text:
The Madonna and Child with Saint John the Baptist and Saint Nicholas of Bari ('The Ansidei Madonna')
The Ansidei Altarpiece, San Fiorenzo, Perugia
Oil on poplar
216.8 x 147.6 cm
The Ansidei Madonna
This is the main panel of the altarpiece Raphael painted for the Ansidei family chapel in the Servite Church of S. Fiorenzo in Perugia in 1505.
The Virgin sits in majesty on a carved wooden throne with the Christ Child on her lap. She draws his attention to a passage in the book on her knee. A string of coral beads ending in jewelled crosses like a rosary is suspended from the throne, a reminder of the blood Christ will shed at the Crucifixion. The Latin inscription, 'SALVE MATER CHRISTI' ('Hail Mother of Christ'), would have acted as a prompt to the recitation of the rosary. John the Baptist points to the infant Christ and gazes at his own cross, in foreknowledge of Christ's future death. Saint Nicholas concentrates on his book.
Raphael carefully calculated the geometry of the composition, using an incised grid to divide it horizontally and vertically into harmonious thirds before he began painting.
This is the main panel of the Ansidei Altarpiece that the 22-year-old Raphael painted for the Ansidei family chapel in the Servite Church of S. Fiorenzo in Perugia in 1505.
The Virgin sits in majesty on a carved wooden throne with the Christ Child upright and alert on her lap. A small book is open on her knee and she follows the text she is reading with her finger. She draws her baby's attention to a passage in the book, presumably containing allusions to his future sacrifice. A string of coral beads ending in jewelled crosses is suspended from the throne and resembles a rosary, a reminder of the blood Christ will shed at the Crucifixion. The Latin inscription at the top of the throne, 'SALVE MATER CHRISTI' ('Hail Mother of Christ'), would have acted as a prompt to the recitation of the rosary.
John the Baptist points to the infant Christ and gazes at his rock crystal cross, in foreknowledge of Christ's future death. The older, more contemplative Saint Nicholas, identified by his bishop's mitre and crosier, withdraws slightly behind the throne. His furrowed brow indicates that he is concentrating on his book. At his feet are three golden balls which represent the purses of gold he gave as dowries to the three daughters of an impoverished nobleman to save them from prostitution. This type of composition, with saints flanking the enthroned Virgin and Child in a unified image, is known as a sacra conversazione ('sacred conversation').
The lower horizontal panel, known as the predella, beneath the main panel of the altarpiece probably depicted two scenes: John the Baptist Preaching and another scene showing a posthumous miracle of Saint Nicholas. Each narrative scene would have been positioned beneath the saint in the main panel to whom it related.
Raphael carefully calculated the geometry of the composition, dividing it horizontally and vertically into harmonious thirds. The picture surface was incised with a grid nine squares wide by six squares high. This suggests that Raphael worked out his scheme in squared composition drawings on paper and then transferred the design to the panel before he began painting.
Technical investigation has revealed that the pale grey architecture and vaulting behind the Virgin's throne, which provides a sacred space for the figures, was not planned by Raphael from the beginning but was painted over the sky and landscape. Raphael used the pre-existing grid to position the parapet a third of the way up and the mouldings two-thirds of the way up the panel. This explains why this late addition appears so integral to the composition. He may have decided to include the barrel-vaulted architecture in the altarpiece to compensate for the plainness of the Ansidei Chapel.
The Ansidei Madonna is the grandest and most successfully designed of Raphael's early Madonnas. The painting is closest in style and form to the Colonna Altarpiece (Metropolitan Museum of Art, New York), which gives an idea of how the Ansidei Madonna would have appeared before Raphael added the architectural backdrop.
Raphael painted this altarpiece for the Ansidei family chapel dedicated to Saint Nicholas in the Servite Church of S. Fiorenzo in Perugia. The date MDV (1505) is inscribed in gold on the hem of the Virgin's mantle.
The altarpiece would have consisted of the main panel, featuring the enthroned Virgin and Christ Child flanked by Saint Nicholas on the right and Saint John the Baptist on the left, and a lower horizontal set of painted panels collectively known as a predella. One of the two narrative scenes from the predella, Saint John the Baptist preaching, is also in the National Gallery's collection. The other predella scene, which probably depicted a posthumous miracle of Saint Nicholas, is missing. Each narrative scene would have been positioned beneath the saint in the main panel to whom it related.
Raphael painted this altarpiece for the Ansidei family chapel dedicated to Saint Nicholas in the Servite Church of S. Fiorenzo in Perugia. The chapel had been built in 1484 by Filippo di Ansideo di Simone 'de Catrano', a wealthy wool merchant. His will of December 1490 left funds for maintaining the chapel as well as for his burial in the church.
The altarpiece would have been made up of the main panel, featuring the enthroned Virgin Mary and Christ Child flanked by Saint Nicholas on the right and Saint John the Baptist on the left, and a lower horizontal painted panel known as a predella. One of the two scenes from the predella, Saint John the Baptist preaching, is also in the National Gallery's collection. The other predella scene, which probably depicted a posthumous miracle of Saint Nicholas, is missing.
Niccolò (1469–after 1527), Filippo's eldest son, inherited his father's business interests and probably also became patron of the chapel. It was most likely he who commissioned the 22-year-old Raphael to paint the altarpiece in around 1504–5. The two saints in the altarpiece – Nicholas and John the Baptist – reflect his own name and that of his son Giovanni Battista. The date MDV (1505) is inscribed in gold on the hem of the Virgin's mantle. As he was from Perugia, Niccolò probably wanted to commission an altarpiece in the style of the famous local artist Perugino. His decision to employ Raphael may have been because the artist was influenced by Perugino and had probably also worked with him after his move to the city in 1502.
This type of unified single panel altarpiece, in which the enthroned Virgin and Child are accompanied by saints, is known as a sacra conversazione ('holy conversation'). It developed from the earlier style of altarpiece known as a polyptych, in which the Virgin and Child would be represented in a central panel and the saints depicted separately in individual flanking panels. Although the saints here are not literally conversing, there is a sense of quiet communion between them.
The Ansidei altar was originally located on a pier at the crossing of the church. The altar was demolished when the church underwent extensive renovations in 1768–70. Shortly before this, Raphael's altarpiece with part of the predella was sold by the monks of S. Fiorenzo to pay for the building works. The Ansidei Madonna and predella panel of Saint John the Baptist Preaching were purchased by the National Gallery in 1885.
This is the main panel of the altarpiece Raphael painted for the Ansidei family chapel in the Servite Church of S. Fiorenzo in Perugia in 1505.The Virgin sits in majesty on a carved wooden throne with the Christ Child on her lap. She draws his attention to a passage in the book on her knee. A str...
Saint John the Baptist Preaching
This painting is the only surviving scene from the predella (base) of Raphael's altarpiece for the Ansidei chapel in S. Fiorenzo, Perugia. The main panel of the altarpiece, 'The Ansidei Madonna', is also in the National Gallery's collection. This predella panel would have been placed beneath the...
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Polar Satellites Assist Public Safety Officials after La Soufriere Eruption
The La Soufriere volcano on St. Vincent Island in the Caribbean erupted in an explosive fashion in April 2021, generating an ash plume that shot up around 60,000 feet high during one of its series of eruptions. NOAA's NOAA-20 and Suomi-NPP satellites, which make up the Joint Polar Satellite System (JPSS), provided important information to air quality experts in the local area that allowed them to provide public health guidance in the wake of the eruption.
The NOAA-20 satellite captured this True Color imagery of the eruption on April 10, 2021. Note the brownish plume of volcanic ash spewing into the atmosphere through the white clouds.
Volcanic ash can contain toxins that pose risks to human health, including respiratory issues; eye, skin and throat irritation; and more. The La Soufriere eruption emitted the most sulfur dioxide into the atmosphere of any tropical volcano since 2011, and the most of any Caribbean volcano since satellite measurements began in 1979, according to Simon Carn, volcanology specialist and professor of geology at Michigan Technological University.
In the wake of the La Soufriere eruption, local authorities with the World Health Organization (WHO) and the Pan-American Health Organization (PAHO) grew concerned about regional residents' exposure to air and water pollution caused by the eruption. However, there are limited air quality monitoring capabilities in the region, so an air quality advisor with WHO/PAHO reached out to JPSS for remote sensing tools that could help.
In a quick-turn response to the urgent request, JPSS satellite data experts relayed an array of information that had been collected. Some of this included visualizations of sulfur dioxide clouds released into the atmosphere from the Ozone Mapping and Profiler Suite on the NOAA-20 and Suomi NPP satellites. Sulfur dioxide is one of the most abundant gases in volcanic ash plumes and can cause acid rain, air pollution, and health problems downwind of an eruption. Additionally, JPSS experts provided visualizations of the mesospheric gravity waves produced by the eruption, which affected the formation of the ash cloud. Observations like these, from the upper atmosphere, can help scientists understand how energy is transferred throughout the atmosphere during these events.
A data image from the NOAA-20 Ozone Mapping and Profiler Suite (OMPS) instrument, showing the sulfur dioxide output on April 10, 2021 from the La Soufriere eruption on St. Vincent. Credit: Lihang Zhou, William Straka and Jianguo Niu.
WHO and PAHO recently thanked the experts who compiled the remote sensing resources, saying, "The information you provided [is] very valuable. Satellite observations helped us to identify the countries potentially affected by the plume and we are sharing the recommendations with them as well… We keep monitoring satellite information to follow up on the emergency and its area of influence."
The JPSS package for Mesospheric Gravity Waves and OMPS SO2 from the eruption on St. Vincent was prepared by Lihang Zhou, William Straka and Jianguo Niu. This support effort was coordinated with WHO and PAHO via Daniel Tong (NOAA Office of Oceanic and Atmospheric Research), who is the NASA Health and Air Quality Team (HAQAST) lead and a member of the JPSS Proving Grounds and Risk Reduction team. Mike Pavolonis provided satellite imagery from the University of Wisconsin's VOLcanic Cloud Analysis Toolkit (VOLCAT).

redpajama_set_name: RedPajamaCommonCrawl


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package tech.tablesaw.api;

import static org.junit.jupiter.api.Assertions.*;

import java.util.Arrays;
import org.junit.jupiter.api.Test;
import tech.tablesaw.columns.numbers.IntParser;
import tech.tablesaw.selection.Selection;

class IntColumnTest {

  private final int[] intColumnValues = {4, 5, 9, 33, 121, 77};
  private final IntColumn intColumn = IntColumn.create("sc", intColumnValues);

  @Test
  void isIn() {
    Selection result = intColumn.isIn(4, 40);
    assertEquals(1, result.size());
    assertTrue(intColumn.where(result).contains(4));
  }

  @Test
  void isNotIn() {
    Selection result = intColumn.isNotIn(4, 40);
    assertEquals(5, result.size());
    assertTrue(intColumn.where(result).contains(5));
  }

  @Test
  public void testCustomParser() {
    // Just do enough to ensure the parser is wired up correctly
    IntParser customParser = new IntParser(ColumnType.LONG);
    customParser.setMissingValueStrings(Arrays.asList("not here"));
    intColumn.setParser(customParser);

    intColumn.appendCell("not here");
    assertTrue(intColumn.isMissing(intColumn.size() - 1));
    intColumn.appendCell("5");
    assertFalse(intColumn.isMissing(intColumn.size() - 1));
  }
}

redpajama_set_name: RedPajamaGithub


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Check out this story on Bishop Miege's Willie Reed, who hopes to be drafted by an NBA team on Thursday. I remember him well, but he wasn't around long.
I have written one NBA Draft story — when East's Korleone Young was taken in the second round. It was for ever ago. Young skipped college to declare for the draft. Unfortunately, his NBA career didn't pan out. His story became the one folks pointed to when they talked of the perils of not going to college to play.