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An Evening with Josh Ritter
Thursday, November 17 at 7:30PM
Josh Ritter, a Folk-Rock singer-songwriter and novelist with an expressive voice, a keen wit and an evocative way with words has been described as "harking back to Bob Dylan, Bruce Springsteen and maybe a little Mark Knopfler" (The New York Times) and named one of the "100 Greatest Living Songwriters" by Paste magazine.
Born and raised in Moscow, Idaho, Ritter self-recorded and produced his first album Josh Ritter while at Oberlin College majoring in "American History Through Narrative Folk Music." This independent major greatly influenced his music and lyrics, with Rolling Stone describing him as an artist "blending gentle country twang and potent Muscle Shoals-influenced production with the singer-songwriter's contemplative lyrics."
After college, Ritter worked a series of odd jobs while playing open mics in Boston and Providence, RI, during which time Irish musician and front man for The Frames, Glen Hansard, heard Ritter and asked him to open for the band on their tour through Ireland. Ritter's third album, Hello Starling, produced by former Frames guitarist Dave Odlum, debuted at No. 2 in Ireland.
After returning to the U.S, Ritter headlined the Friday night singer-songwriter events at the Hotel Viking at the 2004 Newport Folk Festival and shared top billing with the French Kicks at the Sepomana music festival in Vermont. Also, he headlined with artists such as Joan Baez, who later released her own version of Ritter's song "Wings."
Novelist Stephen King praised Ritter's fourth album, The Animal Years, in his column for Entertainment Weekly, saying the album was "mysterious, melancholy, melodic…and those are just the M's."
Now, Ritter has a discography with over nine studio albums and multiple releases and remasterings of previous albums. Ritter's music has appeared in various television shows and movies including his song "Change of Time" in the trailer for the Natalie Portman film The Other Woman and "Homecoming" in the season 2 finale of Showtime's Billions. He also has two published novels: Bright's Passage and The Great Glorious Goddamned of It All.
Excited to return to performing after a year of writing, Josh would like to leave his audience with this note:
I don't know about you, but for me this past year has had more than its fair share of long nights of the soul. Whether in song or prose or one of those weird creatures that lives between, I've returned to stories over and over again for sustenance and counsel and forgetting. I've also found myself dreaming of touring again, being on stage, performing my songs – my stories – like I did for so long before the world turned on its head. I've lived in those memories when I couldn't be on stage in any other way.
Now I get the chance to perform again. I'm so excited I almost can't contain it. I want my first set of shows in a year and a half to be in places that will allow me to sing some of the stranger, quieter, more narrative songs that I may not always get to at a rock show. I want the venues to be special and beautiful, I want laughter and music and stories that are true even if they're unreal. Finally, I want to perform again, stomp the dust off, see what new appendages and teeth and claws have grown from this time in the wilderness, see what joy can come from sorrow and what tears can come from joy.
I'm so excited to see you again.
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After the first day of solo events, the duet technical event took place today in Budapest's Varosliget City Park.
The first and the eldest age group of the tournament was the 70-79 category.
The last duet, which was the oldest of the group, was formed by Marjorie Anderson, 75 and Loretta Patterson, 77, the eldest lady in the competition.
Loretta Patterson performed her technical solo routine on Monday August 7 has taken the lead of the ranking.
"I am the oldest, and I am proud of it! They say I am a role model, they look up to me, and I motivate people to swim in older age."
Patterson started synchronised swimming in high school and nowadays she still trains six hours a week.
"I used to love dancing; music and swimming were my thing, as well, so it wasn't difficult to figure out what sport I should take up. In fact, synchronised swimming is the combination of these three. What I hate the most… is when I have to jump into the cold water and do the warm up swim."
The other swimmer from Edmonton AquaMasters, Marjorie Anderson, started synchro swimming about 50 years ago because of the graceful movements. Like her partner, she is also fascinated by the venue and the city of Budapest.
"The City Park is simply amazing, just look at that castle and this incredible view. In Canada we don't have anything like that. The pools and the water are all good. Budapest is a wonderful city, I wish I could be here for a year because there are a lot of amazing sights across town".
Both ladies talked about what synchronised swimming meant to them. They both made a lot of friends through this sport and the most remarkable memories of their lives are linked to synchro, as well.
Anderson emphasised how happy she was when she did not have to finish her career after professional competitions.
"This is an excellent sport you can do forever!".


A collection of 4 - 12 X 12 FotoBlendz clipping masks delivered in large, black, .png format designed to be used with digital papers or large photos and the clipping mask function in Photoshop, Elements and Paint Shop Pro. They can also be recolored and/or used with the blending modes. Guidance on the use of clipping masks and recoloring in Photoshop and Elements can be found in the Instructions for Use eBooklet which is available as a free download from the store and in the videos on the aA Youtube channel.


At SuperSkills, we believe that people using the internet should be able to do so in privacy. What you search for, whether it is for Construction Training Courses, cars, or summer holidays, is your business. However, we also have to make sure people can use the website easily and they can find what they are looking for without any fuss.
That's why we use "Google Analytics" to help show use how visitors use the site. Google Analytics tells us how many people visit. Also, what they are looking for. Even more importantly, it tells us if they found it, or if any of the pages are not working properly.
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The information from the cookie about your use of the website (including your IP address) is transmitted to Google.
This information is used to evaluate your use of the website and to compile reports on website activity for SuperSkills Limited.
We will not associate any data gathered from this site with any Personally Identifiable Information. From any source. Unless you explicitly submit that information via a fill-in form on our website.
The Interactive Advertising Bureau is an industry body. It develops standards and guidelines to support on line business processes. It has produced a series of web pages that explain how cookies work. You can see this here: www.allaboutcookies.org.


Back to the Mono Kero is the fourth studio album by the Japanese girl band eX-Girl, released by HIBOOM in Japan, Ipecac Recording in the US (IPC-15), 62 TV Records in Belgium, Valve Records in Australia, and Levy-yhtiö in Finland.
The line-up consisted of Chihiro, Kirilo and Fuzuki, and the album was produced by Hoppy Kamiyama.
"Waving Scientist @ Frog King" (Lyrics: eX-Girl / Music: Hoppy Kamiyama, eX-Girl) – 3:58.
"Tozka" (Lyrics: Chihiro / Music: Kamiyama, eX-Girl) – 5:05.
"Aji Fry (Fried Horse Mackerel)" (Lyrics: eX-Girl, Kamiyama / Music: Kamiyama, eX-Girl) – 4:11.
"Pop Muzik" (Lyrics & Music: Robin Scott) – 4:51.
"Gween-Kong-Zee" (Lyrics: Kirilo / Music: Kamiyama, eX-Girl) – 4:57.
"Cucumber Surrender" (Lyrics: Kirilo / Music: Kamiyama, eX-Girl) – 5:47.
"Wipe Out #3" (Music: Kamiyama) – 2:12.
"Solid States Kerok'n'Roll" (Lyrics: eX-Girl / Music: Kamiyama, eX-Girl) – 4:22.
"Zero Gravity" (Lyrics: Fuzuki / Music: Kamiyama, eX-Girl) – 4:35.
"Crime of the Century" (Music: Kamiyama, eX-Girl) – 9:46.
"Sasuke" (Lyrics: Kirilo, Kamiyama / Music: Kamiyama, eX-Girl) – 5:25.
"Let My Name Be Swallow" – track 12 (Japanese release).
"Swanky*Spunky*Slinky" – track 12 (Belgian release).


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NBA Summer League Spotlight, Part 1: Reimagining How You Watch the NBA With 'Vertical View', 'SkyCam View'
The league, ESPN look to innovate with alternative live-game experiences
By Jason Dachman, Chief Editor
Thursday, July 12, 2018 - 4:09 pm
Print This Story
It's July in Las Vegas, and that means the NBA Summer League is back in action at Thomas & Mack Center — and, with it, the league's annual "Innovation Lab" effort. Although the Summer League has always been a hotbed of technological innovation, the league and ESPN are taking it to a whole new level this year, testing out several alternative broadcast formats in an effort to better engage with fans and meet their rapidly changing media-consumption habits.
ESPN3 and NBA League Pass International live-streamed a SkyCam View (angle seen here) broadcast option for two NBA Summer League games.
Over the past week, the NBA and ESPN have teamed up to live-stream several different feeds on ESPN3: SkyCam View, Summer League Live, Dueling Analysts, and Hometown Call. Most interesting, the league is also producing two full games in 9×16 "Vertical View"; intended to reach mobile-first viewers watching on their phones, they will be live-streamed internationally. The league, which has rolled out Mobile TV Group's 28HDX production unit for its live productions in Vegas, is also creating content for the NBA AR app and NBA VR platform.
"For several years, [Summer League] was more of a basketball incubator; now it's become a content and technology incubator," says NBA Director, Broadcasting, Paul Benedict. "We want everyone to come in and be willing to try different things, and I think we all come in here with that mentality. And, since these are exhibition games, we have a lot more freedom to experiment. It's really the perfect storm. It's always been an innovation center for us, but I think, this year, we took it to a whole new level, and I imagine we're going to continue along this path for years to come."
CLICK HERE for Part 2 of the NBA Summer League Spotlight, focused on the league's testing of alternative broadcast formats.
NBA Vertical View: Thinking Outside the 16×9 Box for Mobile Viewers
More fans than ever are watching live NBA games on their mobile phones, and, according to NBA data, viewers are increasingly watching this content vertically rather than flipping their phones horizontally. In addition, Snapchat has long championed the 9×16 vertical video frame, and Instagram just launched a long-form vertical-video section dubbed IGTV.
Director Jeff Curtin inside the truck at NBA Summer League running the 9×16 Vertical View production.
With all that in mind, the NBA embarked on a grand experiment: producing two games specifically for vertical consumption on mobile. On July 10, the league produced the Jazz vs. Heat and Kings vs. Grizzlies matchups in full 9×16 portrait view rather than traditional 16×9 and delivered them to Tencent in China and NBA League Pass International.
"If you watch an NBA game right now on our League Pass app in the Vertical View, you're essentially filling up only about 40% of your screen," says Benedict. "So we thought, What if we just shot a game in 9×16 instead of the traditional 16×9? Let's cover up viewfinders [on the cameras], frame it with bars [on the monitors] in the truck, and just shoot an entire game like that."
Rather than just shooting the game action tighter (similar to NBA Mobile View on NBA League Pass), the production rarely used the center-court game camera and, instead, leveraged SkyCam, courtside handhelds, above-the-rim robos, and slash positions in an effort to fill the 9×16 frame with action. Camera viewfinders were recalibrated for 9×16 shooting, and director Jeff Curtin (who is director of broadcasting for the Portland Trailblazers) was provided with safety bars on the truck monitors. In addition, ESPN worked with Vizrt to redesign the graphics package and scorebug, which features the clock and score centered at the bottom of the basket.
"Everything is focused on keeping the ball in the center of the frame, so the majority of the game is covered with handhelds, with robos, and with the SkyCam, which all really lend themselves to vertical," says NBA EVP, Media Operation and Technology, Steve Hellmuth. "We're trying to truly cover the game in more of an up-and-down [format], so, when we go into replay, we'll stack a couple of replays and show them at the same time in the vertical format.
The line cut left the truck as HD-SDI and was sent to the NBA's facility in Secaucus, NJ, where it was cropped and distributed to Tencent and NBA League Pass International.
"Obviously, this is important because our data show that many fans have no intention of ever flipping their phone horizontally to watch a game," says Hellmuth. "Obviously, this also provides a ton of material for all of our social-media channels besides just the live game. It's strictly an experiment right now, but it's something we're looking at very carefully, and our partners seem very interested."
SkyCam View: Bringing NBA 2K to Life
ESPN has deployed SkyCam for the duration of its coverage (July 6-17), but the aerial system took on an even bigger role on Wednesday, when ESPN3 and NBA League Pass International live-streamed a SkyCam View broadcast option for back-to-back games. Building on the efforts of NBC Sports' NFL Thursday Night Football coverage last year, the alternative production used the SkyCam, rather than the traditional center-court position, as the main game camera. The SkyCam View caters to NBA fans groomed with the infamous "auto flip" reverse perspective in NBA 2K videogames.
"Our goal was to see what we could do with it in an open environment like Summer League," says Benedict. "We know that we have full range over the entire floor, with a little bit lower depths than we normally would. We are trying to replicate that overhead view with a 'look-and-spin' action that you see in NBA 2K. Along with ESPN, we're both really excited about it."
Summer League Live: Bringing Viewers Inside the Arena
With Summer League Live, the NBA and ESPN aim to deliver an interactive, social-media–driven telecast that brings alive the Summer League in-arena experience and engages fans in ways that allow them to affect the show. The format debuted on ESPN3 and NBA League Pass International on Friday (Suns vs. Mavericks) and Saturday (Lakers vs. Sixers).
"On Friday, we focused on bringing the [in-arena] experience to life, because Summer League is a really cool event and people don't appreciate it until they get here and experience it for themselves," says Benedict. "So we brought our reporter Rob Knight up, and he brought it alive through Pop Shot [arcade-game] activation, getting players signing autographs, and showing how it's a who's who of who's at the arena. We tried to bring that alive.
"Then, on Saturday," he continues, "it was more about social and really sparking up conversation. We're really making an effort to bridge social, digital, and linear and trying to get them all to play off one another. We did a lot of viewer prompts that allowed them to choose some of the content that would be coming up, and that dictated the direction of the broadcast. And we did a lots of cool Instagram interactions. We were really happy with it overall."
'Dueling Analysts' Format Adds New Dynamic
On Monday, ESPN3 and NBA League Pass International live-streamed a "Dueling Analysts" feed, an approach that gamified the broadcast by putting two analysts up against one another in fun and competitive fashion.
"The idea for Dueling Analysts idea was born out of [the question of] 'How can we gamify a broadcast? How can we add another element to a game to keep viewers watching for longer? Not every Summer League game is going to have the most compelling action, so what's another reason we can get fans to really stay tuned in and watch? We took two analysts who are very engaging and can occasionally be contentious and start fireworks and pitted them against each other."
The NBA continues to create new content at Summer League for its AR Portal App
Fans Get To Hear Familiar Voices With 'Hometown Call'
On Sunday and Monday, ESPN3 and NBA League Pass International also provided viewers with a "Hometown Call" featuring with their local announcers' audio feed.
"One thing you lose when you get deeper in the Playoffs is, the games become exclusive [to national broadcasters]. If fans want the Hometown Call, their only option is just the audio [on radio]," says Benedict. "The big challenge is integrating the [hometown commentary] over the [telecast] and matching the graphics. The focus is really syncing those feeds up so there's no delay for the fan at home."
All About Immersion: AR and VR Return
After launching the NBA AR app for last year's Playoffs and rolling out plenty of content throughout the Finals and the NBA Draft, the league is continuing the effort in Vegas. The league is creating both live and VOD AR content that allows fans to virtually go on the court and behind the scenes with various 360-degree executions on the NBA AR app.
"There are two camera sets here, and we're looking to provide people with AR experiences in back of house, at courtside during warmups, and in the locker rooms," says Hellmuth. "We're just looking to give people an experience as if they were at Summer League. Coming off the great AR [content] during the Finals and at the Draft, we're really excited about this. There's no question people are investing in AR, and we believe it has a big future."
The league and its partners are also producing new VR content at Summer League and testing out new tools for both content- and referee-development initiatives.
MLB All-Star 2019 Wrap-Up: Specialty Cameras, Virtual Graphics Take Center Stage in ClevelandMLB All-Star 2019 Wrap-Up: Vendors Unite in the Compound, on the Set for Fox, ESPN, MLBNThe NBA's Steve Hellmuth Offers Inside Look at NBA Summer League 5G-Based ProductionMLB All-Star 2019 Photo Gallery: Fox Sports, ESPN, MLB Network, and MoreSports Betting Promises Big Changes for RSNsSunset+Vine Execs Discuss Storytelling, Adding Production 'Gloss' at Cricket World CupSVG Sports OTT Forum: Amazon Prime Video's BA Winston To Keynote Second-Annual Event, July 25, NYCNBC and MSG Use Strategy and Storytelling To Keep Viewers EngagedTaking Social Media Further With Wimbledon DigitalHenley Regatta Builds International Audience With Stylish Production on YouTube, BT Sport
MLB All-Star 2019 Wrap-Up: Specialty Cameras, Virtual Graphics Take Center Stage in ClevelandMLB All-Star 2019 Wrap-Up: Vendors Unite in the Compound, on the Set for Fox, ESPN, MLBN
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Andover teenager proud as a peacock after scooping top photography prize
Andover teenager wins RSPCA Young Photographer Award
Ellis' winning photo, Urban Kingfisher. Credit: Ellis Owen
An Andover teenager has won the top prize for their wildlife photography in the RSPCA Young Photographer Awards.
Ellis Owen's picture, 'Urban Kingfisher', beat off competition from more than 11,000 others to win the 12-15 category.
The 15-year-old took a picture of a female Kingfisher sitting on railings in the town centre, next to the River Anton. The prize includes a "prestigious" trophy, an exclusive photoshoot at an RSPCA animal centre, £350 of Amazon vouchers and a PIR Motion Sensor and cable.
Ellis said: "I am so pleased the judges liked my photo.
"This image was taken on a busy day in the middle of Andover Town Centre. The River Anton flows through the crowded high street meaning typically only mallards choose to inhabit this area. However last Winter a female kingfisher decided to spend the cold months fishing on this river, occasionally venturing right by the nearby Supermarket.
"I wanted to get a shot through these rings where she liked to hunt but it was a challenge. Finally after weeks of persistence I managed to get a shot and it's one of my favourites to this day."
The awards were judged blind online, with judges including TV presenter Chris Packham, BBC drone pilot Sam Rowley, wildlife photographer Catriona Parfitt, photographic guide Ellie Rothnie,and nature photographer Julian Cox as well as the RSPCA's multimedia manager and senior photographer.
Ellis' win, along with those in the other eight categories, were announced during an online awards ceremony hosted by Chris Packham on Thursday, 17 December. As well as various age categories, there were also prizes for the best picture taken on a mobile phone, as well as pictures of pets.
Chris said: "The quality of entries this year as the competition celebrates its 30th anniversary has been astounding. We felt that the lockdown ironically worked in all the young photographers' favour; they really did enter fantastic pictures.
"The RSPCA Young Photographer Awards is a true celebration of the animal kingdom and one I feel honoured to be involved with. Every person shortlisted should be proud of their contribution to a world that's kinder to all animals."
To see all the winning pictures, including Ellis', please click here.


Michael Stolpe is a senior economist at the Kiel Institute for the World Economy, in Germany, leading its project on the global health economy. He is also a full member of the DFG Cluster of Excellence "Inflammation at Interfaces," one of the world's leading research collaborations on chronic inflammatory processes in the human body, associated with a wide range of diseases whose prevalence is rapidly increasing in many industrialized countries.
Michael Stolpe's current research is focused on health inequalities, health investments over the lifecycle, early retirement and pension policy, the social costs of HIV/AIDS, medical decision making, and innovation in medical technology and practice. He has additional research experience in finance, international economics and economic growth. As a policy advisor, Michael Stolpe has provided expertise to national governments around the world and key international organizations, such as the European Medical Research Councils, the European Commission and the International Monetary Fund.
Since 2011, Michael Stolpe has served as an Editorial Board Member of the Health Economics Review. He continues to teach health economics at the University of Kiel.
Invited Panelist at the University of Queen's Health Policy Change Conference "Towards a Canadian Healthcare Strategy"
Michael Stolpe teaches health economics at the University of Kiel.


American Regionalist* artist Philip Gronemeyer and his wife Mary were prominent in the St. Louis, Missouri art community in the 1930s, 40s and 50s. Philip Gronemeyer was born in St. Louis. He studied painting at the St. Louis School of Fine Arts before moving to New York City. He taught art at the Brooklyn Boys High School while he continued his own studies at the Pratt Institute*. There he met his future wife Mary Hallet, who attended Pratt to study painting, leather tooling and woodworking. The pair discovered that they has two loves in common; painting and their noted accomplishments as violinists.
The pair returned to St. Louis in the early 1920s. Philip again took a job teaching high school art, while Mary became a fashion illustrator for a department store. The couple became key figures in the St. Louis art community beginning in the 1920s, and continuing until their deaths.
The husband and wife were active and respected members of the St. Louis Society of Independent Artists, the St. Louis Art Guild, the St. Louis Art League and the St. Louis Watercolor Club. In addition, Philip was the founder and president of the St. Louis Conservation of Art Association.
The Gronemeyers' work is represented in the St. Louis Art Museum, and can be found in corporate, public, and private collections throughout St. Louis.


Interesting Ari. I think of my blog still as a homebase, but much of the content I create is first on the platform I hope to have it consumed on. Native content ranks best when posted natively.
My blog is a showcase, and a place to convert people to my list or to do business with me, I suppose. Not sure what else to make of it.
You have a motivation for your blogging, i.e. to persuade someone to do business with you. I used to have that motivation; but not lately. I blog to blog — and perhaps this is one reason why my frequency is less and another reason why I wonder if it matters what I write about or if it's just as well if I write about everything under the sun.


For thousands of years, the observances have been the same. Friends and family join together in celebrating the Jews' exodus from Egyptian slavery. In order to give praise and thanks for the deliverance of an entire people, the Passover seder ceremonially recalls both the trials and the precious freedom those of the Jewish faith experienced thousands of years ago.
Wine is an integral part of this ceremony, and in fact, four cups of wine are traditionally consumed as part of the seder. Each adult will drink one cup of wine for each of the four "Expressions of Redemption" recalled in the retelling of the Passover story each year. The kind of wine may vary – from dry to sweet, hailing from Israel or from New York – but the wine must be produced in accordance with the kashrut, or Jewish dietary laws. Kosher wine production follows strict rules, and labels even indicate which wines are Kosher and which are Kosher for Passover, meaning they conform to even more stringent rules. Kosher wines can be made anywhere in the world, and it's easy to find Kosher wines from California, New York, Chile, France, Italy, Australia, and, of course, Israel.
Passover is about remembrance, about looking to the collective past. What is interesting is that wine – and specifically wine made in Israel – is just as tied to history as the celebration of Passover itself.
According to the Israel Ministry of Foreign Affairs, the roots of wine made in Israel run deep – back to biblical times. Though many of the wines made thousands of years ago wouldn't have been particularly palatable by today's standards, wines were made and shipped to other countries from Israel. Though historians have often proclaimed the years after the Muslim conquests of 636CE as dry ones for the country, Kevin Begos, in his excellent article, "Time for Israeli Winemakers to Embrace Their Viticultural Heritage," for Tabletmag.com, paraphrases Aren Maeir, an Israeli archaeologist: "assuming no one drank wine because of the Koran is a bit like suggesting that Christians always follow the Ten Commandments, or that no one drank during Prohibition." While wine has been made in Israel continuously since biblical times, there was a definite point at which the winemaking game completely changed.
That point came in 1882, explains Elizabeth Downer in her Pittsburgh Post-Gazette article titled "Here's the history of how Israel became a world wine powerhouse." What happened in 1882? Baron Edmond de Rothschild, owner of first-growth Bordeaux property, Chateau Lafite Rothschild, planted Bordeaux grape varieties along the Mediterranean coast in the areas of Samaria and Samson. He founded a winery called Carmel, which produces wines to this day. Downer points out that most of the wines produced were sticky-sweet Kosher styles that aren't favorites of connoisseurs.
The next big milestone for Israeli wines came as a result of the Six Day War in 1967, in which Israel captured the Golan Heights from Syria. Elizabeth Downer explains that an enologist (someone who studies wine and winemaking,) visiting from UC Davis, pointed out that the climate and soils of the Golan Heights are ideal for producing fine wines. The first grapes were planted there in 1976. Since then, with international cooperation from growers and winemakers all over the world, Israel has been producing outstanding wines by any measure.
The apex of international acclaim was achieved in 2008, when Yarden Cabernet Sauvignon 2004 appeared on Wine Spectator's "Top 100 Wines of the Year" list.
One might think there's nothing left for Israel to achieve in the world of wine, but just as Passover causes Jews all over the world to reflect on the past and its role in our lives, so, too, have Israeli winemakers been looking to the past for inspiration and clues about a more historical and possibly more authentic version of Israeli wines.
When Edmond de Rothschild directed the planting of international grape varieties, he disregarded the potential of native grape varieties, a choice that Kevin Begos explains disregarded the opinions of some of his advisors. These local varieties went largely ignored until around 2008, when the wines of Cremisan Cellars began attracting attention.
Founded in 1885, Cremisan Cellars occupies a unique space, both geographically and philosophically. The site of a Christian monastery, Cremisan physically straddles the Israeli-Palestinian border, all while producing wines made from indigenous varieties. Begos explains that Israeli scientist, Shivi Drori, funded in part by the Jewish National Fund, began exhaustive research into indigenous grape varieties, and identified at least twenty varieties, including the ones Cremisan uses.
Wine made from the ancient varieties like jandali, hamdani, and dabouki have even begun garnering attention from the wine press. In 2016, the Cremisan 2012 Hamdani-Jandali blend received an "outstanding" 90-point rating from Wine Spectator.
As Passover 2019 approaches, and as Jews everywhere begin the annual preparation for time-honored observances, it is worthwhile to contemplate the role of wine in Israel's history. Not only is kosher wine integral to the Passover seder and brimming with symbolic significance, but Israeli wine itself invites us to reflect on history, our roots, and a peaceful, cooperative vision of the future.
Baruch Labunski is an entrepreneur, internet marketing expert and author from Toronto, Canada. He currently serves as CEO of Rank Secure, an award-winning web-design and internet marketing firm.


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Q: How to determine best packaging for the fewest number of boxes needed? I am trying to figure out if there is a better way to do this...the code below works, but I am having to do several queries inside a double while loop, which, to me, doesn't seem to be the best approach.
The problem:  I have a series of lots with various number of units within each lot.  I need determine the total number of boxes needed to package a maximum of 50 units per box, without splitting a lot into two different boxes.  I need to have a list that contains the Box ID, Lot Number, and the number of units in that lot.  If the total number of units between all lots within that box is less than 50, then an additional row for XX individual dummy units needs to be added to bring the total up to 50 units.
IF OBJECT_ID('tempdb..#temp') IS NOT NULL DROP TABLE #temp

CREATE TABLE #temp (
   SYSID BIGINT NOT NULL IDENTITY(1,1),
   LOT_NUMBER NVARCHAR(100) NOT NULL,
   UNIT_COUNT BIGINT NOT NULL,
   BOX_ID BIGINT NULL,
   PROCESSED BIT NULL
)

INSERT INTO #temp
(
   LOT_NUMBER,
   UNIT_COUNT
)
VALUES
('0111590',2),
('0111944',18),
('0111978',5),
('0111982',15),
('0111985',15),
('0111995',14),
('0111996',34),
('0111997',29),
('0111998',16),
('0111999',17),
('0112001',26),
('0112002',29),
('0112004',17)

DECLARE @BOX_ID BIGINT
DECLARE @SYSID1 BIGINT
DECLARE @SYSID2 BIGINT
DECLARE @SYSID3 BIGINT
DECLARE @UNIT_COUNT BIGINT
SET NOCOUNT ON

SET @BOX_ID = 1

WHILE (SELECT COUNT(*) FROM #temp WHERE BOX_ID IS NULL) > 0
BEGIN
   SELECT TOP 1 @SYSID1 = t.SYSID, @UNIT_COUNT = 50 - t.UNIT_COUNT
   FROM #temp t
   WHERE BOX_ID IS NULL
   ORDER BY t.UNIT_COUNT DESC

   UPDATE t SET
      t.BOX_ID = @BOX_ID
   FROM #temp t
   WHERE SYSID = @SYSID1

   WHILE(SELECT COUNT(*) FROM #temp WHERE BOX_ID IS NULL AND PROCESSED IS NULL) > 0
   BEGIN
       SELECT TOP 1 @SYSID2 = t.SYSID
       FROM #temp t
       WHERE t.BOX_ID IS NULL
         AND t.PROCESSED IS NULL
       ORDER BY t.UNIT_COUNT desc

       SELECT TOP 1 @SYSID3 = t.SYSID, @UNIT_COUNT = @UNIT_COUNT - t.UNIT_COUNT
       FROM #temp t
       WHERE t.BOX_ID IS NULL
         AND t.UNIT_COUNT <= @UNIT_COUNT
       ORDER BY t.UNIT_COUNT desc

       UPDATE t SET
          t.BOX_ID = @BOX_ID
       FROM #temp t
       WHERE t.SYSID = @SYSID3

       UPDATE t SET
           t.PROCESSED = 1
       FROM #temp t
       WHERE SYSID = @SYSID2
   END

   INSERT INTO #temp
   (
       BOX_ID,
       LOT_NUMBER,
       UNIT_COUNT
   )
   SELECT @BOX_ID, 'DUMMY UNITS', @UNIT_COUNT
   WHERE @UNIT_COUNT > 0

   SELECT @BOX_ID = @BOX_ID + 1

   UPDATE t SET
      t.PROCESSED = NULL
   FROM #temp t
   WHERE BOX_ID IS NULL

END

SELECT
  BOX_ID,
  LOT_NUMBER,
  UNIT_COUNT
FROM #temp
ORDER BY BOX_ID,UNIT_COUNT desc

The output of this code
BOX_ID  LOT_NUMBER     UNIT_COUNT
1       0111996        34
1       0111998        16
2       0111997        29
2       0111944        18
2       0111590        2
2       DUMMY UNITS    1
3       0112002        29
3       0111999        17
3       DUMMY UNITS    4
4       0112001        26
4       0112004        17
4       0111978        5
4       DUMMY UNITS    2
5       0111982        15
5       0111985        15
5       0111995        14
5       DUMMY UNITS    6

Thanks for any recommendations,
jlimited

redpajama_set_name: RedPajamaStackExchange


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explorion.net • Travel & Exploration • Mornings in Florence • THE FOURTH MORNING. THE VAULTED BOOK.
THE FOURTH MORNING. THE VAULTED BOOK.
As early as may be this morning, let us look for a minute or two into the cathedral: - I was going to say, entering by one of the side doors of the aisles; - but we can't do anything else, which perhaps might not strike you unless you were thinking specially of it. There are no transept doors; and one never wanders round to the desolate front. From either of the side doors, a few paces will bring you to the middle of the nave, and to the point opposite the middle of the third arch from the west end; where you will find yourself - if well in the mid-wave - standing on a circular slab of green porphyry, which marks the former place of the grave of the bishop Zenobius. The larger inscription, on the wide circle of the floor outside of you, records the translation of his body; the smaller one round the stone at your feet - "quiescimus, domum hanc quum adimus ultimam" - is a painful truth, I suppose, to travellers like us, who never rest anywhere now, if we can help it.
Resting here, at any rate, for a few minutes, look up to the whitewashed vaulting of the compartment of the roof next the west end.
You will see nothing whatever in it worth looking at. Nevertheless, look a little longer.
But the longer you look, the less you will understand why I tell you to look. It is nothing but a whitewashed ceiling: vaulted indeed, - but so is many a tailor's garret window, for that matter. Indeed, now that you have looked steadily for a minute or so, and are used to the form of the arch, it seems to become so small that you can almost fancy it the ceiling of a good-sized lumber-room in an attic.
Having attained to this modest conception of it, carry your eyes back to the similar vault of the second compartment, nearer you. Very little further contemplation will reduce that also to the similitude of a moderately-sized attic. And then, resolving to bear, if possible - for it is worth while, - the cramp in your neck for another quarter of a minute, look right up to the third vault, over your head; which, if not, in the said quarter of a minute, reducible in imagination to a tailor's garret, will at least sink, like the two others, into the semblance of a common arched ceiling, of no serious magnitude or majesty.
Then, glance quickly down from it to the floor, and round at the space, (included between the four pillars), which that vault covers. It is sixty feet square,[Footnote: Approximately. Thinking I could find the dimensions of the duomo anywhere, I only paced it myself, - and cannot, at this moment, lay my hand on English measurements of it.] - four hundred square yards of pavement, - and I believe you will have to look up again more than once or twice, before you can convince yourself that the mean-looking roof is swept indeed over all that twelfth part of an acre. And still less, if I mistake not, will you, without slow proof, believe, when you turn yourself round towards the east end, that the narrow niche (it really looks scarcely more than a niche) which occupies, beyond the dome, the position of our northern choirs, is indeed the unnarrowed elongation of the nave, whose breadth extends round you like a frozen lake. From which experiments and comparisons, your conclusion, I think, will be, and I am sure it ought to be, that the most studious ingenuity could not produce a design for the interior of a building which should more completely hide its extent, and throw away every common advantage of its magnitude, than this of the Duomo of Florence.
There is, indeed, within the opposite cloister, an arch of entrance, plain enough. But no chapel, whatever, externally manifesting itself as worth entering. No walls, or gable, or dome, raised above the rest of the outbuildings - only two windows with traceries opening into the cloister; and one story of inconspicuous building above. You can't conceive there should be any effect of magnitude produced in the interior, however it has been vaulted or decorated. It may be pretty, but it cannot possibly look large.
Entering it, nevertheless, you will be surprised at the effect of height, and disposed to fancy that the circular window cannot surely be the same you saw outside, looking so low, I had to go out again, myself, to make sure that it was.
And gradually, as you let the eye follow the sweep of the vaulting arches, from the small central keystone-boss, with the Lamp carved on it, to the broad capitals of the hexagonal pillars at the angles, - there will form itself in your mind, I think, some impression not only of vastness in the building, but of great daring in the builder; and at last, after closely following out the lines of a fresco or two, and looking up and up again to the coloured vaults, it will become to you literally one of the grandest places you ever entered, roofed without a central pillar. You will begin to wonder that human daring ever achieved anything so magnificent.
But just go out again into the cloister, and recover knowledge of the facts. It is nothing like so large as the blank arch which at home we filled with brickbats or leased for a gin-shop under the last railway we made to carry coals to Newcastle. And if you pace the floor it covers, you will find it is three feet less one way, and thirty feet less the other, than that single square of the Cathedral which was roofed like a tailor's loft, - accurately, for I did measure here, myself, the floor of the Spanish chapel is fifty-seven feet by thirty-two.
I hope, after this experience, that you will need no farther conviction of the first law of noble building, that grandeur depends on proportion and design - not, except in a quite secondary degree, on magnitude. Mere size has, indeed, under all disadvantage, some definite value; and so has mere splendour. Disappointed as you may be, or at least ought to be, at first, by St. Peter's, in the end you will feel its size, - and its brightness. These are all you can feel in it - it is nothing more than the pump-room at Leamington built bigger; - but the bigness tells at last: and Corinthian pillars whose capitals alone are ten feet high, and their acanthus leaves, three feet six long, give you a serious conviction of the infallibility of the Pope, and the fallibility of the wretched Corinthians, who invented the style indeed, but built with capitals no bigger than hand-baskets.
Vastness has thus its value. But the glory of architecture is to be - whatever you wish it to be, - lovely, or grand, or comfortable, - on such terms as it can easily obtain. Grand, by proportion - lovely, by imagination - comfortable, by ingenuity - secure, by honesty: with such materials and in such space as you have got to give it.
Grand - by proportion, I said; but ought to have said by dis_proportion. Beauty is given by the relation of parts - size, by their comparison. The first secret in getting the impression of size in this chapel is the dis_proportion between pillar and arch. You take the pillar for granted, - it is thick, strong, and fairly high above your head. You look to the vault springing from it - and it soars away, nobody knows where.
Another great, but more subtle secret is in the in_equality and immeasurability of the curved lines; and the hiding of the form by the colour.
To begin, the room, I said, is fifty-seven feet wide, and only thirty-two deep. It is thus nearly one-third larger in the direction across the line of entrance, which gives to every arch, pointed and round, throughout the roof, a different spring from its neighbours.
The vaulting ribs have the simplest of all profiles - that of a chamfered beam. I call it simpler than even that of a square beam; for in barking a log you cheaply get your chamfer, and nobody cares whether the level is alike on each side: but you must take a larger tree, and use much more work to get a square. And it is the same with stone.
And this profile is - fix the conditions of it, therefore, in your mind, - venerable in the history of mankind as the origin of all Gothic tracery-mouldings; venerable in the history of the Christian Church as that of the roof ribs, both of the lower church of Assisi, bearing the scroll of the precepts of St. Francis, and here at Florence, bearing the scroll of the faith of St. Dominic. If you cut it out in paper, and cut the corners off farther and farther, at every cut, you will produce a sharper profile of rib, connected in architectural use with differently treated styles. But the entirely venerable form is the massive one in which the angle of the beam is merely, as it were, secured and completed in stability by removing its too sharp edge.
Well, the vaulting ribs, as in Giotto's vault, then, have here, under their painting, this rude profile: but do not suppose the vaults are simply the shells cast over them. Look how the ornamental borders fall on the capitals! The plaster receives all sorts of indescribably accommodating shapes - the painter contracting and stopping his design upon it as it happens to be convenient. You can't measure anything; you can't exhaust; you can't grasp, - except one simple ruling idea, which a child can grasp, if it is interested and intelligent: namely, that the room has four sides with four tales told upon them; and the roof four quarters, with another four tales told on those. And each history in the sides has its correspondent history in the roof. Generally, in good Italian decoration, the roof represents constant, or essential facts; the walls, consecutive histories arising out of them, or leading up to them. Thus here, the roof represents in front of you, in its main quarter, the Resurrection - the cardinal fact of Christianity; opposite (above, behind you), the Ascension; on your left hand, the descent of the Holy Spirit; on your right, Christ's perpetual presence with His Church, symbolized by His appearance on the Sea of Galilee to the disciples in the storm.
The correspondent walls represent: under the first quarter, (the Resurrection), the story of the Crucifixion; under the second quarter, (the Ascension), the preaching after that departure, that Christ will return - symbolized here in the Dominican church by the consecration of St. Dominic; under the third quarter, (the descent of the Holy Spirit), the disciplining power of human virtue and wisdom; under the fourth quarter, (St. Peter's Ship), the authority and government of the State and Church.
The order of these subjects, chosen by the Dominican monks themselves, was sufficiently comprehensive to leave boundless room for the invention of the painter. The execution of it was first intrusted to Taddeo Gaddi, the best architectural master of Giotto's school, who painted the four quarters of the roof entirely, but with no great brilliancy of invention, and was beginning to go down one of the sides, when, luckily, a man of stronger brain, his friend, came from Siena. Taddeo thankfully yielded the room to him; he joined his own work to that of his less able friend in an exquisitely pretty and complimentary way; throwing his own greater strength into it, not competitively, but gradually and helpfully. When, however, he had once got himself well joined, and softly, to the more simple work, he put his own force on with a will and produced the most noble piece of pictorial philosophy [Footnote: There is no philosophy taught either by the school of Athens or Michael Angelo's 'Last Judgment,' and the 'Disputa' is merely a graceful assemblage of authorities, the effects of such authority not being shown.] and divinity existing in Italy.
This pretty, and, according to all evidence by me attainable, entirely true, tradition has been all but lost, among the ruins of fair old Florence, by the industry of modern mason-critics - who, without exception, labouring under the primal (and necessarily unconscious) disadvantage of not knowing good work from bad, and never, therefore, knowing a man by his hand or his thoughts, would be in any case sorrowfully at the mercy of mistakes in a document; but are tenfold more deceived by their own vanity, and delight in overthrowing a received idea, if they can.
Farther: as every fresco of this early date has been retouched again and again, and often painted half over, - and as, if there has been the least care or respect for the old work in the restorer, he will now and then follow the old lines and match the old colours carefully in some places, while he puts in clearly recognizable work of his own in others, - two critics, of whom one knows the first man's work well, and the other the last's, will contradict each other to almost any extent on the securest grounds. And there is then no safe refuge for an uninitiated person but in the old tradition, which, if not literally true, is founded assuredly on some root of fact which you are likely to get at, if ever, through it only. So that my general directions to all young people going to Florence or Rome would be very short: "Know your first volume of Vasari, and your two first books of Livy; look about you, and don't talk, nor listen to talking."
On those terms, you may know, entering this chapel, that in Michael Angelo's time, all Florence attributed these frescos to Taddeo Gaddi and Simon Memmi.
I have studied neither of these artists myself with any speciality of care, and cannot tell you positively, anything about them or their works. But I know good work from bad, as a cobbler knows leather, and I can tell you positively the quality of these frescos, and their relation to contemporary panel pictures; whether authentically ascribed to Gaddi, Memmi, or any one else, it is for the Florentine Academy to decide.
The roof, and the north side, down to the feet of the horizontal line of sitting figures, were originally third-rate work of the school of Giotto; the rest of the chapel was originally, and most of it is still, magnificent work of the school of Siena. The roof and north side have been heavily repainted in, many places; the rest is faded and injured, but not destroyed in its most essential qualities. And now, farther, you must bear with just a little bit of tormenting history of painters.
There were two Gaddis, father and son, - Taddeo and Angelo. And there were two Memmis, brothers, - Simon and Philip.
I daresay you will find, in the modern books, that Simon's real name was Peter, and Philip's real name was Bartholomew; and Angelo's real name was Taddeo, and Taddeo's real name was Angelo; and Memmi's real name was Gaddi, and Gaddi's real name was Memmi. You may find out all that at your leisure, afterwards, if you like. What it is important for you to know here, in the Spanish Chapel, is only this much that follows: - There were certainly two persons once called Gaddi, both rather stupid in religious matters and high art; but one of them, I don't know or care which, a true decorative painter of the most exquisite skill, a perfect architect, an amiable person, and a great lover of pretty domestic life. Vasari says this was the father, Taddeo. He built the Ponte Vecchio; and the old stones of it - which if you ever look at anything on the Ponte Vecchio but the shops, you may still see (above those wooden pent-houses) with the Florentine shield - were so laid by him that they are unshaken to this day.
He painted an exquisite series of frescos at Assisi from the Life of Christ; in which, - just to show you what the man's nature is, - when the Madonna has given Christ into Simeon's arms, she can't help holding out her own arms to him, and saying, (visibly,) "Won't you come back to mamma?" The child laughs his answer - "I love you, mamma; but I'm quite happy just now."
Well; he, or he and his son together, painted these four quarters of the roof of the Spanish Chapel. They were very probably much retouched afterwards by Antonio Veneziano, or whomsoever Messrs. Crowe and Cavalcasella please; but that architecture in the descent of the Holy Ghost is by the man who painted the north transept of Assisi, and there need be no more talk about the matter, - for you never catch a restorer doing his old architecture right again. And farther, the ornamentation of the vaulting ribs is by the man who painted the Entombment, No. 31 in the Galerie des Grands Tableaux, in the catalogue of the Academy for 1874. Whether that picture is Taddeo Gaddi's or not, as stated in the catalogue, I do not know; but I know the vaulting ribs of the Spanish Chapel are painted by the same hand.
Now I catch the wring and verjuice of this brother again and again, among the minor heads of the lower frescoes in this Spanish Chapel. The head of the Queen beneath Noah, in the Limbo, - (see below) is unmistakable.
Farther: one of the two brothers, I don't care which, had a way of painting leaves; of which you may see a notable example in the rod in the hand of Gabriel in that same picture of the Annunciation in the Uffizii. No Florentine painter, or any other, ever painted leaves as well as that, till you get down to Sandro Botticelli, who did them much better. But the man who painted that rod in the hand of Gabriel, painted the rod in the right hand of Logic in the Spanish Chapel, - and nobody else in Florence, or the world, could.
Farther (and this is the last of the antiquarian business); you see that the frescoes on the roof are, on the whole, dark with much blue and red in them, the white spaces coming out strongly. This is the characteristic colouring of the partially defunct school of Giotto, becoming merely decorative, and passing into a colourist school which connected itself afterwards with the Venetians. There is an exquisite example of all its specialities in the little Annunciation in the Uffizii, No. 14, attributed to Angelo Gaddi, in which you see the Madonna is stupid, and the angel stupid, but the colour of the whole, as a piece of painted glass, lovely; and the execution exquisite, - at once a painter's and jeweller's; with subtle sense of chiaroscuro underneath; (note the delicate shadow of the Madonna's arm across her breast).
The head of this school was (according to Vasari) Taddeo Gaddi; and henceforward, without further discussion, I shall speak of him as the painter of the roof of the Spanish Chapel, - not without suspicion, however, that his son Angelo may hereafter turn out to have been the better decorator, and the painter of the frescoes from the life of Christ in the north transept of Assisi, - with such assistance as his son or scholars might give - and such change or destruction as time, Antonio Veneziano, or the last operations of the Tuscan railroad company, may have effected on them.
On the other hand, you see that the frescos on the walls are of paler colours, the blacks coming out of these clearly, rather than the whites; but the pale colours, especially, for instance, the whole of the Duomo of Florence in that on your right, very tender and lovely. Also, you may feel a tendency to express much with outline, and draw, more than paint, in the most interesting parts; while in the duller ones, nasty green and yellow tones come out, which prevent the effect of the whole from being very pleasant. These characteristics belong, on the whole, to the school of Siena; and they indicate here the work assuredlyof a man of vast power and most refined education, whom I shall call without further discussion, during the rest of this and the following morning's study, Simon Memmi.
And of the grace and subtlety with which he joined his work to that of the Gaddis, you may judge at once by comparing the Christ standing on the fallen gate of the Limbo, with the Christ in the Resurrection above. Memmi has retained the dress and imitated the general effect of the figure in the roof so faithfully that you suspect no difference of mastership - nay, he has even raised the foot in the same awkward way: but you will find Memmi's foot delicately drawn-Taddeo's, hard and rude: and all the folds of Memmi's drapery cast with unbroken grace and complete gradations of shade, while Taddeo's are rigid and meagre; also in the heads, generally Taddeo's type of face is square in feature, with massive and inelegant clusters or volutes of hair and beard; but Memmi's delicate and long in feature, with much divided and flowing hair, often arranged with exquisite precision, as in the finest Greek coins. Examine successively in this respect only the heads of Adam, Abel, Methuselah, and Abraham, in the Limbo, and you will not confuse the two designers any more. I have not had time to make out more than the principal figures in the Limbo, of which indeed the entire dramatic power is centred in the Adam and Eve. The latter dressed as a nun, in her fixed gaze on Christ, with her hands clasped, is of extreme beauty: and however feeble the work of any early painter may be, in its decent and grave inoffensiveness it guides the imagination unerringly to a certain point. How far you are yourself capable of filling up what is left untold and conceiving, as a reality, Eve's first look on this her child, depends on no painter's skill, but on your own understanding. Just above Eve is Abel, bearing the lamb: and behind him, Noah, between his wife and Shem: behind them, Abraham, between Isaac and Ishmael; (turning from Ishmael to Isaac), behind these, Moses, between Aaron and David. I have not identified the others, though I find the white-bearded figure behind Eve called Methuselah in my notes: I know not on what authority. Looking up from these groups, however, to the roof painting, you will at once feel the imperfect grouping and ruder features of all the figures; and the greater depth of colour. We will dismiss these comparatively inferior paintings at once.
The roof and walls must be read together, each segment of the roof forming an introduction to, or portion of, the subject on the wall below. But the roof must first be looked at alone, as the work of Taddeo Gaddi, for the artistic qualities and failures of it.
I. In front, as you enter, is the compartment with the subject of the Resurrection. It is the traditional Byzantine composition: the guards sleeping, and the two angels in white saying to the women, "He is not here," while Christ is seen rising with the flag of the Cross.
But it would be difficult to find another example of the subject, so coldly treated - so entirely without passion or action. The faces are expressionless; the gestures powerless. Evidently the painter is not making the slightest effort to conceive what really happened, but merely repeating and spoiling what he could remember of old design, or himself supply of commonplace for immediate need. The "Noli me tangere," on the right, is spoiled from Giotto, and others before him; a peacock, woefully plumeless and colourless, a fountain, an ill drawn toy-horse, and two toy-children gathering flowers, are emaciate remains of Greek symbols. He has taken pains with the vegetation, but in vain. Yet Taddeo Gaddi was a true painter, a very beautiful designer, and a very amiable person. How comes he to do that Resurrection so badly?
In the first place, he was probably tired of a subject which was a great strain to his feeble imagination; and gave it up as impossible: doing simply the required figures in the required positions. In the second, he was probably at the time despondent and feeble because of his master's death. See Lord Lindsay, II. 273, where also it is pointed out that in the effect of the light proceeding from the figure of Christ, Taddeo Gaddi indeed was the first of the Giottisti who showed true sense of light and shade. But until Lionardo's time the innovation did not materially affect Florentine art.
II. The Ascension (opposite the Resurrection, and not worth looking at, except for the sake of making more sure our conclusions from the first fresco). The Madonna is fixed in Byzantine stiffness, without Byzantine dignity.
III. The Descent of the Holy Ghost, on the left hand. The Madonna and disciples are gathered in an upper chamber: underneath are the Parthians, Medes, Elamites, etc., who hear them speak in their own tongues.
Three dogs are in the foreground - their mythic purpose the same as that of the two verses which affirm the fellowship of the dog in the journey and return of Tobias: namely, to mark the share of the lower animals in the gentleness given by the outpouring of the Spirit of Christ.
IV. The Church sailing on the Sea of the World. St. Peter coming to Christ on the water.
I was too little interested in the vague symbolism of this fresco to examine it with care - the rather that the subject beneath, the literal contest of the Church with the world, needed more time for study in itself alone than I had for all Florence.
On this, and the opposite side of the chapel, are represented, by Simon Memmi's hand, the teaching power of the Spirit of God, and the saving power of the Christ of God, in the world, according to the understanding of Florence in his time.
We will take the side of Intellect first, beneath the pouring forth of the Holy Spirit.
In the point of the arch beneath, are the three Evangelical Virtues. Without these, says Florence, you can have no science. Without Love, Faith, and Hope - no intelligence.
A, Charity; flames issuing from her head and hands. B, Faith; holds cross and shield, quenching fiery darts. This symbol, so frequent in modern adaptation from St. Paul's address to personal faith, is rare in older art. C, Hope, with a branch of lilies. D, Temperance; bridles a black fish, on which she stands. E, Prudence, with a book. F, Justice, with crown and baton. G, Fortitude, with tower and sword.
Under these are the great prophets and apostles; on the left,[Footnote: I can't find my note of the first one on the left; answering to Solomon, opposite.] David, St. Paul, St. Mark, St. John; on the right, St. Matthew, St. Luke, Moses, Isaiah, Solomon. In the midst of the Evangelists, St. Thomas Aquinas, seated on a Gothic throne.
Now observe, this throne, with all the canopies below it, and the complete representation of the Duomo of Florence opposite, are of finished Gothic of Orecagna's school - later than Giotto's Gothic. But the building in which the apostles are gathered at the Pentecost is of the early Romanesque mosaic school, with a wheel window from the duomo of Assisi, and square windows from the Baptistery of Florence. And this is always the type of architecture used by Taddeo Gaddi: while the finished Gothic could not possibly have been drawn by him, but is absolute evidence of the later hand.
Under the line of prophets, as powers summoned by their voices, are the mythic figures of the seven theological or spiritual, and the seven ge_ological or natural sciences: and under the feet of each of them, the figure of its Captain-teacher to the world.
I had better perhaps give you the names of this entire series of figures from left to right at once. You will see presently why they are numbered in a reverse order.
Beneath whom 8. Civil Law. The Emperor Justinian. 9. Canon Law. Pope Clement V. 10. Practical Theology. Peter Lombard. 11. Contemplative Theology. Dionysius the Areopagite. 12. Dogmatic Theology. Boethius. 13. Mystic Theology. St. John Damascene. 14. Polemic Theology. St. Augustine. 7. Arithmetic. Pythagoras. 6. Geometry. Euclid. 5. Astronomy. Zoroaster. 4. Music. Tubalcain. 3. Logic. Aristotle. 2. Rhetoric. Cicero. 1. Grammar. Priscian.
Here, then, you have pictorially represented, the system of manly education, supposed in old Florence to be that necessarily instituted in great earthly kingdoms or republics, animated by the Spirit shed down upon the world at Pentecost. How long do you think it will take you, or ought to take, to see such a picture? We were to get to work this morning, as early as might be: you have probably allowed half an hour for Santa Maria Novella; half an hour for San Lorenzo; an hour for the museum of sculpture at the Bargello; an hour for shopping; and then it will be lunch time, and you mustn't be late, because you are to leave by the afternoon train, and must positively be in Rome to-morrow morning. Well, of your half-hour for Santa Maria Novella, - after Ghirlandajo's choir, Orcagna's transept, and Cimabue's Madonna, and the painted windows, have been seen properly, there will remain, suppose, at the utmost, a quarter of an hour for the Spanish Chapel. That will give you two minutes and a half for each side, two for the ceiling, and three for studying Murray's explanations or mine. Two minutes and a half you have got, then - (and I observed, during my five weeks' work in the chapel, that English visitors seldom gave so much) - to read this scheme given you by Simon Memmi of human spiritual education. In order to understand the purport of it, in any the smallest degree, you must summon to your memory, in the course of these two minutes and a half, what you happen to be acquainted with of the doctrines and characters of Pythagoras, Zoroaster, Aristotle, Dionysius the Areopagite, St. Augustine, and the emperor Justinian, and having further observed the expressions and actions attributed by the painter to these personages, judge how far he has succeeded in reaching a true and worthy ideal of them, and how large or how subordinate a part in his general scheme of human learning he supposes their peculiar doctrines properly to occupy. For myself, being, to my much sorrow, now an old person; and, to my much pride, an old-fashioned one, I have not found my powers either of reading or memory in the least increased by any of Mr. Stephenson's or Mr. Wheatstone's inventions; and though indeed I came here from Lucca in three hours instead of a day, which it used to take, I do not think myself able, on that account, to see any picture in Florence in less time than it took formerly, or even obliged to hurry myself in any investigations connected with it.
Accordingly, I have myself taken five weeks to see the quarter of this picture of Simon Memmi's: and can give you a fairly good account of that quarter, and some partial account of a fragment or two of those on the other walls: but, alas! only of their pictorial qualities in either case; for I don't myself know anything whatever, worth trusting to, about Pythagoras, or Dionysius the Areopagite; and have not had, and never shall have, probably, any time to learn much of them; while in the very feeblest light only, - in what the French would express by their excellent word 'lueur,' - I am able to understand something of the characters of Zoroaster, Aristotle, and Justinian. But this only increases in me the reverence with which I ought to stand before the work of a painter, who was not only a master of his own craft, but so profound a scholar and theologian as to be able to conceive this scheme of picture, and write the divine law by which Florence was to live. Which Law, written in the northern page of this Vaulted Book, we will begin quiet interpretation of, if you care to return hither, to-morrow morning.


text:
San Francisco Cable Car Jigsaw Puzzle Game
San Francisco Cable Car Puzzle Details:
About: Today we're going to San Francisco for a cable car ride in this new urban landscape puzzle. An icon of San Francisco, California, the cable car system forms part of the intermodal urban transport network operated by the San Francisco Municipal Railway, or "Muni" as it is better known. Of the twenty-three lines established between 1873 and 1890, three remain: two routes from downtown near Union Square to Fisherman's Wharf, and a third route along California Street. The first successful cable-operated street railway was the Clay Street Hill Railroad, which opened on August 2, 1873. The cable cars are pulled by a cable running below the street, held by a grip that extends from the car through a slit in the street surface, between the rails.
Image Credits: Claudio Sanhueza
Puzzle Of The Day On: 18/Oct/2013
Cabin In The Woods Winter Landscape
Winter is here and we're getting into the season spirit with a fun and beautiful puzzle. Pick your difficulty level, click start and join us in a breathtaking winter landscape. Complete today's challenge and put the small cabin in the middle of the woods back together piece by piece and take in the beautiful winter landscape.
Santorini From Above
Santorini is an island in the southern Aegean Sea, about 200 kmsoutheast of Greece's mainland. The island was named by the Latin Empire in the thirteenth century, and is a reference to Saint Irene, from the name of the old cathedral in the village of Perissa – the name Santorini is a contraction of the name Santa Irini. The traditional architecture of Santorini, some of which you can see in this fun new puzzle, is similar to that of the other Cyclades, with low-lying cubical houses, made of local stone and whitewashed or limewashed with various volcanic ashes used as colors. Santorini's primary industry is tourism.
Mountain River On A Cloudy Day
Another beautiful landscape themed jigsaw puzzle is here. Today we're by a winding mountain river taking in the impressive mountain landscape, the green trees on the thee river banks, the white clouds in the distance and the mountain ridges in the distance. Pick a difficulty level and join us for a few minutes in this quiet and beautiful alpine landscape. Have fun!
Norwegian Town
Today we're going to Norway to visit Ålesund a town in Møre og Romsdal county. It's located by the sea, and is well known for its concentration of Art Nouveau architecture. The town centre is located on the islands Aspøya and Nørvøya, while Heissa and Oksnøya contain residential areas. Legend has it that Gangerolf (outside of Norway better known as Rollo), the 10th-century founder of the dynasty of the dukes of Normandy, came from the community of Giske, north-west of Ålesund. The town has an unusually consistent architecture (as you can see in this fun puzzle), most of the buildings having been built between 1904 and 1907.
Easter Island Ahu Tongariki
Ahu Tongariki is the largest ahu on Rapa Nui/Easter Island (a Chilean island in the Pacific). Its moai were toppled during the island's civil wars and in the twentieth century the ahu was swept inland by a tsunami. It has since been restored and has fifteen moai including an 86 tonne moai that was the heaviest ever erected on the island. Ahu Tongariki is kilometer from Rano Raraku and Poike in the Rapa Nui National Park. All the moai here face sunset during Summer Solstice.
Colorful Village Houses
In today's new jigsaw puzzle we're visiting a beautiful and colorful village in Slovakia. Put this new puzzle back together piece by piece and admire the colorful old houses in this small mountain village.
Cockwood Harbour
Cockwood is a small village on the west side of the Exe Estuary in the county of Devon, England. Cockwood has two pubs. The Anchor Inn which is on the harbour front and the Ship Inn, nearer the village hall. The Anchor Inn is over 450 years old and was originally opened as a Seamen's Mission. It was a haven for seamen and smugglers and is said to be haunted. But don't the let the ghosts scare you off, click start and put the beautiful small harbour back together in today's puzzle. Have fun!
Old Boats In The Harbor
Pick you difficulty level, press start and put the old boats and the small harbor they are anchored in back together as fast as you can for a change to get a top position on our leader boards. Have fun!
Las Medulas
A panoramic view of Las Medulas, Spain.
This new jigsaw puzzle features a Joshua tree in the rocky Mojave desert. The Joshua tree, yucca palm, tree yucca or palm tree yucca is native to southwestern North America in the states of California, Arizona, Utah and Nevada, where it is confined mostly to the Mojave Desert between 400 and 1,800 meters (1,300 and 5,900 ft) elevation. The name Joshua tree was given by a group of Mormon settlers who crossed the Mojave Desert in the mid-19th century.
Rocky Cliffs
Join us on the wave battered rocky cliffs of the ocean shore in today's new landscape themed jigsaw puzzle. Pick your difficulty level, toggle rotation, click start and enjoy.
Two Park Benches
Another fun puzzle game is here. Today we're going for a stroll in the park and what better way to end a walk then with a relaxing rest on one of the benches. So take a sit and relax with today's new jigsaw.


text:
Cash-Strapped Connecticut Wants to Tax Yale Endowments
NEW HAVEN, CT -- Yale University's endowment earned $2.6 billion in investment gains in fiscal 2015. A proposed bill in the Ivy League school's home state of Connecticut is eyeing a share of the bounty as a source of revenue. Schools with funds of $10 billion or more -- affecting Yale only -- could face a tax on endowment income, according to legislation introduced this month. Yale's record $25.6 billion fund is the second largest in U.S. higher education, behind Harvard University's $37.6 billion.
Read @ Bloomberg >>
Yale's Community Investments Support New Haven Business and Tax Base Growth
NEW HAVEN, CT -- The Yale News article describes how Yale University, as a good neighbor, supports the city of New Haven with investments in businesses and schools, a voluntary $8.2 million payment to the city, contributions for a strong tax base.
Read @ Yale News >>
As Budget Woes Grow, Some Want To Tax Yale's Endowment
HARTFORD, CT — Faced with hundreds of millions of dollars of red ink and shrinking state income tax revenue, some state lawmakers have set their sights on Yale University's $25 billion endowment as a source of new money.
Read @ The Hartford Courant >>
Hospitals Say State Puts Them Between a Rock and a Hard Place
HARTFORD, CT -- As hospital officials describe it, state policy is pushing them in two opposing directions. The state has, in the past five years, increased the net taxes hospitals pay by close to $400 million while reducing Medicaid reimbursement rates for certain services. Hospital leaders say that financial strain adds to the factors pushing independent community hospitals to join larger health systems.
Read @ CT Mirror >>
Letter to the Editor: Spending Deadlines on Donor-Advised Funds Would Be a Mistake
WATERBURY, CT -- Paula Van Ness, president and CEO of Connecticut Community Foundation, co-authored an opinion piece with three of her national community foundation colleagues about donor-advised funds. They give several reasons why timed payouts for donor-advised funds would be bad public policy and would fail to achieve the outcome that critics seek.
Read @ The Chronicle of Philanthropy >>
IRS Donor Substantiation Proposal Withdrawn
WASHINGTON, DC -- The IRS has announced it is withdrawing its proposal relating to substantiating gifts from donors, which included collecting and reporting the SSNs of donors.
Read the Federal Register Notice >>


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Leilani R. Beaver – Kaufman Legal Group | With offices in Los Angeles and Sacramento, California, Kaufman Legal Group offers a full spectrum of legal services connected to the political process at the federal, state and local levels.
Leilani Rudow Beaver is an associate attorney at Kaufman Legal Group where she advises candidates, officeholders, political action committees and independent expenditure committees on federal, state and local campaign finance laws. She also advises exempt organizations on the tax implications of engaging in political and lobbying activities. In addition, Ms. Beaver manages and oversees exempt organization tax filings and political committee audits conducted by the Fair Political Practices Commission, Franchise Tax Board and other local agencies.
Ms. Beaver joined the firm in 2000, rising steadily through the ranks to become the Director of the firm's Political Compliance Department. After passing the California Bar in 2006, she became an associate attorney with the firm. With her extensive experience having prepared thousands of campaign finance disclosure reports, Ms. Beaver understands the practical applications of federal, state and local campaign finance disclosure laws and utilizes this experience when advising clients.
Ms. Beaver earned her Bachelor's degree in History, with a minor in Mathematics, from Loyola Marymount University in 1999, and her law degree in December 2005 from Southwestern University School of Law. She is a member of the California Political Attorneys Association and California Political Treasurers Association.


text:
Asogli to solve conflict among communities
Ho, Sept. 17, GNA - The leadership of the Asogli traditional area would continue to dialogue with any faction within its jurisdiction with a view to further strengthening its existing bonds of unity and peace. Togbe Anikpi III, Chief of Ho-Heve gave this assurance when answering questions at a Press Conference in Ho on Saturday to announce the commencement of activities marking this year's yam festival. It would be under the theme, "Attitudinal change an important prerequisite for prosperity."
Togbe Anikpi said except for a faction in the Ho-Dome division of the Asogli State, the five traditional divisions making up Ho together with Kpenoe, Takla asnd Akoefe, were very much united. He said though that faction had so far refused to accept peace and reconciliation overtures from chiefs of the traditional area, efforts would continue to be made to that end.
Regarding the Asogli Education Fund, Togbe Anikpi explained that the festival would be used to remind the citizenry of its importance and the need for them to contribute to its success. This is because the festival would provide a much broader platform for drawing support for the fund among the citizens of the traditional area and beyond. Addressing the Press conference on behalf of the Agbogbomefia, earlier, Togbe Kasa III, Dufia of Ho-Ahoe said this year's yam festival would underscore the need for attitudinal change as an important prerequisite for prosperity in the traditional area. He said the festival would, among other objectives, seek "to foster unity and reconciliation among us."
"It is through change of heart, change of mind from evil to good, change of attitude to work from laziness to hard-work, which can bring prosperity, progress and development... in the Asogli State," Togbe Kasa noted.


text:
Q: DirectMode with Devart and FluentNHibernate and Oracle 10g I have a Windows x64 installed on my machine, of course Oracle hadn't made a Driver for using their client in Oracle10g, this is seems to be a huge problem for me (stop whining)....
So i actually have to connect to DB with Direct Mode.
This is the way it works:
  OracleConnectionStringBuilder oraCsb = new OracleConnectionStringBuilder {
            Direct = true,
            Server = "xxx",
            Port = 1521,
            Sid = "xxx",
            UserId = "xxx",
            Password = "xxx"
        };
        OracleConnection myConnection = new OracleConnection(oraCsb.ConnectionString);
        myConnection.Open();

        const string myInsertQuery = "SELECT * FROM MEMBERS WHERE ID = 1";
        OracleCommand myCommand = new OracleCommand(myInsertQuery) { Connection = myConnection };
        myConnection.Open();

        try {
            var source = myCommand.ExecuteReader();
        } finally {
            myConnection.Close();
        }

Actually this way it's works.
But here is my problem how to Integrate it into FluentNHibernate?
How to use it in here?
     _configuration = Fluently.Configure().Database(OracleClientConfiguration.Oracle10   .ConnectionString(@"server=xxx;user id=xxx;password=xxx;SID=xxx;port=1521;Direct=True;")
 .UseReflectionOptimizer()
 .AdoNetBatchSize(5000)
 .ShowSql().FormatSql())

How to make it work without a OracleClient (for 10g)?

A: The NHibernate runtime support and Direct Mode features are included in the Professional Edition of dotConnect for Oracle. There is an example of compiling NHibernate sources to add support for dotConnect provider: http://blogs.devart.com/dotconnect/nhibernate_and_oracle.html.
Also we recommend you to pay attention to Entity Developer for NHibernate (and Professional) which supports ADO.NET providers to create an NHibernate model and generate classes and mapping for them.


We will be adding to our inventory constantly, so bookmark this page and check back often.
We have some miscellaneous Inventory - Trailers, Boats, Motor Homes etc.
Click on the image on each vehicle for more information and more photos of that vehicle.
1967 GTO Sedan - Being restored now. 400 engine, completely rebuild, Muncie 4 speed trans. new clutch, brakes and suspension rebuilt. We are currently finishing this car and will be painted its original color "Mariner Turquoise" with a parchment (white) interior.
1968 Pontiac GTO - Verdoro green with a gold interior. 400 engine (original numbers matching) just completely rebuilt. TH400 transmission rebuilt, 2 door hard top, clear title. Very nice '68 GTO with matching numbers, and PHS documentation. Engine, transmission, suspension all rebuilt. Paint is nice but a few years old. Click for more images.
1969 Chevy Nova SS - Race car, but could easily be turned back to a street legal car, 350 with mild modifications. Click for more images.
1957 Chevy Bel Air - 2 door hard top Black, 327 engine, 4 barrel carb, turbo 400 3 speed trans, differential 3.36, dual exhaust, power brakes, special front & rear sway bars, Bel Air floor mats, AM & FM cassette with 15605 miles. Click for more images.
'81 Berlina Coupe - Phillips Motor Car, built on '81 Corvette chassis, very unique less than 200 made.
1973 Ford Thunderbird - Blue/White - white leather, 8 cylinders (400), Auto transmission, 2 door, good condition. Very nice original loaded T-Bird with only 47,000 miles and only 2 owners. Click for More Information/Photos.
1962 Ford Galaxie 500 Sunliner Convertible - One owner since 1965, 352 engine, rebuilt in '65, 8 cylinders, 3 speed manual transmission on floor, nice driver, good condition, no warranty, very good top, paint old but still good. Clear title. Click for more information.
ever produced 68 K miles.


text:
Bournemouth University professor 'wants justice' after son killed by unmarked police
'He had so many plans for the future'
BNPS
Arthur Holscher-Ermert (left) with his father Prof Jens Holscher (centre) and older brother Karl (right). Prof Jens Holscher, from Bournemouth, Dorset, said he is urgently seeking answers over the death of son Arthur in Peacehaven, East Sussex. (Image: BNPS)
The devastated father of a man who was mowed down and killed by an unmarked police car has expressed his grief and outrage. Professor Jens Holscher said he would be seeking legal action against Sussex Police after his 27-year-old son, Arthur Holscher-Ermert, died.
Prof Holscher, 60, had been holidaying in France with partner Sonia Drews when he received a phone call in the early hours of Sunday morning from police explaining his son had died in an 'accident' in Peacehaven, East Sussex. Prof Holscher, the head of department for economics at Bournemouth University, said he has since been told by the Independent Office for Police Conduct (IOPC) that the police officer alleged to have driven an unamarked BMW into Arthur remains on duty.
Prof Holscher, who is originally from Germany, said: "It is so difficult to comprehend - I cannot believe it. I cannot understand what is happening at the moment. We are so disturbed - that is my little son and nothing is being done.
Read more - 'We were incredibly lucky that day' - Air ambulance saved dad's life after sudden collapse
"We believe there is a serious fault on the police side and we will take legal action immediately. We haven't even had an apology - how low can you get? We want him (the officer responsible) taken off the street."
Ms Drews has been Mr Holscher's partner after the death of his wife and Arthur's mother, Karin Ermert, aged 63 in 2018. Ms Drews, 68, said that the IOPC told them it would take six months to conclude their investigation, during which time there was 'no reason' to suspend the officer involved in Arthur's death.
She said: "How can it take six months? It is clear to see. There are eyewitnesses, videos, the police car has a camera. Why not take the driver off the street? He is still on duty. He should be suspended now."
Arthur and his older brother, Karl had grown up in Peacehaven and were well known by the community there. She said that Arthur was full of hope for the future and had been saving to buy a house with his partner.
Ms Drews said: "He wasn't 80 years old. He was 27 with his whole life ahead of him. He was very happy. He'd found a new girlfriend and they were saving for a house together. He had so many plans for the future.
"When we got that phone call we just wanted to wake up, go for breakfast and call Arthur to say: 'We had a really bad dream but we are so happy you are still here. We want justice." Prof Holscher, who lives in Bournemouth, said he had no idea why the police had been pursuing his son at the time he died.
Got a story to share or for us to investigate? Email us at news.dorsetlive@Reachplc.com
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