My mother, Lovella Bagley had ten children. She taught her family about Jesus and the biblical principles of His word. Her dream was to write a book about her husband and all her children. She was married to Lee Earnest Bagley, Sr. for sixty-five years; he went home to be with the Lord on December 12, 2009. My father had a good sense of humor and an extraordinary personality. He provided for his family by working at an apartment complex as a Supervisor of Plumbing- in Lubbock, Texas. In my upcoming book, Why am I Here? I will talk about specifics in our family s life. Our mother was diagnosed with Alzheimer s at the age of seventy-five and I watched her sad face as the doctor gave her the news. I watched her go from a vibrant woman to being in a wheelchair. She was determined to finish writing her poetry in her journal because she was quickly losing her memory. Her impeding illness did not discourage her even though she continued to struggle to remember names, events and wording. Every night she wrote poems and short stories in her journal that she kept in a silver briefcase. Some years passed and my siblings and I became her caregivers. Throughout the years, I thought about that silver briefcase as our family had relocated to Dallas, Texas. My brother Rodney decided to take a trip to Lubbock, Texas to visit relatives. During his visit, Rodney went to his storage to get furniture and other items to take back to Dallas. As he walked through the storage he looked next to a wall and there laid the silver briefcase that held my mother s poems. I was so excited; I knew there has to be a reason for us finding the silver briefcase. In my book, Poems from the Heart of a Woman it presents poetry written by my mother as well as myself."
A History of Chinese Art is a lavishly illustrated work in four volumes covering the history of Chinese art from the Pre-Qin period (pre-221 BC) to the early twentieth century. Compiled by leading art historians at the Central Academy of Fine Arts in Beijing, the volumes offer a Chinese perspective on the rich artistic tradition that has flourished throughout China's long history, from ancient pottery and tomb painting to furniture, sculpture, ceramics, calligraphy and fine art. Discussion is supported by full-colour illustrations throughout, sourced from collections in China and around the world, including recent archaeological discoveries. A History of Chinese Art provides an introductory point of reference for those with an interest in Chinese history, culture and art.
No! No! she was not going to gush!-Not even though there was nothing in the room at this moment to stand up afterward before her as dumb witness to a moment's possible weakness. Less than nothing in fact: space might have spoken and recalled that moment . . . infinite nothingness might at some future time have brought back the memory of it . . . but these dumb, impassive objects! . . . the fountain pen between her fingers! The dull, uninteresting hotel furniture covered in red velvet-an uninviting red that repelled dreaminess and peace! The ormolu clock which had ceased long ago to mark the passage of time, wearied-as it no doubt was, poor thing-by the monotonous burden of a bronze Psyche gazing on her shiny brown charms, in an utterly blank and unreflective bronze mirror, while obviously bemoaning the fracture of one of her smooth bronze thighs! Indeed Louisa might well have given way to that overmastering feeling of excitement before all these things. They would neither see nor hear. They would never deride, for they could never remember. But a wood fire crackled on the small hearth . . . and . . . and those citron-coloured carnations were favourite flowers of his . . . and his picture did stand on the top of that ugly little Louis Philippe bureau . . . No! No! it would never do to gush, for these things would see . . . and, though they might not remember, they would remind. And Louisa counted herself one of the strong ones of this earth. Just think of her name. Have you ever known a Louisa who gushed? who called herself the happiest woman on earth? who thought of a man-just an ordinary man, mind you-as the best, the handsomest, the truest, the most perfect hero of romance that ever threw a radiance over the entire prosy world of the twentieth century? Louisas, believe me, do no such things. The Mays and the Floras, the Lady Barbaras and Lady Edithas, look beatific and charming when, clasping their lily-white hands together and raising violet eyes to the patterned ceiling paper above them, they exclaim: "Oh, my hero and my king!" But Louisas would only look ridiculous if they behaved like that . . . Louisa Harris, too! . . . Louisa, the eldest of three sisters, the daughter of a wealthy English gentleman with a fine estate in Kent, an assured position, no troubles, no cares, nothing in her life to make it sad, or sordid or interesting . . . Louisa Harris and romance! . . . Why, she was not even pretty. She had neither violet eyes nor hair of ruddy gold. The latter was brown and the former were gray. . . . How could romance come in the way of gray eyes, and of a girl named Louisa? Can you conceive, for instance, one of those adorable detrimentals of low degree and empty pocket who have a way of arousing love in the hearts of the beautiful daughters of irascible millionaires, can you conceive such an interesting personage, I say, falling in love with Louisa Harris? I confess that I cannot. To begin with, dear, kind Squire Harris was not altogether a millionaire, and not at all irascible, and penniless owners of romantic personalities were not on his visiting list.
For courses in History of Furniture, Interiors and Interior Design.
Furniture in History 3000 B.C.-2000 A.D. takes a new approach to a very old subject. By focusing on the constant theme of innovation and change, it discusses the history of furniture in the West–from ancient times to present. Its excellent coverage of modern periods, designers, and styles gives the book a depth and breadth not found in competing texts. Redesigned in this edition, it includes hundreds of illustrations and new photos from a variety of sources–including the Cleveland Museum of Art. Each chapter includes chronologies, designer contributions and historical highlights that make it a comprehensive volume on the evolution of style.
It took seventeen days before I could bury my husband. I decided I better think about what to do and to make a list of what needed to be done and the order it needed to be done. I decided to turn in and wait until morning to start again. I didn't think I would sleep after all I had been through. To my surprise, I slept late in the morning. Guess I was more exhausted than I thought. Forty years of marriage and now a widow. Scary thought. Here's the list: Mail, death certificates, and payment on bills; Change all documents with both names; Count number of death certificates needed (cars, banks, house, insurance, etc.) See about new housing, or repair the one I am in now; Job; Safety on all sides of me, house and car; And, Dating(?)."
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