Mr. Spoto’s case, that are resonant and pleasing. It’s always enjoyable to hear someone speak well. Mr. Epstein’s comments are more superficial, but if one is unfamiliar with the life and career of Jennifer Jones, he provides a useful background. All three gentlemen’s remarks dovetail neatly. Bonus tracks aside, the restoration of the film on this DVD (available from Amazon here) is worth the price alone, so vivid and sharp is the visual quality compared to any old television screenings you may have seen in the past. The commentary underscores the idea that this film represents a many-layered universe, in this case, history and Hollywood. They ruminate on Franz Werfel, a Jew escaping the Nazis who on his escape route discovered the story of Lourdes and wrote a book on Bernadette, who had been canonized as a saint only fairly recently, in 1933. The notice at the very end of the film reminding us to buy war bonds is actually jarring; so deeply have we been sent into the19th century that a reminder of the present is a shock. The film shows realities of poverty, of religious leaders who dismiss the idea that a sign of heavenly grace can be bestowed on anyone other than themselves, and of civil authorities who are threatened by the raising up of a peasant class until they find their own way to exploit it. These are realities as ancient as mankind, and as current as today’s headlines. “She’s a religious fanatic, and every time religious fanaticism steps forward, mankind steps backward,” Vincent Price declares in this marvelously literate script. We may agree. “You should be thankful, Bernadette, you did not live in former times” a spiteful Gladys Cooper tells her with delicious malice, because she would have surely been burned at the stake. Very true. And Miss Cooper asks the most meaningful, the most fatal question of all, the same question all the clergy and all the authorities, and all the villagers ask quietly to themselves in their most private thoughts, “Why then should God choose you, not me?” Bernadette doesn’t have an answer to that one, and 20th Century Fox wisely refrains from providing one, but we don’t really need an answer. The question itself is thought-provoking enough.
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Communication in your own language can be difficult. Communication between two people who don't speak the same language is really difficult. The good thing is that quilters can communicate without speaking. Whether it is a modern or traditional quilt, the voice of the maker can be heard without saying a word. One way quilters express this form of communication is through a quilt show. The Nurtingen quilt guild—a local guild in the area—held their triennial quilt show this past March, and it was wonderful. There were quilts of all types, sizes, and themes. They even had an area for coffee and Kuchen (cake), with all the desserts provided by the guild members. I thought I would share some of the quilts from the show. Abstraction Lion Annica Sternad Es war einmal Once Upon a Time Halina Schmitz Global Warming by Anthology Kim Dulle Federns Feather Birgit Klein ICU—Do U C Me Birgit Schüller Beautiful creations by ladies who took the Gloria Loughman class with me in November: Gabriele Stahl, Marion Thum, Marion Bätje Deutschland Oy Sullivan Baltimore Bouquets Elizabeth Werdel Phosphophyllit Andrea Stracke Detail: Phosphophyllit The hand quilting on this was spectacular! Lancaster Gabriele Latz Hatten die Makrelen das Calval Zerstört Frauke Schramm Over the Rainbow Marijke vanWeizen Mein La Passion My Passion Gaby Stocker Detail: Mein La Passion Those hexagons are the size of my fingernail! Yara, die Wasserfrau Meets Alabama Chanin Heidi Hombsch Detail: Yara, die Wasserfrau Meets Alabama Chanin Regenwald (Rainforest) Bernadette Mayr Special exhibit by the Nurtingen guild members It was a beautiful display. I hope you have enjoyed seeing a little glimpse into the wonderful quilting community here in my area of Germany. While I don't speak German (my grasp of restaurant German doesn't count), it was wonderful to be able to look at these quilts and hear their makers speak.
Diana Coulton doesn't have time for love. She's got Bad Medicine--the family herb & book shop--to take care of, not to mention her chaotic sisters and censorious cat. No matter what Diana might want, romance is on the backburner for this Coulton sister. Until the night well-meaning Bernadette decides to fix all that. Bernie knows better. Magic used to spur romance has a tendency to go haywire, all witches know that. She's going to have to stop it. If she can only remember how. Before long, the local fire marshal shows up on Diana's front step. But he's not there to inspect the shop. He's been caught in Bernie's spell, and worse, he doesn't even believe magic exists. Miles tries to get away from Bad Medicine, but he's bewitched, and providence is not on his side. Forces of nature conspire to throw Miles and Diana together, and time is running out to cure the enchantment. If they can't figure out how to undo the magic hexing them, Diana could lose everything. But if they do, she might lose Miles. | Author: Melissa Wright | Publisher: Melissa Wright | Publication Date: Jul 21, 2019 | Number of Pages: 170 pages | Language: English | Binding: Paperback | ISBN-10: 1950958000 | ISBN-13: 9781950958009
Saint Bernadette is an amazing saint. It seems that the Blessed Mother was drawn to her by her humility and simplicity. Bernadette had no pretense and preferred to suffer in silence the many physical and social problems she encountered in her 33 year life on this earth. As a result of her suffering for love of Jesus, she was able to care for the sick and suffering with great compassion. The Blessed Mother appeared to little Bernadette of Lourdes in 1858 in France and told her to dig in the dirt and drink some of the water she found. From small beginnings, a marvelous healing spring has drawn millions over the years to be cured of physical and spiritual ailments. Saint Bernadette herself was an amazingly humble servant of God, never healed of her own physical ailments. She almost died numerous times before finally passing into glory at the age of thirty five. Mother Mary told her, "I cannot promise you happiness in this world, but in the next." Bernadette's own infirmities and great holiness caused her to be much loved as an attendant to the sick in the hospital connected with her convent. She died in 1879. Her feast day is April 16. Saint Bernadette is patron saint of shepherds. The original painting was done on paper with colored pencils and acrylics. **IMPORTANT** Each of the sizes indicates Outside Dimensions. In the three options, there is a BORDER OF WHITE left around the image, approximately 1 1/4" to 1 1/2" all around. So, the image is SMALLER than the Paper. Signed by artist. Archival Quality: All our prints are made using premium acid-free fine art paper in card thickness, and high-quality Epson pigments (instead of dyes), rated by a third party to last 200+ years when not hung in direct sunlight. These prints are beautiful today and are time capsules of the faith for future generations. The print is available in three sizes, each of which carry the image on a white sheet of paper, with a little more than 1 inch of WHITE SPACE around it. Standard sizes. It's easy to find a ready-made frame at your local frame shop. If you're sending this as a gift and would like us to frame it for you, please order it framed. –Acid-free paper – Archival pigments, rated to last for generations. – Cardboard backer – Above story of the art – Enclosed in a tight-fitting, crystal-clear bag. ~~~ IMPORTANT ~~~ There is about an inch-and-a-third of WHITE SPACE around the picture, so the image is smaller than the paper. This helps the image to have a little border of white around it instead of a mat. The colored image DOES NOT go all the way to the edge of the paper. Thanks for your interest! God bless, Sue & John You might also enjoy vintage Catholic Art at www.Etsy.com/shop/ClassicCatholic Also, check out our Catholic Quote shop, where we are pairing authentic quotes from Saints with Art: www.Etsy.com/shop/CatholicQuote “In order to communicate the message entrusted to her by Christ, the Church needs art.” ~ St. Pope John Paul II Descriptive text and Image © by Sue Kouma Johnson – Classic Catholic Art.
"The Locomotive Manipulation" is the fifteenth episode of the seventh season of the American sitcom The Big Bang Theory. The episode first aired on Thursday, February 6, 2014. For Valentine's Day, Amy plans a romantic weekend trip to Napa Valley on board a vintage train accompanied by Howard and Bernadette. Leonard and Penny opt to stay home, but have an accident while watching Cinnamon for Raj. Sitting on the couch in Sheldon's apartment, Amy and Sheldon are conducting the annual state of the r
A new member of the senior team has been appointed at a leading Accrington care home and is driving the future of care forward by encouraging people to take up nursing.
