I genuinely believe the luminous prize of vitality -- more years of life, more life in years -- is tantalizingly, almost agonizingly within reach. But until more of us can agree we do know what, there simply is no how.
A famous frog once crooned: "It's not easy being green," but I beg to differ.
Your brand is your unique and special skills, talents and know-how that raise you above the swarming masses of job seekers.
Rubber bands are the unsung heroes of the workplace, offering an easy way to keep giant file folders and other random papers bundled together. For most people, that might be the only job for these lowly office supplies. But there are a bunch of new uses for rubber bands--here are just a few of my favorites.
This common pain reliever can be used long after that headache goes away. From plant 'Prozac' to a surprising way to soothe sunburns, here are a few unusual household hints.


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Bacco è un dipinto realizzato tra il 1596 ed il 1598 dal pittore italiano Caravaggio, conservato nella Galleria degli Uffizi di Firenze.

Storia
Fu commissionato dal cardinale Francesco Maria Bourbon del Monte, ambasciatore mediceo a Roma e committente e protettore del Caravaggio, per regalarlo a Ferdinando I de' Medici in occasione della celebrazione delle nozze del figlio Cosimo II, per rinsaldare l'amicizia con Ferdinando che aveva avuto così tanta importanza per favorire la carriera del cardinal Del Monte. Il dipinto, in questo senso sarebbe concepito, secondo Maurizio Marini, come emblema oraziano dell'amicizia.

L'opera inizialmente venne destinata alla villa d'Artimino.

Note

Bibliografia

Altri progetti

Collegamenti esterni

 Galleria degli Uffizi di Firenze - sito ufficiale

Dipinti su Bacco
Dipinti di Caravaggio
Dipinti negli Uffizi

redpajama_set_name: RedPajamaWikipedia


20 Independent luxury villas are being designed for a premium resort at Pushkar, Rajasthan. As per the client's brief the villas need to be epitome of luxury consisting of private pool and a jacuzzi. The main emphasis while designing the resort has been kept to make it look more widespread and more vibrant. Landscape area has been carefully designed which flows with the environment and gives a diverse character to the resort, which makes it more distinct from the other resorts in Pushkar.


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Dell announces the lineup of UltraSharp Monitors : Dell UltraSharp
Dell upgrades the UltraSharp range of monitors with integrated mini-LED backlighting, USB-C, and many more.
Dell recently announced the upgraded lineup of Dell UltraSharp monitors. These models are a part of a new lineup with new versions arriving at present times and some more launching in December. The latest introductions are perhaps the UltraSharp 24 USB-C Hub Monitor (U2421E), which doubles up as a hub to offer 90W power to the laptop and control up to two additional monitors. The hub monitor is available for order at $449.99.
The U2421E device has an aspect ratio of 16:10 aspect compared to the majority of 16:9 regular monitors. Its resolution is 1,920×1,200, with a 60Hz refresh rate. According to Dell, the monitor device has 99% sRGB coverage, a maximum brightness level of 350 cd/m2, and a 1,000:1 typical contrast ratio. There are four ports on the monitor- DisplayPort 1.4, HDMI 1.4, USB-C, and a USB.
Dell UltraSharp Monitors
Similar to the U2421E monitors is the UltraSharp 34 USB-C Hub Monitor (U3431WE), which offers similar functions and ports. This monitor has a resolution of 3,440×1,440 resolution and a curved display. The monitor device will be available after December 1 at the cost of $1,199.99.
The third device is the 32-inch UP3221Q that is crafted, especially for content-creation professionals. It is an equal competition to the Pro Display XDR from Apple with a 4K, 60Hz monitor that claims 98.8% DCI-P3 color space coverage. The device has a maximum HDR brightness of 1,000 cd/m2 and SDR full brightness of 350 cd/m2. It has a 16:9 aspect ratio, one DisplayPort 1.4, two HDMI 2.0 ports, two Thunderbolt 3, two ports- USB, and a colorimeter port. The distinctive feature of the UP3221Q is its mini-LED direct backlit dimming zones. The zones have a typical contrast ratio of 1,000,000:1 in HDR and 1,300:1 in SDR mode. The monitor device will be available from November 5 at the cost of $4,999.99.
Dell also launched updated monitor models in office productive monitor lineup titled the 'P-series'- the P2721Q (4K, 60Hz, 27 inches), P3221D (QHD, 31.5 inches), and P3421W (ultrawide WQHD, 34 inches). The new displays and meeting efficiency Dell's latest monitor devices help creative and office professionals give optimum productivity in hybrid work environments. The upgraded UltraSharp portfolio features state-of-the-art technologies, like mini-LED, built-in colorimeter, and low blue light reduction screens.
"We bring in technologies that help us to perform our best work in a new hybrid work environment," stated Bert Park, the senior vice president, and general manager, Software & Peripherals Product Group, Dell Technologies. "The new Dell laptop monitors have become the most desired companions for any PC, and the new product lineup is no different. We intend to help customers push their productivity to the edge while delivering great performance, style, and comfort at work."
As the world's leading number one brand for the monitor for seven years running, Dell brings in the end-to-end ecosystem of collaboration tools and devices that aim to meet every worker's needs and introduces the EPEAT Gold registered monitors on a global scale.
tagged in Dell Laptops, Dell Latest Monitors, Dell Monitors, Dell Ultrasharp, Dell's Ultrasharp Monitors
Dell is upgrading the gaming portfolio by launching the moderately priced G Series gaming laptops. The refreshed Window 10 gaming PC suite h...
Dell Introduces Pocket-Friendly G Series Gaming Laptops

redpajama_set_name: RedPajamaCommonCrawl


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Court Rules Against Non-Muslims Using The Name Of Allah In Malaysia
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www.guigue.org
THE ARS QUATUOR CORONATI CIRCLE OF CORRESPONDENCE WORKS
The Early legends of the Craft
GUIGUE
The difference between legends and myths involves two dimensions: the degree to which the narratives in questions are sacred, that is, emotionally important and intensely real to the tellers; the degree to which they are grounded in historical, geographical, and scientifically plausible (at least at the moment when the assessment is made) reality. What separates these two genres is the extent to which the tellers themselves assess the tales in question as real beyond any question and culturally important, not whether they are any more or less objectively real.
That is why myths tend to emphasize the actions and include narratives about how the human society and other important phenomena began and their interactions with mortals.
Legends by definition focus primarily on an historical ambiance. Not that every important character in a legend is a real historical figure whose objective existence can be documented; far from it. But the folks that populate legends operate for the most part in a recognizable historical and temporal framework rather than in the realm of once upon a time or the dream-like world inhabited by gods and goddesses and, with some major exceptions, are generally subject to the same constraints that affect all life forms on this planet. In short, the Craft narratives clearly belong to the genre of legend, regardless of whether there are any objectively documented, historical prototypes of Freemasons.
The legend of Lamech's Sons and the Pillars
The traditional history of Masonry now begins, in the legend of the Craft, with an account of the three sons of Lamech, to whom is credited the discovery of all sciences. But the most interesting part of the legend is that in which the story is told of two pillars erected by these sons, and on which they had inscribed the discoveries they had made, so that after the threatened destruction of the world of knowledge which they had gained might be handed on to the human race after the Flood. (Josephus, Antiquities of the Jews, B. I., II, Whiston's translation).
The legend of Hermes
The next part of the legend of the Craft which claims our attention is that which relates to Hermes, who is said to have found one of the pillars erected by the sons of Lamech, and to have given to mankind the sciences written on it. This story may, for distinction, be called The legend of Hermes. As to Hermes, the legend is not altogether without some historical support, although the story is in the legend mythical, but of that kind which belongs to historical myth. He was said to be the son of Taut or Thoth, whom the Egyptians made a God and placed his image beside those of Osiris and Isis. To him they credited the invention of letters, as well as of all the sciences, and they esteemed him as the founder of their religious rites.
Unlike the legend of Hermes, the story of the Tower of Babel appears in the Halliwell poem, which shows that the legend was the common property of the various writers of these old manuscripts. In the second of the two poems, which as we have seen are united in one manuscript, the legend of Babel, or Babylon, is given.
The legend of Nimrod
The universal sentiment of the Freemasons of the present day is to confer upon Solomon, the King of Israel, the honor of being their first Grand Master. But the legend of the Craft had long before, though there was a tradition of the Temple in existence, given, at least by suggestion, that title to Nimrod, the King of Babylonia and Assyria. It had credited the first organization of the fraternity of craftsmen to him, in saying that he gave a charge to the workmen whom he sent to assist the King of Nineveh in building his cities.
That is to say, he framed for them a Constitution, and, in the words of the legend, this was the first tyme that ever Masons had any charge of his science. It was the first time that the Craft was organized into a fraternity working under a Constitution of body of laws. As Nimrod was the autocratic maker of these laws, it necessarily resulted that their first legislator, creating laws with his unlimited and absolute governing power, was also their first Grand Master.
The legend of Euclid
Having settled the foundation of Freemasonry in Babylon, the legend of the Craft next proceeds by a quick change to tell the history of its movement into Egypt. This Egyptian account, which in reference to the principal action in it has been called the legend of Euclid, is found in all the old manuscripts. This legend is the opening feature of the Halliwell poem, being in that document the beginning of the history of Masonry; it is told with very much detail in the Cooke MS., and is apparently copied from that into all the later manuscripts, where the important particulars are about the same, although we find a few things told in some which are left out of others.
The legend of the Temple
From this account of the exploits of Abraham and his pupil Euclid, and of the invention of Geometry, or Freemasonry in Egypt, the legend of the Craft proceeds, by a rapid stride, to the story of the introduction of the art into Judea, or as it is called in all of them, the land of the behest, or the land of promise. Here it is said to have been principally used by King Solomon in the construction of the Temple at Jerusalem. The general details connected with the building of this edifice, and the help given to the King of Israel, by Hiram, King of Tyre, are told either directly or at second hand, through the Polychronicon, from the first Book of Kings, which, in fact, is referred to in all the manuscripts as a source of information. (As it is said in the Bible, in the third book of Kings, are the words of the Cooke MS. In the arrangement of Scripture as then used, the two books of Samuel were called the first and second of Kings. The third book of Kings was then our first, according to the present practice.)
Theextension of the Craft into other Countries
The legend of the Craft next proceeds to tell us how Freemasonry went into divers countryes, some of the Masons traveling to increase their own knowledge of their art, and others to use elsewhere abroad that which they already possessed. But this subject is very briefly treated in the different manuscripts. The Halliwell poem says nothing of the progressive march of Freemasonry, except that it details almost as an actual event the ill-use of the Four Crowned Martyrs (Quatuor Coronati) as Christian Freemasons, in the reign of the Roman Emperor Diocletian, and we should almost be led to believe from the course of the poem that Freemasonry went directly into England from Egypt. The Cooke MS. simply says that from Egypt, Freemasonry went from land to land and from kingdom to kingdom until it got to England. We find the later manuscripts are a little more definite, although still brief. They merely tell us that many skilled craftsmen traveled into various countries, some that they might acquire more knowledge and skill, and others to teach those who had but little skill. Certainly there is nothing that is myth or fable in this account. Every authentic history of architecture agrees in the claim that at an early period the various countries of Europe were traveled by bodies of builders in search of work in the building of religious and other edifices. The name indeed of Traveling Freemasons, which was given to them, is familiar in architectural history books.
Sufficient for the present, for us to show that in this part, as elsewhere, the legend of the Craft is not a mere fiction, but that the general statement of the spread of Freemasonry through-out Europe at an early period is proved by historical evidence. When we examine the legend of the Craft, it will be found to trace the growth of Freemasonry through its several stages of progress from Babylon and Assyria to Egypt, from Egypt to Judea, from Judea to France, and from France to England. Accepting Freemasonry and the early art of building as meaning the same thing, this line of progress will not be very different, with some necessary variations, to that assumed to be correct by writers on architecture. But the study of this subject belongs not to that which went before, but to the historical period of the Society, that is based on the evidence of fully accredited records.
The legend of Charles Martel and Namus Grecus
The legend now gets near the field of authentic history, but still having its traditional character, goes on to tell, but in a very few words, of the entry of Masonry into France. We have this account given in the language of the Dowland MS. Now, this legend is repeated, almost word for word, in all the later manuscripts right up to recent times. But it is not even mentioned in the earliest of the manuscripts, the Halliwell poem, and this proves again that the two sets of recorded events and traditions are copied from quite different sources. This whole subject is so closely connected with the authentic history of Masonry, having really passed out of the pre-historic period, that it claims a future and more detailed study in its proper place.
The legend of Saint Alban
The legend of the Craft now goes on to tell of the history of the bringing of Freemasonry into England, in the time of St. Alban, who lived in the 3rd century. The legend referring to the first martyr of England is not mentioned in the Halliwell poem, but it is first found in the Cooke MS., in the following words:
"And sone after that come seynt Adhabell into England, and he convertyd seynt Albon to cristendome. And seynt Albon lovyd well masons, and he gaf hem fyrst her charges and maners fyrst in Englond. And he ordeyned convenyent to pay for their travayle."
Later manuscripts, for some time, say nothing of St. Adhabell. When we get to the Krause MS. in the beginning of the 18th century, we find mention of St. Amphibalus, who is said in that document to have been the teacher of St. Alban. But this St. Amphibalus, of which the Adhabell of the Cooke MS. is seemingly in error in spelling, is so doubtful a person, that we may rejoice that the later copyists have not as a rule thought proper to follow the Cooke document and give him a place in the legend. However, the name is not entirely mythical as we find it in the writings of Robert of Monmouth, 1140, as well as, for example, in the William Watson MS., 1687.
A very interesting point of the legend of the Craft to which our attention may be directed, is that referring to the organization of Freemasonry at the city of York in the 10th century. This part of the legend is of much importance. The prehistorical here verges so closely upon the historical period, that the true account of the rise and progress of Freemasonry can not be justly understood until each of these elements has been carefully attached to the proper period. This subject will therefore get critical attention.
The legend of York
The decline and decay of all architectural art and enterprise having lasted for so long a period of time in Britain, the legend of the Craft proceeds to account for its revival in the 10th century and in the reign of Athelstan. His son Edwin called a meeting, or General Assembly, of the Freemasons of York in the year 926, and there revived the institution, giving to the Craft a new code of laws. Now it is impossible to attach to this portion of the legend, absolutely and without any reservation, the taint of fiction. The gathering of the Craft of England at the city of York, in the year 926, has been accepted by both the Operative Freemasons who preceded the Revival in 1717, and by the Speculatives who succeeded them, up to the present day, as a historical fact that did not admit of dispute. The two classes of the legends - the one represented by the Halliwell poem. and the other by the later manuscripts - agree in giving the same statement. The Cooke MS., which holds a middle place between the two, also contains it. But the Halliwell and the Cooke MSS., which are of older date, give more fully the details of what may be called this revival of English Freemasonry. Thoroughly to understand the subject, it will be necessary to compare the three accounts given in the several sets of manuscripts.
By TORRIONE CASTLE LODGE OF RESEARCH No. 34


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Home » Ferrari Claims EV Technology Not Quite Good Enough For Them – Yet
Ferrari Claims EV Technology Not Quite Good Enough For Them – Yet
May 15, 2020 by Austin Crosby
In a recent interview with AutoCar, Ferrari's chief commercial officer, Enrico Galliera, gave a strangely decisive statement of the prospect of an all-electric Ferrari. He claims that Ferrari will not sell an EV until at least 2025, when the technology is appropriate for their brand.
According to Galleria, the battery technology is not up to par with what people expect from their Italian supercars. This could be surprising, as many governments move to ban combustion vehicles, and many competitors move forward on plans to improve their offerings via electrification.
We firmly believe that battery technology is not yet developed enough to meet the needs of a supercar. In the next five years, we do not believe the technology will be able to meet the needs of a Ferrari.
As someone who is decisively not the target demographic of Ferrari, this confuses me. If I were in the market for a fast car, but didn't have millions of dollars to spend, I would think an EV would be the obvious choice. As Tesla prepares to launch its new roadster, hopefully before 2025, then how could Ferrari hope to compete with what will surely be the fastest car available at launch (maybe not top speed, but general agility).
Furthermore, the Italian company, Pininfarina, showed off their Battista supercar, a 1900-horsepower EV, at the Geneva Motor Show… last year! Ferrari themselves have sold the SF90 Stradale since last year, which has three electric motors and a 7.9 kWh battery.
As soon as electrified technology is developed, that will allow us to produce a car that fits with our position. Then why not? But the key is the technology: we will not just make a Ferrari that's electric for the sake of it.
This sort of attitude makes me hope these companies see the light sooner than later. I don't know how the double-think can last for so long while they are actively annexing their ICE-lineup with higher performance hybrid models. Thankfully Galleria seems open to adapting eventually, which they will need to do to survive.
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