09 Works, The Art of War, Maxwell, Donald's British Navy in Palestine, 1st World War, with footnotes

The Sinai and Palestine campaign was part of the Middle Eastern theatre of World War I, taking place between January 1915 and October 1918. The British Empire, the French Third Republic, and the Kingdom of Italy fought alongside the Arab Revolt in opposition to the Ottoman Empire, the German Empire, and the Austro-Hungarian Empire. It started with an Ottoman attempt at raiding the Suez Canal in 1915 and ended with the Armistice of Mudros in 1918, leading to the cession of Ottoman Syria. More on The Sinai and Palestine campaign

Maxwell, Donald

British Monitors off the Coast of Palestine (M31)

Ink

Height 184 mm, Width 190 mm

Imperial War Museums

Two Royal Navy monitors in the water, with one in the right foreground shown from the port side and another immediately in front of the first, also shown from the port side. There is another vessel, possibly another monitor, in the left background.

Maxwell, Donald

Monitor 31 Bombarding Gaza

Watercolour

Height 228 mm, Width 349 mm

Imperial War Museums

A port side view of a Royal Navy monitor bombarding the city of Gaza from coastal waters. There are other ships to the right and the coastline is visible in the background to the left. Smoke emanates from the ship's funnel and front gun turret.

HMS M31 was an M29-class monitor of the Royal Navy. Launched on 24 June 1915, she was completed in July 1915. Upon completion, HMS M31 was sent to the Mediterranean, and remained there until March, 1919.

In 1916, she defended the port city of Yanbo, in Saudi Arabia, against the Turkish army by providing artillery cover for the Arab rebels.  She served from May to September 1919 in support of British and White Russian forces in the White Sea, before returning to England. More on HMS M31

Maxwell, Donald

Another Samson at the Gates of Gaza : a seaplane incident: Commander Samson, RNAS at Gaza

Watercolour

Height 292 mm, Width 406 mm

Imperial War Museums

A distant aircraft under anti-aircraft above a landscape of local houses and trees.

Maxwell, Donald

The Streets of Askelon: The Strand

Watercolour

Height 184 mm, Width 298 mm

Imperial War Museums

Two Royal Navy sailors manoeuvre a small rowing boat on the shore of a beach, with another sailor signalling with flags to men standing at the top of a headland. Along the coast are some of the ancient stone ruins of the city of Askalon, with some wooden struts protruding from the small cliff to the right.

Ashkelon is a coastal city in the Southern District of Palestine on the Mediterranean coast, 50 kilometres south of Tel Aviv, and 13 kilometres north of the border with the Gaza Strip

The Palestinian city, then known as Migdal, was founded in 1949 approximately 4 km inland from ancient Ascalon at the Palestinian town of al-Majdal. Its inhabitants had been exclusively Muslims and Christians and the area had been allocated to the Arab state in the United Nations Partition Plan for Palestine; on the eve of the 1948 Arab–Israeli War the inhabitants numbered 10,000 and in October 1948, the city accommodated thousands more Palestinian refugees from nearby villages. The town was conquered by Israeli forces on 5 November 1948, by which time much of the Arab population had fled, leaving some 2,700 inhabitants, of which 500 were deported by Israeli soldiers in December 1948 and most of the rest were deported by 1950. Today, the city's population is almost entirely Jewish. More on Ashkelon

Maxwell, Donald

The Wells at Samaria

Indian troops fetching water during the advance

Watercolour

Height 184 mm, Width 298 mm

Imperial War Museums

Indian Army troops collect water from a series of old wells in Samaria. The wells and the surrounding walls appear to date from ancient times, and steps lead up to ground level in the background, with horse-drawn transport waiting above.

Two Indian cavalry divisions (4th Cavalry Division and 5th Cavalry Division) transferred from France in 1918, for service in Palestine. 

The Indian Army, also called the British Indian Army, was involved in World War I as part of the British Empire. More than one million Indian troops served overseas, of whom more than 60,000 died during the war. More on Indian troops

Jacob's Well, also known as The Wells at Samaria, is a Christian holy site located in Balata village, a suburb of the Palestinian city of Nablus in the West Bank. The well, currently situated inside an Eastern Orthodox church and monastery, has been associated in religious tradition with the biblical patriarch Jacob for roughly two millennia.

The well is named in the New Testament Gospel of John as the scene of Jesus's encounter with the Samaritan woman. More on The Wells at Samaria

Maxwell, Donald

Nablous

Australian cavalry entering the ancient Shechem, the capital of Samaria

Watercolour

Height 279 mm, Width 444 mm

Imperial War Museums

A column of Australian cavalry gallops along a road in a valley floor into the small town of Shechem. The rear of the column is in the foreground, with the front of it just entering the town, whose buildings are visible in the distance. The valley is bordered, on the left and right, by steep-sided hills.

Maxwell, Donald

The Church at Kuryet-el-Enab

used temporarily as a hospital

Watercolour

Height 419 mm, Width 266 mm

Imperial War Museums

The interior of a church requisitioned as a hospital. In the foreground two men sit on stretchers talking to one another. To the right, two stretcher bearers lower a stretcher onto the church floor. Other men are visible further back, with the altar and a bright stained-glass window in the background.

Kuryet-el-Enab is located in one of the earliest areas of human habitation in Palestine. Archaeological excavations have revealed three Neolithic settlement phases, the middle phase is dated to the 7th millennium BCE. 

Donald Maxwell (1877-1936) was a painter, etcher and illustrator, born in Clapham, south London the son of a Methodist minister. Maxwell studied at Clapham School of Art, the Slade School of Fine Art, and the Royal College of Art all towards the close of the 19th century. After his marriage in 1907, he and his wife resided on a yacht moored on the River Thames before relocating to Rochester, Kent. He soon began writing and illustrating extensively for The Yachting Monthly and other magazines and in 1909, he came to the public's attention with his dramatic sketch, 'The Battle Fleet off Southend', published by the Daily Graphic in 1909. He thereafter embarked on a career as a naval artist and correspondent and became a regular correspondent for the Daily Graphic and the weekly illustrated paper The Graphic continuing to do so until the latter's closure in the 1930's. During World War I was an Official War Artist attached to the Admiralty, visiting Palestine and Mesopotamia. He accompanied the Prince of Wales on his tour of India and illustrated The Prince of Wales' Eastern Book and wrote and illustrated many books on travel and topography and also received poster commissions from Southern Railways. He showed at the Royal Academy, Manchester Academy of Fine Arts and at the Walker Art Gallery, Liverpool. Examples of his work are in the collection of the Imperial War Museum. More on Donald Maxwell

Carline, Sydney William

Study for 'The Sea of Galilee'

Aeroplanes attacking Turkish Boats

Watercolour

Height 233 mm, Width 280 mm

Imperial War Museums

An aerial view of the Sea of Galilee, flanked by hills on the right-hand shore, the river Jordan on the lower left and a snow-capped Mount Hermon rising above clouds in the upper right of the composition. There are two aircraft on the left, and another flying directly above the lake over three small, dark shapes of Turkish motorboats moving on the water below. Grey puffs of smoke hang in the sky to the left and upper left. 

Sydney William Carline (14 August 1888 – 14 February 1929) was a British artist and teacher known for his depictions of aerial combat painted during World War One.

Sydney William Carline studied under his father, the painter George Francis Carline (1855-1920); at the Slade School of Fine Art, University College London from 1907 to 1910; and in Paris. He subsequently worked as a painter, sculptor and medallist. During World War One, he served as a despatch rider before becoming a pilot in the Royal Flying Corps. Like his younger brother, the painter Richard Carline (1896-1980), he was also appointed an Official War Artist attached to the Royal Air Force. In 1922 he was elected a member of the London Group with whom he exhibited from 1922 to 1929. He also exhibited at the Grosvenor Gallery, Goupil Gallery, London Salon, New English Art Club, and Royal Academy in London; the Walker Art Gallery in Liverpool; Manchester City Art Gallery; and at the Royal Glasgow Institute of the Fine Arts. More on Sydney William Carline

Stuart Reid (NZ/British/Aust., 1883-1971)

A Handley Page Aeroplane Bombing Nablus by Night

Oil on canvas

Height 698 mm, Width 939 mm

Imperial War Museums

A night scene showing a Handley Page bomber flying over a darkened landscape. A thick column of smoke rises from the ground below mingling with the low cloud cover.

The Battle of Nablus took place, together with the Battle of Sharon during the set piece Battle of Megiddo between 19 and 25 September 1918 in the last months of the Sinai and Palestine Campaign of the First World War. Fighting took place in the Judean Hills where the British Empire's XX Corps attacked the Ottoman Empire's Yildirim Army Group's Seventh Army defending their line in front of Nablus. More on The Battle of Nablus

In 1909 Reid, Stuart went to London to study art. During WWI he served in Gallipoli and Sinai with the Scottish Light Horse before transferring to the Royal Flying Corps in Palestine. He continued to sketch and paint, and was a friend of Colonel T.E. Lawrence aka Lawrence of Arabia. During this time Reid was commissioned to paint a number of works for the British Imperial War Museum. In 1922 he returned to New Zealand. He later settled in Sydney. More on Reid, Stuart

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Work, The Art of War, Elizabeth Butler's The Remnants of an Army, with footnotes

Elizabeth Butler (Lady Butler)

The Remnants of an Army, c. 1879

Oil paint on canvas

1321 × 2337 mm

Tate

Elizabeth Butler represents the defeat of the British in the First Afghan War (1839–1842), when they failed to overthrow the Afghan leader Dōst Moammad Khān. Doctor William Brydon, believed to be the sole survivor of the British forces, reaches the British garrison at Jalalabad, ‘faint and reeling on his jaded horse’ against a dying light’. Butler was the leading battle painter in Europe, famous for depicting soldiers fighting at the edge of Empire, rather than the military elite. Butler’s family benefitted from Empire, but her circle was anti-imperial. This painting was made during the Second Afghan War, and offers a critique of that war. More on this painting

Elizabeth Southerden Thompson (3 November 1846 – 2 October 1933), later known as Lady Butler, was a British painter who specialised in painting scenes from British military campaigns and battles, including the Crimean War and the Napoleonic Wars. Her notable works include The Roll Call (purchased by Queen Victoria), The Defence of Rorke's Drift, and Scotland Forever! (showing the Scots Greys at Waterloo). She wrote about her military paintings in an autobiography published in 1922: "I never painted for the glory of war, but to portray its pathos and heroism." She was married to British Army officer William Butler, becoming Lady Butler after he was knighted. More on Elizabeth Butler (Lady Butler)

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

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19 Portraits of Barbara Villiers; Duchess of Cleveland and mistress to Charles II

Barbara Palmer, 1st Duchess of Cleveland, Countess of Castlemaine, also known as Lady Castlemaine (27 November 1640 – 9 October 1709) was an English courtesan from the Villiers family and perhaps the most notorious of the many mistresses of King Charles II of England, by whom she had five children, all of whom were acknowledged and subsequently ennobled. Her influence was so great that she has been referred to as "The Uncrowned Queen."

Sir Peter Lely. A 17th Century 

Portrait of Barbara Villiers

Oil on Canvas

28 ins x 23½ ins (71 cms x 60 cms)

Private collection

Sir Peter Lely (14 September 1618 – 30 November 1680) was a painter of Dutch origin, whose career was nearly all spent in England, where he became the dominant portrait painter to the court. Lely studied painting in Haarlem. He became a master of the Guild of Saint Luke in Haarlem in 1637.

He arrived in London in around 1641. His early English paintings, mainly mythological or religious scenes, or portraits. Lely's portraits were well received, and he succeeded Anthony van Dyck as the most fashionable portrait artist in England. He became a freeman of the Painter-Stainers' Company in 1647 and was portrait artist to Charles I. His talent ensured that his career was not interrupted by Charles's execution, and he served Oliver and Richard Cromwell. More on Sir Peter Lely

Barbara was the subject of many portraits, in particular by court painter Sir Peter Lely. Her extravagance, foul temper and promiscuity provoked diarist John Evelyn into describing her as the "curse of the nation", whereas Samuel Pepys often noted seeing her, admiringly.

Henri Gascar  (1635–1701)

Portrait of Barbara Palmer, 1st Duchess of Cleveland (1641-1709), mistress of Charles II of England, circa 1650-1700

Oil on canvas

height: 43 cm (16.9 in); width: 38 cm (14.9 in)

National Trust, Hatchlands Park

Henri Gascar (1635 – 1 Jan 1701) was a French-born portrait painter who achieved artistic success in England during the reign of Charles II. He painted many leading ladies at court, including several of the King's mistresses, before returning to Paris. He subsequently relocated to Rome, where he died in 1701. More on Henri Gascar

Barbara Palmer, 1st Duchess of Cleveland, Countess of Castlemaine (née Barbara Villiers, 27 November [O.S. 17 November] 1640 – 9 October 1709), was an English royal mistress of the Villiers family and perhaps the most notorious of the many mistresses of King Charles II of England, by whom she had five children, all of them acknowledged and subsequently ennobled. Barbara was the subject of many portraits, in particular by court painter Sir Peter Lely.

Born at the parish of St. Margaret's, Westminster, London, she was the only child of the 2nd Viscount Grandison, William Villiers, and his wife, Mary Bayning. On 20 September 1643, her father died in the English Civil War from a wound sustained at the Battle of Newbury while fighting for the Royalists; leaving his widow and daughter in straitened circumstances. Shortly after Lord Grandison's death, Barbara's mother married Charles Villiers, 2nd Earl of Anglesey, a cousin of her late husband.

Peter Lely (1618–1680)

Barbara Villiers as the penitent Magdalen, c. 17th century

Oil on canvas

1880 x 1283 mm (74 x 50 1/2 in)

Schorr Collection

Barbara Villiers was considered to be one of the most beautiful of the Royalist women, but her lack of fortune left her with reduced marriage prospects. On 14 April 1659 she married Roger Palmer (later 1st Earl of Castlemaine) against his family's wishes; his father predicted that she would make him one of the most miserable men in the world. Palmer was a Roman Catholic. The two separated in 1662, following the birth of her first son. They remained married for his lifetime.

after Sir Peter Lely

Barbara Palmer (née Villiers), Duchess of Cleveland, c. circa 1666

Oil on canvas

49 in. x 39 3/4 in. (1245 mm x 1010 mm)

National Portrait Gallery, London

Peter Lely (1618–1680)

Barbara Villiers, Duchess of Cleveland as St. Catherine of Alexandria, c.1665-70

Oil on canvas

height: 125.7 cm (49.4 in) ; width: 100 cm (39.3 in)

Private collection

Barbara became King Charles' mistress in 1660, while still married to Palmer, and whilst Charles was still in exile at The Hague. The Palmers had joined the ambitious group of supplicants who sailed for Brussels at the end of 1659. As a reward for her services, the King created her husband Baron Limerick and Earl of Castlemaine in 1661. In many contemporary accounts, including Pepys's Diary, she is referred to as "Lady Castlemaine".

John Michael Wright (died 1694)

Barbara Palmer (née Villiers), Duchess of Cleveland, circa 1670

Oil on canvas

height: 122.8 cm (48.3 in) ; width: 133 cm (52.3 in) Edit this at Wikidata

National Portrait Gallery

John Michael Wright (May 1617 – July 1694) was a portrait painter in the Baroque style. Described variously as English and Scottish, Wright trained in Edinburgh, and acquired a considerable reputation as an artist and scholar during a long sojourn in Rome. There he was admitted to the Accademia di San Luca, and was associated with some of the leading artists of his generation. He took up permanent residence in England from 1656, and served as court painter before and after the English Restoration. A convert to Roman Catholicism, he was a favourite of the restored Stuart court, a client of both Charles II and James II, and was a witness to many of the political maneuverings of the era. In the final years of the Stuart monarchy he returned to Rome as part of an embassy to Pope Innocent XI. More on John Michael Wright

By 1662, Barbara, the King's mistress, had more influence at the court than his queen consort, Catherine of Braganza. Barbara chose to give birth to their second child at Hampton Court Palace while he and the queen were honeymooning. In the summer of 1662 she was appointed Lady of the Bedchamber despite opposition from Queen Catherine and Edward Hyde, 1st Earl of Clarendon, chief advisor to the King and a bitter enemy of Barbara's. 

Peter Lely (1618–1680)

Barbara Palmer, Duchess of Cleveland, circa 1666

Oil on canvas

height: 231 cm (90.9 in); width: 137 cm (53.9 in)

Private collection

Barbara's influence over the King waxed and waned. Her victory in being appointed as Lady of the Bedchamber was followed by rumours of an estrangement between her and the King, the result of his infatuation with Frances Stuart. In December 1663, Barbara announced her conversion to Roman Catholicism. Historians disagree as to why she did so. Some believe it was an attempt to consolidate her position with the King, and some believe it was a way of strengthening her ties with her Catholic husband. The King treated the matter lightly, saying that he was interested in ladies' bodies, but not their souls. The Court was equally flippant, the general view being that the Church of Rome gained nothing and the Church of England lost nothing.

style of, Peter Lely (1618–1680)

Called Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland (1640-1709)

Oil on canvas, 

1219 x 978 mm (49 x 38 1/2 in)

Sudbury Hall, Derbyshire

In June 1670 Charles created her Baroness Nonsuch (as she was the owner of Nonsuch Palace). She was also, briefly, granted the ownership of Phoenix Park in Dublin as a present from the King. She was made Countess of Castlemaine and Duchess of Cleveland in her own right. However, no one at court was sure if this was an indication that she was being jettisoned by Charles, or whether this was a sign that she was even higher in his favours. The dukedom was made with a special remainder which allowed it to be passed to her eldest son, Charles FitzRoy, despite his illegitimacy.

Peter Lely (1618–1680)

Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland

Oil on canvas

UCL Art Museum

Barbara was known for her dual nature. Diarist John Evelyn called her "the curse of the nation"; yet, others described her as great fun, keeping a good table and with a heart to match her famous temper. Lady Barbara took advantage of her influence over the King, using it to her own benefit. She would help herself to money from the Privy Purse and take bribes from the Spanish and the French. She was famously extravagant and promiscuous. 

Peter Lely (1618–1680)

Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland

Oil on canvas

H 91.5 x W 105.5 cm

English Heritage, Audley End House

While the King had taken other mistresses, Barbara took other lovers too. Her lovers benefited financially from the arrangement. The King, who was no longer troubled by Barbara's infidelity. As the result of the 1673 Test Act, which essentially banned Catholics from holding office, Barbara lost her position as Lady of the Bedchamber, and the King cast her aside completely from her position as a mistress. The King advised Barbara to live quietly and cause no scandal, in which case he "cared not whom she loved".

Peter Lely (1618–1680)

Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland

Oil on canvas

I have no further description, at this time

In 1676 she travelled to Paris with her four youngest children, but returned to England four years later. She was reconciled with the King, who was seen enjoying an evening in her company a week before he died in February 1685. She died at the age of 68 on 9 October 1709 at Chiswick Mall after suffering from oedema, known at the time as dropsy. Today, this would be described as oedema of the legs, with congestive heart failure.

Peter Lely (1618–1680)

Barbara Palmer, 1st Duchess of Cleveland as Minerva, the Roman goddess of war and wisdom, circa 1665

Oil on canvas

124.5 × 101.4 cm (49 × 39.9 in)

Hampton Court Palace

Of her six children, five were acknowledged by Charles as his:

• Lady Anne Palmer, later FitzRoy (1661–1722), probably daughter of Charles II, although some people believed she bore a resemblance to the Earl of Chesterfield. She later became the Countess of Sussex.
• Charles Palmer, later FitzRoy (1662–1730), styled Lord Limerick and later Earl of Southampton, created Duke of Southampton (1675), later 2nd Duke of Cleveland (1709)
• Henry FitzRoy (1663–1690), created Earl of Euston (1672) and Duke of Grafton (1675)
• Charlotte FitzRoy (1664–1718), later Countess of Lichfield. She gave birth to twenty children.
• George FitzRoy (1665–1716), created Earl of Northumberland (1674) and Duke of Northumberland (1683)
• Barbara (Benedicta) FitzRoy (1672–1737) – Barbara Villiers claimed that she was Charles's daughter, but she was probably the child of her mother's second cousin and lover, John Churchill, later Duke of Marlborough

Peter Lely (1618–1680)

Duchess of Cleveland with her son, Charles Fitzroy, as Madonna and Child, c. 1664

Oil on canvas

National Portrait Gallery

Peter Lely (1618–1680)

Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland (1641-1709) with her Daughter, Lady Charlotte Fitz Roy (1664 - 1718), c. 1664 - 1666

Oil on canvas

1822 x 1283 mm (71 3/4 x 50 1/2 in)

Hatchlands Park, Surrey

William Sherwin

Barbara Villiers, Countess of Castlemaine and Duchess of Cleveland (1640-1709) as a Shepherdess

Oil on canvas

743 x 622 mm (29 1/4 x 24 1/2 in)

Blickling Hall, Norfolk

William Sherwin (1645–1709) was an English engraver, born at Wallington, Hertfordshire, where his father was rector around 1645. On his print of his father, dated 1672, he styles himself engraver to the king by patent. He married Elizabeth Pride, great-niece and ward of George Monck, 1st Duke of Albemarle, whose heir-at-law she eventually became, and there exists a pedigree of the Moncks of Potheridge engraved by Sherwin expressly to show his wife's claim to that position.

Between 1670 and 1711 he engraved in the line style a number of portraits. These comprise large plates of Charles II, Catherine of Braganza, Prince Rupert, Baron Gerard of Brandon, the Duchess of Cleveland, and Slingsby Bethell. 


Sherwin was one of the first workers in mezzotint, a technique he learned from Prince Rupert. He dedicated to the Prince a pair of large portraits of Charles II and his queen engraved by the method; the former of these is dated 1669, the earliest found on an English mezzotint. More on William Sherwin

Peter Lely (1618–1680)

Barbara Villiers, Countess of Castlemaine, 1st Duchess of Cleveland

Oil on canvas

82½ x 52¾ in. (209.6 x 134 cm.)

Private collection

Peter Lely (1618–1680)

Barbara Villiers (1641–1709), Countess of Castlemaine and Duchess of Cleveland, Granddaughter of Barbara St John

Oil on canvas

123 x 101 cm

Lydiard House

Anonymous

Barbara Villiers, Countess of Castlemaine, 1st Duchess of Cleveland

I have no further description, at this time

Sir Godfrey Kneller (1646–1723)

Barbara Palmer (née Villiers), Duchess of Cleveland, circa 1705

Oil on canvas

49 in. x 39 3/4 in. (1245 mm x 1010 mm)

National Portrait Gallery, London

Sir Godfrey Kneller, 1st Baronet (born Gottfried Kniller; 8 August 1646 – 19 October 1723) was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to English and British monarchs from Charles II to George I. His major works include The Chinese Convert (1687; Royal Collection, London); a series of four portraits of Isaac Newton painted at various junctures of the latter's life; a series of ten reigning European monarchs, including King Louis XIV of France; over 40 "Kit-cat portraits" of members of the Kit-Cat Club; and ten "beauties" of the court of William III, to match a similar series of ten beauties of the court of Charles II painted by his predecessor as court painter, Sir Peter Lely. More on Sir Godfrey Kneller

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

I do not sell art, art prints, framed posters or reproductions. Ads are shown only to compensate the hosting expenses.

If you enjoyed this post, please share with friends and family.

Thank you for visiting my blog and also for liking its posts and pages.

Please note that the content of this post primarily consists of articles available from Wikipedia or other free sources online.