The Keelmen of Tyne and Wear were a group of men who worked on the keels, large boats that carried the coal from the banks of both rivers to the waiting collier ships. Because of the shallowness of both rivers, it was difficult for ships of any significant draught to move up river and load with coal from the place where the coal reached the riverside. Thus the need for shallow-draught keels to transport the coal to the waiting ships. The keelmen formed a close-knit and colourful community on both rivers until their eventual demise late in the nineteenth century.

Beginnings of the coal trade
The keels were wooden boats with a pointed stern, so that the bow and stern looked almost the same. They were of shallow draught so that when fully loaded they drew only four and a half feet. The keels were forty feet long and at least 19 feet wide amidships: a very broad configuration. In 1266 the standard load of a keel was set at 20 chaldrons (wagonloads) or approximately 17 tons. After 1497 the keel load was frequently increased, until in 1635 it was set at 21.1 tons. A chaldron was a horse-drawn wagon containing 17 cwt of coal. Keels were supposed to be measured by the Kings Commissioners and given a load mark to show when they were full. The keels had a single mast with a square sail attached to a yardarm and two large oars. They had no rudder and so a large sweep was used for steering when the keel was under sail. The oars were used to row when the wind was not favourable. There were also two iron-shod poles for polling the keel through any shallows. The floor of the hold was only two feet below the gunnel to allow for easy loading. The coal was piled high above the top of the hold with wooden boards used to prevent the cargo from sliding. Each keel was manned by a skipper, two crewmen and a boy, known as a 'pee dee'. The meaning of this title is unknown.

The keels
The keelmen would start by loading coal into the hold from a 'spout', as the riverside chutes were called. The keel would then be taken down river on the ebb tide using the oars, or the sail, if the wind was favourable. The keel would then be taken alongside the waiting collier and the crewmen of the keel would carry out the strenuous work of shovelling the coal into the collier, working even after darkness. Because of the difference between the keel's gunnel and the collier's deck, this could be very arduous work. After a time colliers were constructed in such a manner as to make it easier to load coal into them. In 1819 the keelmen went on strike, and one of their demands was an extra shilling per keel for every foot that the side of the collier exceeded five feet. After completing the loading of the coal, the keelmen would return for another cargo, if there was time left in the day and if the tides allowed.

The keelmen
The Tyneside keelmen were employed by the Newcastle Hostmen and were often in dispute with their employers. They went on strike in 1709, 1710, 1740 and 1750. One grievance held by the keelmen was that the Hostmen, in order to avoid custom duties, would deliberately overload the keels. Duty was paid on each keel-load, so that it paid the owner to load as much coal as possible. This meant that the keel-load gradually increased from 16 tons in 1600 to 21.25 tons in 1695. As the keelmen were paid by the keel-load, they had to work considerably harder for the same pay. Even after the keel-load had been standardised, there were cases of keel owners illegally enlarging the holds to carry more coal, as much as 26.5 tons. In 1719 and 1744, the Tyneside keelmen went on strike in protest at this 'overmeasure'. The 1750 strike was also against 'overmeasure', as well as against 'can-money', the practice of paying part of the keelmen's wages in drink that had to be consumed at 'can-houses', pubs owned by the employers.

Disputes with the Hostmen
The coal export trade from the Wear was slow to develop, but by the seventeenth century there was a thriving trade in exporting coal from the Durham coalfield via the River Wear. The tonnage however was much smaller than on the Tyne; in 1609, 11,648 tons were exported from the Wear compared with 239,000 tons exported from the Tyne. This imbalance changed dramatically during the English Civil War because of the Parliamentarian blockade of the Tyne and their encouragement of the Wearside merchants to make up for the subsequent shortfall in coal for London. Coal exports from the Wear increased by an enormous amount, causing a similar increase in the number of keelmen employed on the river. By time of the Restoration in 1660, trade on the Tyne had recovered, but the river was now only exporting a third more coal than the Wear.

Expansion of the Wear coal trade
In 1699 the keelmen of Newcastle decided to build the Keelmen's Hospital, a charitable foundation for sick and aged keelmen and their families. The keelmen agreed to contribute one penny a tide from the wages of each keel's crew and Newcastle Corporation made land available in Sandgate. The hospital was completed in 1701 at a cost of £2,000. It consisted of fifty chambers giving onto a cloister enclosing a grass court. One matter of contention relating to the hospital was that the funds for its maintenance were kept in the control of the Hostmen, lest they be used as a strike fund by the keelmen. The hospital building still remains in City Road, Newcastle, and is now used for student accommodation.

Impressment in the Royal Navy
About 1750 a new development began to be used on the Tyne. New pits were being sunk further and further away from the river and coal was being brought to the riverbank via wagon ways. Once there, in places accessible by colliers, coal staithes were built to allow coal to be dropped directly into the holds of the colliers without the need for keels. The staithes were short piers that projected out over the river and allowed coal wagons to run on rails to the end. Colliers would moor alongside the end of the staithes and, initially, the coal from the wagons was emptied down chutes into the colliers' holds. Later, to avoid breakage of the coal, the coal wagons were lowered onto the decks of the colliers and were unloaded there. This was the beginning of the end for the keelmen and they realised the threat that the coal staithes posed. Strikes and riots resulted whenever new staithes were opened. In 1794 the Tyneside keelmen went on strike against the use of staithes for loading coal.

Coal staithes
Another threat to the livelihood of the keelmen was the development of steam tugs. During a ten-week strike by the keelmen of both Tyne and Wear against the use of coal staithes, the keel owners installed one of the newly developed steam locomotives in a keel equipped with paddle wheels. The keel was not only able to propel itself, but was able to tow a string of other keels behind it. By 1830, Marshall's shipyard in South Shields had begun to manufacture steam tugs, for the Tyne and for further afield. This development did not threaten the livelihood of the keelmen as completely as the development of the coal staithes.

Improvements in river navigation
By the mid-nineteenth century, less than a fifth of the pits on the Tyne and Wear were using keels to load coal. The introduction of coal staithes and steam tugs had already severely diminished the number of keelmen. The new docks with their efficient coal loading facilities brought the final demise of the keels and the men who worked them. The second half of the nineteenth century was a time of rapid industrial growth on Tyneside and Wearside, so that the keelmen would be readily absorbed within other industries. They are now just a distant memory with little to remind us of them, apart from the Keelmen's Hospital that still stands in Newcastle and the well known local song, "The Keel Row".

Élisabeth-Louise Vigée-Le Brun (April 16, 1755 - March 30, 1842) was a French painter, and is recognized as the most famous woman painter of the eighteenth century. Her style is neoclassical in exhibiting ideals of simplicity and purity. Her work can also be considered Rococo in its grace, delicacy, and naturalism.
She was born in Paris, Marie Élisabeth-Louise Vigée, the daughter of a painter, from whom she received her first instruction, although she benefited more by the advice of Gabriel François Doyen, Jean-Baptiste Greuze, Joseph Vernet, and other masters of the period.
By the time she was in her early teens, she was painting portraits professionally. After her studio was seized, for practicing without a license, she applied to the Académie de Saint Luc, which willingly exhibited her works in their Salon. On 25 October 1774, she was made a member of the Académie.
In 1776, she married Jean-Baptiste-Pierre Le Brun, a painter and art dealer. She painted portraits of many of the nobility of the day and as her career blossomed, she was invited to the Palace of Versailles to paint Marie Antoinette, the French Queen consort.
So pleased was the queen that over the next several years, Vigée-Le Brun was commissioned to do numerous portraits of the queen, her children, and other members of the royal family and household.
In 1781 she and her husband toured Flanders and the Netherlands where seeing the works of the Flemish masters inspired her to try new techniques. There, she painted portraits of some of the nobility, including the Prince of Nassau.
On May 31, 1783, Vigée Le Brun was accepted as a member of France's Académie Royale de Peinture et de Sculpture as a painter of historical allegory. Adélaïde Labille-Guiard also was admitted on the same day.
The admission of Vigée-Le Brun was opposed on the grounds that her husband was an art dealer, but eventually they were overruled by an order from Louis XVI because Marie-Antoinette put considerable pressure on her husband on behalf of her painter.
The admission of more than one woman on the same day to the Académie encouraged comparisons among the works of the women instead of one woman contrasted with the existing members, who were men.
After the arrest of the royal family during the French Revolution Vigée-Le Brun fled France. She lived and worked for some years in Italy, Austria, and Russia, where her experience in dealing with an aristocratic clientèle was still useful. In Rome, her paintings met with great critical acclaim and she was elected to the Roman Accademia di San Luca.
In Russia, she was received by the nobility and painted numerous members of the family of Catherine the Great. While there, Vigée-Le Brun was made a member of the Academy of Fine Arts of Saint Petersburg.
She was welcomed back to France during the reign of Emperor Napoleon I. Much in demand by the élite of Europe, she visited England at the beginning of the nineteenth century and painted the portrait of several British notables including Lord Byron. In 1807 she traveled to Switzerland and was made an honorary member of the Société pour l'Avancement des Beaux-Arts of Geneva.
She published her memoirs in 1835 and 1837, which provide an interesting view of the training of artists at the end of the period dominated by royal academies. Her portrait of fellow neoclassical painter, Hubert Robert, is in Paris at Musee National du Louvre.
Still very active with her painting in her fifties, at that time she purchased a house in Louveciennes, Île-de-France, and lived there until the house was seized by the Prussian Army during the war in 1814. She stayed in Paris until her death on March 30, 1842 when her body was taken back to Louveciennes and buried in the cemetery near her old home.
Her tombstone epitaph states "Ici, enfin, je repose…" (Here, at last, I rest…).
Vigée-Le Brun left a legacy of 660 portraits and 200 landscapes. In addition to private collections, her works may be found at major museums, such as Hermitage Museum, London's National Gallery, in Europe and the United States.

Oliver "Ollie" Riedel (b. April 11, 1971) is a German musician, most notable for being the bass-guitarist for the German Tanz-Metall ("Dance metal") band Rammstein.

Biography
Riedel was born on 11 April 1971 in Schwerin as an only child.
Growing up, Oliver had relatively good relationships with both of his parents. He attributes this to the small gap in between their ages. As a child, Oliver wasn't a good student, but he made his way through school with the assistance of his mother. Oliver was quite shy, especially during his teenage years, and while his friends partied at discos he would often be found just "hanging around".

Early years
In 1990, at the age of nineteen, Oliver began playing in a folk-fiddle/punk-rock band called The Inchtabokatables.

Musical career
In 1994, Riedel, Till Lindemann, Richard Z. Kruspe, and Christoph "Doom" Schneider entered and won the Berlin Senate Metro beat contest that allowed them to record a four track demo professionally. Paul H. Landers and Christian "Flake" Lorenz would later join the band they named Rammstein.
The six released their first album, Herzeleid (Heartache) in September, 1995. Their second album, Sehnsucht (Longing) was released in 1997, which would later become platinum.
In April 2001, the album Mutter (Mother) was released and a European tour followed, ending on 13 July 2002. It has been reported that at this time the members of Rammstein were seriously discussing whether to continue or not in their present form. It was decided that they should all take some time off and then reconsider whether to continue.
In 2003, Rammstein started work on the fourth album, which was to prove a turning point in Rammstein's sound and maturity. September 2004 saw the fruits of this work in the release of Reise, Reise ("Reise,Reise")

Personal characteristics
On the separation rumours
"We never wanted to, but after Mutter we had some difficult times because the third album is the most difficult one and we had a lot of pressure on us. We also had our differences between the group members and everyone's expectations were different. We took a year to rest, and after that we realized that we wanted to be together and to go on."
On his early family life
Interviewer: Did you have a lot of problems with your parents?
Ollie: Not a lot at all. My parents are quite young, which is good. Because the age difference isn't that big, we had it good with each other. My father and mother also liked the same music as me. We were almost more like friends than family.
Interviewer: But of course you did tease your brothers and sisters...
Ollie: No, because I don't have any, too bad. But if I would have had them, I would definitely have teased them!

Aire may refer to:
In rivers:
In towns:
In other:
River Aire, a river in Yorkshire, England
Aire (Aisne), a river in the Ardennes département, northern France
Aire River (Switzerland), a river in the Canton of Geneva, in Switzerland
Aire-sur-la-Lys, a town in the Pas-de-Calais département in France
Aire-la-Ville, a municipality in the Canton of Geneva, in Switzerland
Aire-sur-l'Adour, a town of Aquitaine, in the Landes département
Aire, Ardennes, a commune in the Ardennes département in France
Aire (program), a wireless network discovery program for Windows
AIRE, an acronym for Autoimmune Regulator
The Siege of Aire was a military action in 1710 in the War of the Spanish Succession
Aire Diocese in France

Xenokrates of Sicyon (fl. c.280 BC) was a Greek sculptor and writer, and one of the world's first art historians. Three signed statue bases are all that survive of his work. Pliny the Elder described him as a pupil of either Euthykrates or Teisikrates, and states that he surpassed both in his career, and that he wrote several volumes concerning his craft. Pliny's entire dissertation on the history of sculpture and painting is believed to have been strongly influenced by the work of Xenokrates. He was the art critic most familiar to the Romans of the late Republic, and he greatly influenced their tastes.

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The Commissioner's and Germann Cups are awarded each year to the top men's and women's program in the conference. The Commissioner's Cup was inaugurated in 1970. The Germann Cup, named for former Southern Conference Commissioner Ken Germann, was first awarded in 1987.
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Henry Robinson Luce (pronounced like "loose") (April 3, 1898 – February 28, 1967) was an influential American publisher.

In popular culture
Ralph G. Martin's book Henry & Clare: An Intimate Portrait of the Luces claims that Henry had extended relationships with Jean Dalrymple (a Broadway producer and theatrical agent) and Mary Bancroft (who, among other accomplishments, had been a wartime spymaster for the OSS). According to Martin, Clare also had many lovers. Henry's liaison that most seriously threatened his marriage to Clare involved Lady Jeanne Campbell, granddaughter of the British press tycoon Lord Beaverbrook. TIME in 1956 found a minor job in its picture department for Lady Jeanne. Luce became so openly smitten with this cheerful redhead, 31 years his junior, that rumors of the affair appeared in gossip columns. Lady Jeanne eventually married novelist Norman Mailer.
Martin's claims are controversial. An article in the August 26, 1991 issue of TIME states that "Henry & Clare is rife with errors, undocumented innuendo, non sequiturs and contradictions. Martin shows little understanding of how the Luce organization worked; the portraits of his principals are caricature-crude, especially in the case of Clare."