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Much has been written about the monastic settlement of Bawit and it seems a daring task to try and add something substantially new to this. First of all, we have limited access to the material on which we can base our conclusions. Only a small part of the total area occupied by the monastic settlement was investigated, and if one makes a rough estimate it may not be more than about 5 percent (Torp 1957: 513). The excavations by Cledat, Chassinat, Palanque, and Maspero in the beginning of the twentieth century were carried out according to the standards of those days and the material published by the excavators is fragmentary and leaves us with many questions. Even the valuable addition to the pubheation of Cledat by Dominique Benazeth and Marie-Helene Rutschowscaya (Benazeth and Rutschowscaya 1999) is not sufficient to answer all these questions.
One of the basic questions concerns the function of the buildings that have been called chapelles by Jean Cledat and salles by Gaston Maspero. In this chapter, I will try to shed light on this function on the basis of the iconography of the mural paintings that have been found here. When Cledat excavated the site of Bawit he mistakenly supposed he was dealing with a monastic cemetery and, as a result, named the non-ecclesiastical buildings that he found chapelles.
When Maspero continued the work from 1913, he corrected this after discovering that no tomb was to be found under any of the buildings and, more appropriately, interpreted them as the living quarters of the monks of the settlement, giving them the name of salles in his publication (Maspero 1932-43, vol. 5). The names by which the buildings were indicated was changed, but this does not imply that all questions surrounding their functions have been solved. In his lemma on the architecture of Bawit in The Coptic Encyclopedia, H.-G. Severin remarks:
Of building operations in the area of the kom of Bawit, at least in the fifth and sixth centuries, we know nothing for certain (extent, architectural form, and function), and therefore, for the time being, should rule out neither any future confirmation of the conventional interpretations nor the possibility of perhaps surprising new insights (such as the possibility that the first building phase was a cemetery). (Severin 1991: 366)
There are reasons to believe that at least a number of the buildings were not just cells, but had other functions. As in the monastery of Apa Jeremias in Saqqara, many cells were equipped with an oriented niche containing painted decoration that resembled the paintings in apses. Some of these rooms have an elongated shape, with a width that is a multiple of its depth.
This is the case in, for instance, salles 5 and 6 (Maspero 1932-43: pl. I). In other cases, rooms are more or less square or rectangular, but for none of them does a liturgical function seem likely. The presence of an apse-hke niche, however, suggests that they were used for devotional purposes, in the case of the elongated rooms allowing the monks to stand next to each other in a row, facing the apse/niche.
According to the Historia Monachorum in Aegypto, the monks would celebrate the liturgy daily, apparently in one of the churches (Rufmus, Historia Monachorum 7: 13,4; Schulz-Fliigel 1990: 302). That could mean that the chapelles or salles were mainly used as oratoria for the prayers of the hours and other prayers. This is not a new conclusion, but the next question would be what the painted decoration in these rooms can tell us about their use and function.
The decoration in the eastern niches, as mentioned, has in most cases a clear reference to apse decoration and as such raises no specific questions, but a number of recurring subjects on the walls of these rooms, such as hunting scenes, are more difficult to explain in the context of oratoria for groups or individual monks.
In 1957, HjalmarTorp published an article in By z antion that apparently and unfortunately has remained unnoticed by many. It is rarely mentioned in publications concerning the use and function of the architecture of Bawit, but it could give us a clue nevertheless concerning additional aspects of the rooms in Bawit and their decoration. Torp draws a parallel between the construction of monastic dwellings such as the ones in Bawit and the architecture oflate antique and early Christian tombs.
Of the approximately seventy buildings unearthed in Bawit, more than forty have barrel vaults, mostly in combination with remains or evidence for the existence of an upper floor. These upper floors were not supported by the barrel vault, but by wooden beams, a construction highly unusual in house architecture, but all the more usual in tombs, such as those in the cemetery ofTuna al-Gebel, fifteen kilometers north of Bawit (Torp 1957: 526—29).
Torp s explanation for the resemblance between tombs and monastic buildings is that the latter consisted of an upper story that functioned as the living quarters for the monks, while the vaulted ground floor rooms were intended as funerary chapels for burial and commemoration rites (Torp 1957: 530—38). In this conclusion, Torp returns partially to the interpretation of Cledat, who also attributed a funerary function to the chapelles.
This remarkable conclusion raises at least two questions. The first one is whether the painted decoration of these rooms can support Torp's view. A second question is why so many funerary chapels are present within the compound of a monastery. Would a church not be sufficient for such funerary rituals? In order to go deeper into this matter we will have to take a closer look at a number of iconographical themes that recur in the decoration of these presumed funerary chapels. Although certain themes are unique, others can be found in a number of varieties. IfTorp is right, these paintings should have a fink with funerary iconography.
Hunting Scenes
A small group of mural paintings that seems difficult to explain in a Christian monastic context depicts hunting scenes. One example can be found in chapelle XVIII, where we see representations of two childlike hunters, dressed in short tunics and trousers, and a gazelle in octagonal frames that are part of a geometrical pattern (Cledat 1916: pls. LXIV, LXV) (fig. 22.1). In chapelle XII, a hunter with bow and arrow is depicted as he shoots an arrow through the head of a lion (Cledat 1904—1906: pl. XXXVII).
The most elaborate, though only partly preserved, hunting scene known so far is in chapelle XXXVII, where a group of hunters (four are visible) are involved in a hunt for deer. Their dress also consists of short tunics and trousers. We know examples of hunting scenes from various contexts in late Roman art, such as floor mosaics, but from 220—30 onward they also occur in considerable numbers in so-called hunting sarcophagi (Koch and Sichtermann 1982: 92—97; Andreae 1980).
They represent the hunt of various kinds of game, such as deer and wild boar in, for instance, a sarcophagus from Arles[1] or of Hons as depicted in a sarcophagus from Spoleto.[2] Hunting scenes must have occurred frequently, not only as reliefs on sarcophagi, but also in the painted decoration of Roman tombs, though fewer of these tomb paintings have survived.
A provincial example of such a hunting scene was found in a tomb in Pantikapaion (nowadays Kerch, Ukraine) (Rostovtzeff 1919: pl. LXXIX). A good parallel for the hunting boys from chapelle XVIII is a painting from a Roman tomb in Silistra (modern Bulgaria), where a small boy, also painted in an octagonal frame, hunts a wild boar (Dorigo 1971: fig. 184) (fig. 22.2).
Fig. 22.1. Bawit, watercolor after a detail from chapelle XVIII: a boy hunting a gazelle (Cledat 1904-1906).
Fig. 22.2. A boy hunting a boar, detail from a tomb in Silistra (Bulgaria) (Dorigo
The Imago Clipeata
In a number of rooms in Bawit, we encounter representations of busts in a round frame (clipeus) supported by winged figures, in this Christian context to be identified as angels. In chapelle XVIII, for instance, over the niche in the eastern wall, two angels lift a clipeus that most probably contained a bust of Christ (Cledat 1916: pl. LIX).
In 1976, a painting of a bust of Christ in a clipeus, lifted by two angels, was excavated in Bawit by the Egyptian Antiquities Organization and moved to the Coptic Museum (Gabra 2006: fig. 56) (fig. 22.3). Not only Christ, but also saints have been represented in a similar way. In chapelle XXXII, for instance, John the Baptist and Zachariah have been painted in this way in niches on the northern and eastern walls (Cledat 1904—1906: pl. VIII).
The origin of this imago clipeata lies in the Roman iconography of the apotheosis, a theme often occurring in a funerary context, in which the portrait of a deceased is supported by genii or erotes. As such it occurs frequently on marble sarcophagi[3] (Koch and Sichtermann 1982: 238—41) (fig. 22.4), and also in mural paintings, such as, for instance, in the tomb ofAelia Arisuth in Gargaresh (Libya) (Dorigo 1971: fig. 165).
Fig. 22.3. Bust of Christ in a clipeus, supported by angels, from Bawit, now in the Coptic Museum, Cairo (Gabra 2006).
Fig. 22.4. Roman sarcophagus, third quarter of the third century, with an imago clipeata of the deceased, now in the Pushkin Museum, Moscow (http://ancien- trome.ru/art/artworken/img. htm?id=3757).
Men in the Fiery Furnace
A third theme that can be found frequently in both a monastic and a funerary context is that of the three Hebrews in the fiery furnace, the biblical story taken from . In Bawit it was represented in salle 30 (Maspero 1932—43:pl. XLV),but reference to the story can also be found in the form of graffiti, such as the ones in chapelle XIX, on the western wall, where two graffiti just give the names of the three Hebrews (Cledat 1916:112). In the monastery of Apa Jeremias in Saqqara, the subject was painted in chapel F (Quibell 1908: pl. LVII).
The painting that was found in Wadi Sarga by R. Campbell Thompson in 1913/14 and that shows the scene of the Three Hebrews may have been made for a monastic dwelling as well.[4] In early Christian Roman art the same theme occurs frequently in a funerary context, specifically in catacomb paintings and sarcophagi reliefs.[5] The theme can be found not only in the Mediterranean area, but also in the necropolis of al-Bagawat (mausoleum of the Exodus) (Cipriano 2008: 145—46).
Its popularity as a funerary theme can be explained by the fact that the Three Hebrews are mentioned in the Commendatio animae, the prayer for the salvation of the soul of the deceased that was in use from the third century on. Here, the deliverance of the soul is compared to a number of biblical stories in which faith or the mercy of God save the just in danger (Brown Tkacz 1991: 488).
Not only do we have iconographical parallels for the theme in funerary contexts, there is also an apothegm that refers to the Three Hebrews and compares the cell of the monks directly to the furnace:
An elder said: "A monk's cell is the furnace of Babylon, in which the three children found the Son of God, and the pillar of cloud, from which God spoke with Moses." (Apophthegmata Patruin, Anonymous series, Wortley 2013:147 [N.206/7.46])
From this short aphorism, we learn that the cell is considered the place where the monk communicates with God and, implicitly, a place of salvation.
Decorative Patterns; Floral and Animal Decoration
Apart from iconic and narrative themes, we find a number of elements in the geometrical, floral, and animal decoration of rooms in Bawit that have clear correspondences with paintings from late Roman tombs. The painting of the hunting boy from chapelle XVIII (Cledat 1916: pls. LXIV, LXV) shows a geometrical framework that consists of octagons and cross shapes, filled in with a meander pattern.
This pattern may have been used in several situations, ranging from floor mosaics to celling decoration in private houses, but two close parallels happen to be from Roman tombs, one in a third- or fourth-century tomb in Abila (Jordan) (Ling 1991: fig. 208), the other one in cubiculum N in the catacomb of the Via Latina (Ferrua 1960: pl. CXI; Ferrua 1991: fig. 124).
There are more elements in the decorative painting from Bawit for which parallels can be found in a funerary context. The grapevines that come out of ajar on the south wall in chapelle XIX (Cledat 1916: pls. LXXXII, LXXXIII) could of course be interpreted as purely decorative, but in late Roman funerary art they are used frequently, in both non-Christian and Christian symbolism, to refer to the cult of Dionysos-Bacchus or the blood of Christ, respectively (Thomas 1990: col. 494—95).
The same can be said of the peacocks, painted flanking a cross on the west wall of the same room (Cledat 1904—1906: pl. XXIX) (fig. 22.5), a motif that occurs frequently in tomb decoration, in the Mediterranean area and also in Egypt, as a symbol of eternal life and a reference to Paradise (Kramer 1990: col. 409—11) (fig. 22.6).[6]
Fig. 22.5. Bawit, two peacocks flanking a cross, western wall of chapelle XIX (Cledat 1904-1906).
Fig. 22.6. Theodosia between Saints Colluthos and Maria, watercolor after the painting in her tomb in Antinoe (Zibawi 2003).
Other animals that occur in paintings in Bawit are gazelles and birds of prey (eagles). In chapelle XXVII, for instance, we find an eagle with triple bulla around the neck (Cledat 1904-1906: pl. XCIII). Gazelles are found in a number of paintings, especially in chapelle XVII where they accompany standing figures of monks and the personification of Ekklesia.
A close parallel for representations of these animals in the context of a tomb chamber is the recently discovered tomb with chapel near Dayr Anba Shenoute near Sohag. In the underground vault, the decoration consists of crosses flanked by gazelles and eagle-hke birds, framed by decorative borders with meander patterns (Bolman, Davis, and Pyke 2010). Not only the shape of the architecture, but also the decoration, shows that the rooms in Bawit have in many cases a close similarity to tombs.
The Monk's Dwelling as a Tomb
On balance, after analyzing the iconography of a number of paintings from rooms in Bawit, we can come to the conclusion that there are close parallels to themes that occur frequently in late Roman funerary art, ranging from reliefs on sarcophagi to paintings in Christian catacombs. Elisabetta Lucchesi-Palli, after analyzing the iconography of the hunting scenes and decorative and floral patterns in Bawit, came to the conclusion that the painters who decorated these rooms must have had an elaborate knowledge of Roman paintings and mosaics, especially from the Syro-Palestine region (Lucchesi-Palh 1988 and 1990).
If we go one step further in our analysis we can say that they were also well informed about funerary iconography. None of the themes discussed above have a purely funerary character—hunting scenes, grapevines, and peacocks occur in house decoration as well—but it is their occurrence in combination with each other that reinforces the similarity with tomb decoration.
Hjalmar Torp came to the conclusion that the construction of these rooms, in their architectural resemblance to tombs, was to be explained by their function as commemorative chapels.
This aspect may certainly not have been absent, but primarily these so-called chapels bear a resemblance to tombs, and this cannot be a coincidence. From a number of texts, especially the Apophthegmata Patrum, we know that the monk considered his cell a tomb, either in a metaphorical sense or literally.
From countless cases in Egypt, we know that rock-cut tombs were transformed into cells or small monasteries (the west banks of Thebes and Aswan are just two examples) or that monastic settlements were built on necropohses, as in the case of Apa Jeremias s monastery near Saqqara. On one hand, this had the practical advantage of having ready-to-use accommodation or building material to be reused at hand, while on the other, there was the ideological reason of seeking confrontation with the pagan spirits as part of a life of askesis.[7]
But even more important was the ideal of the monk becoming 'dead to the world,' reaching a state of apatheia in which the monk would be indifferent to scorn or praise, as Macarius advised a young brother in one of the apothegms (Macarius 23, Ward 1975: 132). We find the same advice in different wordings, such as in an apothegm of Moses:
A brother questioned Abba Moses saying, "I see something in front of me and I am not able to grasp it." The old man said to him, "If you do not become dead like those who are in the tomb, you are not able to grasp it." (Moses 11, Ward 1975:140—41)
As a consequence, the tomb is considered a place of salvation of the soul:
A brother said to Abba Poemen, "What should I do?" The old man said to him, "When Abraham entered the promised land he bought a sepulcher for himself and by means of this tomb he inherited the land."The brother said to him, "What is the tomb?"The old man said, "The place of tears and compunction." (Poemen 50, Ward 1975:173)
The cell as a tomb can be seen as a metaphor, but in some cases, we can see how certain monks took it literally. In one of the anonymous apothegms a Father from Sinai goes to Egypt with his pupil and comes to the town of Kuno. In the morning, they see the people of the town go to the cemetery to lament their dead till the third hour. The Father then proposes that his pupil erect tombs for the two of them after coming back to their cells to lament their own souls (Anonymous series, N. 592, l, Wortley 2013: 401).
The Aspect of the Oratorium
The themes depicted on the walls of the rooms in Bawit strongly suggest a metaphorical character as a tomb for the monk(s) living on the upper floor of the same building. But, on the other hand, there is the aspect of a prayer room, as we have seen, clearly indicated by the presence of the miniature apses in the eastern walls. Judging from the number of these rooms in the complex, it seems unlikely that they were used for funerary ritual only, as Torp suggested, but rather for the daily liturgy of the hours.
In that case, the monks would be standing next to each other in fines, facing east. In a number of rooms there are rows of persons depicted on the western wall, as is the case of, for instance, chapelles XVII, XVIII, XXVI, and XXVIII (Cledat 1904—1906: 79,92—94,133,157—58). These persons can be saints, but often we find representations of monks and saints standing side by side. Some of these monks are standing with their hands raised, in a gesture of prayer, as in chapelle XXVI (Cledat 1904—1906:pl. LXXXVII).
We do not know whether these monks were portrayed during their lifetime, but it is perhaps more likely that what we have here are commemorative representations, again comparable to funerary paintings such as the painting of Theodosia from Antinoe, standing with raised arms between Saints Colluthos and Maria (fig. 22.6). We find similar representations in Roman catacombs, where families are reunited after death by their representations in the tomb.[8]
In several rooms, names of monks and saints have been added on the western (and other) walls, apparently in addition to the paintings. Thus the representations of the monks and saints on the western walls of the oratoria and the names added later may have been intended as their literal re-presentations, images that substitute the real presence of persons, joining the living monks in their daily prayers.[9]
In this way, the living monks would be reunited with their spiritual ancestors in their praise of God. A parallel for such an iconographical composition outside of Bawit can be found in the church of the Holy Virgin in Dayr al-Suryan. On two half-columns in the khurus, facing east, are the representations of two monks.
One painting cannot be identified with certainty, but may represent St. Macarius, while the other one, standing again in a gesture of prayer, is identified as St. Apollo of Bawit (Innemee,Van Rompay, and Sobczynski 1999: 175—76; Innemee and Van Rompay 2002:248, fig. 5). It seems they were intended as representatives or personifications of Egyptian monasticism, literally and metaphorically backing the monks standing in the khurus during prayers and liturgies.
The last word about the function of the rooms called chapelles by Cledat has not been said, and it will take more fieldwork to come to well-founded conclusions. HjalmarTorp seems right when he draws a parallel with tomb architecture, but his supposition that the ground-floor rooms were only commemorative chapels seems less convincing.
On the basis of the material available so far, we can say that these rooms most probably were the place for daily prayers and, in addition to this, had clear references to funerary architecture and its iconography. This fits the ideal of the monk to be 'dead to the world' and the metaphor of the cell as a tomb. The cell of the monk, and especially its prayer room, has a number of connotations, but generally it is considered the place where the monk finds salvation.
Living monks and their deceased predecessors were reunited here in praise of God. The 'absent' monks (deceased, or ahve but physically not present) were represented by their image or a graffitto of their name on the wall. The cell combines the aspects of living quarters with those of a tomb and/or funerary chapel.
The monk thus lives and prays in a cell that is at the same time a tomb, reminding him of the fact that he is dead to the world. The funerary character of the decoration underlines the view that the monk is dead to the world and illustrates his communion with his deceased 'spiritual ancestors.'
The so-called chapelles in Bawit were parts of the living quarters of the monks and were used for devotional purposes, most likely the liturgy of the hours and possibly also commemorative gatherings, and in their decoration they refer to church interiors (apse decoration, narrative cycles) as well as to tombs.
The funerary themes depicted show the painters' familiarity with late Roman traditions and iconography, a phenomenon that is also apparent in the church decoration of the Red and White Monasteries near Sohag.
Karel Innemee
[1] The sarcophagus is now in the Musee 'Arles et de la Provence antiques. For a photograph, see:http://upload.wikimedia.org/wikipedia/commons/4/4e/Arles_ sarcophagus_hunting_scene.jpg.
[2] The sarcophagus is in the Piazza del Duomo: Database of Ancient Art, http:// ancientrome.ru/art/attworken/img.htm?id=4414
[3] A fine example is a third-century sarcophagus in the Pushkin Museum, Moscow: Database of Ancient Art, http://ancientrome.ru/art/artworken/img.htm?id=3757
[4] The painting is no longer in context, but was brought to the British Museum: British Museum, http://www.britishmuseum.org/research/research_projects/all current_proj ects/wadi_sarga. aspx.
[5] Of the many examples we can mention: Catacomb of Priscilla, Capella Graeca (Crippa and Zibawi 1998: fig. 73); Catacomb of Priscilla (Crippa and Zibawi 1998: fig. 90); Catacomb of the Via Latina (Ferrua 1991: fig. 144); sarcophagus of Marcia Romana Celsa, Arles (Crippa and Zibawi 1998: fig. 122).
[6] A good example of a pair of peacocks, this time flanking a bowl of fruit, can be found in cubiculum E of the catacomb at the Via Latina (Ferrua 1991: fig. 77). From Egypt, the best-known example is the painting from the tomb of Theodosia in Antinoe, where the deceased is represented between two saints, with two peacocks in the pendentives over the painting (Zibawi 2003: fig. 9)
[7] As in the case of Macarius, who spent the night in a pagan temple and used mummies as pillows, provoking a spiritual fight with evil spirits (Macarius 13,Ward 1975:130).
[8] An example is the so-called cubiculum of the Five Saints in the San Callisto catacomb, where five members of a family are represented with raised arms, in a gesture of prayer (Crippa and Zibawi 1998: pl. 9).
[9] The veneration of funerary portraits and of icons of saints are closely related in late antiquity. On this topic, see Belting 1994: 78-98.
Tags: Places, Heritage


HICKORY - Kentucky State Police says all of the issues with its emergency and non-emergency phone lines have been fixed.
According to a press release, both 911 and non-emergency lines were not working for part of Sunday afternoon. The post briefly routed 911 calls through Paducah-McCracken County 911 and then relayed back to KSP Post 1 for service while lines were down.
KSP Post 1 takes administrative calls for Mayfield Police Department, Mayfield Fire/EMS, Graves County Sheriff's Department, Lyon County Sheriff's Department, Lyon County Fire Agencies, Lyon County EMS, and Eddyville Police Department.


As regards the gospel, they are enemies of God for your sake. But as regards election, they are beloved for the sake of their forefathers. For the gifts and the calling of God are irrevocable. For just as you were at one time disobedient to God but now have received mercy because of their disobedience, so they too have now been disobedient in order that by the mercy shown to you they also may now receive mercy. For God has consigned all to disobedience, that he may have mercy on all (Rm. 11:28-32).
[Warning: Post is at present unedited] This passage of Scripture is perhaps one of the most difficult passages in Romans, perhaps in all of Scripture, to grasp. It is so because of the language that is used in it– language that is complicated by our natural tendency to assign strict definitions to words that do not in themselves demand strict definitions. In this particular passage, the word of which I am speaking is the word that is translated "election" in v. 11:28, which I shall deal with in short order.
First, as always, we must understand the context in which this passage is spoken. As has been so throughout Romans 11, Paul is speaking of two groups of people–the Jews and the Gentiles. And because of God's good wisdom and pleasure, he has decreed that salvation would only come to Gentiles if the Jews on the whole (less the remnant) would reject the Messiah. This purpose of the Lord is summed up in the apostle's final statement in Romans 11 concerning the matter, viz. "For God has consigned all [both Jews and Gentiles] to disobedience so that he may have mercy on all." This is a reiteration of what the apostle has declared earlier in the epistle, viz. "What then? Are we Jews any better off? No, not at all. For we have already charged that all, both Jews and Greeks, are under sin" (Rm. 3:9). For what reason? "So that every mouth may be stopped and the whole world may be held accountable to God" (v. 3:19). Therefore, just as the law has stopped the mouths of the whole world (for they have no justification in themselves), so too this section is designed to stop our self-righteous mouths and declare what the apostle declares at the conclusion of this treatise: "Oh, the depth of the riches and wisdom and knowledge of God! etc." (vv. 11:33-36).
Now, what we must understand as Gentiles in this mystery is this: that the Jews in respect to the Gospel are the enemies of God for our sake, but as regards election they are beloved for the sake of their forefathers (cf. v. 11:28). This passage is somewhat difficult on the surface, because, as said before, we wish to apply definitions that we have given to particular words in other passages to different passages where such definitions do not work. In this particular instance, we take the "election" of Rm. 9:11 which is, in that context, regarding particular persons, and apply that "personalized" definition to the corporate election spoken of in v. 11:28. What we should do however is understand that "election" in its most basic of definitions is the sovereign choice or decree of God, not necessarily the choosing of particular persons from the foundation of the world unto salvation (which is indeed true in several instances). Understanding this, we can attempt to grasp the mystery the apostle is speaking of in this passage.
The reason that we must understand election this way is first because the context demands it and second because we would have a terrible contradiction on our hands if we did not. For in the same breath the apostle declares that the Jews are the enemies of God on the one hand and are beloved for the sake of their forefathers on the other. Now, if this "belovement" was salvific in nature, the Gospel would be void and Paul's deep concern in Rm. 9:1-5 for his brothers according to the flesh would be empty. However, we must understand as Paul declares earlier in this chapter, that there will be many of the Jews who are not "elect" and will by their unbelief and lawless deeds bend their backs forever (cf. vv. 11:7-10).
Therefore, this election of the Jews for the sake of their forefathers is the same of which the apostle has already spoken in the chapter, which he declares in his self-answered question: "Did [the Jews] stumble in order that they might fall? By no means!" (v. 11:11a). In other words, Israel's disbelief has not come so that they might be rejected forever corporately but so that "through their trespass salvation [would] come to the Gentiles" (v. 11:11b). Therefore, it can be said that on the one hand that the Jews on a whole are presently the enemies of God with regards to the Gospel and their personal salvation, but with regard to the promise made to their forefathers and God's sovereign plan, they are corporately beloved. In other words, as the apostle clearly declares throughout the chapter, God is not finished with corporate Israel (i.e. the descendents of Abraham according to the flesh) but has decreed that one day they, by the grace of God, will come to the Jesus Christ for salvation.
What we must gather from this passage as Gentiles is not some eschatological truth (for it is not clear from this passage that this future belief of the Jews is eschatological in nature), but it is that salvation is from the Lord. Romans 9-11 exists chiefly to remind us of this truth and for us to be humbled by it. For if it were not for God's good pleasure, we as Gentiles would have continued in our disbelief (cf. v. 9:30) and the Jews who are now unbelieving would never come to repentance. But God, being rich in mercy has consigned the whole world to disobedience so that he might have mercy on all, both Jews and Greeks. We who are in Christ are mere vessels of God's grace and mercy given for his glory and for his glory alone. For "from him and through him and to him are all things. To him be glory forever. Amen" (v. 11:36).


Following the success of the first two events in Bangkok, Elite Boxing is now ready to take the EFN Champions League onto the global stage as final preparations get underway for EFN Champions League 3 in Malaysia.
Launched earlier this year in Bangkok, EFN Champions League has now completed two successful rounds in the Thai capital. As with the inaugural event in the series, EFN Champions League 2 took place at Asiatique. Held on September 26, EFN Champions League 2 included two female fights in addition to its standard 4-man tournament.
With the series up and running, Elite Boxing is now preparing to stage the first EFN Champions League event outside Thailand when it heads to Malaysia for EFN Champions League 3 on October 31.
In addition to being the third event in the series, EFN Champions League 3 will be the third time that EB has staged an event in Malaysia in the last 3 years. Following the success of TVC events held in Malaysia in 2013 and 2014, EB as established a strong foundation in the Southeast Asian nation.
While the previous TVC event in Malaysia was staged in an exclusive VIP venue, high demand has led EB to stage EFN Champions League 3 at the KL Badminton Stadium with a capacity of approximately 3,000. Working with local partner Leko Beh on the event, EB is confident of selling out the venue for EFN Champions League 3.
Following the now standard format, EFN Champions League 3 will feature a 4-man tournament with the winner taking home prize money of 150,000 baht and qualifying for the King's Cup in Bangkok on December 5.
The 4 fighters have been confirmed as Sean Kearney from Canada, Teerapong from Cambodia, Aiman RedArmy from Indonesia and Kai Chee from Malaysia.


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JNixx Shows Off His Unique Style With The Energetic "Sorry I'm a Mess"
SORRY I'M A MESS
JNixx
"Sorry I'm a Mess" is a dive into nostalgic bliss that's filled with contagious non-stop energy.
Donald Jack Nicholson (better known by his stage name JNixx) is an 18-year-old musical artist from Minnesota. Since middle school, JNixx has been writing and recording music. His musical style is a combo of melodic and classic rap. JNixx considers his biggest musical influences to be Mac Miller, Kanye West, and Lil Wayne. Through JNixx's work, his goal is to help his fans "heal through music" and use it to overcome life's challenges. His latest release is the single "Sorry I'm a Mess."
This track has a super carefree and bouncy spirit that's reminiscent of the '90s and 00s grungy punk pop-rock groups like Blink 182 or Fall Out Boy. The beats are catchy and the lyrics which include lines like "can I get high to numb the pain" are well-matched with the song's overall style of. Anyone looking for some genre-blending throwback nostalgia will love rocking out to JNixx's new single.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Irradiance and current Is there a relationship between Ir-radiance of an LED and the forward current supplied to it? I am designing a photo-therapy device for neonatal jaundice treatment. The required quantity is Ir-radiance. However, I'm unable to measure it in our college because of non-availability of a radiometer. So I was wondering if there is a relationship between these two. Then I can supply the required current to the LED to get the desired irradiance.

A: I would expect they are proportional, but I haven't checked. If each electron creates a photon, the number of photons per second is proportional to the number of electrons per second.
Irradiance is flux of radiant energy per unit surface area normal to the energy flow. Neither area of the diode nor angle of emmission changes.

redpajama_set_name: RedPajamaStackExchange


UBCSCC has been holding Autocross (AutoX) events since its inception in the 1950's. Students and alumnis back then started racing in parking lots on campus, namely The Barn, and other venues in the Lower Mainland. AutoX is the lifeblood of this club, bringing in many racers which forms the majority of our membership base. Every year, we continue to accept racers guys and girls, young and old, UBC students and not.
For our current list of AutoX events and other club happenings, please see the right side bar calendar or our Club Events page.
What is AutoX, aka Autoslalom/Autocross?
According to ViaQX online pharmacy directory It is not a fact that the side effects after taking Viagra appear mandatory for everyone who uses the drug. In my case, it's an absolutely stuffy nose and a cloudy head, like a bottle hit. Therefore, take better Cialis, if you do not want these risks.
Autoslalom, sometimes referred to as Solo II or more commonly Autocross (AutoX), is a time trial event where one car at a time completes a road course, usually set up at an unused airport runway or parking lot. The layout of the course is defined using traffic cones, while the goal is to finish the course quickly without disturbing the cones and assessing penalties.
The sport is also the safest form of motorsport because competitors are racing against the clock rather than against other cars. These events are also a test of driver skill and handling rather than all out speed (top speed on course is around 100km/h), thus keeping event insurance costs low (where part of your entry fee goes towards).
An AutoX course is typically made up of (but not limited to) 3 basic elements: Slalom, offset gates, and sweeper, all of which are implemented using traffic cones. Course maps are provided at the beginning of each event for drivers to walk and familiarize themselves with the day's course.
Do I need special training or prior racing experience to join?
No, not at all, because AutoX is a form of driver training in itself. You can learn the limits of whatever car you have in a safe and controlled environment. Most important of all is that it is legal to participate in. AutoX is an inexpensive sport to get into, and it is typically the first form of motorsport many people start with when they get into racing. As long as you hold a valid driver's license and have a car to drive, you are set.
The name of the game is to drive as fast as you can through the course. If a car knocks a cone out of its chalk-lined "box" or tips it over as it goes by it, that adds 2 seconds to their total time for that run. If the driver fails to drive the course as instructed by the course map, they automatically receive a DNF (Did Not Finish; no time) for their run.
Do I need a fast or a modified car to enter?
No, you do not. The truth is, you will have fun either way, guaranteed! Imagine how much MORE fun it would be to do an event and set a baseline for your bone stock car first. Then, put on those new goodies an event at a time and actually feel the difference at your car's new found limit!
But remember, at the end of the day, it doesn't matter what car you drive or the modifications you have – It is all on you and your driving skills to pilot your car to the top of the standings!
What are the rules for AutoX?
For general competition rules, we use the CACC General Competition Rules. The most current version can be found here.
For car classing, please see the next topic.
Cars are split up into different classes based on performance potential and modifications. The competition is based on the fastest time each competitor runs on course, with the fastest time in each class winning.
Example: I drive a completely stock car. How will my time be compared to my friend's *enter fast car here*?
Classing: We run a set of car preparation classing adopted from the SCCA Solo II rulebook, which is updated every year. If you are a beginner, please take a moment and look at our Car Classification forum for more details on how to class your car.
Your club is called *UBC*SCC. Do I need to have any affiliation with the university to join, such as a student or an alumni?
OK great! Where do I sign up for a UBCSCC AutoX event?
1. Valid UBCSCC Membership, which is now included with the purchase of your first event of the year.
2. Online-only Event Registration: We open up registration online a week or two before the event on our Forum. Typical UBCSCC AutoX entry fees range from $35.00 to $55.00 depending on the size of the lot we are renting. Our events are optimized for maximum seat time and therefore, attendance is capped… so sign up early!
**As of recent years, UBCSCC DO NOT accept in-person registrations in the morning of the event anymore. Please use our online event registration.
What should I bring to an AutoX event?
Most important thing: DRESS FOR THE WEATHER. Remember, not only will you be driving, but you will be working out on course as well. If there is a chance of showers, bring a rain jacket and boots. If it's supposed to be bitterly cold, bring gloves and headgear. If it's going to be brutally hot, clothes that wont overheat you are important. It is much better to bring a few extra pieces of clothing and not need them than to either shiver or sweat all day. Besides bringing yourself and your car, there are a few other things you might find convenient to bring with you to an event.
-Prep it for tech inspection: Empty trunk and remove all loose objects in cabin area, etc.
AutoX is a volunteer sport – You race, and then you work. After you come back from your last run, park your car and find the Chief of Workers and check-in. If you do not work an assignment, your times will not be included in the results.
What is inspected at the Tech Inspection?
If your car is in any way not safe on the street or poorly maintained, you should have it repaired and tuned up before racing it and taking it to its limits. You will not only be jeopardizing the safety of yourself but of those around you as well.
** The venue (BC Driving Centre) we have the privilege of renting has a strict sound limit of 92db in which we must abide by. We accomplish that by using a decibel meter to continually measure each car's sound level on-course. For the living enjoyment of our Pitt Meadows neighbours, any car that comes close to the limit will immediately receive a warning and may even be asked to park their car for the rest of the day.
What is the UBCSCC Slush Series?


When it comes to concealed carry, your belt selection is just as important as your holster selection. A limp, floppy belt will not hold your holster comfortably and securely. Galco's Firm Contour belt is a natural fiber reinforced dress belt that is designed to support the weight of your handgun, keeping your holster firmly in place. It is constructed of premium saddle leather and is fully lined. The Firm Contour looks as good as it works!


text:
Art and Food for the Soul on the Weekend in Moscow
By Maria Michela D'Alessandro
At the Mercatino Regionale – the regional food market – you'll be able to taste and buy products from six Italian regions.
If you are already tired of blinis or looking for a different kind of entertainment over the weekend, here are some picks that are of an artistic and Italian bent.
Food! Glorious Italian Food!
The former glassworks factory Flacon became a complex of design, media and event spaces in 2009, and every week it hosts different types of activities, lectures, movies, exhibitions, presentations, parties and, of course, food markets. This weekend, March 11-13, it will highlight Italian food with "Mercatino Regionale" (regional market). Part of the Italian Week Festival, the market on the second floor of Flacon should please all palates. You'll be able to find products from each Italian region. You can taste them and take part in culinary masterclasses, workshops and conversation clubs. Don't miss: Saturday at 6 p.m. chef Salvatore Burgo will explain how to make desserts. For language lovers, be sure to attend the special conversation classes conducted by the teacher Manfredi Bubola organized on both Saturday and Sunday.
Flacon. 36 Bolshaya Novodmitrovskaya. Metro Dmitrovskaya. flacon.ru. For more information about about festival and full schedule, see italianweek.ru.
ficite.blogspot.com
Italian Week Continues: Umberto Eco
For lovers of literature, on Sunday at 5 p.m. the 'Italian Club Tiramisù' language school is holding a master class discussion called "Eco di Eco" (Echo of Eco) about the great writer Umberto Eco who died last month at age 84. Cristiano Righi, a philologist, Italian teacher for foreigners and the founder of the language school, will look at some of the author's texts from a linguistic, cultural and semantic point of view.
The language used for the seminar will be Italian, since the slogan of the club is "here we speak Italian." But if your Italian is a bit rusty, Russian is permissible, too.
Cristiano Righi and Marina Dubinskaya, the other founder of the school and a linguist and Italian language scholar, told The Moscow Times a bit about the event. "The masterclass is open to all levels, and the participants won't be just listeners. The material will be sent in advance to participants so that they can prepare ahead of time," Righi said.
"Russians are great connoisseurs of Italian culture, though perhaps over the years they have been a little bit spoiled by our less serious products," Dubinksaya said. "Russians are big readers, and they have a great number of translations of the most important Italian authors, including Umberto Eco."
Elena Kostyukovich translated all of Eco's works into Russian, from "The Name of the Rose" to his last work, "Number Zero," and including such books as "Foucault Pendulum" and "How to Write a Thesis." In 1988, Eco was granted an honorary degree from Moscow State University.
Russian State Children's Library. 1 Kaluzhskaya Ploshchad. Metro Oktyabrskaya.For more information about the event and pre-registration, see: facebook.com/events/479901022205162. For more information about the school, see parlaitalia.com.
Danilov
Time Square, 2008, calm at the heart of a traffic jam.
Last Chance at MMOMA
This the last weekend for two exhibitions at the Moscow Museum of Modern Art (MMOMA) that should not be missed.
The first is an exhibit of works by photographer Viktor Danilov, honorary member of the Russian Academy of Arts and Russian Union of Artists, the International Association of Art, and founder of Photopodium.com.
To celebrate the artist's 65th birthday, MMOMA is showing a series of photographs made in New York, Moscow, Danilov's hometown Tbilisi, Las Vegas and other cities. The photographer captures simple moments: the blue sky, the lover's smile, children's laughter, even cabs stuck in New York traffic that seem to be surrounded by a cloud of calm.
The exhibit also include photographs of the founding director of MMOMA, Zurab Tsereteli, in his studio in New York and in his art gallery in Moscow. But the photographs are not so much of Tsereteli as of his art. They show the process of building his sculpture dedicated to the victims of the attacks on the World Trade Center that now stands across the river from the site in New Jersey.
MMOMA
A Smith Premier typewriter, model of 1900-1908
As you leave that exhibit, you are surrounded by a strange but enjoyable sound that announces the next exhibition. Called "200 Keystrokes Per Minute: The Typewriter and 20th-Century Consciousness," this is a multimedia project based on a research that looked into the role of the typewriter in Russian literature and in Russian 20th-century history in general. Mounted in collaboration with the Polytechnic Museum, Moscow Museum of Modern Art and the State Literature Museum, this exhibition provides a unique opportunity to discover the typewriter as an object and the main 20th-century tool for creating a literary text.
The exhibition is the work of Anna Narinskaya, who mounted it with support from Kirill Ass and Nadya Korbut for the exhibition design, and Igor Gurovich for graphic design. It is a mix of something old — the typewriters — and the languages of contemporary art. You see the typewriter as it was seen by its contemporaries when it appeared and as it appears to today's artists. Archival materials are reinserted into our time; the stories of writers, their typewritten texts, and their typewriters are exhibited together with the political history of their times and the history of contemporary art.
You can see works from over 20 museums and private collections, including typewriters that once belonged to Lev Tolstoy, Boris Pasternak, Aleksandr Solzhenitsyn and other famous Russian writers. Video and audio installations made by Boris Khlebnikov, Haim Sokol, Alexei Aigi and other make the connection between past and present. Here, too, are the tools and works of the Soviet Union's nonconformist writers. You'll see the typewritten manuscript of "One Day in the Life of Ivan Denisovich," a page of poetry from "Sintaksis" magazine, Anna Akhmatova's "Requiem" typed by Natalya Gorbanevskaya, and typewriters that once belonged to Nadezhda Mandelstam and Feliks Svetov, who was arrested in the early years of perestroika.
The multi-faceted exhibition offers a new perspective on the typewriter and a reflection on its use during the last decades; it is shown as the object of design, a tool for writers, art object studied by contemporary artists.
Moscow Museum of Modern Art. 25 Ulitsa Petrovka. Metro Chekhovskaya. mmoma.ru.
Contact the author at artsreporter@imedia.ru


Criteol's latest report examines the state of m-commerce in France and around the world, with some interesting findings for retailers, including the leading product categories, the importance of applications, and the dominance of smartphones.
In this established e-commerce market, 27% of online transactions are carried out on a mobile device, with two particular product categories attracting mobile purchases: fashion & luxury and sporting goods, which have achieved 21% and 18% annual growth respectively. So, if your business is trying to appeal to French shoppers with these types of luxury or niche goods, make sure your mobile site and app are attractive and easy to navigate in order to encourage your potential customers to place an order.
There are two m-commerce trends that are influencing the way shoppers are buying online. These two trends, which are actually replicated around the world, relate to mobile applications and smartphones.
Criteol has found that 54% of global mobile transactions are carried out on applications, thanks to their advanced features. Applications offer many benefits to retailers and shoppers alike, offering a smooth purchasing journey.
This figure of 54% is up from 47% the previous year, demonstrating the demand for well-built applications that offer your buyers simple purchasing paths for the products they want. Criteol suggests that an app which has a range of advanced features, such as push notifications and personalisation, provides users with a full experience ‒ helping to drive shopping conversions further.
In terms of global mobile transactions, Android devices now lead the iPhone, while major e-commerce markets, such as the UK and the Netherlands, are driving m-commerce as a whole. But when we discuss m-commerce, it can be easy to just consider smartphones ‒ especially as they continue to dominate the device landscape. However, it is important to still think about larger devices, despite the demand for tablets falling by 15% last year (from 46 million units to 40 million).
So what's making smartphones such an attractive device for e-commerce? According to the report, improved capacity and network speed, more sophisticated software development, and features such as fingerprint recognition are all helping to make m-commerce easier and more accessible than ever before.


I first heard about a Chilean Guava on The Great British Garden Revival – a fantastic programme if you didn't catch it btw – and from that moment I was desperate to get one!
Apparently Queen Victoria's favourite fruit, and commonplace in Victorian times – it's said to taste like a cross between a strawberry, a pineapple and bubblegum or candyfloss. They're also heavily fragranced – like wild strawberries.
Not something you readily find in garden centres I managed to buy one on Amazon (£10.99 & £7.99 delivery) so it was a bit of an investment and a bit of a risk – the nursery was down South so we have no idea how it'll fare in the Scottish climate although I believe the 'flambeau' variegated version is a bit hardier.
To be on the safe side we've potted it in the conservatory and I was delighted to find hundreds of what looked like small berries growing on it. I've since discovered that these were actually flower buds, which have opened into pretty, delicate and wonderfully scented, flowers. There's still a way to go but if we're successful berries will potentially grow to about the size of a cranberry and be a deep red colour when ripe.
To say that I can't wait to smell and taste this amazingly exotic sounding fruit is a massive understatement – everything crossed!


text:
layout: base
title:  'Sanskrit UD'
udver: '2'
---

# UD for Sanskrit

## Tokenization and Word Segmentation

* In general, words are delimited by whitespace characters. Description of exceptions follows.
* If a punctuation mark is attached to a neighboring word, we tokenize it as a separate token (word).
* Compounds are split and sandhi undone as it is the custom in Sanskrit linguistics.
  Sometimes it is necessary because one or more parts of an orthographic word is syntactically independent of the others.
  However, even parts of a nominal compound may be separated in order to make compound splitting consistent and predictable.
  Occasionally it is possible that parts of a multi-word token end up being connected with a [compound]() relation.

## Morphology

### Tags

* Sanskrit uses 16 universal POS categories;
  the current data does not contain any occurrences of the [SYM]() category.
* The only auxiliary verb is the copula अस् _(as)_ "to be".

### Nominal Features

* Nominal words ([NOUN](), [PROPN]() and [PRON]()) have an inherent [Gender]() feature with values `Masc`, `Fem` or `Neut`.
* [Number]() has 3 possible values: `Sing`, `Dual` and `Plur`.
* [Case]() has 8 possible values: `Nom`, `Gen`, `Dat`, `Acc`, `Loc`, `Abl`, `Ins`, `Voc`.
  It occurs with the nominal words, i.e., [NOUN](), [PROPN](), [PRON](), [ADJ](), [DET](), [NUM]().
  It also occurs with some non-finite verb forms such as participles.

### Degree and Polarity

* [Polarity]() has two values, `Pos` and `Neg`, and applies to adjectives ([ADJ]()) and participles.

### Verbal Features

* [Aspect]() is marked if it is perfective (`Perf`).
* [Mood]() has 4 possible values: `Ind`, `Imp`, `Jus`, `Opt`.
* [Voice]() has 4 possible values: `Act`, `Pass`, `Mid`, `Caus`.

### Pronouns, Determiners, Quantifiers

* [PronType]() is used with pronouns ([PRON]()) and determiners ([DET]()).
* [Person]() is a lexical feature of personal pronouns ([PRON]()) and has three values, `1`, `2` and `3`.
  * As a cross-reference to subject, person is also marked on finite verbs ([VERB](), [AUX]()).

### Other Features

* There is one language-specific feature:
  * [Compound](feat/Compound.html)

## Syntax

### Core Arguments, Oblique Arguments and Adjuncts

* Nominal subject ([nsubj]()) is a noun phrase in the nominative case, without preposition.
* For the purpose of UD the objects are divided to core objects, labeled [obj]() or [iobj](),
  and oblique objects, labeled [obl:arg]().
  * Bare accusative objects are considered core.
  * All prepositional objects are considered oblique.
* In passive clauses, the subject is labeled with [nsubj:pass]() or [csubj:pass](), respectively.

### Non-verbal Clauses

* Clauses with nominal predicates either use the copula अस् _(as)_ "to be",
  or they use simple juxtaposition without copula.

### Relations Overview

* The following relation subtypes are used in Sanskrit:
  * [acl:relcl]() for relative adnominal clauses
  * [nsubj:cop]() for subjects of nominal clauses (with or without copula)
  * [nsubj:pass]() for nominal subjects of passive verbs
  * [csubj:pass]() for clausal subjects of passive verbs
  * [obl:agent]() for agents of passive verbs
  * [obl:arg]() for prepositional objects
  * [nmod:poss]() for possessive/genitive modifiers
  * [nummod:gov]() for cardinal numbers that are attached as children of the counted noun but govern its case
  * [advmod:emph]() for adverbs or particles that modify noun phrases and emphasize or negate them

## Treebanks

There is one Sanskrit UD treebank:

  * [Sanskrit-UFAL](../treebanks/sa_ufal/index.html)

redpajama_set_name: RedPajamaGithub


text:
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when I click checkout button that error occurs
My magento version is 2.3.5 so that must not be the problem
https://i.imgur.com/WG1D93U.png
how may I fix?

A: This problem was database related.


This elegant stackable band is constructed with 10-karat white gold and features milligrain detailing. This exquisite anniversary style wedding ring has a total of 0.16-carats of 21 round cut black diamonds. This band is sure to warm the heart of that special someone in your life. It is a twist of uniqueness for a vintage style ring.
All weights and measurements are approximate and may vary slightly from the listed information. *T.W. (total weight) is approximate. 1/6 carat T.W. may be 0.13 to 0.18 carat. Treatment code G (black Diamonds). See Treatment Guide for further information.
I love the ring! My husband got it as my wedding band and it goes perfectly with my engagement ring. You can find the set sold together and they work wonderfully together. You can try to have the engagement ring with a different band, but it just doesn't do it any justice. This ring compliments the Main ring beautifully. The only thing is that the stones on the side poke out a little more than the rest. At first it is a little uncomfortable, but to achieve the look, I have gotten used to it.
Love love love this ring! It was purchased as the wedding band to match my Miadora 10k white gold Created white sapphire and 1/4ct TWD black diamond engagement ring. The stones are slightly smaller but it is still a great match! It provides the vintage look i was seeking and I recieve compliments on it almost daily. Also..the white sapphire still sparkles like new 3 year later! Other reviews talk abt the stones being scratchy but i havent had that problem with mine. No regrets!
I got this as a gift for someone and she loves it. It matches with the "Miadora 10k White Gold 1 1/4ct TDW Round Black Diamond Ring" perfectly. I highly recommend these 2 for some spread out gift planning. They look amazing together as well.
I bought this to go with the Miadora 10k White Gold Created White Sapphire and 1/4ct TDW Black Diamond Engagement Ring, because I wanted a "vintage look" and this definitely delivered. Pairs beautifully with the other ring, and is stunning in a very simple, dainty way. Only giving 4 stars because the prongs are a little sharp.
I purchased this ring to go with the black solitaire diamond ring that also has the same matching band. I liked it so well that I also purchased a second one so that I can use them as stack-ables with the black single diamond ring that also has the same band. I wear them everyday.
This band is lovely and detailed, however, I returned this band because I didn't like how it felt between my fingers. It was uncomfortable and it caught on things.
It is beautiful ... slightly smaller in scale to the wedding set that it resembles but still makes a fantastic set. I imagine as a stackable would be gorgeous!
Love this ring!! It's elegant and timeless vintage look is what drew me to purchase this ring. It has just the right amount of diamonds to sparkle and it fits nicely with the 2 1/2 c. Diamond engagement ring that I purchased.
It's beautiful. But it was very sharp, cut inside of my pinky where it rubbed , it didn't get better as I wore it.
Simple and elegant. Can be worn alone or with another ring.
I love the look of this ring and I'm so terribly disappointed that it's too painful to wear. I'm planning on returning to purchase a different band to go along with the engagement ring. The prongs around stones are so sharp it actually cut into my pinky finger. Again, beautiful band and matched excellent with the engagement ring but not worth the skin off my pinky finger.
Great gift for my wife, she absolutely loves it. Great fit and goes well with her current engagement ring. The tiny diamonds make it easy to snag on clothes but she's very careful with it.
It was very pretty and the size was perfect!
"I LOVE this ring! Do you have it available with blue sapphires?"
"Is it possible to order this in 18k white gold?"
"Is this ring identical to the wedding band listed in item #14811896 or is it slightly different? I bought 14811896 last year and would like to get this as an addition to 14811896 and was wondering if the ring lays flat or is slightly curved?"
Hello Jeremy R., that is the matching wedding band, it looks a little curved because of the design, but it lays flat against the engagement ring. Have a great day!
"Hi , Does this go with ITEM# 13683551 or ITEM# 15870275 better ?"
Hello Rford717, I would suggest item number 15870275 to go with this lovely band. Thanks for shopping with us!
"Does this ring come in Rose gold?"
Hello helloretro, unfortunately, we do not have this in rose gold. Thanks for shopping with us!
"Does this band fit securely together with the ring?"
Hello Christy, we can appreciate the fact you want a firsthand account of the product. You will receive an email notification every time you get a response. Please provide an Item Number for the ring you would like this paired with so we can compare the items together. Thank you for shopping with us.
I've lost a large amount of weight recently and none of my rings fit anymore I chose this one to go with a black engagement style ring in this order. I'm not sure about black diamonds but it looks so pretty I want to try it.
This ring is also beautiful.


This agreement is between Edinburgh Campervans Limited and the person/persons signing the booking form.
By signing these Terms and Conditions you the Hirer agree that you have read, understood and accept this document and that you will comply with them. We permit you to use the campervan according to the terms of this rental agreement only. Edinburgh Campervans Limited hires the campervan (including any replacement vehicle) to you subject to the rental agreement which incorporates these Terms and Conditions and the information and conditions contained on the booking form that you completed and signed on paper. In entering into this rental agreement you accept these Terms and Conditions and confirm that you will strictly comply with them. The rights and obligations contained in these Terms and Conditions govern your use of our campervan and are not transferable by you. You acknowledge that the campervan is owned by Edinburgh Campervans Limited and that any attempted transfer or sub-letting of the campervan by anyone other than us is prohibited and a criminal offence. Please read this agreement carefully and if you are unsure or do not understand something then please let us know and we will be happy to help you.
The van/camper van – The Volkswagen Campervan or the Mazda Bongo hired to you under this agreement, including any replacement vehicle.
This campervan hire booking form must be completed and a non-refundable booking deposit of £200 paid at the time of booking. On receipt of the booking form, the signed Terms and Conditions (or Terms and Conditions confirmed as agreed by you online), your deposit and receipt of written confirmation from us, this contract shall have effect. A confirmation of booking will be emailed to you in respect of the booking details of the hire. The balance of the hire charge (full charge less deposit) is due 30 days before the start of the rental period. Vehicles will not be released without cleared payment received in full. A security deposit of £1,000 taken via pre-authorisation on a bank card on collection, or prior to collection, of the van.
For late bookings (less than 30 days before the hire start date) the full price is payable on booking. All payments and deposits are to be made in pound sterling and one or both must be made by one of the drivers.
Should the campervan not be available due to unforeseen events, we reserve the right to offer an alternative campervan and, if a substitute is not available, our liability is limited to a full refund of monies received by us. There will be no other liability to you. All rights are reserved to refuse any hire under any circumstance. No refunds are payable on accommodation or vehicles not being available where a Hirer changes, cancels or seeks to vary the agreement after departure. The company takes no responsibility for any detention, delay, loss, damage or injury that a Hirer might experience no matter how it is caused. You acknowledge that you will be responsible for any loss or damage to the vehicle, its documents, parts or accessories arising during the rental. If you cause damage to the vehicle engine through driving too fast over too long a period of time, and ignoring any warning lights, you will be liable for any repairs required.
1. Cancellations between the time of confirmed reservation and 30 days before the rental period: the booking deposit is forfeited.
2. Cancellations between 30 and 7 days of start of the rental period: a fee of 50% of the balance of the payable hire charge will be incurred.
3. Cancellations less than 7 days before the rental period commences: 100% of the total hire charges are forfeited.
However, if we receive another booking for the same van for the same rental period, we will waive the cancellation fee but not the booking deposit.
If you change your booking date we will honour booking deposits for a period of 6 months from receipt, after which time the booking deposit is forfeited.
The security deposit is refundable 7 days after the safe return of the campervan in the condition in which it left our premises (with the interior clean, including all cooking utensils and appliances) and subject to a satisfactory inspection by us. This deposit is to cover the possibility of damage (whether negligent, willful, accidental or otherwise) or loss to the campervan or the fixtures and fittings therein or the living equipment and windows, wheels, tyres etc. included with the campervan. The campervan and all its equipment must be returned in good condition, with no damage to it, its contents or any third party property. The fuel tank will be full on collection and must be returned to us full. An administration charge of £25, plus the cost of filling the tank will be deducted from your security deposit if the van is returned without a full fuel tank. The VW van takes diesel fuel, the Mazda van takes unleaded petrol.
The security deposit will normally be refunded 7 days after the end of the rental period, as long as terms and conditions are met and allowing for speeding tickets, parking fines, congestion charges and any other costs to reach us. You will be responsible for any such costs and/or penalties during the full rental period. We reserve the right to make reasonable charges for our time incurred and the administration costs involved in processing any fines and/or penalties. At present our administration charge for processing any fines and/or penalties is £25.
Should there be any damage or requirement for any repair, replacement or special cleaning, the costs will be deducted from the security deposit before the balance is returned to you. You irrevocably authorise us to deduct from the security deposit any amounts due to us arising out of this agreement. You irrevocably agree to pay all charges upon request. In the event that there is a claim we reserve the right to retain the security deposit for such period as is necessary to quantify the charges which are to be deducted from the deposit.
The security deposit will be used towards funding any loss or damage whatsoever to the campervan, equipment, fixtures and fittings as well as payment for the insurance excess.
Where the security deposit is insufficient to cover the costs, you will be responsible any additional amounts if the insurance company have cause not to accept any claim made to them. These will be invoiced as appropriate and you authorise us to deduct any sums due from your card in respect of such amount. Where charges are incurred which result in your security deposit being debited we will provide you with an itemised invoice detailing the charges incurred by you. Your signature below gives us permission to deduct all charges from your card following the issue of an invoice. If for any reason we are not holding your card information then you agree you to pay all charges upon presentation of the invoice.
1. Hirers must be between 21 and 75 years of age unless otherwise agreed by the Insurer.
2. Hirers must hold a full UK/EU/US/Australasian driving license, which has been valid for a minimum of 24 months.
3. Hirers must inform us if they have been convicted of an offence in connection with the driving of a motor vehicle or motorcycle within the last 3 years. A maximum of two speeding offences in the past 3 years, resulting in no more than 6 penalty points in total, will be accepted by the Insurer. Parking offences do not apply, and spent convictions under the Rehabilitation of Offenders Act 1974 may be disregarded.
4. Persons who have had their license revoked by DVLA due to medical grounds or convictions may not hire the vehicle.
5. Persons who have had their insurance declined and/or renewal refused and/or special insurance terms imposed as a result of claims experience and/or have had their insurance or cover cancelled by any Motor Insurer may only be insured by special agreement with the Insurer.
6. Persons who, whilst driving, have been involved in more than one accident during the past 3 years require special agreement with the Insurer.
7. The insured vehicle shall be driven only by the Hirer or other permitted driver who has completed and signed a Hirer's Proposal Form immediately prior to any hiring.
8. The Insurer's form of proposal for Hirer Drive, or as otherwise may be specifically agreed, shall be completed and signed by each Hirer and any other permitted driver. The proposal must be fully completed by the Hirer and other permitted drivers in all respects.
9. The Insured shall be considered as the being the agent for the Hirer or other permitted driver for all purposes in connection with this insurance, but under no circumstances shall the Insured be considered as agent for the Insurers.
10. The Insured vehicle shall not be used for the carriage of goods of an explosive, dangerous or hazardous nature or for the carriage of goods or passengers for hire and reward or any other form of profit or remuneration.
Unless by prior agreement, collection and return will be to our address in Edinburgh.
Please let us know what time you intend to arrive, and if for any reason you are running late, please contact as soon as possible.
You will need to bring your driving license photocard, your DVLA license check code another photo ID and two other proof of address such as a utility bill, between 60 and 90 days old. Failure to do so will forfeit your hire and no refund will be given.
When you arrive to collect your campervan, please ensure you allow at least 30 minutes for us to show you around it, how to drive the campervan, and how to operate the included equipment. We will also need you to complete the paperwork, pay the security deposit and you will also need time to load your luggage into the campervan.
Vehicles must be returned clean inside, and any equipment in the same condition as they left the unit. You must give yourself at least 30 minutes for us to inspect the van for damages/losses and for you to unpack your luggage from the campervan. The fuel tank will be full on collection and must be returned to us full. An administration charge of £25, plus the cost of the missing fuel will be deducted from your security deposit if the van is returned with missing fuel.
If a campervan is returned later than the agreed time, without our prior agreement, we reserve the right to make a charge of £50. Please remember that you will also be affecting the holiday of the next person to hire your campervan. Should the late return of the campervan make us liable for extra costs, we reserve the right to pass on these costs to you. Charges and costs for late return will be deducted from your security deposit. By signing this agreement you agree to us making such deductions. Should the late return be due to accident you will be liable for any revenue lost due to the van being unavailable for hire. No refund is given for early return of the vehicle.
Used to carry more persons than is permitted by any relevant authority or detailed in the Vehicle manual or on the Vehicle or specified in this agreement.
Be responsible for the cost of making good any damage caused to the vehicle by improper use.
Understand that any damage to the interior of the vehicle or equipment will be charged to the Hirer in all cases.
Always use the campervan in a responsible manner.
Understand that Edinburgh Campervans Limited is not liable to you or any authorised driver or passenger for loss of or damage to property left in the vehicle either during or after the hire period, unless such loss or damage results from our negligence or breach of this rental agreement. Your property is left in the vehicle entirely at your own risk.
Please do not move the vehicle before the police arrive, keeping it in situ is a safe thing to do unless it is in a vulnerable location.
You acknowledge that the excess or other amount due by you in respect of any damage arising from an accident, loss or damage is payable at the time of reporting the event and not at the completion of the rental period. You will need to return the damaged vehicle to the Hirer at your own cost, through an agreed Breakdown service.
We will not refund the hire charge for any days you lose use of the vehicle due to an accident, theft or vandalism. We cannot accept liability for any costs arising from accident, theft or vandalism e.g. replacement vehicle costs, travel, accommodation or phone calls.
Note: if the campervan requires recovery as a result of your actions and not as a result of mechanical failure, you will be held responsible for the full cost of the recovery and any resulting costs incurred.
In the event of breakdown, recovery or repair services will be provided. Our campervan has full breakdown cover but if you incur any minor repair bills we will give you a refund of up to £50 upon production of a valid receipt on the completion of your hire. Repairs costing in excess of £50 must first be authorized by the Hirer prior to the work being undertaken. We cannot accept liability for any costs arising from accident, breakdown or any other cause. Our liability extends to either replacing your campervan with a similar one or refunding your hire charge for any days you lose the total use of the vehicle. If you have broken down you must remain at a safe distance from the vehicle until the Recovery Vehicle arrives. You must not abandon the vehicle at the roadside if you wish to continue your journey with another form of transport. You must hand over the keys to the Recovery Vehicle Driver.
You will be liable to us for all losses and costs incurred by us in the event of loss, damage to or theft of the vehicle, its parts or accessories while on rental if this damage, loss or theft involves deception of the Hirer or another party, or as a result of the keys remaining in the vehicle whilst it is unoccupied, or was caused intentionally by you or your party.
It is illegal to smoke inside our van. You will be liable for any damage caused to the van or its contents through smoking.
Any loss or damage caused by breakdown, mechanical defect, accident or the Vehicle being unsuitable for my purpose.
Any loss or damage to any property left in or on the Vehicle, in any service vehicle or on our premises or recovered or handled by us.
Subject to any insurance arrangements agreed with us, you hereby indemnify and shall keep indemnified Edinburgh Campervans Limited and its staff against any claims, demands and expenses (including legal cost) incurred or sustained by you or any of your passengers by reason of your use and/or possession of the Vehicle.
When you make your booking, we will collect personal information such as your name, email address, home address, telephone number, credit or debit card number, security code and the card's expiry date. This allows us to book the vehicle and insurance for you. We may use the information that we collect to occasionally notify you about news and information. If at any stage you decide that you would rather not receive such information, please contact us by telephone, email or post.
We consider on reasonable grounds that the safety of passengers or the condition of the Vehicle is endangered. In the event of such termination or repossession, you have no right to a refund of any part of the rental charges or the security deposit.
We ask that you exercise caution at all times in the use of the campervan and its equipment, following instructions (given verbally on collection and provided in your campervan Welcome Pack) where appropriate. Please do not hesitate to contact us on +447768 973804 if you are unsure about how to operate anything or just would like some advice. We cannot be held responsible for any customer negligence where instructions have not been followed, or where unauthorized equipment has been used.
I agree to be bound by the terms and conditions set by Edinburgh Campervans, which I have seen and read or have had the opportunity to see and read.
I further agreed to be bound by the terms and conditions of the Insurance which I have seen and read or have had the opportunity to see and read.


We're located in the heart of NE Ohio, perfectly situated between Massillon and Canton at the intersection of 12th and Genoa street. We have a bus ministry and would love to provide you transportation to service!
Have questions about New Life? Feel free to email Pastor Keith.


http://www.JewishWorldReview.com | Born during what is mistakenly called the debt-ceiling "debacle" last summer, the congressional supercommittee may die without agreeing to a 10-year, $1.2 trillion (at least) deficit-reduction plan. This is not properly labeled a failure. Committee Democrats demanded more revenue; Republicans offered $500 billion; Democrats responded with the one-syllable distillation of liberalism: "More!" So the committee's work has been a clarifying event that presages a larger one — next November's elections.
The messiness surrounding the debt-ceiling increase was what democracy looks like when belatedly confronting big problems. Remember, Barack Obama demanded, until doing so became politically untenable, a "clean" ceiling increase — no supercommittee or other threat to his spending torrent.
The supercommittee should by now have sent its plan to the Congressional Budget Office for "scoring" — calculation of the fiscal consequences of its proposals. The law establishing the committee requires any proposal to be published in legislative language 48 hours before Nov. 23. Not that law has much to do with fiscal matters: The Democratic-controlled Senate has not produced a budget in more than 930 days. This is just one way existing budget law is ignored.
Regarding the supercommittee, Harry Reid's and Obama's interests diverge. Imitation is the sincerest form of politics, and Obama needs congressional failure as he seeks reelection by emulating Harry Truman in 1948, running against a "do-nothing" Congress. Reid, however, wants to remain Senate majority leader. In 2012, Democrats will be defending 23 seats, Republicans only 10. Republicans need to gain just four seats to control the Senate. Reid's members cannot relish running while Obama is denouncing the "Republican Congress." As if the Democratic-controlled Senate has been temporarily disassociated from Congress.
Sensible people who remember the last grand budget bargain will be dry-eyed about not having another now. Although only 21 of the 242 Republicans in the House and eight of 47 Republicans in the Senate were on Capitol Hill in 1990, everyone there should remember the results of that year's budget agreement, wherein President George H.W. Bush jettisoned his "no new taxes" pledge: Taxes increased. So did spending. And the deficit. Economic growth decreased.
Congressional failure to approve a supercommittee proposal supposedly will trigger a $1.2 trillion sequester, half from national security budgets. But the trigger will not be pulled until 2013. No Congress can bind another, and any trigger Congress creates Congress can disable. Obama, who may not be president then, hints that he might veto legislation that alters the sequester. But suppose the sequester occurs. Ignore loose talk about "draconian" spending cuts. Veronique de Rugy of George Mason University's Mercatus Center has a graph (http://bit.ly/uKZAUd) you should see.
The supercommittee's difficulties are not shocking. This is shocking: Amid a darkening fiscal crisis, Energy Secretary Steven Chu, whose department has become a huge and incompetent venture capital fund, has not resigned as penance for complicity in the administration's "green graft" and crony capitalism.
Equally incomprehensible: As the supercommittee seems about to leave government's spending curve unbent, Transportation Secretary Ray LaHood, who should take a high-speed train into retirement, continues his multibillion-dollar mania for California's San Francisco-to-Anaheim high-speed-rail project. In just three years, the projected price of it has tripled to $98.5 billion, and only ludicrous assumptions about passenger traffic present the project as profitable enough to attract private investors, who are supposed to pay most of the costs.
"The first lesson of economics is scarcity," writes economist Thomas Sowell. "There is never enough of anything to fully satisfy all those who want it. The first lesson of politics is to disregard the first lesson of economics." Next November we will learn whether the second lesson of politics is that adhering to the first lesson is eventually dangerous to incumbents.


Sitting up high with gas lanterns flickering, is an elegant, all brick, one story home that has a comfortable, spacious split floor plan. Majority of interior has been painted the new grays ( agreeable gray ) and whites. It looks fresh and clean! Has never had a history of any foundation issues. The kitchen and keeping room is where you and your family will live! New QUARTZ countertops, new sink, new faucet ( to be installed ) tons of cabinets, an island with bar and a separate bar that overlooks the kitchen from the keeping room. Keeping room ( or family room, if you rather call it! ) has a Cathedral ceiling and a fireplace! I'm telling you its comfortable and its where yall will live!!!! In addition it also has a dining room and another living room!! Two bedrooms have a Jack and Jill Bath, another bedroom shares with hall bath and the master has a REALLY LARGE closet AND a cedar closet. New Roof being installed in next 10 days! come see!! you"ll love the floorplan!!


I created a clean visual identity for Sebastian Metz and its architectural office Ideenreich Architektur. A geometric hexagon shaped infinity symbol is the key visual in the design. The reduced use of the colors cyan & grey, a light typography and enough white space let the projects speak for themselves.
Thanks to Anthony Boyd for the amazing responsive showcase mockup.


Famous for the abundance of century old oak trees, and once known as the City of Oaks, Stellenbosch lies at the foot of the Cape Fold mountain approximately 50 kilometres (31 miles) east of Cape Town, the banks of the Eerste River. Cradled in the stunningly beautiful Great Drakenstein and Stellenbosch Mountains, it is the second oldest European settlement in the province. Surrounded by vineyards Stellenbosch has the oldest and most famous wine route in the country. It also has the most modern experimental wineries in the world. Stellenbosch University has the only viticultural and oenological department in the country. South Africa's oldest music school, the famous Stellenbosch Conservatoire, is based here along with a number of galleries and museums with national and international art collections on display.
No. 18 Ryneveld Street is the entrance to the delightful Village Museum. The museum is made up of a number of original fully restored houses, mostly from the 19th century. They've been furnished in the characteristic styles of several historical eras. One of the longest rows of old buildings surviving in any major town in southern Africa stands along Dorp Street. The Schreuderhuis is the oldest restored townhouse in South Africa.
The town is home to Stellenbosch University. The Department of Electrical and Electronic Engineering is the only southern hemisphere university department that successfully built a communications satellite, Sunsat that was launched in 2000 to orbit the earth for three years. Other tertiary education facilities include the Private Hotel School. Technopark, a modern science park also calls Stellenbosch home.
The Wijnland Auto Museum contains one of the most amazing collections of vintage cars ever collected, from rust buckets to beautifully restored wonders of automotive engineering from a by-gone age.
Rugby is without question the most popular sport in Stellenbosch. Maties Rugby Club is one of the oldest and biggest clubs in the world. Stellenbosch University's Maties sports clubs some of the best in South Africa. The town also has some of the best sports schools in the country. Golf is very popular among the residents as well.
But it's not just sport that gets people outside. The Burgerhius Museum in the town and the Stellenbosch Botanical Gardens, Jonkershoek Nature Reserve, Assegaaibosch Nature Reserve, Hottentots Holland Nature Reserve and Helshoogte Pass - one of the most loved and travelled roads in the Western Cape, are all within easy reach of the city. If you're looking for great wine and great food then the 300 year old farm in the Franschhoek Valley, Boschendal is well worth a visit. Hiking through the Beautiful Simonsburg mountains will work out any kinks and clear the mind.
Anywhere in Stellenbosch is great if you have your own transport. We've grouped the suburbs around the closest shopping malls to make things easier for you.
Eikestad Mall, Dis-Care, Stelmark Square: These malls are all in or near the centre of town.
Stellenbosch Square: De Zalze – this is a golf estate and quite far from the centre of town.
Unipark Centre: Unipark, Karindal, Simonswyk.
There is no formal public transport in Stellenbosch.


I have a twitter account. I don't do any tweeting. I use it to follow a few different craft breweries to see when they have new beers available and to keep up to speed on what some of our younger, more 'tech savvy' pastors are doing. The other day while I was scrolling through my timeline something popped out at me. It was an illustration of Jesus healing a paralysed man. Listen to how Mark records this incident: "A few days later, when Jesus again entered Capernaum, the people heard that he had come home. They gathered in such large numbers that there was no room left, not even outside the door, and he preached the word to them. Some men came, bringing to him a paralysed man, carried by four of them. Since they could not get him to Jesus because of the crowd, they made an opening in the roof above Jesus by digging through it and then lowered the mat the man was lying on. When Jesus saw their faith, he said to the paralysed man, 'Son, your sins are forgiven'" (Mark 2:1-5).
Mark records that here at least four friends of the paralysed man struggled through the crowd. And when they couldn't reach him—they actually dug through the roof to get their friend an audience with our Lord. With that in mind, the tweet accompanying the illustration made a lot more sense. It took his friends to get him to see Christ.
That caught me by surprise. What an interesting way to re-think that famous story. Of course it's only Christ who can perform his healing and redemptive work to bring mankind back into right relationship with our Father, but we also know that Christians are called to participate with Christ in his work.
Some of us are like the sower who plant seeds in the relationships around us. Others are like the gardeners who faithfully water those seeds, and still others may be the ones who, like the friends in the Gospel of Mark, are able to be there with their brothers and sisters as they too make a decision to follow Christ. We know that it is Christ, by the power of the Holy Spirit, who brings all creation into relationship with our Lord. And we know that in our participating, we, in our own small way, work alongside Christ to bring many sons and daughters to glory.
I know this has been the case in many of my relationships through the years. And I hope it will be an encouragement to you to know that, in Christ, our evangelism small or large, is part of his great plan of redemption.
Loving Father, as Christians we are called to come out of this world, but still we live in it and have relationships with people. Our wish, beyond being a light to them, is that we can be in some way helps that will allow you to call them, and so for them to experience your love as we experience it. In Jesus' name we pray.


Pensacola's downtown lives on the water's edge, with the bay lapping up against a variety of landscapes. Gena Wirth is pretty familiar with the territory.
Recently, Wirth and some colleagues from SCAPE, an urban design firm with studios in New York and New Orleans, went on a bike ride along Pensacola's waterfront.
The folks at SCAPE were already aware of downtown's waterfront accessibility and connectivity issues. The team got to know the terrain during a visit as featured speakers at last year's CivicCon, a series of presentations aimed at stoking civic engagement on a variety of fronts, sponsored by the Pensacola News Journal and the Studer Community Institute.
The CivicCon concept recently spun off a full-time organization, the Center for Civic Engagement, with the mission of equipping citizens with the tools and knowledge needed to engage in the civic conversation effectively. The center's first initiative, which is funded by Quint and Rishy Studer, involves inviting SCAPE back to town to reimagine Pensacola's downtown waterfront from the Bay Bridge to Joe Patti's.
The landscape architects are looking to reconnect the city with its waterfront and ensure it flows for foot traffic and cyclists. The firm is assessing the downtown waterfront at a particularly ripe time, with the new Bay Bridge nearing completion, the Port of Pensacola struggling through an identity crisis, multiple undeveloped waterfront parcels at Maritime Park and another vacant 19-acre question mark looming just across the street.
"I think the potential of Pensacola's waterfront is wide open," Wirth said.
The SCAPE team has been digging into Pensacola's waterfront for about a month already, researching the city's history, its environment and ecology, its assets and challenges. In the final week of January, the landscape architect firm came to town for a closer look.
In addition to getting an on-the-ground feel for the waterfront, SCAPE sought public input.
"To learn and understand from you what you are interested in this space being," Wirth told a packed house at a Jan. 29 public forum.
SCAPE also met with elected officials as well as waterfront and downtown property owners. The firm wanted to return to its studios with a good understanding of how the community envisioned the downtown and its silvery, lapping waterfront.
"It's very important for us, as part of our practice, to work with residents and with communities and different stakeholders," Altman said.
SCAPE will take five months to complete its work, returning to Pensacola for further public engagement during the process. Initially, the firm will work on creating a framework plan for the waterfront—emphasizing connectability—and then begin focusing on two particular points of interests, what the firm refers to as "catalytic" points.
As of yet, SCAPE hasn't identified these catalytic points. They could take a variety of forms. Improvements enhancing Bruce Beach could be catalytic. Something at the port might be catalytic or perhaps that holy-grail collection of parcels at Maritime Park and the nearby 19 acres, the latter of which the Studers own. Last fall, the city agreed to have the developer and philanthropist develop a master plan for the park and the former ECUA site.
Once SCAPE completes its work, the firm will present the Center for Civic Engagement—and for all practical purposes, the city's citizens and elected officials—with "an array of potential projects that build into a larger, collected waterfront vision." That vision, Wirth said, will be built on the concept of a fluid public sphere.
When Wirth visited downtown Pensacola, one of the things she noticed—or, rather, didn't notice—was its waterfront.
"When you walk along Main Street, you don't have a strong sense that the water is right there," she said.
"Trying to create more emotional ties between the waterfront experience that the city is founded upon and the everyday experience of living in the city of Pensacola," Wirth said.
Over the course of SCAPE's work, the firm's vision of Pensacola's waterfront will likely evolve and will be built by dreamers and workshopped by realists.
When SCAPE presents whatever version of its vision that it feels will best benefit Pensacola, it will then fall upon the community to decide if it should be pursued. If it is—or a version thereof—Wirth believes it will create an array of benefits for the city.
"In terms of establishing a strong sense of place, improving community connectivity, really connecting the east and west of Pensacola, those are things I think have great benefit and are almost immeasurable," she said.


If interested in attending or if you have questions, please contact Phil Ozell, USATF Georgia Certification Chair, phillip.ozell@gmail.com, or host Robert Thomas (478) 321-0146.
Cost for certification is $50.00 (includes rule book and official's shirt).
For more information on the requirements and responsibilities of being a USATF official, please review the following information [link].
turn right onto Zebulon Rd.
Take the next right onto Peake Rd.
Stratford Academy; 6010 Peake Rd. is on your right.
turn left onto Zebulon Rd.
take a left onto Peake Rd.