Writing the NIH Grant Proposal: A Step-by-Step Guide (Volume 2) Second Edition . by . Writing Science: How to Write Papers That Get Cited and Proposals That Get Funded Guide to Effective Grant Writing: How to Write a Successful NIH Grant Paperback: pages; Publisher: SAGE Publications, Inc; Second edition.
Table of contents
First, a player determines their character's ability scores , which consist of Strength, Constitution, Dexterity, Intelligence, Wisdom, and Charisma. Each edition of the game has offered differing methods of determining these statistics. During the game, players describe their PC's intended actions, such as punching an opponent or picking a lock, and converse with the DM, who then describes the result or response. The outcomes of more complex or risky actions are determined by rolling dice.
As the game is played, each PC changes over time and generally increases in capability. Characters gain or sometimes lose experience, skills [40] and wealth, and may even alter their alignment [41] or gain additional character classes. Hit points HP are a measure of a character's vitality and health and are determined by the class, level and constitution of each character.
They can be temporarily lost when a character sustains wounds in combat or otherwise comes to harm, and loss of HP is the most common way for a character to die in the game.
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If resurrection is not possible or not desired, the player may instead create a new PC to resume playing the game. Published adventures typically include a background story, illustrations, maps and goals for PCs to achieve. Some include location descriptions and handouts. A linked series of adventures is commonly referred to as a " campaign ". Alternatively, DMs may develop their own fictional worlds to use as campaign settings.
Thus miniatures were no longer required for game play, although some players continued to use them as a visual reference. Licensed miniature manufacturers who produced official figures include Grenadier Miniatures — , [56] Citadel Miniatures — , [57] Ral Partha , [58] and TSR itself. These were expanded by Gary Gygax , whose additions included a fantasy supplement, before the game was published as Chainmail.
When Dave Wesely entered the Army in , his friend and fellow Napoleonics wargamer Dave Arneson began a medieval variation of Wesely's Braunstein games, where players control individuals instead of armies. For example, character-based role playing can be seen in improvisational theatre. Fantasy milieux specifically designed for gaming could be seen in Glorantha 's board games among others. The importance of J. The presence in the game of halflings , elves , half-elves , dwarves , orcs , rangers , and the like, draw comparisons to these works.
The resemblance was even closer before the threat of copyright action from Tolkien Enterprises prompted the name changes of hobbit to 'halfling', ent to ' treant ', and balrog to ' balor '. For many years, Gygax played down the influence of Tolkien on the development of the game. Other influences include the works of Robert E.
Howard , Edgar Rice Burroughs , A. Lovecraft , Fritz Leiber , L. Parallel versions and inconsistent naming practices can make it difficult to distinguish between the different editions. It was amateurish in production and assumed the player was familiar with wargaming. Nevertheless, it grew rapidly in popularity, first among wargamers and then expanding to a more general audience of college and high school students.
Roughly 1, copies of the game were sold in the first year followed by 3, in , and much more in the following years. TSR marketed them as an introductory game for new players and a more complex game for experienced ones; the Basic Set directed players who exhausted the possibilities of that game to switch to the advanced rules. John Eric Holmes , the editor of the basic game, preferred a lighter tone with more room for personal improvisation.
Blenheim Palace
Several supplementary books were published throughout the s, notably Unearthed Arcana that included a large number of new rules. In , revisions of those sets by Frank Mentzer were released, revising the presentation of the rules to a more tutorial format.
These were followed by Companion , Master , and Immortals sets. The Monster Manual was replaced by the Monstrous Compendium , a loose-leaf binder that was subsequently replaced by the hardcover Monstrous Manual in In , the core rulebooks were slightly revised, although still referred to by TSR as the 2nd Edition, [80] and a series of Player's Option manuals were released as optional rulebooks.
The game's magic spells were divided into schools and spheres. This included blending fantasy with other genres, such as horror Ravenloft , science fiction Spelljammer , and apocalyptic Dark Sun , as well as alternative historical and non-European mythological settings. This release incorporated hundreds of rule changes, mostly minor, and expanded the core rulebooks. The new game was developed through a number of design phases spanning from May until its release. Many character abilities were restructured into "Powers".
These altered the spell-using classes by adding abilities that could be used at will, per encounter, or per day. Likewise, non-magic-using classes were provided with parallel sets of options. Software tools, including player character and monster building programs, became a major part of the game. On January 9, , Wizards of the Coast announced that it was working on a 5th edition of the game.
The game had more than three million players around the world by , [98] and copies of the rules were selling at a rate of about , per year by This angered many fans and led to resentment by the other gaming companies. Under these licenses, authors were free to use the d20 System when writing games and game supplements. With the release of the fourth edition , Wizards of the Coast introduced its Game System License , which represented a significant restriction compared to the very open policies embodied by the OGL.
Alongside the publication of the fifth edition, Wizards of the Coast established a two-pronged licensing approach. The game's commercial success was a factor that led to lawsuits regarding distribution of royalties between original creators Gygax and Arneson. From Wikipedia, the free encyclopedia. This article is about the role-playing game. Archived from the original on June 24, Retrieved May 16, Archived from the original on May 21, Retrieved May 20, Anatomy of a Panic - Retro Report.
The New York Times. Game development and production. Wordware Game Developer's Library. A Sociological Approach to Education 4 ed. Variants have since been included Gygax; Dungeon Masters Guide , p. A world is a fictional place in which a campaign is set. It's also often called a campaign setting. High Level Campaigns , p. Gygax; Dungeon Masters Guide , p.
Empire of the Imagination: Archived from the original on December 6, Retrieved January 10, Wizards of the Coast. Archived from the original on April 15, Playing at the World. A Brief History of Game. Archived from the original on August 24, Retrieved September 1, Races and Classes , pp.
Archived from the original on May 31, Retrieved January 9, Archived from the original on January 10, Your Voice, Your Game". Archived from the original on December 25, Archived from the original on August 25, Retrieved August 26, Archived from the original on February 14, Retrieved February 13, Archived from the original on May 14, Retrieved September 6, Archived from the original on December 21, Retrieved November 2, Archived from the original on January 31, Retrieved September 2, Archived from the original on May 4, Retrieved July 7, Archived from the original on January 18, Archived from the original on February 15, Archived from the original on October 27, Archived from the original on April 18, Retrieved April 18, Wrath of the Immortals.
Retrieved August 13, Arneson, Dave June—July Birnbaum, Jon July 20, Archived from the original on March 2, Retrieved March 1, Archived copy of the article, taken What has Judges Guild done for Dungeons and Dragons". Boucher, Geoff May 5, Archived from the original on May 17, Retrieved May 17, Briggs, Jerry November 30, San Antonio Express-News Texas. Retrieved August 4, Carter, Michele ; et al. Wizards Presents Races and Classes. Futurama , Anthology of Interest I Television production. Dungeon Master's Guide v. Archived from the original on April 17, Retrieved March 15, Currell, Latasha September 1, Archived from the original on November 4, Retrieved April 3, Dancey, Ryan February 7, Retrieved February 23, Darlington, Steven August Hell and High Finance".
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Places to Go, People to Be 4. Darlington, Steven November The Power and the Glory". Places to Go, People to Be. Places to Go, People to Be 5. Retrieved February 28, Darlington, Steven June Places to Go, People to Be 8. The End and The Beginning". Places to Go, People to Be 9.
Scholarship and Critical Assessment. Cook, David [b]. Player's Handbook Revised ed. Archived from the original on July 21, Retrieved February 21, Fine, Gary Alan Role Playing Games as Social Worlds. University of Chicago Press. Retrieved August 27, Grady, RJ August 4, Retrieved April 5, Grigg, Robert June 16—20, In part their problems arose from what was demanded of the architect. The nation which was then assumed, by both architect and owners, to be paying the bills wanted a monument, but the Duchess wanted not only a fitting tribute to her husband but also a comfortable home, two requirements that were not compatible in 18th-century architecture.
Finally, in the early days of the building the Duke was frequently away on his military campaigns, and it was left to the Duchess to negotiate with Vanbrugh. More aware than her husband of the precarious state of the financial aid they were receiving, she criticised Vanbrugh's grandiose ideas for their extravagance. Following their final altercation, Vanbrugh was banned from the site.
In , whilst the Duchess was away, Vanbrugh viewed the palace in secret. However, when his wife visited the completed Blenheim as a member of the viewing public in , the Duchess refused his wife admission even to enter the park. Vanbrugh's severe massed Baroque used at Blenheim never truly caught the public imagination, and was quickly superseded by the revival of the Palladian style. Vanbrugh's reputation was irreparably damaged, and he received no further truly great public commissions. For his final design, Seaton Delaval Hall , which was hailed as his masterpiece, he used a refined version of the Baroque employed at Blenheim.
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He died shortly before its completion. The precise responsibility for the funding of the new palace has always been a debatable subject, unresolved to this day. The palace as a reward was mooted within months of the Battle of Blenheim, at a time when Marlborough was still to gain many further victories on behalf of the country. That a grateful nation led by Queen Anne wished and intended to give their national hero a suitable home is beyond doubt, but the exact size and nature of that house is questionable.
A warrant dated , signed by the parliamentary treasurer the Earl of Godolphin , appointed Vanbrugh as architect and outlined his remit. Unfortunately for the Churchills, nowhere did this warrant mention Queen or Crown. Parliament voted funds for the building of Blenheim, but no exact sum was mentioned nor provision for inflation or over-budget expenses.
Almost from the outset, funds were spasmodic. Queen Anne paid some of them, but with growing reluctance and lapses, following her frequent altercations with the Duchess. After their final argument in , all state money ceased and work came to a halt. The Marlboroughs were forced into exile on the continent, and did not return until after the Queen's death in On their return the Duke and Duchess came back into favour at court. The year-old Duke now decided to complete the project at his own expense.
In work resumed, but the project relied completely upon the limited means of the Duke himself. Harmony on the building site was short-lived, as in the Duke suffered a severe stroke, and the thrifty Duchess took control. The Duchess blamed Vanbrugh entirely for the growing costs and extravagance of the palace, the design of which she had never liked. Following a meeting with the Duchess, Vanbrugh left the building site in a rage, insisting that the new masons, carpenters and craftsmen, brought in by the Duchess, were inferior to those he had employed.
The master craftsmen he had patronised, however, such as Grinling Gibbons , refused to work for the lower rates paid by the Marlboroughs. The craftsmen brought in by the Duchess, under the guidance of furniture designer James Moore , and Vanbrugh's assistant architect Hawksmoor, completed the work in perfect imitation of the greater masters. Following the Duke's death in , completion of the palace and its park became the Duchess's driving ambition. Vanbrugh's assistant Hawksmoor was recalled and in designed the "Arch of Triumph", based on the Arch of Titus , at the entrance to the park from Woodstock.
Hawksmoor also completed the interior design of the library, the ceilings of many of the state rooms and other details in numerous other minor rooms, and various outbuildings. Cutting rates of pay to workmen, and using lower-quality materials in unobtrusive places, the widowed Duchess completed the great house as a tribute to her late husband.
The final date of completion is not known, but as late as the Duchess was haggling with Rysbrack over the cost of Queen Anne's statue placed in the library. In the Duchess wrote "The Chappel is finish'd and more than half the Tomb there ready to set up". Vanbrugh planned Blenheim in perspective ; that is, to be best viewed from a distance. The plan of the palace's principal block or corps de logis is a rectangle see plan pierced by two courtyards; these serve as little more than light wells.
Contained behind the southern facade are the principal state apartments ; on the east side are the suites of private apartments of the Duke and Duchess, and on the west along the entire length of the piano nobile is given a long gallery originally conceived as a picture gallery, but is now the library. The corps de logis is flanked by two further service blocks around square courtyards not shown in the plan. The east court contains the kitchens, laundry, and other domestic offices, the west court adjacent to the chapel the stables and indoor riding school.
The three blocks together form the "Great Court" designed to overpower the visitor arriving at the palace. Pilasters and pillars abound, while from the roofs, themselves resembling those of a small town, great statues in the Renaissance manner of St Peter's in Rome gaze down on the visitor below, who is rendered inconsequential. Other assorted statuary in the guise of martial trophies decorate the roofs, most notably Britannia standing atop the entrance pediment in front of two reclining chained French captives sculpted in the style of Michelangelo , [22] and the English lion devouring the French cock, on the lower roofs.
Many of these are by such masters as Grinling Gibbons. In the design of great 18th-century houses comfort and convenience were subservient to magnificence, and this is certainly the case at Blenheim. This magnificence over creature comfort is heightened as the architect's brief was to create not only a home but also a national monument to reflect the power and civilisation of the nation. To create this monumental effect, Vanbrugh chose to design in a severe Baroque style, using great masses of stone to imitate strength and create shadow as decoration.
The solid and huge entrance portico on the north front resembles more the entrance to a pantheon than a family home. Vanbrugh also liked to employ what he called his "castle air", which he achieved by placing a low tower at each corner of the central block and crowning the towers with vast belvederes of massed stone, decorated with curious finials disguising the chimneys. Coincidentally these towers, which hint at the pylons of an Egyptian temple , further add to the heroic pantheonesque atmosphere of the building. There are two approaches to the palace's grand entrance, one from the long straight drive through wrought iron gates directly into the Great Court; the other, equally if not more impressive, betrays Vanbrugh's true vision: Piercing the windowless, city-like curtain wall of the east court is the great East Gate, a monumental triumphal arch , more Egyptian in design than Roman.
An optical illusion was created by tapering its walls to create an impression of even greater height. Confounding those who accuse Vanbrugh of impracticality, this gate is also the palace's water tower. Through the arch of the gate one views across the courtyard a second equally massive gate, that beneath the clock tower, [26] through which one glimpses the Great Court. This view of the Duke as an omnipotent being is also reflected in the interior design of the palace, and indeed its axis to certain features in the park.
It was planned that when the Duke dined in state in his place of honour in the great saloon, he would be the climax of a great procession of architectural mass aggrandising him rather like a proscenium. The line of celebration and honour of his victorious life began with the great column of victory surmounted by his statue and detailing his triumphs, and the next point on the great axis, planted with trees in the position of troops, was the epic Roman style bridge.
The approach continues through the great portico into the hall, its ceiling painted by James Thornhill with the Duke's apotheosis , then on under a great triumphal arch, through the huge marble door-case with the Duke's marble effigy above it bearing the ducal plaudit "Nor could Augustus better calm mankind" , and into the painted saloon, the most highly decorated room in the palace, where the Duke was to have sat enthroned. The Duke was to have sat with his back to the great tonne marble bust of his vanquished foe Louis XIV , positioned high above the south portico.
Here the defeated King was humiliatingly forced to look down on the great parterre and spoils of his conqueror rather in the same way as severed heads were displayed generations earlier. The Duke did not live long enough to see this majestic tribute realised, and sit enthroned in this architectural vision. The Duke and Duchess moved into their apartments on the eastern side of the palace, but the entirety was not completed until after the Duke's death. The palace chapel, as a consequence of the Duke's death, now obtained even greater importance.
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The design was altered by the Marlboroughs' friend the Earl of Godolphin , who placed the high altar in defiance of religious convention against the west wall, thus allowing the dominating feature to be the Duke's gargantuan tomb and sarcophagus. Commissioned by the Duchess in , it was designed by William Kent , and statues of the Duke and Duchess depicted as Caesar and Caesarina adorn the great sarcophagus. In bas relief at the base of the tomb, the Duchess ordered to be depicted the surrender of Marshal Tallard.
However, the theme throughout the palace of honouring the Duke did not reach its apotheosis until the dowager duchess's death in Then, the Duke's coffin was returned to Blenheim from its temporary resting place, Westminster Abbey , and husband and wife were interred together and the tomb erected and completed. Successive Dukes and their wives are also interred in the vault beneath the chapel. Other members of family are interred in St.
Martin's parish churchyard at Bladon , a short distance from the palace. The internal layout of the rooms of the central block at Blenheim was defined by the court etiquette of the day. State apartments were designed as an axis of rooms of increasing importance and public use, leading to the chief room.
The larger houses, like Blenheim, had two sets of state apartments each mirroring each other. The grandest and most public and important was the central saloon "B" in the plan which served as the communal state dining room. To either side of the saloon are suites of state apartments, decreasing in importance but increasing in privacy: One of the small rooms between the bedroom and the internal courtyard was intended as a dressing room.
This arrangement is reflected on the other side of the saloon. The state apartments were intended for use only by the most important guests such as a visiting sovereign. On the left east side of the plan on either side of the bow room marked "O" can be seen a smaller but nearly identical layout of rooms, which were the suites of the Duke and Duchess themselves. Thus, the bow room corresponds exactly to the saloon in terms of its importance to the two smaller suites.
Blenheim Palace was the birthplace of the 1st Duke's famous descendant, Winston Churchill , whose life and times are commemorated by a permanent exhibition in the suite of rooms in which he was born marked "K" on the plan. Blenheim Palace was designed with all its principal and secondary rooms on the piano nobile , thus there is no great staircase of state: Insofar as Blenheim does have a grand staircase, it is the series of steps in the Great Court which lead to the North Portico.
There are staircases of various sizes and grandeur in the central block, but none are designed on the same scale of magnificence as the palace. James Thornhill painted the ceiling of the hall in It depicts Marlborough kneeling to Britannia and proffering a map of the Battle of Blenheim.
The saloon was also to have been painted by Thornhill, but the Duchess suspected him of overcharging, so the commission was given to Louis Laguerre. The Peace Treaty of Utrecht was about to be signed, so all the elements in the painting represent the coming of peace. The domed ceiling is an allegorical representation of Peace: John Churchill is in the chariot, he holds a zigzag thunderbolt of war, and the woman who holds back his arm represents Peace.
The walls depict all the nations of the world who have come together peacefully. Laguerre also included a self-portrait placing himself next to Dean Jones, chaplain to the 1st Duke, another enemy of the Duchess, although she tolerated him in the household because he could play a good hand at cards.
To the right of the doorway leading into the first stateroom, Laguerre included the French spies, said to have big ears and eyes because they may still be spying. Of the four marble door-cases in the room displaying the Duke's crest as a prince of the Holy Roman Empire , only one is by Gibbons, the other three were copied indistinguishably by the Duchess's cheaper craftsmen. The ceiling has saucer domes , which were to have been painted by Thornhill, had the Duchess not upset him. The palace, and in particular this room, was furnished with the many valuable artefacts the Duke had been given, or sequestered as the spoils of war , including a fine art collection.
Here in the library, rewriting history in her own indomitable style, the Duchess set up a larger than life statue of Queen Anne, its base recording their friendship. The chapel is perfectly balanced on the eastern side of the palace by the vaulted kitchen. This symmetrical balancing and equal weight given to both spiritual and physical nourishment would no doubt have appealed to Vanbrugh's renowned sense of humour, if not the Duchess's. The distance of the kitchen from even the private dining room "O" on the plan was obviously of no consideration, hot food being of less importance than to avoid having to inhale the odour of cooking and proximity of servants.
This practice is said to have been halted abruptly when the player started before the Duke had reached the organ. This famous instrument is regularly maintained and is played by visiting organists throughout the year, but its condition is declining: The organ in the chapel was built circa by Robert Postill of York: Blenheim sits in the centre of a large undulating park, a classic example of the English landscape garden movement and style.
When Vanbrugh first cast his eyes over it in he immediately conceived a typically grandiose plan: Thus, ignoring the second opinion offered by Sir Christopher Wren, the marsh was channelled into three small canal -like streams and across it rose a bridge of huge proportions, so huge it was reported to contain some odd rooms. While the bridge was indeed an amazing wonder, in this setting it appeared incongruous, causing Alexander Pope to comment: Horace Walpole saw it in , shortly before Capability Brown 's improvements: Also in the park, completed after the 1st Duke's death, is the Column of Victory.
Vanbrugh had wanted an obelisk to mark the site of the former royal manor, and the trysts of Henry II which had taken place there, causing the 1st Duchess to remark, "If there were obelisks to bee made of all what our Kings have done of that sort, the countrey would bee stuffed with very odd things" sic. The obelisk was never realised. Following the 1st Duke's death the Duchess concentrated most of her considerable energies on the completion of the palace itself, and the park remained relatively unchanged until the arrival of Capability Brown in The 4th Duke employed Brown who immediately began an English landscape garden scheme to naturalise and enhance the landscape, with tree planting, and man-made undulations.
However, the feature with which he is forever associated is the lake, a huge stretch of water created by damming the River Glyme and ornamented by a series of cascades where the river flows in and out. The lake was narrowed at the point of Vanbrugh's grand bridge, but the three small canal-like streams trickling underneath it were completely absorbed by one river-like stretch.
Brown's great achievement at this point was to actually flood and submerge beneath the water level the lower stories and rooms of the bridge itself, thus reducing its incongruous height and achieving what is regarded by many as the epitome of an English landscape. Brown also grassed over the great parterre and the Great Court. The latter was re-paved by Duchene in the early 20th century. The 5th Duke was responsible for several other garden follies and novelties. Sir William Chambers , assisted by John Yenn , was responsible for the small summerhouse known as "The Temple of Diana" down by the lake, where in Winston Churchill proposed to his future wife.
The extensive landscaped park, woodlands and formal gardens of Blenheim are Grade I listed on the Register of Historic Parks and Gardens. On the death of the 1st Duke in , as both his sons were dead, he was succeeded by his daughter Henrietta. This was an unusual succession and required a special Act of Parliament, [44] as only sons can usually succeed to a dukedom. When Henrietta died, the title passed to Marlborough's grandson Charles Spencer, Earl of Sunderland , whose mother was Marlborough's second daughter Anne.
The 1st Duke as a soldier was not a rich man, and what fortune he possessed was mostly used for finishing the palace. In comparison with other British ducal families the Marlboroughs were not very wealthy. Yet they existed quite comfortably until the time of the 5th Duke of Marlborough — , a spendthrift who considerably depleted the family's remaining fortune. He was eventually forced to sell other family estates, but Blenheim was safe from him as it was entailed.
On his death in , his profligacy left the estate and family with financial problems. However this was not enough to save the family.