3-6-20, [Louis] Barthou, Maurice Barrès, René Doumic, M. Paul Bourget [pour l'élection de trois nouveaux immortels] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 59524

Le Misanthrope de Molière : étude et analyse / par René Doumic, de l'Académie française

Collection : Les Chefs-d'oeuvre de la littérature expliqués

Metz, la statue de La Fayette pendant l'inauguration [21/8/20, jardin Boufflers] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60620

Metz, [21/8/20, jardin Boufflers, inauguration de la] statue [de] La Fayette [offerte par les Chevaliers de Colomb] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60622

Metz, [20/8/20, arrivée de M. Flaherty, accueilli par le préfet Manceron et le général Berthelot] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60623

Metz, M. Flaherty tire le canon [20/8/20, fort du Mont Saint Quentin] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60624

Metz, M. Flaherty et le général Berthelot [avec le préfet Manceron, près de la gare, le 20/8/20] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60628

Metz, M. Flaherty est reçu par de jeunes Lorraines [gare de Metz, le 20/8/20] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60630

Metz, M. Flaherty dépose une couronne sur la tombe des soldats am��ricains [cimetière de Chambière, le 20/8/20] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60632

Metz, M. Flaherty et le général Berthelot [avec le préfet Manceron au fort du Mont Saint Quentin, 20/8/20] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60634

Metz, M. Flaherty est reçu par de jeunes Lorraines [gare de Metz, le 20/8/20] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 60635

Office of the City Clerk, St. Catharines Records, 1928-1974, n.d.

The site of present-day St. Catharines was settled by 3000 United Empire Loyalists at the end of the 18th century. From 1790, the settlement (then known as "The Twelve") grew as an agricultural community. St. Catharines was once referred to Shipman's Corners after Paul Shipman, owner of a tavern that was an important stagecoach transfer point. In 1815, leading businessman William Hamilton Merritt abandoned his wharf at Queenston and set up another at Shipman's Corners. He became involved in the construction and operation of several lumber and gristmills along Twelve Mile Creek. Shipman's Corners soon became the principal milling site of the eastern Niagara Peninsula. At about the same time, Merritt began to develop the salt springs that were discovered along the river which subsequently gave the village a reputation as a health resort. By this time St. Catharines was the official name of the village; the origin of the name remains obscure, but is thought to be named after Catharine Askin Robertson Hamilton, wife of the Hon. Robert Hamilton, a prominent businessman. Merritt devised a canal scheme from Lake Erie to Lake Ontario that would provide a more reliable water supply for the mills while at the same time function as a canal. He formed the Welland Canal Company, and construction took place from 1824 to 1829. The canal and the mills made St. Catharines the most important industrial centre in Niagara. By 1845, St. Catharines was incorporated as a town, with the town limits extending in 1854. Administrative and political functions were added to St. Catharines in 1862 when it became the county seat of Lincoln. In 1871, construction began on the third Welland Canal, which attracted additional population to the town. As a consequence of continual growth, the town limits were again extended. St. Catharines attained city status in 1876 with its larger population and area. Manufacturing became increasingly important in St. Catharines in the early 1900s with the abundance of hydro-electric power, and its location on important land and water routes. The large increase in population after the 1900s was mainly due to the continued industrialization and urbanization of the northern part of the city and the related expansion of business activity. The fourth Welland Canal was opened in 1932 as the third canal could no longer accommodate the larger ships. The post war years and the automobile brought great change to the urban form of St. Catharines. St. Catharines began to spread its boundaries in all directions with land being added five times during the 1950s. The Town of Merritton, Village of Port Dalhousie and Grantham Township were all incorporated as part of St. Catharines in 1961. In 1970 the Province of Ontario implemented a regional approach to deal with such issues as planning, pollution, transportation and services. As a result, Louth Township on the west side of the city was amalgamated, extending the city's boundary to Fifteen Mile Creek. With its current population of 131,989, St. Catharines has become the dominant centre of the Niagara region. Source: City of St. Catharines website http://www.stcatharines.ca/en/governin/HistoryOfTheCity.asp (January 27, 2011)

Paisagens de Belém: história, natureza e pintura na obra de Antônio Parreiras, 1895-1909

Esta pesquisa tem como objetivo analisar as pinturas de autoria do artista Antônio Diogo Parreiras, no início do século XX, pertencentes ao Museu de Arte de Belém. São imagens de uma cidade proprietária de uma paisagem equatorial natural que possui também um conjunto urbanístico dos mais representativos de cidades brasileiras, herança de uma época que ficou conhecida como a "Época da Borracha”. Fato que trouxe para o Norte no início do século XX vários artistas, dentre os quais o pintor Antônio Diogo Parreiras que aqui realizou uma exposição de pinturas. As obras de Parreiras que registraram a cidade de Belém são fontes das mais importantes para história. Foi concebida dentro de um contexto no qual faziam parte uma leva de intelectuais e outros artistas brasileiros. Constituem-se como iconografias que possuem em si narrativas irrefutáveis, oferecendo aos espectadores um registro da sociedade e do seu meio ambiente natural, configurando a obra de arte como uma leitura onde é possível revelações, que nos auxiliam na difícil tarefa de compreender a nossa história Social da Amazônia.