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#341
10-26-2005, 10:18 PM
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#342
10-26-2005, 10:28 PM
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I have seen pictures of her in the past wearing her medals. Someone in the Duke and Duchess thread commented on it. I don't think there is a reason for it, I think she is proud of her medals and wants to wear them (beside when she gets them when else is she going to be able to )
On the Canadian Governor General's site it shows how to wear medals and for women they can wear medals to a black tie event. This is the link http://www.gg.ca/honours/wear/index_e.asp but the information is in pdf format.
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#343
10-26-2005, 10:31 PM
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Poor Elspeth..it is quite late in England. :)
I believe these are the decorations and orders given to her by the Queen for her various contributions and and support. When the Duchess of Kent was still in the royal fold before she retired, she always wore medals and sashes for official occasions. One would think this is not the case for Princess Michael 
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#344
10-26-2005, 10:38 PM
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more pictures from the baquet (Colourpress)
CP Mette-Marit looks very pretty. I love her tiara. Im usually not a fan of her wardrobe but everything she has been wearing during this visit has been stylish and feminine, esp. the two gala dresses.
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#346
10-26-2005, 10:43 PM
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I agree. She is every inch the royal. What I like about her and her husband is they have never caused any grief to HM or any gossip. That must be a welcome relief to the Queen to know at the least the Gloucesters have been steadfast in holding up the Firm. :)
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#347
10-26-2005, 10:43 PM
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I have seen the stone in that tiara change as well....she had an emerald in at one point, I'm sure.
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#350
10-26-2005, 10:56 PM
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#351
10-26-2005, 11:02 PM
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thank you.... keep the photos coming... i love everything i've seen so far... i agreee, mette-marit definitely shining in this trip..
__________________
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#352
10-26-2005, 11:04 PM
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A little way down this page you can see all the variations: http://www.mag-nolia.tmfweb.nl/Unite...Gloucester.htm
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#354
10-26-2005, 11:13 PM
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#355
10-26-2005, 11:36 PM
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Day 1, from norway.org.uk :
King of Norway lays wreath at Tomb of the Unknown Warrior at Westminster Abbey
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#356
10-26-2005, 11:40 PM
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Day 2, from norway.org.uk :
The Queen of Norway visited the Royal Institute of British Architects (RIBA) for a seminar on 'The Architectural Legacy of Sverre Fehn' here's her speech : "Ladies and gentlemen, It is with great pleasure that I take part in this first of a series of events that will present a few selected Norwegian architectural firms here at the Royal Institute of British Architects. This is the first time British and Norwegian architects come together in this way. I hope that this and future events will inspire closer collaboration. Many Norwegian architects have a special relationship with United Kingdom. After the Second World War it was the policy of the Norwegian government to send students to study abroad. The UK was the country of choice for many future architects. So many in fact, that the UK was called “Norway’s biggest school of architecture” in the 1960s and 70s. Your country thus played an important part in building the Norwegian architectural profession. This was also the period when Norwegian architecture started to make a name for itself abroad. Sverre Fehn brought the Nordic quality of light to Venice with the Nordic Biennial Pavilion in 1962. Intentions in Architecture, the major work of the late Christian Nordberg-Schultz written in 1966, inspired thousands of students worldwide. His writings on landscape and nature created a foundation for Norwegian architecture. Today the Library in Alexandria, designed by Snøhetta, is one of the best Norwegian architectural achievements. Increased recognition leads to increased confidence and boldness. It is therefore important for Norway to promote the work of Norwegian architects abroad and to create networks. This is also what we are aiming to do here at the Royal Institute of British Architects today. One possible point of departure might be Sverre Fehn, but you will also meet some of our youngest and most innovative new talents. Norwegian architecture has its roots in modernism and has a tactile relationship with materials and nature. We are a young nation, and our building tradition does not, with a few exceptions, include monumental buildings. But perhaps this has also been our strength. Architecture is constantly evolving, and Norwegian architecture is no exception. For this constant development to take place, it is important that young architects get a chance to practise. In Norway we have focused on competitions as a way of bringing out the best of both young firms and well established ones. This stimulates architecture to evolve. Our world is becoming smaller and smaller. Architects find markets abroad as well as at home. For the majority of Norwegian firms this is a new situation. We are, however, facing global challenges that can only be overcome at the global level. Encounters with other cultures can help to define one’s own identity. When planning and creating sustainable environments and buildings, architects have for decades looked beyond national borders. I believe that although the architects presented here draw on sources both outside and within Norway, their work represents something uniquely Norwegian. This, I hope, will be of interest to British architects. Thank you."
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Last edited by purple_platinum; 10-26-2005 at 11:43 PM.
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#357
10-26-2005, 11:43 PM
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Day 2, from norway.org.uk : The Queen of Norway and the Crown Princess of Norway attended Wednesday a literary lunch at the Groucho Club, Soho, to launch an anthology of Norwegian contemporary writers. The Queen's speech: "Ladies and gentlemen, It is a pleasure to be present at the launching of The Norwegian Feeling for Real, a collection of short stories by 25 of Norway’s foremost contemporary writers. The anthology was commissioned for the centenary of the peaceful dissolution of the union between Norway and Sweden. It is an important contribution to our literary dialogue with the United Kingdom. I hope that British readers will enjoy the Norwegian voices represented in the book. Norway and Britain share a long literary tradition. Almost 800 years ago, before the emergence of the novel itself, the Icelandic poet and historian Snorre Sturlason wrote his famous Sagas of the Kings. The unsentimental style of the sagas had considerable influence on writers in Britain and around the world – introducing a “feeling for real” if there ever was one. It was not, however, until the 19th century that a major Norwegian voice became known in Britain. This voice belonged to the playwright Henrik Ibsen. Next year we will celebrate the centenary of his death with an extensive programme worldwide. Ibsen is often called “the father of the modern drama”, and is only surpassed by Shakespeare when it comes to popularity among theatre audiences and the number of performances staged around the world. We might say that literature is an art form that inspires cultures to communicate – and learn from each other. The invaluable work of dedicated translators has made it possible for people of different nations to share the same experiences, th |
