St. Luke Drawing the Virgin and Other Early Renaissance Essay Example For Students

St. Luke Drawing the Virgin and Other Early Renaissance Essay Fifteenth century Flemish painting in general and this particular piece are characterized by oil painted human figures and objects featured elastically and with meticulous attention to detail. Many Flemish paintings including Van deer Hoydens SST. Luke Drawing the Virgin are based on biblical narratives but happen in a contemporary 15th century Hemi setting. In those paintings, there are many symbols and motives presented intentionally to convey different moral, philosophical and mostly religious messages. Through studying and comparing different 15th century Flemish paintings as well as 14th century Italian paintings, one can really learn about the characteristics, expand their knowledge and therefore enjoy the beauty of paintings of that era and SST. Luke Drawing the Virgin in particular which is among the most important northern European paintings in the United States. SST. Luke Drawing the Virgin is a masterpiece painted With Oil and tempera. Oil painting gained popularity in northern Europe around the 15th century. We will write a custom essay on St. Luke Drawing the Virgin and Other Early Renaissance specifically for you for only $16.38 $13.9/page Order now Its advantages over previous painting techniques such as tempera (Which Will be discussed later), made it become the principal medium for creating artworks later on, and also made it possible for artists such as Van deer Wedded to paint with such attention to detail. Oil is translucent, and dries slowly. It lets the artist paint n many different layers, and by varying the ratio of pigment and binder (oil), achieving many different colors. Oil makes it possible to really diversify texture and create such realism so there is no resonance of the artists presence. In SST. Luke Drawing the Virgin there is a distinct difference between textures of materials: the wooden thrown Mary Magdalene is seated on, the marble tiles, the pillow SST. Luke is kneeling on. Theres a great distinction in the different fabrics of Marry robe. One could almost feel the difference between the heavy thick golden parts of her robe and the light white cloth infant Jesus lays in. Van deer Wedded utilizes the oil painting media to really show every pleat of the clothes, every little leaf in the garden, and wrinkles (especially in SST. Lakes face, the reason may be Van deer Hoydens intention to model the Saints features on his own I , while Marry and Jesus are cleaner as a symbol of purity). There are very subtle lines drawn on the tapestry to show it was once folded before being hanged on the wall. The use of lights and shades emphasizes the foreground, or the main narrative of Luke, Mary and Jesus faith dark colors, volume and shades, against the beautiful clear and sunny landscape in the background. One cannot describe Oil painting Without mentioning another great Elements painter, Who is considered by many (including himself) as the inventor of painting with oil media on panel wood, a man by the name Of Jan Van Check. Although it is known that oil painting had been used before, Jan van Check is definitely the first to really understand What Oil could do. Jan Van Check was a big influence on Rosier van deer Wedded. And in fact, Van deer Hoydens SST. Luke drawing the virgin is clearly derived from Van Cocks Madonna of Chancellor Rolling, c. 1435. Madonna of Chancellor Rolling presents Mary, crowned by a flying angle, presenting the infant Jesus to Rolling, the Chancellor of the Duchy of Burgundy whom the piece was commissioned by. Although the two pieces present different narratives, they are similar in setting (two figures -one is Mary holding the infant Jesus- seated facing one another inside a loggia, landscape in the background and two figures outside standing on a balcony), in the magnificent use to oil and the meticulous attention to detail, and in a few other characteristics of Flemish painting which will be explained shortly. .u67618aab03570d23a5e63f278cbcadc1 , .u67618aab03570d23a5e63f278cbcadc1 .postImageUrl , .u67618aab03570d23a5e63f278cbcadc1 .centered-text-area { min-height: 80px; position: relative; } .u67618aab03570d23a5e63f278cbcadc1 , .u67618aab03570d23a5e63f278cbcadc1:hover , .u67618aab03570d23a5e63f278cbcadc1:visited , .u67618aab03570d23a5e63f278cbcadc1:active { border:0!important; } .u67618aab03570d23a5e63f278cbcadc1 .clearfix:after { content: ""; display: table; clear: both; } .u67618aab03570d23a5e63f278cbcadc1 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u67618aab03570d23a5e63f278cbcadc1:active , .u67618aab03570d23a5e63f278cbcadc1:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u67618aab03570d23a5e63f278cbcadc1 .centered-text-area { width: 100%; position: relative ; } .u67618aab03570d23a5e63f278cbcadc1 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u67618aab03570d23a5e63f278cbcadc1 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u67618aab03570d23a5e63f278cbcadc1 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u67618aab03570d23a5e63f278cbcadc1:hover .ctaButton { background-color: #34495E!important; } .u67618aab03570d23a5e63f278cbcadc1 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u67618aab03570d23a5e63f278cbcadc1 .u67618aab03570d23a5e63f278cbcadc1-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u67618aab03570d23a5e63f278cbcadc1:after { content: ""; display: block; clear: both; } READ: Renaissance Dance EssayLastly about oil painting: over the years paintings are not preserved fully, and little cracks appear on them, which are noticeable hen one looks closely. Unlike Byzantine or Gothic art inside churches whos message is to show the divinity and mysteriousness of the unknowable Cod, Flemish painting is about making God tangible, setting biblical narratives into contemporary environment and so bringing God closer to men. It is easy to see in Van deer Hoydens SST. Luke Drawing the Virgin that it doesnt take place in biblical times. The viewer can tell by the clothes, the loggia and the landscape that were in fact in 15th century Flanders. Another way of seeing the intention to make the painting more tangible, and earthbound is by the lack Of halos for he holy figures. Presenting biblical narratives into contemporary setting occurs in many paintings Of that era, Including Jan Van Cocks Madonna Of Chancellor Rolling. Another great example is Joss van Cloves Crucifixion, c. 1525. This painting of the famous theme of Christi crucifixion is also a great example of the use of oil painting (brown in the foreground, green in the middle ground, blue in the background . To create three dimensional space) but this piece is brought up here in order to show the similarity to SST. Luke Drawing the Virgin in terms of symbols with religious meaning (in other words, religious iconography). In SST. Luke Drawing the Virgin there are many symbols with religious meaning. The main ones are: Adam, Eve (and the snake with a human head) carved on the armrest of the wooden throne symbolize Jesus and Marry role in redeeming humankind trot original sin. L, Mary sitting on the thrones step and not on the step itself represents her Chastity Alfred Acres * Rosier van deer Hoydens Painted Texts Alfred Acres Artists et Histories Volvo 21, No 41 (2000), up. 5-109 Published by: IRIS s. C. Article Stable GIRL: http://www_strong/eatable/1483636 Suggests that the ox as Lakes symbol being parallel to the ink bottles, and the pen book representing Lakes Gospel being parallel to the drawing of Mary mean they are all bound tightly under the figure of the artist-Evangelist. The two small figures standing On the balcony, even though theyre looking at the horizon and not at Luke and Mary, m ight represent the viewer looking at the painting. Their size, besides being located far from Mary and Luke might emphasize that even if the viewer can see the holy figures as if they were normal people just like himself, he is still smaller and Of less importance. And so, in sass Van Cloves Crucifixion we encounter two of the most popular. Ideal acceptable symbols over the years when one paints the crucifixion: Dams skull at the foot of the cross, and the plaque marked with I. N. R. I, The skull is believed to have been buried in Goliath, where Jesus was crucified. In the painting the skull of the first Adam symbolizes Jesus role as the new Adam in redeeming humankind from original sin a similar meaning to Adam, Eve and the snake carved on the armrest of the wooden throne in SST. Luke Drawing the Virgin. Is a Latin inscription which translates in English to Jesus of Nazareth, King of the Jews. The story is that it was written there in Hebrew, Latin and Greek during the crucifixion. In Crucifixion we see SST. Luke and Mary located at the same spots and wearing the same colors as in SST. Luke Drawing the Virgin. This is one example of presenting certain figures in certain ways over the years (Crucifixion was painted around 90 years after and by a different painter). As written before, Oil painting gained popularity in Northern Europe around the 15th century. In order to see the qualities of oil painting and understand why its become so popular, one must examine how painting was done in previous times. SST. Andrew is an egg tempera painting from the early sasss by Italian painter Simons Martini. This painting medium was used In 14th century Italy. .u57b4c3d0537b653e2dd1138052749cea , .u57b4c3d0537b653e2dd1138052749cea .postImageUrl , .u57b4c3d0537b653e2dd1138052749cea .centered-text-area { min-height: 80px; position: relative; } .u57b4c3d0537b653e2dd1138052749cea , .u57b4c3d0537b653e2dd1138052749cea:hover , .u57b4c3d0537b653e2dd1138052749cea:visited , .u57b4c3d0537b653e2dd1138052749cea:active { border:0!important; } .u57b4c3d0537b653e2dd1138052749cea .clearfix:after { content: ""; display: table; clear: both; } .u57b4c3d0537b653e2dd1138052749cea { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u57b4c3d0537b653e2dd1138052749cea:active , .u57b4c3d0537b653e2dd1138052749cea:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u57b4c3d0537b653e2dd1138052749cea .centered-text-area { width: 100%; position: relative ; } .u57b4c3d0537b653e2dd1138052749cea .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u57b4c3d0537b653e2dd1138052749cea .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u57b4c3d0537b653e2dd1138052749cea .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u57b4c3d0537b653e2dd1138052749cea:hover .ctaButton { background-color: #34495E!important; } .u57b4c3d0537b653e2dd1138052749cea .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u57b4c3d0537b653e2dd1138052749cea .u57b4c3d0537b653e2dd1138052749cea-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u57b4c3d0537b653e2dd1138052749cea:after { content: ""; display: block; clear: both; } READ: 10 Characteristics of Renaissance ArtPainters would cover a wood panel With 3 plaster called geese, mix the pigment With an egg as a binder and apply it on the plaster. The difference from Oil painting is that tempera dries fast and its opaque, difficult for light to pass through. Therefore, one is essentially limited to painting with just a few layers and so cannot diversify textures that much and create a very realistic painting with great attention to detail like Flemish painters using oil. Excluding Martini who had the privilege to work in France and be exposed to the Gothic art, most Italian painters were not very interested in visual details anyway. Martinis knowledge of Gothic art is evident in this piece: The Saints hair, beard and clothes are elegant, ornate, refined; his fingers are elongated. Another technique Martini utilizes to decorate the piece is engraving. This piece is similar to SST. Luke Drawing the Virgin in its attention to detail but also includes 14th Century Italian painting characteristics that will be explained through studying a piece by a contemporary to Martini, Ghetto, Fifteenth century Flemish painting is full of details and realism, and helps make god tangible by setting biblical stories in contemporary environment. Fourteenth Century Italian painters have done the same thing in a different way. One of the most revolutionary Italian artists who is considered as a pioneer of the Renaissance is Ghetto did Bonded_ In his Crucifixion, c. 1304-1306 we witness a total different artwork from Van Cloves piece of the same theme or Van deer Hoydens SST. Luke Drawing the Virgin. We witness similar symbols, only this time Ghetto is not focusing on decoration, but on human psychological complexity. Ghetto makes God tangible to the viewer by presenting a human experience, utilizing a lot of volume, shades, weight and bulk. In opposition to Van Clave or Van deer Wedded, there are indications Of divinity (the saints and angels halos, and Chrisms Cruciform Nimbus), and so Ghetto makes one feel close to god not visually but emotionally. An interesting symbol in this piece is the hovering angels in attempt to catch Chrisms blood, symbolizing the Eucharist. Lastly, this painting is also different in the technique it was painted With, called Fresco. The artist essentially puts a plaster on a wall and while its fresh,the artist applies he pigment mixed with water to the wall. When the plaster dries, it locks the paint in. This is called True or Wet Fresco. The blue pigment which was the most expensive back in those times (and therefore was used for frescos in chapels to show the patrons wealth and dazzle the eyes of the people) cannot be added on wet plaster, so in tact in Crucifixion the blue was added in Dry Fresco, using a different binder, In Conclusion, by studying and comparing just a handful of 15th century Flemish paintings and 14th century Italian paintings, one can actually learn about huge molten to paintings from those times, as the intention of the painters, the themes and symbols and the technique used to paint have repeated themselves over the years.

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Examining The Aspects Of Social Work Practices Social Work Essay

Examining The Aspects Of Social Work Practices Social Work Essay The aspect of social work practice I feel most difficult to perform is the gerontological social work. This paper would firstly describe the context of social work practice with old people. After that, I would exam the reasons preventing me from effectively conducting helping process by evaluating my attitudes, emotions and experiences as well as by reviewing professional literature on social work practice with old people. In the end, I will shape a personal plan on how to address this weakness in the future. There is a universal folk saying that everyone wishes to live a good long life, but no one wishes for old age. Although in virtually every helping process attempt, social workers bring their own emotional or cognitive influences to intervention, I feel especially difficult to perform in the interventions dealing with older adults. 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The gerontologiacal social work, which needs high level of self-awareness, commitment and professional skills, is somehow a complex mission for us to carry. Many social workers admit that social work practice with old people is both challenged and exciting for the reason that, at one hand, it reminds of feelings about death, aging of our family and ones own attitudes toward helping the disadvantaged and vulnerable old adults; on the other hand, it also presents joys and delightful pictures and makes us think more about ourselves. Root of difficulty Review own personal factors Among all the factors that influence my ability to perform this particular area, the subtle effects of my social and personal massages and the counter-transference feelings of old people would be matters of cardinal significance. Furthermore, I also affected by my characteristics and cognition to certain kind of old people. Stereotypes. When I was a child I always heard people saying that old people are vulnerable and need help, and older adults are less valuable as human beings because they have to rely on their children. At home, I was asked to behave properly and not offend grandparents; otherwise I would get scolds and punishment. While at school, I was required to help older people for that they have trouble getting around. These stereotypes toward elderly are usually negative for me and imply an attitude or unintentional message that old people are hard to take care of, stubborn, old-fashioned and unpleasant. Consequently, I always feel that I cannot handle the relationship with older people well and they will not like me. I feel uncomfortable in front of many of my eldership because I do not know how to keep conversations going with my poor eloquence and interpersonal skills. Even though I understand ageism is a destructive social justification when I grow older, I still cannot change the comments I once made on aging and I am a little bit afraid of old people to some extent. Personal emotion factors. I am by nature a sentimental and emotional person from an early age. My grandma passed away when I was in primary school. She left me even before seeing my admission into university and engagement with my fiancà ©. I always think that if she could see these, she would be very pleased and also, I would be the most delight person in the world. She always lived a difficult life when she was young and did not enjoy much in her late years. Sometimes all my family members would feel guilty for missing the chance to treat her well before she left us. As a consequence, when facing the dying older people, especially female elderly suffered from chronic disease or cancer, I inevitably feel urgent to save them and so scared to face the truth that they will eventually die someday. I doubt myself about what I can do for them and I am so scared that they will leave me before I can do anything right or helpful. In fact, that is one of the most difficult challenges in social work practice for me. Real understanding of old people. As a social worker, I appreciate that getting old does not inevitably mean the loss of intelligence, memory and cognitive functioning. I also understand that developing a level of understanding is necessary from a social worker standpoint, and it helps me to anticipate client needs and perform an ongoing self-critique in order to improve and grow my helping process. However, many times I feel I am not able to truly understand them and consider things from their perspective of views as I never experienced true aging. Many decisions I made somehow reflect my own perception of the situation such as to decide whether an old adult should stay in own home or hospital, or to conclude that an older person is showing poor judgment about financial decisions. Furthermore, it would be even harder to perform my role as a social worker when a balance between the opinions of the older adult himself, his family and the social worker need to be achieved. This obstacl e prevents me from behaving more successfully at building a sustainable relationship with elderly clients and I simply do the work and move on. When everything needs more time and patience. With the tight time schedule and many objectives to be accomplish, sometimes a social worker needs to be in a hurry to push on the intervention process. And some other times even if I have explained many times, it is still necessary to have extended periods describing complicated appointments to older clients. I always tend to speed it up although in that case, in order to attain my goal I should slow down to give them more time to think about the process. Lack of patience would be another problem preventing me from effectively working with elderly or even almost every aspect of social work practice. Reviewing the professional literature Many social workers admit that, even though both meaningful and satisfactory, working with elderly people can need a high level of self-awareness and self-discipline. The truth that everyone must eventually face the developmental stage of aging and death for themselves and their families may contribute to the anxiety and complexity of the helping process, as social work practice in the aspects of domestic violence or drug abuse may not personally affect worker. This can impact workers with older clients on both a conscious and subconscious level. Ageism and Death Anxiety. In most cultures around the world, particularly the Chinese culture, people feel uncomfortable when deal with death or anything related to death. From an early age, children are asked to avoid to talking death and dying, and to replace the word death with phrases such as passed on, or gone on to another world. Therefore, the social workers dealt with older people may require more self-control and comfort on the acknowledging the real pain caused by the loss of human life of family and friends. The anxiety of aging and dying process on ones own work, combined with generally indisposed experiences about the proximity of death surrounding older adults, bring about some social workers avoiding work with the aging. According to the Hong Kong Social Workers Registration Broads data gathered from its members about their areas of practice, despite older adults make up about 12.8 percent of Hong Kong population, less than 6 percent of social worker identify gerontological social work as their field of practice, which compared to nearly 30 percent for mental health. Countertransference. The reactions, real, and unreal, to a certain individual can occur irrespective of origin and can be based on ones own past or present experiences or characteristics. Counter transference can be described as social workers reactions involve feelings, wishes, and unconscious defensive patterns onto the client. In the professional relationship with old people, a social worker may place negative feelings or dislikes of older persons onto the client, which restrict his willingness (no matter consciously or unconsciously) to continue investigating and result in impatience or intolerance of the aging. On the other side, old clients who evoke images from ones past such as parents, grandparents or other elderly family members can make process even more arduous to advance as a result of destructive sympathy and the need to save an older person. The Independence/ dependence fight. Old people want to maintain their independence to make decisions while the social worker commits to promote self-determination and dignity of the individual. But things are not that simple. When an elderly claims for increasingly supporting service and experiences growing difficulties to maintain independence on his own, it will be confrontational to live up to the elderly expectations. McInnis-Dittrich (2008) states A worker can appreciate the desperate efforts on the part of an older adult to stay in his or her own home. Yet when an older adult is struggling with stairs or a deteriorating neighborhood, and difficulties in completing the simple activities of daily living challenge the feasibility of that effort, professional and personal dilemmas abound. This is a good example to understand that sustaining independence in the gerontological social work is a critical goal which has no simple good answer. Private functions become public business. Discussing the topic such as an old womans bladder and bowel functions or an older mans maintaining an erection or urinating with clients may cause awkward and uncomfortable resistance when social workers and other helping professional get involved. Therefore, sometimes it is important to be sensitive to the deeply personal nature when social workers try to acquire necessary comprehension of an older adults health conditions. A better understanding of interpersonal skills and psychosocial adjustment to aging would be helpful and essential. Personal plan to address this weakness Overcome stereotype influence First of all, I hope that from now on I will pay more attention to those featuring active, healthy, productive, and successful older persons so that I will develop a balanced understanding about aging and elderly. Aging is not painful and debilitating. Many wise, gracious, and humorous elderly have made admirable contribution to the world and have shown remarkable strength to achieve a positive as well as enthusiastic life. Secondly, another important thing for me is to keep the lines of communication open with older adults. If I can open my heart to communicate, they will share more with me. The stronger relationship between us will help me cope better with the stereotype challenges. Last but not least, in my future helping process I will often ask myself: does it reinforce stereotypes again? I should start from every thing in daily life to alter the attitude that hinders my ability to face the normal changes of aging. Make a change in attitude is not easy, but I will try my best to drive myself on the right direction. Awareness and Introspection Awareness of the emotional influence is the first and the essential key to solve my problem. How well do I manage my own anxiety with this clients situations should be my first concern. I will always remind myself that do not be affected by my experience and differentiate my experience of losing a family member from the intervention my client. That will help me to distinguish between the older peoples need and my own need and, to remain focused on the clients need. Furthermore, I could seek help from colleagues and supervisors as well. By discussing the situations with them, I can expose and explore my own feelings and get advices in order to effectively facilitate help process. To truly understand elderly Above all, I will try to get in touch more with old people to truly feel their emotional and cognitive problems, as well as to open my heart and listen to them. Maybe I can join them more in their music, art activities in communities. Aging does not necessarily mean the loss of memory and cognitive capacities, and I will try to explain the information in a variety of ways so that we can build understanding relationship. Moreover, reading more books about the psychological problems of the elderly would be really useful to analyze their psychological changes and behavior patterns. Equipped with a better look at the findings from professional social workers, I will more effectively comprehend the aging process the distinguishing features of elderly. Finally, I should learn from experienced social workers to get more suggestions when I feel difficult to continue. For one thing, they can improve my ways of carrying intervention by pointing out my mistakes. For another, they can help me understand and get the most from their strength and weakness by providing convenient and professional advice.

Science and the Community :: Business Management Studies

Science and the Community How GSK affects the community in which it is situated. Gsk may affect the local community which it is situated in many different ways as most of their employees are not from local community so the company hardly have an impact on the community. How many people do GSK employed and the skills they used ? Gsk employed about 110,000 employees worldwide; with quarter of the amount doing research and development. In Stevenage there is about 2400 staff of which 70% are laboratory scientist. There are many different skills used by their employees as they used science in every aspect of research and development. They uses science technicians for discovering new drugs which is a high tech process therefore they use robotics extensively as they are more efficient and effective than using human technicians. Most of there scientist interface there experiment with IT systems for running them, monitoring them and collecting and analysing results. Basic economic cost Gsk need money for basic economic cost as they currently spend over  £6 million per day doing research worldwide. They also used up a lot of money developing medicine as at least  £50 million and it takes up 10-12 years. However they do benefit from this as they get in profit for the shareholders and put some money back into research. The company also have to spend money on environment health and safety. They have Capital investment projects include projects related to designing, sitting and installing systems related to wastewater treatment. In 2003, there was a sharp decrease in capital investment to conclusion of a major wastewater treatment plant expansion and upgrade project at one of their large primary manufacturing sites. Their Capital investment of their Environment Health and Safety projects was totalled  £10.5 million in 2003 a decrease of 43% from  £18.3 million in 2002. One of their primary manufacturing sites completed a large-scale wastewater treatment upgrade in 2002. This rationalisation effort and general cost control measures contributed to the decrease in capital investment. Transport cost Gsk supply coaches for Stevenage station for their workers who have to commute which have cost them a lot of the years because most of their works does not live locally and most of their staff travel by train because of the congestion that could be on the A1 at times so these b people will benefit from the free coach. Gsk also have to pay their employee and so they give out as they take in. The benefit of the science used Gsk is a world leading research-based pharmaceutical company with a powerful combination of skills and resources that provides a platform for delivering strong growth in today's rapidly changing healthcare