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The first larger round hay baler was invented by Gary Vermeer in 1971. Allis Chalmers first introduced the small round rotobaler in 1947. Vermeer begins building large trenchers to lay underground pipelines in the 1980s. The first Vermeer horizontal directional drill is introduced in the 1990s. [9]
Round baler dumping a fresh bale. The most common type of baler in industrialized countries today is the round baler. It produces cylinder-shaped "round" or "rolled" bales. The design has a "thatched roof" effect that withstands weather. [3] Grass is rolled up inside the baler using rubberized belts, fixed rollers, or a combination of the two.
Vermeer's Hat: The Seventeenth Century and the Dawn of the Global World is a book by the Canadian historian Timothy Brook, in which he explores the roots of world trade in the 17th century through six paintings by the Dutch Golden Age painter Johannes Vermeer. [1]
The work shows a middle-class woman attended by a housemaid who is presumably acting as messenger and go-between for the lady and her lover. The work is seen as a bridge between the quiet restraint and self-containment of Vermeer's work of the 1660s and his relatively cooler work of the 1670s.
Lionel Stevenson wrote that "The most explosive impact in English literature during the nineteenth century is unquestionably Thomas Carlyle's. From about 1840 onward, no author of prose or poetry was immune from his influence." George Eliot's novel Middlemarch stands as a great milestone in the realist tradition. It is a primary example of ...
The picture shows a woman facing left and playing a virginal. In the left foreground is a viola da gamba holding a bow between its strings. [2] A landscape is painted on the inside lid of the virginal, and the painting on the wall is either the original or a copy of The Procuress by Dirck van Baburen (c. 1622, now in the Museum of Fine Arts in Boston), which belonged to Vermeer's mother-in-law ...
The Music Lesson is a mature work of Vermeer and his handling of color and his choice of painting materials [8] is but one of the aspects proving his mastery. The painting is dominated by dark areas such as the bluish-black floor painted in bone black with the addition of natural ultramarine .
The painting was among the large collection of Vermeer works sold on May 16, 1696, from the estate of Jacob Dissius (1653–1695). It is widely believed the collection was originally owned by Dissius' father-in-law, Pieter Claesz van Ruijven of Delft as Vermeer's major patron, then passed down to Ruijven's daughter (1655–1682), who would have left it to Dissius.