Monthly Archives: December 2016

Леец, Георг

8 августа 1896(1896-08-08)

Пярну, Эстония

 Эстония

18 октября 1975(1975-10-18) (79 лет)

Таллин, Эстонская ССР, СССР

Георг Леец (Georg Leets, Георгий Александрович Леец, 8 августа 1896, Пернов, Эстляндская губерния — 18 октября 1975, Таллин, Эстония) — эстонский военный деятель и историк.

Учился в Пярнуской гимназии, которая в 1915 была эвакуирована в Петроград. Окончил Павловское военное училище (ускоренный курс) в Петербурге (1916), юридический факультет Тартуского университета (1923), Высшее военное училище в Эстонии (1932).

Участник Первой мировой войны, офицер-артиллерист русской армии. Награждён орденами св. Анны IV и III степеней, св. Станислава III степени, Георгиевским крестом «с веточкой» (награда Временного правительства, которой по решению солдат награждались офицеры).

С 1918 служил в эстонской армии, участник Освободительной войны, награждён Крестом свободы I/3 (первого класса третьей степени — за военные заслуги) и II/3 (второго класса третьей степени — за личную храбрость и отвагу). С 1923 — майор, с 1926 — подполковник, с 1929 — полковник. Занимал командные посты в эстонской армии (в частности, был начальником артиллерии 1-й дивизии), одновременно, занимался преподавательской деятельностью, автор научных трудов по артиллерийскому делу и военной истории, в том числе: «Как начиналась Освободительная война 15 лет назад» (1933), «Нарвское сражение 28 ноября 1918 года» (1939).

В 1939—1940 — инспектор артиллерии. По собственным воспоминаниям, на совещании высшего командного состава эстонской армии с президентом Константином Пятсом высказался за отклонение советского ультиматума и оказание сопротивления частям Красной армии, вступающим на территорию Эстонии. Аналогичную позицию занял главнокомандующий армией Йохан Лайдонер, однако президент принял решение согласиться на советские условия.

В 1940 году зачислен в Красную армию в звании полковника, назначен начальником артиллерии 180-й дивизии, расквартированной в Северной Эстонии.

Арестован 28 июня 1941, отправлен в Норильский лагерь, в 1943 году приговорён к 10 годам лишения свободы и 5 годам ссылки. В лагере работал бухгалтером. В 1951—1956 жил в ссылке в Норильске.

В 1956 реабилитирован, восстановлен в звании полковника, однако пенсию ему не установили (видимо, из-за непродолжительности службы в Красной армии).

Вернулся в Эстонию, работал бухгалтером, в 1965—1973 — старшим научным сотрудником Таллинского городского архива toothpaste dispenser uk. Увлёкся историей, написал биографию Абрама Петровича Ганнибала — служившего на территории нынешней Эстонии «Арапа Петра Великого», русского военного инженера, предка А. С. Пушкина (книга увидела свет после смерти Г. Лееца). Подарил свою коллекцию оружия (108 предметов) Таллинскому городскому музею.

Похоронен на Александро-Невском кладбище

Запись в дневнике российского историка и писателя Н. Я. Эйдельмана от 26 мая 1975: «Удивительный визит к Георгию Александровичу Леецу на Перновском шоссе 135 кв. 24; сухой, подтянутый 80-летний (не дал бы!) человек. На стене охотничьи ружья, кинжалы, погоны артиллерийского полковника, портреты, разнообразные книги на разных языках. В 1915—16 поручик артиллерии, из Михайловской академии, затем начальник артиллерии в Эстонии, с 1940 — офицер Эстонского корпуса Красной армии, несколько сотен прибалтийских офицеров в Москву, на переподготовку. Летом 1941 г. — арест, „ввиду усложнившейся международной обстановки“, в Норильск, на общие (работы), 92 % погибло. Жена меж тем с дочерью — в Финляндии. Дочь потом в Венесуэлу. Ему — 10 лет „за подавление революционной деятельности“ (выжил благодаря русскому языку и хорошему почерку; бухгалтер). Потом бумажка о пожизненной ссылке; не подписал (1951&nbsp jersey of football teams;г.), ибо такой нет в советском законодательстве; ну и ладно… В 1957 освободили, с 2-й женой вернулся; реабилитация; занялся военной историей, председатель товарищеского суда при домкоме… Жена умирает от рака. Контакт с прежней семьей. Ходил в архив — наткнулся на письмо, подписанное Ганнибалом; вспомнил детство и Пярновскую гимназию, где заслужил высший балл за характеристику Ибрагима. Если б не он, погиб бы от тоски в последние годы; выполнил грандиозную работу. Готова работа — Пушкинский Дом одобряет. Авантюристы крутятся вокруг него; а он нашел истинный портрет Ганнибала (прежний принадлежал, он доказывает, Меллеру-Закомельскому Ивану Ивановичу, герою Очакова). Он же обосновывает, что реальный портрет — тот, что был опубликован А. Менье в 1962 г. (прекрасный негр!). Мы прощаемся, ему грустно — мне тоже. Жизнь».

Georges Arts

Georges Arts, né à Alost le , est un joueur de football belge qui évoluait comme défenseur central. Il compte une Coupe de Belgique à son palmarès, remportée en 2003 avec La Louvière. Il a pris sa retraite en 2006 et est devenu ensuite entraîneur dans les séries provinciales, en football et en futsal.

Georges Arts s’affilie à l’âge de neuf ans au KVC Jong Lede, où il effectue toute sa formation how to use tenderizer. Il est intégré à l’équipe première en 1989 et dispute une saison de championnat en Promotion. Le club est relégué en première provinciale. Le joueur passe ensuite au KFC Avenir Lembeek, tout juste promu au quatrième niveau national. Il remporte le titre de champion dans sa série en fin de saison et monte ainsi en Division 3. Il joue encore deux saisons à Lembeek, où il côtoie les anciennes stars du Sporting Anderlecht Ronny van Poucke (jusqu’en 1992) et Michel De Groote (en 1992-1993).

Georges Arts quitte l’Avenir Lembeek en 1993 pour rejoindre le Standaard Wetteren, également en troisième division. Il joue quatre ans avec le club, puis s’en va en 1997 pour rejoindre le Heirnis Gand. Ses bonnes prestations et sa facilité à inscrire des buts malgré sa position d’arrière central attirent les regards de clubs plus huppés. En 1999, il fait le grand saut vers le professionnalisme et s’engage à l’Eendracht Alost, une équipe de première division.

Il joue trois ans avec le club alostois, miné par des problèmes financiers. En 2002, le club termine en position de relégable et est renvoyé en Division 3 après s’être vu refuser sa licence pour le football rémunéré wholesale jordan socks. Georges Arts décide alors de partir et est transféré par La Louvière, un autre club de l’élite nationale. C’est là qu’il connaîtra sa plus grande victoire avec la Coupe de Belgique 2003

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, remportée 3-1 face à Saint-Trond. Il inscrit le deuxième but du match en fin de première période. Grâce à cette victoire, il peut découvrir la Coupe UEFA la saison suivante, où le club s’incline de peu face au Benfica Lisbonne (1-1 à domicile water bottle pouch belt, défaite 1-0 en déplacement). Il se blesse grièvement au genou en décembre 2003 et reste éloigné des terrains pendant près de six mois. Il revient lors du dernier match de la saison pour disputer quelques minutes en guise d’au revoir à son public. En effet, un mois plus tard, il rejoint les rangs d’Heusden-Zolder, relégué en deuxième division. Après une saison, il redescend encore d’un niveau dans la hiérarchie et signe au KSV Bornem, en Division 3. Il joue son dernier match officiel le et prend ensuite sa retraite après dix-sept ans de carrière.

Hoot Sackett

Hoot Sackett was an American college baseball coach. He was the head coach at Oklahoma State University from 1920 to 1921.

In the 1921 season his Cowboy squad played a tough schedule, eight against Missouri Valley Conference schools, two with Southwest Conference teams, and several smaller state colleges. According to a Tulsa World article from 1921 the opposition was “as stiff as any encountered by A&M in recent years”.

      National champion      &nbsp running reflective belt Postseason invitational champion  
   &nbsp running storage belt Conference regular season champion       &nbsp how to quickly tenderize steak; Conference regular season and conference tournament champion
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      Conference tournament champion

Veterans Memorial Building (Cedar Rapids, Iowa)

The Veteran’s Memorial Building is located on May’s Island in the middle of the Cedar River in Cedar Rapids, Iowa, United States waistband for phone. It, along with the Linn County Courthouse, is a contributing property to the May’s Island Historic District that was listed on the National Register of Historic Places in 1978. The building served as the Cedar Rapids City Hall until it was damaged in the Flood of 2008. The Building underwent a ribbon-cutting ceremony to mark its official re-opening April 15, 2014.

A petition to construct a memorial building was filed with the City Clerk on March 4, 1925. Over 40 civic organizations were involved in planning for the structure. Voters passed a bond referendum and a Veterans Memorial Commission was formed.

Plans were drawn and the building was placed on May’s Island. In order to make the building financially feasible, a new city hall was incorporated into the plans. Cedar Rapids, after Paris jumper defuzzer, France’s Hôtel de Ville on the Île de la Cité, would be only one of two cities to have its government located on an island. The building also contains a Memorial Window, Memorial Auditorium and a Tomb of the Unknown Soldier. The building was designed in the Beaux-Arts style. The main portion of the building contains four stories, with an eight-story section in the front. A cenotaph tops the eight-story section. The auditorium contains seven banners from veterans’ organizations, and seven American flags were suspended from the ceiling. A Tomb of the Unknown Soldier is located above the cenotaph.

The first addition to the building was a statue of the raising of the flag at Iwo Jima, which was placed on the front steps in 1960. It is a memorial to veterans of World War II and the Korean War. The Veterans Memorial Commission added a museum in 1966, which contains items from the American Revolution through the Vietnam War. The museum was dedicated as a memorial to the Spanish–American War. A granite monument memorializes those who served in the Vietnam War. In 2000 an eternal flame was lit on top of the building.

The buildings sustained damage as a result of the 2008 flood. As a result, the city government was forced to leave the building. In the aftermath the city decided to move the city offices to the former Federal Courthouse. The city was able to take possession of the building after it provided the land for a new courthouse downtown. The City Council began holding its meetings in the former courthouse on June 26, 2011, and the facility was opened for public use on 4 June 2012.

Regionalist artist Grant Wood, who grew up and lived in Cedar Rapids as an adult, was commissioned to design the memorial window. The window measures 24 by 20 feet (7.3 by 6.1 m). It is the only stained glass window designed by Wood. It depicts a 16 feet (4.9 m) Lady of Peace and Victory in the clouds shirt soccer. She wears a Grecian robe and a blue mourning veil and holds a palm branch for peace in one hand and a wreath for victory in the other. The artist’s sister Nan was the model for the Lady of Peace and Victory. Across the bottom are six 6 feet (1.8 m) tall soldiers representing the American Revolution, War of 1812, Mexican–American War, American Civil War, Spanish–American War, and World War I.

The window deteriorated somewhat over the years, and it was damaged in the 2008 flood. Glass Heritage of Davenport, Iowa restored the window for $150,000. It was re-dedicated on July 4, 2010.

Casside

Cassidinae

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Sous-famille

Cassidinae
Stephens, 1831

Les cassides (sous-famille des Cassidinae) sont des insectes coléoptères de forme ovoïde ou ronde ce qui leur donne souvent l’apparence d’une tortue. C’est pourquoi la casside s’appelle aussi coléoptère-tortue ou encore scarabée-tortue. La tête est le plus souvent cachée, son corselet remontant jusqu’à constituer une sorte de casque. Quelques espèces ressemblent aux coccinelles how to use papaya to tenderize meat, d’autres sont très colorées et leur carapace peut prendre une coloration or ou argent mais ces couleurs disparaissent lorsque l’insecte est effrayé et après sa mort. Il prend alors une couleur rouge terne tachetée de noir.

La sous-famille des Cassidinae a été créée par James Francis Stephens (1762-1833) en 1831.

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Kermit (band)

Kermit is an instrumental rock quartet formed in 2011 in Málaga (Spain) by Gonzalo Presa on guitars, drums, percussion and vocals, Miguel Seguí on guitars, synth and sampler, Francisco Trujillo on the electric bass, and Álvaro Parada on drums, percussion, saxophone and vocals.

Up to date Kermit have released two studio albums titled Autoficción (Spanish for ‘Self-fiction’; 2012) and Litoral (Spanish for ‘Coast’; 2014) through Spanish music label Itaca Records.

Kermit was formed in the summer of 2010 in Málaga by former components of several local bands such as Parcel, White Coffee, Seattle Apples and Satélites. Gonzalo, Miguel and Francisco began to write the songs that would later be included in Kermit’s debut album, and Alvaro joined the band behind the drums when the album was almost completely written. Alvaro also plays the drums and percussion in Proyecto Parada.

Kermit released their debut album titled Autoficción in November 2012 with label Itaca Records in CD, vinyl and name-your-price download through the label’s website and German netlabel Bandcamp. It is an 11-track album in which, in words of the band themselves, they play “with the endless possibilities offered by two guitars, a bass and a drumkit”.

The album was recorded in Dune 2.0 studios with sound engineer Sergio Cascales, assisted by the band’s guitar player —Gonzalo Presa. “Kermit’s production draws its influences from multiple sources, from Radiohead to even Refused or At the Drive-In, including the heterogeneous names of Portishead, Sonic Youth, Mogwai and Pink Floyd, yet without neglecting other artistic expressions such as literature or films.” “The album title itself indicates that literature plays a relevant role in the band’s imagery, and idea confirmed by the album’s CD and vinyl leaflets. South-American authors such as Cortázar, Borges and Bolaño seem those most relevant to the band, but Kafka, Rimbaud or Valle-Inclán can also be traced easily, surely forming part of the band members’ personal libraries. Films, architecture and graphic design are other sources for their influences.” In fact, the album cover is “the visual poem Sion by Cesárea Tinajero, the poetess the main characters in Bolaño’s The Savage Detectives look for throughout the whole novel. Autoficción is about the idea of the travel and discovery of new, not necessarily exterior, places.”

As a première of the album, the fragment corresponding to the track titled “Cocaine” was extracted from a live sessions recorded in HD video at the Instituto Politécnico Jesús Marín High School, completed by students from vocational courses on Sound Engineering and Image. These full sessions, including 8 tracks from Kermit’s debut album, were published some months later through YouTube under the title IPJM Sessions.

After the presentation of the band in La Casa Invisible on April 14 and of Autoficción in Teatro Echegaray on October 22, album release was followed by a brief Andalusian tour with Madrid band Autumn Comets, including visits to Don Benito and Madrid. In the summer of 2012 Kermit were shortlisted in the Wild Weekend contest and won third prize in Málaga Crea for the category of pop-rock. Kermit also played the SMS Festival in the summer of 2013 in Centro de Arte Contemporáneo de Málaga.

Kermit released their second album, titled Litoral, in April 2014. It is a tribute to the homonymous literary journal created by poets Manuel Altolaguirre and Emilio Prados in Málaga in 1926, as well as to Imprenta Sur. Litoral is considered the main expression means of the so-called Generation of ’27. Indeed, it is the journal’s current director and graphic designer, Emilio Prados’ great-grandson apana water bottle glass, Lorenzo Saval, who is in charge of the album’s graphic design and illustration, being again released in CD and vinyl formats through Itaca Records’ website, and in name-your-price download through Bandcamp and SoundCloud. The band themselves have expressed their intention of the album being understood “as an additional issue of this poetry and thought journal, yet a sound one”, since its 7 tracks go on uninterruptedly from the opener “1926” to the closer “1927”, years which correspond to the first stage of the Litoral journal, which comprised its 9 first issues.

Litoral is an album in which Kermit complete “a trip through psychedelia, post-rock, impossible passages and the most absorbing adventure. […] transcending the musical sphere, mixing literature, philosophy and other artistic fields […] [in which] more or less classic structures lie the foundation for more hypnotic parts. Some stretches get close to progressive rock, while some others are just pure jazz meat tendorizer.” “Relative to their debut, Litoral is an album more focused on jazz than on instrumental rock, although without losing that essence of rhythm changes and epic crescendos. Litoral runs seamlessly for 45 minutes, intertwining small jewels that include psychodelia (“Samhain”) or electronica in up-tempo tracks (“Magnitizdat”), where the rhythm base mixes with spoken word and an improvised saxophone line.” “Litoral cannot therefore be understood but as a further step toward a junction of influences that is perhaps lighted so much by Tortoise as by King Crimson, Slint or Radiohead, yet cinematographically told.”

Litoral is a step forward in so many levels, mainly in music writing, because tracks such as “Samhain”, “Circumpolares” and “Magnitizdat” are simply incredibly delicious, particularly the last one. However, it also means creative growth, since the elements which made their debut album so interested are powered here, yet everything seems under control at all times. There is post-rock, of course, but there is also more of King Crimson, more jazz the tenderizer, more electronica and even spoken word.”

Litoral again contains numerous literary hints. Indeed, its 45 minutes echo verses and lines by Allen Ginsberg, George Orwell and Roberto Bolaño, as well as by local poets Raúl Díaz Rosales and bass player Francisco Trujillo.

As they did with their debut album, Litoral was presented with a video single (“Magnitizdat”) extracted from live sessions at La Caverna de Amores, recorded in collaboration with La Trinchera Audiovisuales. The extracts corresponding to the tracks “We-tripantu” and “Circumpolares” (the album’s fourth and third tracks, respectively) were also published on YouTube in 2014.

The album was presented live on April 26 in Auditorio Edgar Neville, in “a melancholic trip full of poetry, light and beauty”, which was followed by a tour that took them to Algeciras, Cádiz, Seville hydration belt philippines, Jaén and Don Benito. On October 9 Litoral was presented in Teatro Echegaray with the support of art and design through projections by Calde Ramírez (Music Komite).

Liste des épisodes de Neon Genesis Evangelion

Cet article liste les 26 épisodes et films basés sur l’anime Neon Genesis Evangelion (新世紀エヴァンゲリオン, Shin Seiki Evangerion water glass bottles wholesale?). La série a été écrite et réalisée par Hideaki Anno et produite par GAINAX et le Projet Eva, qui inclut TV Tokyo et Nihon Ad Systems (NAS).

Les épisodes ont été diffusés pour la première fois du au sur TV Tokyo lint sweater. La chaine WOWOW les a de nouveau diffusés en 2003.

Alors qu’il est piégé dans l’Ange, Shinji plonge dans une journée introspective. Comme les batteries de l’Eva-01 sont complètement vides et que le système de survie s’épuise, Shinji perd connaissance et se retrouve enlacé dans des bras rayonnants. À l’extérieur de l’Ange, Misato et Ritsuko voient l’Eva-01 s’extirper violemment de l’Ange en déchirant son ombre, ce qui le tue stanno socks football.

Plusieurs fins alternatives sont proposées par les films d’Evangelion.

A Family Affair (musical)

A Family Affair is a musical with a book by James Goldman and William Goldman, lyrics by James Goldman and John Kander, and music by Kander crew socks wholesale. This was Kander’s first show, and his only one written without Fred Ebb.

In Chicago, Gerry Siegal and Sally Nathan, a young suburban Chicago couple, decide to marry. The bride’s Uncle Alfie (her guardian) wants an intimate wedding and wages a war of words with the groom’s entire family. The groom’s brassy Jewish mother Tillie commandeers the planning, steering it towards a large country club wedding (despite her husband’s scolding her for taking over). Caterers, dressmakers, band leaders wool defuzzer, rabbis, florists, photographers and a bossy wedding planner are pushed to the limit by the madcap preparations. The bride and groom, who have retained their sanity, realize that their families have almost destroyed the wedding. They announce their intention to have a quiet family affair.

The three collaborators on the show, William and James Goldman, and John Kander, had all been friends for a long time and shared an apartment in New York City. Although all three would enjoy great success, when the musical was written only William Goldman was doing well in his career. He later remembered:

They were older than I was, Kander and my brother, and they were the ones who were supposed to succeed and they weren’t I was. It terrified me and I wrote a musical with my brother and Kander, A Family Affair, which got on, which failed. I don’t know why I did it. Here were these two wonderful figures for me and I was doing well and they weren’t and I helped them in my own nutty way. Except it didn’t work out that way, since everything I tried for the theatre failed.

William Goldman says the idea for the musical was his. It was originally optioned by Leyland Heyward and when he dropped the option their agent, Richard Seff, talked his cousin Andrew into producing it. Money was raised by doing live auditions, according to Seff:

Jim couldn’t sing a note, Bill can’t really sing but John Kander can a little bit, so Kander would play and sing and Bill would sing with him and then I had to get up and sing with them too so here was the agent playing actor. There were thirty people, fifty people, and we’d raise the thousand dollars one night and two thousand the next and we put together the whole show that way.

The credits are shared by all three equally. “I would not say I was a major contributor to the lyrics, but we all decided the three of us would take the billing,” remembers William Goldman design your own football uniform.

Originally planned as a project for Gertrude Berg to be directed by Jerome Robbins, it opened in Philadelphia directed instead by Word Baker, who recently had staged The Fantasticks off-Broadway. With everything from the script to the score to the set in disarray, theatre producer Hal Prince was brought in to replace Baker and repair the damage. Poor box office prevented the out-of-town tryout from being extended and Prince, making his directorial debut, brought the show to New York City knowing it was better but still in need of serious work.

The Broadway production opened on January 27, 1962 at the Billy Rose Theatre, where it ran for 65 performances and five previews. The cast included neurotic comic Shelley Berman as Alfie, Eileen Heckart as Tillie, Rita Gardner as Sally, and Larry Kert as Gerry, with Morris Carnovsky, Cathryn Damon, Bibi Osterwald, and Linda Lavin in supporting roles.

According to Richard Seff:

We kept it alive, barely. It earned a living for those nine weeks but it never made any profit to speak of and to go on longer would have meant to take big losses so it was sensible to close it… When we first heard it, we thought it had great charm. But I think it would have been helped by a director who really understood big musicals and Wood Baker had just had the great success with Fantastiks, which was only a few people in a tiny, tiny theatre, and he did that one imaginatively, but this one he did not do imaginatively and it was very clunky. A lot depends on the director in a musical. He really can make fair material much better and a bad director can take excellent material and make it worse… Hal Prince took over the direction out of town. He helped it a lot. It got better. It just didn’t get good enough.

An original cast recording was released by United Artists Records.

Vytiskorsets orden

Vytiskorsets orden (litauisk: Vyčio Kryžiaus ordinas) er en litauisk militær orden. Den ble innstiftet 23. november 1918 til belønning av dem som hadde utmerket seg i kampen for Litauens uavhengighet. I årene Latvia var innlemmet i Sovjetunionen ble ordenen ikke tildelt. Vytiskorsets orden ble gjenopptatt 15

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. januar 1991, etter at Litauen på nytt hadde vunnet selvstendighet. Ordenen er senere revidert ved lov i 1997. Den tildeles nå for utvist mot i forsvaret av Litauens frihet og selvstendighet. Presidenten er ordenens stormester. Vytiskorsets orden rangerer som nummer to av Litauens fire ordener, etter Vytautas den stores orden, men foran Storhertug Gediminas av Litauens orden og Litauens fortjenstorden .

Ved innstiftelsen hadde Vytiskorsets orden tre grader. Etter gjenopptakelsen er antallet grader utvidet med to, slik at Vytiskorsets orden i dag er inndelt i fem grader:

I ekstraordinære tilfeller kan 1. klasse også tildeles med kjede.

Ordenstegnet for Vytiskorsets orden er et svartemaljert dobbeltkors med hvite kanter. På korset er det plassert korslagte sverd i gull. I midten finnes et sekskantet merke i rødt med hvite kanter der Litauens riksvåpen er plassert. Våpenet består av en ridder til hest og kalles vytis på litauisk. Ridderen holder et skjold med et dobbeltkors. Baksiden bærer innskriften «Už narsumą» («for mot») og årstallet «1919». Ordenstegnet er likt for alle klasser. Det er opphengt i et rødt bånd med svarte striper. 5. klasse har en sølv eikgren i båndet, 4. klasse har to weatherproof phone box. Ordenstegnet for 3. og 4. klasse bæres i bånd om halsen. Ordensstjernen er i sølv og har ni tagger. Ordenstegnet er plassert i midten. For 1. klasse bæres ordenstegnet i ordensbånd over brystet.

Vytiskorsets orden tildeles for modig innsats i forsvaret av Litauens frihet og selvstendighet. Ordenen kan tildeles medlemmer av Litauens væpnede styrker, frivillige og andre borgere. Deltakere i motstanden mot okkupasjonen i årene 1940 til 1990 kan også tildeles ordenen. Unntaksvis kan den også tildeles utlendinger. Vytiskorsets orden kan tildeles posthumt. Etter gjenopptagelsen av Vytiskorsets orden ble ordenen først tildelt ofrene for Den blodige søndagen, da sovjetiske militærstyrker 13. januar 1991 gikk til angrep på sivile som demonstrerte for litauisk uavhengighet. Deretter ble mange eksillitauere football shirt printing, som hadde kjempet Litauens sak i utlandet, hedret med Vytiskorsets orden. Også militære offiserer som bidro til tilbaketrekkingen av fremmede lands militærstyrker fra litauisk territorium er tildelt ordenen.