882 resultados para Craft festivals
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Map drawn with oil based pastels on brown craft paper.
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[drawn by Erwin Raisz].
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[drawn by Erwin Raisz].
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[drawn by Erwin Raisz].
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[drawn by Erwin Raisz].
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Highlights • In its Digital Single Market strategy, the European Commission has rightly noted the importance of reducing the price paid for basic cross-border parcel delivery by consumers and by small and medium size retail senders. • The payment flows for cross-border parcel delivery are strikingly similar to those for telecommunications. Comparisons with roaming can be instructive. As with roaming, it is clear that the links between wholesale payments between the national postal operators and retail prices need to be properly understood in order to craft good policy. Another useful lesson is that national postal regulatory authorities are unlikely to address cross-border problems because of limitations in their respective mandates and because they have no incentive to take measures to benefit residents of other countries. • There are also significant differences between roaming and parcel delivery.While high wholesale charges were a major driver of high retail prices for international mobile roaming, the wholesale payments for cross-border parcel delivery appear to be below cost.This implies that it is the ‘spread’ between retail price and thewholesale payment that is inflated, at least for small retail senders and for consumers. • Comprehensive statistics gathering, coordinated at European level, is indispensable.
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This paper explores a number of procedural and substantive considerations arising from ongoing attempts to craft a plurilateral Trade in Services Agreement (TISA) among the so-called “Really Good Friends of Services” coalition of WTO Members. The paper suggests that considerable scope exists to move forward a multilateral negotiating agenda on services that both the digital revolution and a continued surge of preferential rule-making has rendered increasingly obsolete. As the most significant attempt to date to craft a GATS Article V-compatible PTA in services, TISA offers considerable promise. The paper, however, cautions that the case for embedding TISA into the architecture of WTO rules alongside the General Agreement on Trade in Services or in its place is weak on both procedural and substantive grounds to the extent that the ongoing talks take place behind doors that remain closed even to the WTO Secretariat, let alone to many of the world’s leading developing country suppliers of services, and involve potentially significant departures from GATS rules liable to complicate any hoped for multilateral migratory journey. Key words: WTO, GATS, trade in services, plurilateral agreements, critical mass negotiations, preferential trade liberalization.
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In the past 10 years, the use of floating breakwaters as temporary coastal structures has become increasingly widespread in the United States as an inexpensive means for suppressing waves. However, as with any new technology, there have been many failures and a substantial number of imaginative, successful innovations. One of the chief problems contributing to the failure rate has been a lack of awareness by designers of reliable, up-to-date technical information. As part of a large research effort to remedy this problem, a survey was conducted on field experience with floating breakwaters in the Eastern United States. Results of the survey confirmed that state-of-the-art technical literature is not being properly disseminated. Structures built according to early design manuals were shown to have failed before the completion of their design life. Conversely, floating breakwaters built to the standards set by recent research have fared well and show promise of meeting their design golas. The weakest areas of the present technology are flotation and the anchoring systems. It is recommended that a concentrated research effort be directed toward these problem areas; it is also recommended that the monitoring of state-of-the-art projects continue. (Author).
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Mode of access: Internet.
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The present 30 volumes seem to have remained with the Dukes of Leuchtenberg, until the ducal library was acquired for sale in 1935 by the dealers Ulrich Hoepli (Milan) and Braus-Riggenbach (Basel). The volumes are not complete, as leaves have been wholly or partly removed throughout; this is particularly evident in preliminary volumes 2 and 10 and volume 75. Prints and the relatively small number of drawings are mostly French, with some German, Dutch and English, and are mostly of the 17th or 18th centuries. They are mounted generally on rectos of leaves, often with hand-written captions. Large prints are occasionally bound in directly; these are often folded. The engraved general title page (bearing the date 1788) appears at the beginning of each volume; below the printed title a hand-written volume number and brief title describing the volume's contents usually appear. In many volumes the title leaf is followed by a hand-written contents leaf listing the section titles, which are also written individually throughout the volume on leaves with etched decorative frames. Sections are numbered continuously throughout the work as a whole. Numbering of the leaves, when present, appears in black ink within each volume at top center recto. Printmakers include B. & J. Audran, Francesco Bartolozzi, Abraham Bosse, Stefano della Bella, Jacques Callot, François Chéreau, Wenceslaus Hollar, Romeyn de Hooghe, Raymond La Fage, Sébastien Le Clerc, Pierre Lepautre, Claude Mellan, Bernard Picart, and Simon Thomassin. There are also early color prints by Gautier-Dagoty and Jean-Baptiste Morret.
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Advertisements at end.
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Coast Guard, Washington, D.C.
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The plates depict floor plans of the Palazzo reale and of the Teatro di San Carlo in Naples, a vertical cross section of the Palazzo reale; interior decoration of the Teatro di San Carlo; most plates depict festivities taking place in the decorated interiors of the theater and the royal palace, including a masquerade at the royal palace, the stage scenery and a scene from the opera "Il sogno di Olimpia" by Ranieri de Calzabigi, which was performed at the Teatro di San Carlo; a view of the illuminated Castello Nuovo in Naples, the fireworks installation at the Piazza del Castello Nuovo, and a floorplan of the fire works installation. Plate XI depicts the mythical land of plenty "Cuccagna", arranged as a landscaped hill with an architectural grotto, richly decorated with food and drink, which was offered as part of the festivities to the common people. Most plates have a detailed legend in the lower margin.
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Head-piece; decorative initial.
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Mode of access: Internet.