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Giuliano da Sangallo
Piero di Cosimo's portrait of Giuliano, shown with the tools of his trade.
The current exhibition (on until 20th August) of drawings by Giuliano da Sangallo and his circle at the Gabinetto dei Disegni e delle Stampe (the Prints and Drawings Collection) on the first floor of the Uffizi provides an interesting and peaceful interlude if you are planning to visit Florence in this over-crowded season. The exhibition is free: if you state your destination to one of the staff members organizing the queues outside, you will be let straight in.
Giuliano (Giuliano Giamberti, c. 1445–1516) was an architect who worked for the Medici as well as the Papacy, designing palaces, villas, churches and military fortifications. All the drawings on show, except for two from the Albertina in Vienna, are from the Uffizi collection itself.
In the small room opening onto the stair landing is Giuliano's wooden model of Palazzo Strozzi, a remarkable survival (and usually on display in the palace itself). For this exhibition it has been taken apart so that the rooms inside all three floors can be seen. A fascinating 15th-century 'doll's house', it would have been available to the builders as they laid stone after stone of this great Renaissance palace. An excellent black-and-white video on the wall here illustrates the buildings Giuliano was responsible for in Florence and Tuscany. Also here are two drawings by Francesco da Sangallo (Francesco Giamberti, 1494–1576), Giuliano's son, one for the convent of the Cestello (now Santa Maria Maddalena dei Pazzi), and a drawing on parchment of the Baths of Diocletian, this once magnificent ancient building (still very conspicuous near Rome's main railway station), signed and dated 1518.
The main exhibition room has some works produced jointly by the two brothers Giuliano and Antonio da Sangallo the Elder (Antonio Giamberti; c. 1455–1534) and studies of buildings of ancient Rome including the ground plan of a temple found on the Quirinal hill by Francesco da Sangallo, and an elevation of the frigidarium of the Baths of Diocletian and a ground plan of the entire area of the baths by Antonio da Sangallo the Elder. The Libro dei Disegni owned by the Uffizi, which contains more studies of the Antique by Giuliano and Antonio the Elder's nephew, known as Antonio da Sangallo the Younger (Antonio Cordini, 1484–1546), is also on display.
Giuliano's famous contemporary Bramante (Donato di Angelo di Pascuccio, 1444–1514) is present in the exhibition with another plan of the Baths of Diocletian furnished with meticulous measurements, and his first thoughts on the architecture of St Peter's, sketched in red chalk, clearly showing his uncertainty. On one of these sheets there is a bold drawing on the verso by Giuliano da Sangallo demonstrating how closely the two architects were at work during one stage in the long building saga of the great basilica. A larger, more finished parchment drawing shows Bramante's idea for part of the east end of St Peter's, and there is a project for the same church by Fra' Giocondo (Giovanni Giocondo da Verona; before 1434–1515), whom we know was also called in to suggest a possible Latin-cross design.
Some of the most interesting drawings by Giuliano include a fanciful design for embellishing the Borgia tower in the Vatican, complete with flower pots on its balustrade; and one of a church façade which includes numerous reliefs (all carefully drawn), statues in niches and free-standing figures above.
His project for the Florentine church of San Lorenzo, celebrating Leo X, is crowned by a statue of St Peter above the tympanum with its pair of Florentine lions. Giuliano also envisaged free-standing statues for this façade, but was clearly uncertain how many there should be. But the over-all design is extremely harmonious, which cannot be said for the project displayed next to it, drawn by Antonio da Sangallo the Elder, which has a pair of bell-towers rising to twice the height of the façade.
A section devoted to Giuliano's very fine figure studies for the story of Judith and Holofernes has two sheets drawn on the verso as well as the recto. Antonio da Sangallo the Elder made copies of the saints on Donatello's bronze doors of the Old Sacristy in San Lorenzo (represented here by two more drawings) and he also copied a detail of Giovanna Tornabuoni in a painting by Botticelli (now in the Louvre). Only one painting is present in the exhibition, a tondo of the Madonna and Child attributed to the workshop of Botticelli, which has been lent by the National Gallery of London since it appears to have been owned by Giuliano.
The two codices which contain the most precious drawings by Giuliano outside the Uffizi, the Taccuino senese (still in Siena) and the Libro dei Disegni in the Vatican library, can be consulted at the exhibition in digital format (although the video was not working on my second visit).
The arrangement of the drawings, it must be said, is not always easy to follow and it is a pity that no dates, even if conjectural, were added to the labels. Also, the complicated relationship between the various artists that share the name Sangallo (apparently derived from the district of Florence near the Porta Sangallo, where some of the family lived) is nowhere fully explained. Notwithstanding all this, the exhibition provides us with a visual conception of how the various designs produced in the 15th century for St Peter's would have looked, and it illustrates the concerted efforts to provide Florence's San Lorenzo with a façade before Michelangelo won the competition in 1516 (only to have Leo X cancel the commission when the great artist was already at work on it, to his great chagrin; the story is told in full, and illustrated, in the new edition of Blue Guide Florence. The architects represented in this exhibition all appear frequently in the Florence, Rome and Central Italy Blue Guides so this has also provided us with a chance to check their dates and the latest attributions.
by Alta Macadam.
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News from Florence: Giovanni dal Ponte
There is a very interesting small exhibition (on until 12 March) at the Galleria dell'Accademia in Florence dedicated to the little-known painter Giovanni dal Ponte (or Giovanni di Marco di Giovanni, 1385–1437/8). It is introduced with a stunning triptych by him of the Coronation of the Virgin (illustrated above), which belongs to the Accademia Gallery and has been restored for the occasion. The white mantle of the Virgin is memorable, and St Ivo, in his pink robes and red beret (he was the protector of judges and lawyers), makes a rare appearance together with three other saints. Numerous other works by dal Ponte have been collected together here from churches in Florence and Tuscany as well as from the Prado, the National Gallery of London, the Fogg Art Museum and private collections in Hartford, Connecticut and Philadelphia.
Giovanni's place amongst the Florentine artists of 'late Gothic Humanism' is explored and illustrated with some of the best works produced by his immediate predecessors and illustrious contemporaries: a triptych from Würzburg by Gherardo Starnina; an exquisite Madonna and Child with two angels, one of Fra' Angelico's earliest works from Rotterdam; and the little gilded bronze door of a tabernacle with Christ Blessing by Lorenzo Ghiberti. This is also the occasion to see together two small works painted around 1426 by Masolino and Masaccio, both of saints holding swords: Masolino's St Julian in different tones of red comes from the closed Museo Diocesano in Florence, and Masaccio's St Paul from the Museo di San Matteo in Pisa. Despite their dimension and subject matter, they both illustrate the extraordinary skills of these two masters.
The predella and cusps from Giovanni dal Ponte's triptych of St John the Evangelist, purchased by the National Gallery of London in 1857, is particularly interesting for the scene of two disciples distributing alms before being converted and baptised by the elderly St John the Evangelist. The disciples are seen taking their clothes off as they wait at the well. In the central predella panel of St John at Patmos, four angels are struggling with lions while he is stretched out asleep on a rock, and a dragon blows fire in a starry sky.
In the last room there is a marriage chest (cassone) with suitable painted scenes in a 'Garden of Love', of particular interest as this has remained intact as a piece of furniture (almost all other cassoni were broken up in later centuries when their principal painted panel was removed to be sold). It is preserved in the Musée Jacquemart-André in Paris. Also here are the surviving panels from Giovanni's Polyptych of St Peter: Four Saints from the Museo Bandini in Fiesole and its predella from the Uffizi, here reunited for the first time.
The exhibition is accompanied by an excellent catalogue, complete with index.
by Alta Macadam, author of Blue Guide Florence.
All/Exhibition reviews/London and UK
Abstract Expressionism at the RA
Abstract Expressionism, on show at the Royal Academy, London, until 2nd January 2017.
Abstract Expressionism emerged in the 1940s in the United States and remained a predominantly American phenomenon. Its main characteristic, according to the Oxford Dictionary of Art, is the "desire to convey powerful emotions through the sensuous qualities of paint, often on canvases of huge size." The Baroque movement of the 20th century, then? A Counter-Reformation against intellectual, social- and community-minded –isms, with all their rules and strictures, and a headlong, self-conscious race into the arms of feeling.
The genesis of the movement is well illustrated in the first room. Two early figurative works by Mark Rothko are hung on the right. Both date from 1936. One is his Self-portrait: the fat, red twisted lips and dark blind circles of eyes hidden by dark glasses strike a disreputable and sinister note. The other work is Interior, where a pair of ghostly white and faintly grotesque classicist sculptures flank a dark doorway populated by a huddle of brown-clad, white-faced, stricken-looking people. Normality and the conventional are shown distorted and turning ghoulish.
There is a scene in the film Funny Face where the character played by Audrey Hepburn, feeling angry and put upon by the character played by Fred Astaire, says: "Isn't it time you realised that dancing is nothing more than a form of expression or release? There's no need to be formal or cute about it. As a matter of fact, I rather feel like expressing myself now. And I could certainly use a release." And then she dances. Wonderfully well. It is the only really good scene in the film.
Abstract Expressionism is like that. An emotional response to an external trigger. Dark times (world war, economic depression) cannot be argued away by reason, logic or objectivity. Objects turn ugly. What we can use is colour and gesture.
The exhibition rooms are crowded with visitors. The air hums with their whispered reactions. There is talk of "creative revelation" and of "traumatic experience". These are personal responses. The artworks themselves are personal responses. Here we are as an audience, being called on to respond personally to a series of personal responses. This is art as me-journalism. And when the artist's response succeeds in triggering a response of our own, either in reaction or in sympathy, the result is extraordinarily powerful. This is the ideal time to be looking again at these works, in an age so politically polarised that we can scarcely even sit at the same table as people who don't agree with us. We need Abstract Expressionism to save us from fetishes and propaganda.
But is self-expression anything more than simple self-indulgence? Yes, if the self-expresser is equipped with the vocabulary to interpret his or her feelings productively. All (or almost all) of the artists represented in this show are very well equipped, and their eloquence elicits a productive response. The solemn, Beaux Arts neoclassicism of the exhibition rooms is a perfect foil for this art.
The problem, though, is that too many feelings are being expressed. And too few walls are available to harbour all the wealth of feeling that is outpoured. The result is a clamorous hubbub. And there are very few places to sit down. But perhaps this is a quibble. You need to give yourself time. This is not a show to see in a hurry.
The work of Arshile Gorky had a formative influence on the AbEx movement and an entire room is dedicated to him. He does not use the medium of abstraction to express emotions or ideas; he is rooted in Surrealism and his paintings send audiences scrabbling for figurative interpretations. The exhibition points out Gorky's "knack for camouflaging forms so that their identities hover between the recognisable and the cryptic." This means that we are perpetually trying to see forms in all his works, forms that will provide the meaning and the interpretation, like looking for recognisable shapes in clouds. We do this with The Orators, which the wall text tells us is an "artfully obscured scene of figures around the funeral bier of Gorky's father." The figures are either obscured too artfully or not obscured enough. We spend too long intellectualising, trying to make them take comprehensible shape. If we aren't careful, we can talk a lot of rubbish about art like this. Fortunately AbEx didn't linger there.
For a while perhaps it looked as if it was going to. Willem de Kooning, in his figurative phase, makes us sit and watch while he wrestles with the age-old male dilemma: Women. Do you worship them or make fun of them? Thankfully he emerges from it to give us his best work (and the finest two pieces in the room dedicated to him): Villa Borghese (1960) and Untitled (1961), generous patches of lemon yellow, blue, green and pastel pink, which evoke sunshine and tranquillity. Franz Kline's violent black slashes across white backgrounds evoke cast-iron bridges, steelyards and gantries. They are like photography gone backwards into painting. One enjoys them in silence, they are all about atmosphere. So is Milton Resnick's beautiful, wintry Octave, which strikes the viewer like a grey day at Giverny.
Monet is not the only artist echoed and challenged by these painters. Picasso also looms large. And Jackson Pollock's Summertime 9A looks like a Mondrian pulled so tight that the black lines have stretched and buckled: released, they spring back into a knotted, rhythmic tangle, clotted with the yellow, red and blue areas of infill.
Age-old scriptural and mythological figures are abstractly explored by Barnett Newman: Adam, Eve, and Ulysses (1952). Tempting as it is in Ulysses to interpret the strongly divided planes of blue as representations of sea and sky, Newman has chosen to make his axis a vertical one. So we are left more with a mood and a feeling than an idea, and the result is restful. Vast landscapes are evoked by Clyfford Still. Ad Reinhardt puts a frame around black nothing to turn it into something, a thing to go on a wall, like a sort of anti-mirror, sucking all reflections in, giving nothing back.
And what about Rothko, who famously hoped to "ruin the appetite of every son of a bitch" who dined in the room where his Seagram murals were to hang? If they had ever been hung there, I doubt he would have succeeded. His Self-portrait or Interior would have appalled the sons of bitches. De Kooning's Woman II would have had them running for the door. Rothko's colour-field rectangles such as No. 4 (Untitled) couldn't possibly. Here is an artist who set out with such aggressive intent, aiming to "defeat" the walls with the plenitude of his art. Yet the result is tremendously relaxing and satisfying. It is daring but it is not terrible. The whole gamut of human emotion is there, but there is no dissonance. Each tableau speaks like a still small voice of calm. Expressionism, when it is figural, is grotesque. When it is abstract, it is not, however belligerent or morbid the emotions that engendered it. The Rothko paintings, in the central octagon, are as gorgeous and uplifting as any juxtaposition of tragedy and ecstasy in a Baroque canvas of sacred apotheosis. Where they triumph (and where other Abstract Expressionist artists fail) is that they leave you with nothing to say. You can only feel.
The scale of these works, in terms of the value of their content, is in almost every case equal to their size. The "sensuous qualities of paint" are also important. What strikes one forcibly is how old-fashioned the works are. There is no dilettantish daubing at play here. We are dealing with a masterly handling of the medium. What people are responding to is not just the call on their emotions but also the sheer skill of the artists. No one would ever look at one of these works and say, "I could paint that."
Abstract Expressionism at the Royal Academy, London, until 2nd January.
Tags: abstract expressionism, abex, ra, royal academy, review
Jesters at the Court of the Medici
Front view of Bronzino's double portrait of the Medici court dwarf Baccio di Bartolo (1552).
A delightful small exhibition at Palazzo Pitti in Florence (until 11th September) of genre paintings and portraits from the mid-16th century to the early 18th illustrates the protagonists of the comic, sometimes bizarre side of court life in Florence in those years, which was otherwise locked away from public view. Visitors are asked to be prepared to see the ironic humour in the works displayed. The new director of the Gallerie degli Uffizi (which now includes all the museums in Palazzo Pitti), Eike Schmidt, plans this as one of a series of exhibitions of works from the gallery's important deposits (which include some 1,200 paintings) that will give curators a welcome opportunity to study them and restore them. Schmidt gave due credit to the late Marco Chiarini, for many years director of the Galleria Palatina, for having planned the exhibition (the lovely small catalogue is dedicated to his memory). Schmidt also invited the President of the Italian association dedicated to those affected with achondroplasia (the condition which causes dwarfism) to speak at the opening and he gave a moving account of how 'diversity' can be equated with value.
The exhibition occupies a suite of rooms on the landing known as the Andito degli Angiolini, below the entrance to the Galleria d'Arte Moderna, and has excellent labelling together with some delightful quotes from the literature of the times, including Castiglione and Bernardo Ricci ('......everyone needs happiness and laughter'). It takes up just five well-arranged small rooms. The importance of comedy and laughter to the Medici is illustrated by the official court painter, Suttermans's portrait of the court jester. There are also portraits of six jolly members of the ducal household in the servants' hall after a hunt; as well as a remarkable painting of two elderly peasant women, one holding a duck and one a basket of eggs, accompanied by a black page with a pearl earring (the label records that the names of all three of these people are known to us since they frequently appear in Ferdinando II's account books). Other well-known painters of the time whose works are included in the exhibition include Anton Domenico Gabbiani (a portrait of four Medici servants), Cesare Dandini (a young shepherd with a hornpipe) and Niccolò Cassano (two court jesters from Prince Ferdinando's inner circle dressed as huntsmen). But the most important painting is Bronzino's well-known portrait of Cosimo de' Medici's favourite dwarf, Baccio di Bartolo (ironically nicknamed after the giant Morgante), painted on both sides so seen both from front and back, and which includes extraordinary botanical details.
The exhibition also includes paintings by lesser-known masters such as Faustino Bocchi, who was at work in the late 17th century (a delightful, playful painting of dwarves bathing beneath huge passion flowers; and a queen riding a cat cheered on by a crowd of dwarves). There are also paintings by unknown artists, of which one of the most memorable is the portrait from the first half of the 17th century of a player of the ball game known as pallottola: the protagonist is shown dressed in magnificent breeches as he tosses the ball beneath his leg. Although not strictly related to the theme, the superb painting by Joseph Heintz the Younger entitled Orpheus in the Underworld has been included as it was owned by the Medici and shows the astonished young hero standing in a magical setting with creatures all around him in a performance which, as the label suggests, is reminiscent of a modern-day musical.
The exhibition extends into the Boboli Gardens, where the sculpture of the nude Morgante riding a tortoise is one of Florence's most famous statues (it is by Valerio Cioli and dates from around 1564; his statue of another dwarf, Pietro Barbino, made around the same time, can be seen in the Kaffeehaus, which has been opened specially for the exhibition). They are just some of the many statues of peasants, players and jocose figures which adorn the beautiful gardens behind Palazzo Pitti.
All/Ancient world/Exhibition reviews/Italy/Rome and Lazio
The Imperial Ramp in the Roman Forum
Fresco of the reluctant martyr sneaking out of the frozen pond to the warmth of the bath house.
In 1900 the archaeologist Giacomo Boni uncovered some intriguing remains in the Roman Forum: those of the so-called 'Oratory of the Forty Martyrs' and, leading off it, a covered brick ramp. These remains are usually closed to the public, and work on them is ongoing, but at the moment (until 10th January 2016) they are open as part of an exhibition.
From the street which runs alongside what would once have been the entrance portico of the great Basilica Julia (an opposite the modern public toilets), a path leads to the excavations. The Oratory, its walls covered in fragmentary frescoes, has been enlosed by a modern roof, walls and door. At first sight, you might think there is nothing remarkable about these, but signboards explain the enormous trouble that has been taken to reconstruct what might originally have been in place here: a roof which rises above the ground at the same height as the ceiling of the ramp, a door whose dimensions conform to those of 'Golden Rectangle', and an interior volume that, like that of the Pantheon, is exactly as tall as it is wide, so that a perfect sphere could be fitted inside. The room itself, today known as the Oratory because of its later use as a place of Christian worship, was originally constructed in the 1st century, at the time of the emperor Domitian, to form an entrance vestibule to the ramp, the covered walkway which slopes and winds its way gently up to the Palatine Hill, linking the Imperial palace and the Forum.
The ramp and its ancillary buildings were added to by succeeding emperors so that by the time of Hadrian in the 2nd century the complex consisted of the ramp itself, two separate vestibules and a grand porticoed atrium. The current exhibition has opened the ramp and the first vestibule, the Oratory of the Forty Martyrs, to the public.
The ramp is similar in its design to that inside Castel Sant'Angelo, the ancient mausoleum of Hadrian, which winds through the core of the building to the central sepulchral chamber. It is tall and narrow and barrel-vaulted, its walls and floor made of brick. It would have been possible to travel along its length on horseback. Rooms that open off it might have been used by the Imperial guard. They have been arranged to exhibit pieces of sculpture found during excavations. At the level of the first landing, on the right, are the remains of a latrine, built during the time of Hadrian and close to a staircase inserted under Hadrian's predecessor Trajan to link the grand atrium or forecourt to the ramp. In the early Christian era, this atrium was turned into the church of Santa Maria Antiqua, and it is known that the staircase was still in use at that time. The ramp leads onward and upward, out into the sunlight again, to an elevated terrace from where there is a magnificent view of the Forum down below and across the rooftops, domes and bell-towers of the city. The continuation of the ramp from here to the summit of the Palatine is not open, and indeed excavations are not yet complete. It is proposed at a later stage to open it up and allow public access.
Interior view of the Imperial ramp.
The Oratory of the Forty Martyrs has interesting traces of fresco decoration. Each of the four walls was decorated with a dado of trompe l'oeil white drapery, above which are figurative scenes. On the wall on the left as you enter (the north wall) are the very scanty remains of the Forty Martyrs in Glory. You can still make out some of their heads, encircled with haloes, and their bright white robes, edged with purple like a magistrate's toga. The east wall, with an apse at its centre, has the main scene. The Forty Martyrs were Roman soldiers of the Legio XII Fulminata, who had converted to Christianity. They were sentenced (in AD 320) to spend the night naked in a frozen pond, near which were warm baths, specially prepared to tempt any who might wish to recant rather than die of exposure. One of the company did so: the fresco shows him sneaking away from his companions to thaw his frozen limbs. His action left only thirty-nine faithful, until one of their guards came forward and confessed his Christian faith, taking the number back to forty again. To the left of this scene are large painted crosses, hung with jewels, and below one of them, a peacock, symbol of immortality. The south wall had scenes of monastic life (very ruined). The frescoes have undergone several restorations between 1969 and today. For this exhibition, they were restored (very beautifully) under the leadership of Susanna Sarmati.
by Annabel Barber. See here for Blue Guides on Rome.
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Exhibition reviews/Florence and Tuscany/Italy
St Francis in Florence
Trial by Fire before the Sultan, on loan from the Alte Pinakothek, Munich.
For anyone in Florence, there are only a few more days left to catch this important exhibition at the Galleria dell'Accademia (closes 9th November) dedicated to art inspired by Italy's most famous saint. Unfortunately it has limited space and the crowds of visitors who come to the Accademia just to see Michelangelo's David produce an atmosphere anything but an inducement to a peaceful quiet study of the pieces on exhibition—but don't be put off!
The first exhibit is an ivory horn which almost certainly belonged to Francis himself. Tradition says that it was given to him by the learned Sultan al-Malik al-Kamil, an extremely cultured man, whom Francis is known to have met on his visit to Egypt during the troubled times of the Fifth Crusade. Francis had sailed from Ancona in 1219 and was in Egypt that summer and managed to obtain an audience with the Sultan who received him kindly and with due respect in the presence of his most learned councillors. It was at this meeting that Francis walked across fire unscathed (trial by fire was recognized as a means of solving disputes), but the costly gifts the Sultan offered to Francis were all refused except this hunting horn, since Francis had seen its utility when in Egypt and decided he could use it when back in Italy to call his brothers to prayer. It became one of the most precious relics associated with him (today it is preserved in Assisi). The silver mount was added some hundred years after the saint's death.
A simple 13th-century bronze reliquary chest from Ognissanti in Florence, which once contained the habit Francis was wearing when he received the stigmata at La Verna, is displayed beside the horn (part of the habit, after many vicissitudes, is supposed to be that preserved at La Verna today). The V& A have lent a precious little 14th-century seal which depicts the vision of a Englishman, Aimone (Haymo) born in Faversham (Kent), who had a vision in 1222 of Francis lowering his knotted girdle to two fishermen in a boat (the scene is charmingly depicted on the seal). As a result Aimone became a Franciscan and his fame was such that he even succeeded Fra' Elia as minister general of the Order in 1240 and remained in Italy, where he died four years later.
The main part of the exhibition is naturally devoted to images of St Francis and this is an opportunity to see the numerous different ways he was portrayed from the 13th to the 15th century. One of the earliest and most important paintings, dating from c. 1230, is from Pisa showing Francis surrounded by six scenes of his miracles by Giunta Pisano (properly called Giunta di Capitino), who worked for the Franciscans for some 30 years. Dating from around 20 years later, the painting of St Francis with eight stories from his life is a well-known work from Pistoia (where the Franciscans were established by 1232), and has many similarities with the earlier panel. A series of paintings all dating from the mid-13th century show Francis surrounded by little scenes from his life. Another familiar mid-13th century icon of the saint is that first produced by Margarito d'Arezzo and five of these are displayed together: Francis is depicted standing in his habit with a hooded cowl holding a book, and showing the signs of his stigmata. This became a prototype and many replicas were made (as well as fakes) of this image. But the most striking portrait of St Francis is that by the great painter Cimabue, dating from 1280 and still preserved in Assisi: it shows the poverello standing and bare-headed in a simple pose holding a book bound in red. This is generally considered to be one of the most authentic portraits to have survived from this time.
After Francis received the stigmata from the Cross, painted Crosses naturally became very popular and were always in need to decorate Franciscan churches. Beautiful examples in the exhibition include one (c. 1236, now in Assisi) of the three still extant signed by Giunta di Capitino. Another one from Faenza is by a master named the 'Maestro dei Crocifissi Francescani' because he became so well known for Crosses like this one.
The rule of the Order sanctioned by Honorius III in 1223 specified that the friars should also be concerned with preaching to the Saracens and non-Christians. Some of the friars' travels through Asia as far as China, and the history of their encounter with the Mongols, are documented in the excellent catalogue. The Franciscans also have a centuries'-old role as custodians of Christian sites in the Holy Land (by 1348 we know that 20 Friars Minor were living in Bethlehem). On display from their museum in Jerusalem are sculptural fragments, antiphonals, pilgrims' lamps and ampullae for Holy Oil, and a crosier in gilded copper with enamel decoration. Inscriptions in Arabic have been lent by another Franciscan Museum on Mount Tabor in Galilee. But these pieces only underline how little we know in Europe about the Franciscans in the East.
Later works include an exquisite small Crucifixion painted by Ugolino di Nerio (from the Metropolitan Museum of Art in New York) and a superb large Maestà (c. 1320) by a painter who is known as the 'Maestro di Figline' from this work and which is here because it shows St Elizabeth of Hungary and St Louis of Toulouse (who is trampling his crown underfoot), both of them Franciscan saints, suitably dressed in the Franciscan habit. This comes from the small Tuscan town of Figline and is one of the most beautiful paintings in all Italy of its date. Another lovely painting on display, but dating from the late 15th century, is St Francis receiving the Stigmata by Bartolomeo della Gatta (from the little town of Castiglion Fiorentino on the southern border of Tuscany), which shows the saint in the presence of the astonished Fra' Leone, in a beautiful rocky landscape recalling La Verna with a barn owl looking on as the golden stigmata descend from the Cross in the sky to end in bright stars (instead of the more usual macabre 'holes') on the saint's hands and feet. La Verna (described in detail in Blue Guide Tuscany and Blue Guide Central Italy) in the Casentino near Florence was where Francis received the stigmata in 1224.
There is also a room devoted to works made for Florence's great Franciscan church of Santa Croce. These include the little painted panels in gilded quatrefoil frames which were once part of a huge sacristy cupboard and which illustrate the life of Christ in parallel to that of St Francis. These are now preserved in the Galleria dell'Accademia itself, although four of them were lost to Munich and Berlin in the 19th century and only one has been lent for the exhibition (but it is the one which shows the Trial by Fire before the Sultan). Also here is the fascinating fresco which was detached from the first cloister of the church and is of particular interest because it includes one of the very first views of the Baptistery beside the old façade of the Duomo, but is here because it portrays the arrival of the Friars Minor in Florence in the winter of 1209 led by the first follower of St Francis, Fra' Bernardo da Quintavalle: the group of Franciscans are shown refusing charity from officers in the cathedral who have failed to recognize them. For this occasion the fresco has been given a new attribution to the little-known Pietro Nelli.
Arguably the most beautiful of all paintings of St Francis (which includes 20 stories from his life) has also been brought here from Santa Croce (the Bardi Chapel). Dating from the 1240s, it provided the most complete illustration of episodes in the saint's life before Giotto's frescoes in the upper church in Assisi, and includes the scene of him preaching before the Sultan and a group of Muslims in their turbans, as next to the more familiar scene of him preaching to the birds. Its attribution to Coppo di Marcovaldo, the most important painter in Florence before Cimabue, is now generally accepted, and seems more than ever likely now the panel has been beautifully restored especially for this exhibition.
by Alta Macadam, author of Blue Guide Florence and many other Blue Guides to Italy. For details, see here.
All/Exhibition reviews/Paris and France
Napoleon and Paris: Dreams of a capital
"Paris shaped Napoleon as much as Napoleon transformed Paris: during the Revolution Napoleon realised that public opinion could be manipulated and that power was to be seized in the capital."
The excellent (though often crowded, this is a small museum beloved by Parisians) Musée Carnavalet dedicated to the history of Paris hosts this exhibition that "explores the complex relationship between a remarkable man and one of the world's most beautiful cities" to coincide with the two hundredth anniversary of Napoleon's defeat* at Waterloo.
The museum and its permanent exhibition tracing the history of Paris are covered in Blue Guide Paris, for opening times, ticket prices (including online purchase) see the museum's own website.
(* - or was it really a defeat? Surely a defeat that "shines with the aura of victory"?)
Whither Tate Britain?
London is thriving, museum attendance is higher than ever. Here are the numbers (visitors) for some of the main museums:
1 British Museum 6,695,213 4,868,176 +38%
2 The National Gallery 6,416,724 4,959,946 +29%
3 Tate Modern 5,785,427 4,441,225 +30%
4 V&A South Kensington 3,180,450 2,010,825 +58%
5 Somerset House 2,463,201 n/a
6 National Portrait Gal. 2,062,502 1,516,402 +36%
7 National Maritime Mus. 1,516,258 1,507,950 +1%
8 Tate Britain 1,357,878 1,733,120* -22%
9 Imperial War Museum 914,774 754,597 +21%
10 Hampton Court Palace 560,513 498,278 +12%
11 Churchill War Rooms 472,746 306,059 +54%
Source ALVA (* Tate number is for 2005, 2004 not given.)
So what's going on with poor old Tate Britain? Its stunning collection of many of the best-known works from the greatest names in British painting—Hogarth, Turner, Blake, Constable—seems underplayed on the website, and yet this should put Tate Britain at the top of the list for the London visit of every British school child, foreign tourist, NADFAS day tripper or urban intellectual. And indeed shows on subjects such as the Pre-Raphaelites or Turner do well. The exhibitions with challenging themes maybe less so: irrespective of their quality, this may not be where Tate Britain's competitive advantage lies?
And what about the legacy of its modern art mission, thoroughly eclipsed by the arrival of its altogether more modern—right down to the name—sibling, Tate Modern, in 2000?
All questions for the people who run 'Tate'. And very relevant now, as a replacement is sought for Tate Britain's chief Penelope Curtis. Hard decisions and major changes may be needed, but, asks Martin Oldham in Apollo Magazine, is her successor being handed a poisoned chalice (Tate Britain: A Poisoned Chalice)?
The new Blue Guide London covers all the museums in the table above, and many more, extensively. And all are listed in the older Blue Guides Museums and Galleries of London, given too here on our website, with contact details and opening times.
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Bernini's Beloved
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Sabbioneta, Cryptic City
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Five major London museums
The many lives of Nasreddin Hoca
Lesley Blanch: On the Wilder Shores of Love
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Hellenistic bronzes in Florence
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The Aventine and Turner in Rome
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So what is the Turkish Van?
The Pike: by Lucy Hughes-Hallett
Smoothly off the buffers
Under Another Sky
'Art under Attack' at Tate Britain
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Hepworth's "Winged Figure": 50th anniversary
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A palatial art museum in Trieste
The cloisters of Santa Maria Novella
The wonderful Palazzo Grimani, Venice
Pope Benedict: an unorthodox farewell
Obscure St Valentine and his famous Feast Day
Burano in February
The St Agnes lambs
Leonardo's "Adoration of the Magi" in restoration
Cathedral picks: Exeter
The real Patrick Leigh Fermor?
The joy of Giambattista Tiepolo
Leonardo's "Battle of Anghiari"
In praise of Venice's water transport system
The Red Rooms at the Uffizi
The Blue Rooms at the Uffizi
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Pour l'honneur de la France
An early-morning visit to Sant'Andrea delle Fratte, Rome
Church of SS Luca e Martina reopens above Roman Forum
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A compelling reason to visit Trapani province
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Blue Guide India Delhi Launch
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Whispering City: Rome and its Histories
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Cornish Scene Shop. Photo by Mark Bocek.
The Scene Shop, one block away from the Cornish Playhouse at Seattle Center, represents 9,000 square feet dedicated to performance production. It includes a full wood shop and metal shop along with a paint shop, prop area, and loading dock. The facility is large enough and complete enough to fabricate settings and properties for the 450-seat Playhouse and its Studio theater.
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text:
Saturn's rings paint some of its moons shades of blue and red
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A whopping new estimate of the power of planting trees could rearrange to-do lists for fighting climate change.
Planting trees on 0.9 billion hectares of land could trap about two-thirds the amount of carbon released by human activities since the start of the Industrial Revolution, a new study finds. The planet has that much tree-friendly land available for use. Without knocking down...
07/17/2019 - 09:02 Ecology, Plants, Climate
Crowds of people gather to watch an evening spectacle on beaches in Southern California: Twice a month, typically from March through August, the sand becomes carpeted with hundreds or thousands of California grunion. Writhing, flopping, silvery sardine look-alikes lunge as far onto shore as possible. As the female fish dig their tails into the sand and release eggs, males wrap around females...
07/08/2019 - 06:00 Ecology, Animals, Astronomy
Summer brings the heat — and in some cases a lot of it, as those who suffered through record-breaking heat waves in Europe and South Asia in June can attest. But the season also ushers in long days filled with plenty of possibilities for outdoor fun. Parks fill with picnickers. Mountain trails fill with hikers. And beaches and pools swarm with swimmers trying to beat the heat.
Here's...
07/05/2019 - 07:00 Health, Ecology
Look at the nail of your pinky finger. That's about the width of the biggest known insect egg, which belongs to the earth-borer beetle Bolboleaus hiaticollis. The smallest egg, from the wasp Platygaster vernalis, is only half the width of the thinnest recorded human hair.
Insect eggs range across eight orders of magnitude in size, and come in a stunning variety of shapes, a new database...
07/03/2019 - 13:00 Ecology, Evolution
Parasites ruin some finches' songs by chewing through the birds' beaks
Invasive parasites in the Galápagos Islands may leave some Darwin's tree finches singing the blues.
The nonnative Philornis downsi fly infests the birds' nests and lays its eggs there. Fly larvae feast on the chicks' blood and tissue, producing festering wounds and killing over half of the baby birds. Among survivors, larval damage to the birds' beaks may mess with the birds' songs when...
06/21/2019 - 11:39 Animals, Evolution, Ecology
The world's fisheries are incredibly intertwined, thanks to baby fish
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06/20/2019 - 14:00 Oceans, Ecology, Sustainability
Hyenas roamed the Arctic during the last ice age
Modern hyenas stalk the savannas of Asia and Africa, but the animals' ancient relatives may have had snowier stomping grounds: the Arctic. Two fossilized teeth, collected in Canada in the 1970s, confirm a long-held hunch that ancient hyenas ventured into North America via the Bering land bridge, scientists say.
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06/18/2019 - 06:00 Paleontology, Animals, Ecology
Some fungi trade phosphorus with plants like savvy stockbrokers
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06/06/2019 - 10:00 Animals, Conservation, Ecology
Shy fish no bigger than a pinkie provide much of the food in coral reefs
Nervous little fishes that divers rarely notice could be unexpectedly important to coral reefs. A new study finds that nearly 60 percent of the fish flesh that feeds bigger fishes and other predators on a reef comes from tiny fishes that stick close to crevices and other hiding places.
These tiny species, called cryptobenthic fishes, may not look as if they amount to much among all the...
05/24/2019 - 13:46 Animals, Ecology

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text:
Jan Verheyen (Hoogstraten, 1944. július 9. –) belga válogatott labdarúgó.

A belga válogatott tagjaként részt vett az 1970-es világbajnokságon és az 1972-es Európa-bajnokságon.
Fia: Gert Verheyen szintén válogatott labdarúgó volt.

Sikerei, díjai

Anderlecht
Belga bajnok (4): 1971–72, 1973–74
Belga kupa (2): 1971–72, 1972–73, 1974–75
Belgium
Európa-bajnoki bronzérmes (1): 1972

Források

Élő személyek
1944-ben született személyek
Belga labdarúgók
Labdarúgó-középpályások
Az Anderlecht labdarúgói
Az 1970-es világbajnokság labdarúgói
Az 1972-es Európa-bajnokság labdarúgói

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Hayfield won the North Derbyshire Girls Under 12 Cup final with a hard fought 2-0 victory over a very spirited and determined Wirksworth side.
Hayfield started the brighter forcing 3 corners in the first 5 minutes with Amy Vandermotten having a shot tipped over by the Wirksworth keeper. The game became more even and play flowed from end to end on a difficult hard bouncy surface making ball control difficult. Hayfield took the lead when an Alice Rayson throw-in found twin sister Sophie who beat the keeper to a 50:50 ball before firing home.
The turning point of the game came when Wirksworth were awarded a penalty which saw Maisie Goddard save a full blooded shot and then beat away the re-bound before the ball was scrambled away.
The second half was a tense affair but the game was settled when once again from an Alice Rayson throw-in Maya Lancaster back-flicked the ball home past a static Wirksworth defence (a la Gianfranco Zola).
Solid performances at the back from Telesha Griffiths and Sophie Rayson in front of Lydia Waterhouse helped by midfield players Georgia Bull, Annabelle Wilde and Megan Pritchard ensured Hayfield held on to win the Cup 2-0.
In their first season, manager Paul Vandermootten has assembled a side who have delivered silverware.


text:
Q: The implementation 'com.github.prolificinteractive:material-calendarview:2.0' cant resolve why my material calendar view failed to resolve, here is my
Module: app
    apply plugin: 'com.android.application'

android {
    compileSdkVersion 26
    defaultConfig {
        applicationId "com.project.cms"
        minSdkVersion 22
        targetSdkVersion 26
        versionCode 1
        versionName "1.0"
        testInstrumentationRunner
  "android.support.test.runner.AndroidJUnitRunner"
    }
    buildTypes {
        release {
            minifyEnabled false
            proguardFiles getDefaultProguardFile('proguard-android- optimize.txt'), 'proguard-rules.pro'
        }
    }
}

dependencies {
    implementation fileTree(dir: 'libs', include: ['*.jar'])
    implementation 'com.android.support:appcompat-v7:26.0.0-beta1'
    implementation 'com.android.support:design:26.0.0-beta1'
    implementation 'com.android.support:support-v4:26.0.0-beta1'
    implementation 'com.android.support.constraint:constraint-layout:1.1.3'
    testImplementation 'junit:junit:4.12'
    androidTestImplementation 'com.android.support.test:runner:1.0.2'
    androidTestImplementation 'com.android.support.test.espresso:espresso- core:3.0.2'
    implementation 'com.github.ybq:Android-SpinKit:1.2.0'
    implementation 'com.android.support:cardview-v7:26.0.0-beta1'
    implementation 'com.android.support:recyclerview-v7:26.0.0-beta1'
    implementation 'com.github.prolificinteractive:material-calendarview:2.0'

}

here is my BUILD FILE
buildscript {
    repositories {
        google()
        jcenter()

    }
    dependencies {
        classpath 'com.android.tools.build:gradle:3.3.2'

    // NOTE: Do not place your application dependencies here; they belong
    // in the individual module build.gradle files
    }
}

allprojects {
    repositories {
        google()
        jcenter()
        maven { url 'https://jitpack.io' }

    }
}

task clean(type: Delete) {
    delete rootProject.buildDir
}

when I sync the gradle the error showed is

Failed to resolve:
  com.github.prolificinteractive:material-calendarview:2.0

open.dependency.in.project.structure affected module app
Please help me

A: There is an issue in your dependency version
implementation 'com.github.prolificinteractive:material-calendarview:2.0'

Replace with
implementation 'com.github.prolificinteractive:material-calendarview:2.0.0'

A: Place this code:
dependencyResolutionManagement {
    repositoriesMode.set(RepositoriesMode.FAIL_ON_PROJECT_REPOS)
    repositories {
        google()
        mavenCentral()
        maven { url 'https://jitpack.io' }
    }
}

in the settings.gradle

redpajama_set_name: RedPajamaStackExchange


John Schnatter, founder of Papa John's, gets a hand from his 12 year-old son, Beau, in placing his first-ever online order to help mark the rollout of the company's revamped website. Papa John's was the first pizza company to introduce online ordering in 2001 at www.papajohns.com and the brand has since transacted more than $2 billion in online sales. Schnatter started the business in the broom closet of his father's tavern 26 years ago and the company has grown to be the world's third largest pizza chain. Until last week, he had never ordered a pizza online. Schnatter's order, made from his home in Louisville, Ky., can be watched on www.facebook.com/papajohns.


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A collaboration with master jeweller Justine Cullen.
A very special piece handcrafted in solid 18ct yellow gold vermeil. Using state of the art engraving technique, this pendant features raised engraving with detail in the upper surface of the design and the background cut away. Finished with a bright polish to bring out the contrasting dimension and detail. This pendant comes with 22" diamond cut belcher chain making it a solid piece for any collector.
ORDER TO DELIVERY TIME: This item is individually made to order. Please allow 2-3 week from your order to delivery.
Gold Vermeil: Sterling silver with gold plate meaning the piece is made completely from precious metal making it a valuable item through and through. As opposed to gold plate jewellery which is gold plate over non precious alloy such as brass or copper.
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text:
Q: Jquery change display css doesn't work fine I have the next code

The problem is that the script show the element idQV101, but when I click the other buttons these doesn't show anything conversely in the web console the css change correct but in the screen doesn't show.
I don't want use hidden because appear a ugly gap in the screen. because under these elements there is others because under these elements there is other elements
it is the html code the values #QV... its becaus i insert qlik code and show a chart

                      Comparativa
                      Consumo mes
                      consumo hora
                      Consumo dia

thank you

A: Here's a snippet showing that your code works correctly:

$(window).load(function(){
  debugger
  $('#comp').ready(function() {
    $('#QV101').css("display", "inline");
    $('#QV102').css("display", "none");
    $('#QV103').css("display", "none");
  });
  $('#comp').on('click', function(event) {
    debugger
    $('#QV101').css("display", "inline");
    $('#QV102').css("display", "none");
    $('#QV103').css("display", "none");
  });
  $('#mes').on('click', function(event) {
    debugger
    $('#QV101').css("display", "none");
    $('#QV102').css("display", "inline");
    $('#QV103').css("display", "none");

  });
  $('#hora').on('click', function(event) {
    debugger
    $('#QV102').css("display", "none");
    $('#QV101').css("display", "none");
    $('#QV103').css("display", "inline");

  });
  debugger
});

<button id="comp">comp</button>
<button id="mes">mes</button>
<button id="hora">hora</button>

QV101

QV102

QV103

A:

$('#QV101').addClass('show');
$('#QV101').siblings(':not(button)').addClass('hide')

$('#comp').on('click', function(event) {
  $('#QV101').siblings(':not(button)').removeClass('show');
  $('#QV101').addClass('show');
  $('#QV101').siblings(':not(button)').addClass('hide');
});
$('#mes').on('click', function(event) {
  $('#QV102').siblings(':not(button)').removeClass('show');
  $('#QV102').addClass('show');
  $('#QV102').siblings(':not(button)').addClass('hide');
});
$('#hora').on('click', function(event) {
  $('#QV103').siblings(':not(button)').removeClass('show');
  $('#QV103').addClass('show');
  $('#QV103').siblings(':not(button)').addClass('hide');

});
.hide {
  display: none
}
.show {
  display: block
}

1

2

3

<button id="comp">comp</button>
<button id="mes">mes</button>
<button id="hora">hora</button>

*

*added :not(button) to exclude buttons (can also use sibling(div))

*use .siblings() to get all div.

*add/remove the class depending on the button clicked

A: Here is the approach that I have described in my comments above. This will reduce the lines of code & easy to maintain. The JSFIddle link is given below:
The updated Code is as follows:
$(function(){

    $('#comp').ready(function() {
    $('#QV101').css("display", "inline");
    $('#QV102').css("display", "none");
    $('#QV103').css("display", "none");
  });

  $('#comp').on('click', function(event) {
    $('.toggleDiv').hide();
    $('#QV101').css("display", "inline");
  });
  $('#mes').on('click', function(event) {
    $('.toggleDiv').hide();
    $('#QV102').css("display", "inline");
  });
  $('#hora').on('click', function(event) {
    $('.toggleDiv').hide();
    $('#QV103').css("display", "inline");
  });

});

Working Fiddle

A: I solve the problem  in part this is the code

now the problem is that the qv is a qlik chart and this doesn't show the first time this show when I do scroll few later time.
the problem not is the code is the chart, it was create for outside app Qlik,
Thanks for all answers


A classic sign of protection and faith, the cross is one of the oldest symbols. Our talisman charm necklace is a personal reminder that there is more than what we see around ourselves.
We think this layering necklace is a beautiful token of your faith, easy to pair with your Sofia Kaman statement necklaces and adds just enough sparkle to lift to your everyday. Powerful and delicate, wear this tiny sideways cross layering necklace as a reminder of the divine within.


change-value The ::change-value signal is a keybinding signal which gets emitted when the user initiates a value change.
input The ::input signal can be used to influence the conversion of the users input into a double value.
output The ::output signal can be used to change to formatting of the value that is displayed in the spin buttons entry.
value-changed The ::value-changed signal is emitted when the value represented by spinbutton changes.
wrapped The ::wrapped signal is emitted right after the spinbutton wraps from its maximum to minimum value or vice-versa.
A Gtk.SpinButton is an ideal way to allow the user to set the value of some attribute. Rather than having to directly type a number into a Gtk.Entry, Gtk.SpinButton allows the user to click on one of two arrows to increment or decrement the displayed value. A value can still be typed in, with the bonus that it can be checked to ensure it is in a given range.
The main properties of a Gtk.SpinButton are through an adjustment. See the Gtk.Adjustment section for more details about an adjustment's properties. Note that Gtk.SpinButton will by default make its entry large enough to accomodate the lower and upper bounds of the adjustment, which can lead to surprising results. Best practice is to set both the Gtk.Entry :width-chars and Gtk.Entry :max-width-chars poperties to the desired number of characters to display in the entry.
GtkSpinButtons main CSS node has the name spinbutton. It creates subnodes for the entry and the two buttons, with these names. The button nodes have the style classes .up and .down. The Gtk.Entry subnodes (if present) are put below the entry node. The orientation of the spin button is reflected in the .vertical or .horizontal style class on the main node.
This is a convenience constructor that allows creation of a numeric Gtk.SpinButton without manually creating an adjustment. The value is initially set to the minimum value and a page increment of 10 * step is the default. The precision of the spin button is equivalent to the precision of step .
Note that the way in which the precision is derived works best if step is a power of ten. If the resulting precision is not suitable for your needs, use Gtk.SpinButton.set_digits() to correct it.
Fetches the precision of self . See Gtk.SpinButton.set_digits().
Gets the current step and page the increments used by self . See Gtk.SpinButton.set_increments().
Returns whether non-numeric text can be typed into the spin button. See Gtk.SpinButton.set_numeric().
Gets the range allowed for self . See Gtk.SpinButton.set_range().
Returns whether the values are corrected to the nearest step. See Gtk.SpinButton.set_snap_to_ticks().
Gets the update behavior of a spin button. See Gtk.SpinButton.set_update_policy().
Get the value in the self .
Get the value self represented as an integer.
Returns whether the spin button's value wraps around to the opposite limit when the upper or lower limit of the range is exceeded. See Gtk.SpinButton.set_wrap().
Replaces the Gtk.Adjustment associated with self .
Set the precision to be displayed by self . Up to 20 digit precision is allowed.
step (float) – increment applied for a button 1 press.
page (float) – increment applied for a button 2 press.
Sets the minimum and maximum allowable values for self .
Sets the value of self .
True for a successful conversion, False if the input was not handled, and Gtk.INPUT_ERROR if the conversion failed.
The ::input signal can be used to influence the conversion of the users input into a double value. The signal handler is expected to use Gtk.Entry.get_text() to retrieve the text of the entry and set new_value to the new value.
The default conversion uses GLib.strtod().
The ::value-changed signal is emitted when the value represented by spinbutton changes. Also see the Gtk.SpinButton ::output signal.


text:
Illustrated Chapter Books
Authors/Illustrators
Author/Illustrator Bios
Author/Illustrator Visits
Teacher's Guides/Event Kits
Leveling Information
About Peachtree
Carter Reads the Newspaper	2019-12-05T16:33:04+00:00
Illustrator Q&A
Carter Reads the Newspaper
by Deborah Hopkinson
illustrated by Don Tate
"Carter G. Woodson didn't just read history. He changed it." As the father of Black History Month, he spent his life introducing others to the history of his people.
Carter G. Woodson was born to two formerly enslaved people ten years after the end of the Civil War. Though his father could not read, he believed in being an informed citizen. So Carter read the newspaper to him every day. When he was still a teenager, Carter went to work in the coal mines. There he met a man named Oliver Jones, and Oliver did something important: he asked Carter not only to read to him and the other miners, but also research and find more information on the subjects that interested them. "My interest in penetrating the past of my people was deepened," Carter wrote. His journey would take him many more years, traveling around the world and transforming the way people thought about history.
From an award-winning team of author Deborah Hopkinson and illustrator Don Tate, this first-ever picture book biography of Carter G. Woodson emphasizes the importance of pursuing curiosity and encouraging a hunger for knowledge of stories and histories that have not been told. Illustrations also feature brief biological sketches of important figures from African and African-American history.
Publication Date: 2/1/2019
Size: 10-7/8″ x 9-1/2″
Age Range: 6 – 10
AR Level: 4.5
F&P: P, Gr 3, Genre B
Themes: African-American History, Biography, Education, Research, Family
BISAC 1: JNF007050 JUVENILE NONFICTION / Biography & Autobiography / Cultural Heritage
BISAC 2:JNF007020 JUVENILE NONFICTION / Biography & Autobiography / Historical
BISAC 3: JNF018010 JUVENILE NONFICTION / People & Places / United States / African American
"Hopkinson skillfully shapes Carter's childhood, family history and formative experiences into a cohesive story.…the inclusion of notable figures from black history reinforces the theme (a key is in the backmatter). An important and inspiring tale well told." ―Kirkus Reviews
"Young readers will be caught up in his story…. Quotes are seamlessly woven into the narrative, and a time line, list of sources, and bibliography add research appeal. Of special note are the illustrations, which include more than 40 portraits of black leaders… Their images and one-line biographies will pique further interest, making this a valuable resource for school and public libraries." ―Booklist
"Thorough back matter… A charmingly illustrated picture book biography for elementary schoolers." —School Library Journal
"Conversational… Delicately textured mixed-media illustrations…offer spare, stylized images…" —Publishers Weekly
"Fascinating… Expressive artwork…" —Foreword Reviews
"This will be a go-to title for Black History Month, but a more meaningful tribute to the celebration's founder will be a catalyst for further African-American studies throughout the year." —Bulletin of the Center for Children's Books
"Exemplary… This inspiring picture book combines a rich but focused text with clear, expressive mixed-media illustrations. It sheds light on an important, inspiring, but little-known subject, and the supplemental back matter gives weight to the exceedingly important takeaways that history must include all people, and that anyone can change history." —Shelf Awareness
Eureka! Nonfiction Children's Book Award Silver Honor ―California Reading Association, 2019
Parents' Choice Silver Honor Award ―Parents' Choice Foundation, 2019
Northern Lights Book Award (Biography) ―Northern Dawn Awards, 2019
Chicago Public Library Best of the Best Book ―Chicago Public Library, 2019
Top 10 Books for Kids ―New York Public Library, 2019
Deborah Hopkinson, Don Tate, History, New Releases Spring 19, Picture Book Nonfiction, Picture Books
Blacksmith's Song	2019-10-24T12:15:22+00:00
Blacksmith's Song
Anna Rich, Elizabeth Van Steenwyk, Historical Fiction, New Releases Spring 18, Picture Books, Picture Books Fiction
Sweet Land of Liberty	2019-10-01T09:39:38+00:00
Sweet Land of Liberty
Deborah Hopkinson, Historical Fiction, Leonard Jenkins, New Releases Fall 19, Picture Books, Picture Books Fiction
A Storm Called Katrina	2018-11-26T12:44:10+00:00
A Storm Called Katrina
Colin Bootman, Historical Fiction, Myron Uhlberg, Picture Books, Picture Books Fiction
The Sound of All Things	2018-11-13T10:59:03+00:00
The Sound of All Things
Myron Uhlberg, Picture Books, Picture Books Fiction, Ted Papoulas
The Printer	2018-09-20T15:43:16+00:00
The Printer
Henri Sorensen, Myron Uhlberg, Picture Books, Picture Books Fiction
Lemuel the Fool	2018-12-03T15:19:06+00:00
Lemuel the Fool
Myron Uhlberg, Picture Books, Picture Books Fiction, Sonja Lamut
Flying Over Brooklyn	2018-09-20T12:53:33+00:00
Flying Over Brooklyn
Gerald Fitzgerald, Myron Uhlberg, Picture Books, Picture Books Fiction
Dad, Jackie, and Me	2018-09-20T12:49:42+00:00
Dad, Jackie, and Me
Baseball, Colin Bootman, eBook, Historical Fiction, Myron Uhlberg, Picture Books, Picture Books Fiction
Poet	2018-10-10T13:28:39+00:00
Autobiography/Biography/Memoir, Don Tate, eBook, History, New Releases Fall 18, Picture Book Nonfiction, Picture Books
Keep On!	2018-12-03T15:15:53+00:00
Keep On!
Autobiography/Biography/Memoir, Deborah Hopkinson, History, Picture Book Nonfiction, Picture Books, Stephen Alcorn
First Dog Fala	2019-06-25T14:06:22+00:00
First Dog Fala
Elizabeth Van Steenwyk, Historical Fiction, Michael Montgomery, Picture Books, Picture Books Fiction
Deborah Hopkinson is the award-winning author of numerous critically acclaimed picture and chapter books, including Keep On!; Sweet Land of Liberty; Under the Quilt of Night; and Shutting Out the Sky: Life in the Tenements of New York 1880-1924. She lives in Oregon. You can visit her website here.
Don Tate is the illustrator of numerous critically acclaimed books for children. In 2013, he earned an Ezra Jack Keats New Writer Honor Award for his first picture book text, It Jes' Happened: When Bill Traylor Started to Draw. You can visit his website here.
Copyright © 2019 by Peachtree Publishing Company Inc. All rights reserved.


Working together for a healthier Willamette.
At WRI, we envision a Willamette River system that is swimmable, fishable and a reliable source of water for Oregon's growing human population, while providing ample habitat for a diverse array of native plants, fish and wildlife.
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Our investments have restored habitat for federally protected salmon, helped combat invasive plants that threaten our region's landscapes, funded scientific research to better understand our watershed and supported river stewardship groups in their efforts to better represent diverse Willamette Basin communities.
Our partners have made great strides for the river since our investment began 2008, placing us at a pivotal moment today. With continued effort, we can secure the achievements our partners have made while rising to meet the challenges of tomorrow. Learn how we're working to build a secure future for the Willamette.
The Willamette River Initiative is guided by four key goals for our river.
Since Meyer Memorial Trust established the Willamette River Initiative in 2008, WRI has invested more than $18.5 million in our river.
Get acquainted with the dedicated staff behind the Willamette River Initiative.
We support dozens of people and organizations working regionally and at the local level to improve our river's health.


text:
Q: Sql-request to sort blogs by order in wordpress mu? I'm using the following code to generate a list of all wordpress blogs in my wordpress mu network:
    $blogs = $wpdb->get_results("SELECT * FROM " . $wpdb->blogs . " WHERE last_updated!='0000-00-00 00:00:00' AND public='1' AND spam = '0' AND deleted ='0' ORDER BY registered " . $order . " LIMIT " . $limit);

How do i do to order them alphabetically instead of by when they were registered? If you are not familliar with the database layout of wordpress, i'd be happy with a coneptual explanation! The name is not registered in the same database, however this is how the blogname is collected for output:
foreach ($blogs as $blog) {
$blog_options = "wp_" . $blog->blog_id . "_options";
$blog_name = $wpdb->get_col("SELECT option_value FROM " . $blog_options . " WHERE option_name='blogname'");
        }

A: Without knowing the WordPress database schema:
If there is a unique blog ID in both the $wpdb->blogs table and the $blog_options table, you can join between them, like so (pseudocode):
SELECT [...]
FROM $wpdb->blogs a
LEFT JOIN (SELECT id, option_value AS blogname FROM $blog_options WHERE option_name='blogname') b ON a.id = b.id
WHERE last_updated!='0000-00-00 00:00:00' AND public='1' AND spam = '0' AND deleted ='0' ORDER BY blogname [... etc ...]

In this query, you've joined each blog to the associated blog_option record with optionname='blogname'. The inner query in the JOIN returns the option_value with the alias 'blogname', so that you can reference it in your ORDER BY clause.
You'll have to work with that query a bit based on the actual database schema, but hopefully it's a start!

A: According to the wordpress documentation, It's not possible to sort wordpress-blogs on a multi-blog-network using only SQL, due to the database-structure.


text:
Tag Archives: The Mystery of Norman's Court
A Prize Mystery
Posted on September 21, 2022 by caroline
Could you beat the detective to the solution?
This live episode of Shedunnit was recorded at the 2022 International Agatha Christie Festival in Torquay.
— The Wintringham Mystery by Anthony Berkeley
— The Murder of Roger Ackroyd by Agatha Christie
— The Mystery of Norman's Court by John Chancellor
— The Sittaford Mystery by Agatha Christie
— The Man in the Brown Suit by Agatha Christie
— Bleak House by Charles Dickens
— The ABC Murders by Agatha Christie
— Murder on the Orient Express by Agatha Christie
— The Clocks by Agatha Christie
— The Case-Book of Sherlock Holmes by Arthur Conan Doyle
— Memories and Adventures by Arthur Conan Doyle
— Murder in Rockwater by Margot Neville
— Murder of Olympia by Margot Neville
— Forever England by Alison Light
— "The Decline and Fall of the Detection Story" by W. Somerset Maugham collected in The Vagrant Mood
— "Who Cares Who Killed Roger Ackroyd?" by Edmund Wilson in The New Yorker (20 June 1945)
— "Manx Gold" by Agatha Christie collected in While The Light Lasts
— Not To Be Taken by Anthony Berkeley
— Death in the House by Anthony Berkeley
— "Mr Cork's Secret" by MacDonald Hastings collected in Crimson Snow
— The Crime of the Century by Kingsley Amis
— Cain's Jawbone by E. Powys Mathers, aka Torquemada
NB: Links to Blackwell's are affiliate links, meaning that the podcast receives a small commission when you purchase a book there (the price remains the same for you). Blackwell's is a UK bookselling chain that ships internationally at no extra charge.
Find a full transcript of this episode at shedunnitshow.com/aprizemysterytranscript


Epic security has only been giving their workers one week vacation after they worked 22500 hours,is this right and if not what should be done to overcome this problem.
Well though it may seem messed up; the people employed by EPIC Security have the choice to quit.
So if EPIC Security had to hire these people with them aware of the knowledge that they would be working X amount of hours and receive X amount of vacation time, so chances are these people went into their jobs fully aware of the time alotted for vacationing: they get no sympathy from me I used to work slave shifts (10 hours no breaks ).
I've never heard of this issue, and Google's not telling me anything. Any links you can post up?


Family members worry everyday as they struggle to care or find care for loved ones who live alone or are no longer able to care for themselves. Feelings of anguish, fear, guilt, concern, and indecision can be overwhelming.
• Where do I go? • Who do I ask?
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An internal and a criminal investigation is underway following the shooting death of Richard Garcia, a handyman in Chunox, Corozal, by police who went to the Garcia's house to carry out an eviction request by the landlord. The officers claim that on Friday afternoon Garcia charged at them with a machete and fearing for their lives, they opened fire at the man, killing him on the spot. Incensed residents threw missiles at the officers and Scenes of Crime personnel and emotions ran high when Garcia's body was left overnight at the scene, exposed to the elements and in sight of passersby. A News five team headed out to the village on Saturday to find a huge contingent of officers – including members of the GSU, MIT, Riot Squad and others with high powered weapons – keeping residents at bay. Duane Moody reports.
Justice for Richard Garcia – that's what residents of the northern village of Chunox are clamoring for following the fatal shooting of one of their own at the hands of the police. The forty-four-year-old was killed in his backyard on Friday evening, just after five o'clock, after a barrage of bullets were fired in his direction by officers carrying out an eviction notice by Garcia's landlord.
But the responding officers say that Garcia charged at them with a machete and so they opened fire on him.
As the echoes of the gun blasts reverberated through the village, residents ran to the scene to find the mortally wounded handyman on the ground. Irate villagers began hurling missiles at the cops—mangoes, rocks, anything they could get their hands on—breaking the glass of the police vehicle and injuring police personnel, including members of the Corozal Scenes of Crime Unit.
Garcia's body was left overnight on the ground; unattended, exposed to the elements and passersby until about eleven-twenty-five the following morning, when it was removed and taken to the morgue at the Corozal Community Hospital.
On their return to the scene on Saturday, a team of officers including GSU, MIT, Special Patrol, Riot Squad and senior officers from the Police Department converged on the village, most with high powered rifles in hand. Hundreds of villagers stood watch from a distance as the officers guarded the scene. Assistant Commissioner of Police Noel Leal says a criminal and an internal investigation into the shooting death of Garcia has begun.
A postmortem examination has also revealed that Garcia was shot multiple times, to the chin, neck and right collar bone. Aside from what residents say was inhumane treatment by the officers, was the use of force warranted; especially so since it was four officers having to apprehend one man?
According to residents, Garcia posed no harm; in fact, he was the handyman in the village. He would get disorderly at times, but they learned to accept him. ACP Leal says others feared him.
Bonifacia Oy lives across from Garcia; she saw the police making several stops at the residence before hearing gunshots. She came out to see the man dead on the ground.
According to Reynaldo Moh, the shooting was unexpected and excessive. His house and shop are next door to Garcia's residence. He says a barrage of bullet was discharged; the evidence is proven by his bullet-riddled walls and vehicle. Luckily, only he and his daughter were at home and no patrons were at the shop.
Residents, adults and children alike, have been left traumatized by the incident.
Very sad situation, wish you all luck.
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Q: Prove an inequality with the help of bernoulli equality and archimedian property. I would like some help with the question below :
We have:
0 < q < 1.
Prove that for all ε > 0 there is M ∈ N (Natural number) , so for all n > M :
q^n < ε.
Hint:
Use Bernoulli Inequality and Archimedian Property.
For all those not sure what the hint is about :
Bernoulli Inequality :
Bernoulli
Archimedian Property :
For every ε > 0 there is a n ∈ N : (1/n) < ε
I'm thankful for any kind of help. Have a nice day!

A: Let $\frac{1}{q}=1+t$. Then $t$ is positive. By the Bernoulli inequality, if $n\gt 0$ we have
$$q^n=\frac{1}{(1+t)^n}\le \frac{1}{1+nt}\lt \frac{1}{nt}.$$
We want to make this $\lt \epsilon$.  Equivalently, we want $n\gt \frac{1}{t\epsilon}$. The Archimedean property tells us that there  is an integer $M$ such that $M\gt \frac{1}{t\epsilon}$.  And if $n\ge M$, it is clear that $n\gt \frac{1}{t\epsilon}$.