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News in early December of the sale through Sotheby's of Turner's great landscape painting "Rome, from Mount Aventine" has been given much publicity because of the record price of £30.3 million it fetched: the most ever paid for a painting by Turner.
In preparation for a new edition of Blue Guide Rome I recently revisited the park on the Aventine hill beside the church of Santa Sabina, which must have been close to the place where Turner would have made his pencil sketches, or coloured drawings, in the early morning, on his second trip to Rome in 1828. The view is still remarkably similar, looking downstream at the Tiber beyond a solitary umbrella pine, with St Peter's on the skyline and the city of Rome spread out on either bank. When the picture was first exhibited in London in 1836 Constable commented: "Turner has outdone himself, he seems to paint with tinted steam, so evanescent and airy".
The Aventine remains one of the most peaceful places to visit in all Rome. In the little park, aptly called the Giardino degli Aranci because it is planted with orange trees (laden with fruit in this season), apart from the magnificent view from the balustrade, there are numerous tall umbrella pines with their eccentrically shaped trunks (so beloved of Turner, who frequently included them in his landscapes). Near the entrance—and just beyond one of the city's most delightful wall fountains—is the church of Santa Sabina, justly considered the most beautiful early-Christian basilica in all Rome. It is wonderfully illuminated by thirty-four windows in the nave and apse. It has classical fluted columns, with Corinthian capitals reused from a Roman building of the 2nd century AD, as well as ancient marble inlay in precious marbles and porphyry and a long mosaic inscription. But it also possesses one of the least appreciated works of art in the city still in situ: its original 5th-century carved wooden doors.
Miracles of Christ from the Santa Sabina doors.
These doors can easily be missed since the church is entered from a side door (you have to go round to the portico on the left to find them). A coin-operated light has recently been installed which is essential to examine the panels, eighteen in all, with stories from the Old and New Testaments. Although they are high up you can make out many of the scenes, including Elijah in his chariot of fire with Elisha tugging at his mantle; Moses while still a shepherd tending his five sheep, and then talking with God on Mount Horeb; the Egyptians being drowned in the Red Sea; and three miracles of Christ, who holds a 'magic' wand (shown healing the blind man; next to seven wine jars at the marriage of Cana; and perfomring the miracle of the loaves and fishes). An eerie Crucifixion scene, said to be one of the earliest in existence, with the Crosses hardly visible at all, has Christ and the thieves depicted with outstretched arms. The charming Ascension of Christ shows two angels struggling to lift Him upwards as four of the Apostles watch in amazement. One only hopes Turner took some time off from his sketching to have a look at these, too.
by Alta Macadam, author of Blue Guide Rome. Santa Sabina and its doors are also covered in detail in two other Blue Guides titles: Pilgrim's Rome and Sites of Antiquity: 50 Sites that Explain the Classical World.
All/Artwork of the month
The Man in Pink
"The Man in Pink" by Giovanni Battista Moroni is part of the exhibition devoted to this superb 16th-century portrait painter now on at the Royal Academy in London. For a review of the show (and more about the man in pink), see here.
All/Exhibition reviews/Hungary
Szépművészeti Múzeum, Budapest. Until 15th February 2015.
This ambitious and extraordinarily ample exhibition will be the last of the Szépművészeti's blockbuster shows, as the gallery is due to close in spring 2015 for large-scale refurbishment and reorganisation. The exhibition proudly presents works from the Szépművészeti's own exceptionally rich 17th-century Dutch collection alongside loan works from the Rijksmuseum, the Metropolitan in New York, the National Gallery in London, the Nationalmuseum in Stockholm, the Louvre, the Uffizi, the Getty and the Prado—to name only a few. "Over 170 works by some 100 painters", we are told, and of those some 20 are Rembrandts and there are three Vermeers. A colossal show indeed.
How will order and sense be brought to this vastness? The scope of the exhibition is briefly set out at the beginning. Seventeenth-century Holland was a young country responding to great religious and social change as well as to inspiring, life-improving and sometimes disquieting scientific advances. Much of its art was commissioned by men who had made money from commerce. Thus new genres resulted: we can expect to see cityscapes, landscapes, scenes of civic and family life. Rembrandt is included as a sort of breakout display, alongside works by his master and pupils, for the sake of comparison.
The rise of Holland as a world power is dated to the time when the Dutch provinces, led by William of Orange, threw off Habsburg rule in the late 16th century. The very first work of art on show is a portrait of William (1579) hung alongside a naval battle scene showing an engagement between Dutch and Spanish galleys, then an allegory of peace followed by another of colonial power. With the scene thus summarily set, the themes of the succeeding rooms are as follows:
Faces of the Golden Age: The Building of a New Society
Wealth and Moderation?
The Influence of Protestantism on Religious Painting
Rembrandt and his Circle
Cities and Citizens
These themes are then illustrated, copiously. "Faces" shows us portraits of wealthy burghers, their wives and families. Members of a civic society are shown witnessing a dissection—though in fact they are all eagerly facing the viewer, just like any modern crowd jostling to be in the photograph. Members of another society are shown at a banquet. "Wealth and Moderation?" begins with still lifes (a lovely painting of tulips by Bosschaert) and domestic interiors (a superb Young Man Reading by Candlelight by Matthias Stom; 1620–32).
Matthias Stom: Young Man Reading by Candlelight.
Later manifestations of both these genres show a moralising message creeping in. An old crone short-sightedly squinting at a coin, for example, becomes Sight or Avarice? A young girl looking at herself in a mirror becomes an Allegory of Profane Love. Pre-eminent here is Jan Steen's In Luxury Beware (1663). A chaotic household is brought before us, dominated by a drunk and debauched young couple. Food and debris are all over the floor with a symbolic deck of spilled playing cards, the baby has got hold of a pearl necklace instead of its rattle, an untended fire blazes offstage right while the dog eats the remainder of dinner in the background on the left. The still lifes, too, become more sinister. Not merely celebrations of nature or of painterly virtuosity, they turn into allegories of the transience of life, of ephemeral luxury. Painting after painting (including Steen's) includes the stock image of the half-peeled lemon, a symbol not only of passing time but a warning of bitterness below the surface. Snails invade the bouquets of flowers by Rachel Ruysch and Jan Davidsz de Heem.
"Religion" contrasts the paintings of the Utrecht school (the only city in Holland which retained a majority Catholic population) with stark depictions of image-free Protestant church interiors. The 20 Rembrandts are hung alongside his master Lastman and his pupils Flinck, Bol, Arent de Gelder, Hoogstraten (his wonderful, hyperrealist Letterboard one of the works on display) and Dou (master of the genre scene; his The Quacksalver of 1652 is a supreme example). "Cities and Citizens" gives us cityscapes (De Witte's important c. 1680 interior of the Amsterdam synagogue) and urban domestic interiors, including Vermeer's Astronomer and Geographer and some representative works by De Hooch, one of them expertly rendering the sunlight as it falls on a courtyard wall and another delicately capturing the effect of sunlight falling on the further wall of a room, reflected through the panes of a window opposite.
The last room, "Landscapes", has some splendid works by Hobbema, Avercamp, Cuyp, Ruisdael, Wouwerman and Berchem. "But this is a terribly big exhibition!" one lady protested to another as she steeled herself to tackle it, "It's impossible to take it all in!" Sadly, she's right. There is too much to see. Partly the problem is that there is nowhere to sit and admire any of the works (except for two stools in the De Hooch room). Partly that the physical division of the exhibition spaces does not correspond to the thematic division of the exhibition itself, which is confusing. You pass through a partition which leads you to assume that you are done with "Cities and Citizens", for example, only to discover that this is not the case. There are still two more sections to go.
The visitor is left with the problem of how to digest an over-ample meal, of the kind that leaves you replete but stupefied. Less would be more. A couple of choice still lifes; a single moralising genre scene. And if we had had fewer still lifes and genre scenes to work through, it would have been easier to notice (they are several rooms apart) that Stom's Young Man Reading is as Caravaggist if not more so that Terbruggen's Calling of Matthew. Stom was also from Utrecht. He spent most of his career in Italy. Thematically his work belongs where it has been placed; temperamentally it does not. The "Influence of Protestantism on Religious Painting" is one thing but what we see here, and what 17th-century Dutch painting so wonderfully illustrates, is the influence of Protestantism on ALL painting. With images banished from churches, the wealthy began to commission not altarpieces of their patron saints but portraits of their own selves. A still life with a skull and candle can serve just as well for personal devotion if there is no longer the opportunity to endow one's local church with an expensive St Jerome in the Desert.
Hendrick Terbruggen: The Calling of Matthew (1618/19).
And how did the artists themselves fare? In Rome a landscapist like Claude could find favour with popes and cardinals. Was there a similar network of protection and patronage in Holland? Still lifes commanded less money than a genre scene, less by far than a vast canvas of scrubbed and beaming members of a city guild crowded around a banqueting table, each face a portrait from life, the whole to go on public display. Such a work could make a painter's name and fortune. But the exhibition does not deal with this aspect of the subject.
It does, though, show us some wonderful paintings. Here are a few more of them:
Jan Davidsz de Heem (1606–84): Still Life (detail).
A lovely example of the Vanitas school of still life painting, showing the abundance of nature and the things money can provide while at the same time hinting at transience and decay. Oysters are swift to putrefy; the snail will devour the flowers; the butterflies are but fleeting flashes of pied beauty (or allegories of the soul?); the taper (seen glowing in the far left of the crop) marks the passage of time; the earwig hastens corruption; the china bowl is an epitome of fragile beauty.
Vermeer. Allegory of the Catholic Faith (1670/2; from the Metropolitan Museum, New York).
The setting is a "house chapel", a room in a private home where Catholics were permitted to worship (public worship in churches was forbidden to them). A rich curtain patterned with a secular scene of a horseman and fruit, normally drawn across the chapel to screen it, is pulled back to reveal an altar on which are placed a chalice, crucifix and Bible. The backdrop is a large-scale painting of the Crucifixion. Beside the altar sits the personification of Faith, her foot upon a terrestrial globe, clutching her heart in ecstasy as she contemplates the pure sphere of Heaven symbolised by the crystal ball suspended from the ceiling by a ribbon of bright blue, the symbolic colour of the spirit, matching Faith's shawl. On the floor is a snake, crushed and bloody, its life knocked out of it by the heavy masonry block, a symbol of Christ the cornerstone (as he is described in St Paul's letter to the Ephesians).
Cuyp: River Landscape with Five Cows (c. 1650; Szépművészeti Múzeum, Budapest).
The Dordrecht painter at his very best.
And what of Rembrandt? Many of his works in this exhibition are early paintings, including a wonderful stock character study of a turbanned man (1627–8), the gold threads in his white headdress glisteningly picked out, the face half in deep shadow. Also here is his splendid penitent St Peter (1631), toothless and full of remorse in a Roman prison, his heavenly keys cast uselessly aside on a heap of stinking straw. Rembrandt seems much less at home in the Classical world (his stout Minerva and his Cupid with a Soap Bubble are two examples of a genre to which his genius was ill suited). Much more successful is his The Kitchen Maid, a scene of life as it is lived, without symbolism or allegory. This is art for art's sake; the meaning is what the viewer finds in it.
Rembrandt: The Kitchen Maid (1651; Nationalmusem, Stockholm).
Rembrandt's famous self-portrait of 1640 is also here (on loan from the National Gallery in London), the image of an artist at the peak of his career and fame, confidently signed with his name writ large at the bottom. Contrast this with his much later self-portrait (late 1660s; on loan from the Uffizi). The eyes, like those of the Laughing Cavalier, follow you wherever you turn, but not with a merry gleam. Instead they fix you with an unsettling, almost cynical scrutiny. What went wrong in Rembrandt's life and career? This exhibition is not going to tell us. For that, we have to turn to the show of his late works currently running at the National Gallery in London.
All/Exhibition reviews/Italy/London and UK/Northern Italy
Moretto da Brescia: Count Martinengo (c. 1545–50)
At the Royal Academy, London until 25th January.
For anyone who loves Lombardy, Giovanni Battista Moroni (1520/4–1579/80) will be a familiar name. He is one of the finest portraitists of 16th-century Italy. This small and beautifully curated show at the Royal Academy attempts to demonstrate that he can stand with the finest portraitists of any time or place.
Moroni's reputation outside his native Lombardy suffered from the fact that he never left it, except for visits to Trento at the time of the famous ecumenical council. The city of Bergamo, in whose district he was born, was a part of the Republic of Venice. But Moroni never went there, as others did, to become a star in its serene firmament. He stayed at home and painted portraits of local nobles and tradesmen, altarpieces for local churches, and panels for the personal devotion of local patrons. He was famous and much appreciated in his lifetime, but faded from view thereafter—at least, outside his homeland. The blame for this is traditionally laid at the door Vasari, whose Lives of the Artists does not mention him. And yet Moroni was only producing his best work around the time that the expanded edition of the Lives was published, in 1568. And when Vasari travelled to northern Italy in search of material in 1566, he did not visit Bergamo, or Albino, the little town to its northeast where Moroni was born and to which he returned to work in his later years.
Vasari does however mention Moroni's master, Moretto da Brescia. He was "a delicate colourist and of great diligence," we are told, "fond of imitating cloths of gold and silver, velvet, damask and other kinds." The exhibition opens with a selection of his works: some portraits and an altarpiece. His portrait of the haughty young Count Martinengo (from the Museo Lechi in Montechari) shows the technique that his pupil Moroni would adopt with such success: a three-quarters tilt to the head, eyes fixing the viewer, the sitter's face the focus of the artist's efforts, background elements at a minimum (though you will start to recognise some studio props: the gloves, the chair, the leather-bound book). The best portraits are not showpieces of wealth and consequence. They are likenesses—psychological studies—of ordinary human beings. That, to our modern eye at least, is what is most absorbing.
And indeed, they keep the viewer riveted. The show was crowded when I went, and visitors were stuck fast in front of the portraits, audioguides clamped to their heads, whispering to each other in rapt admiration. The altarpieces commanded far less attention. This is not necessarily fair, because if Moroni's sacred subjects fail, they fail for a reason. The Council of Trent, which abjured the Protestant Reformation, called for a return to the precepts of the past, an establishment of rules and method, a forsaking of invention and novel interpretation. Later it was to shake itself free and find its own Counter-Reformation style, the sensual, ecstatic, exuberant Baroque, charged with a direct emotional appeal. But this had not happened yet. Painters of religious subjects in Moroni's day were rigidly stuck with old themes and old poses, not wanting to be archaic but unsure how to be modern. This predicament is brilliantly illustrated by two large-scale altarpieces of the Trinity, the first by Lorenzo Lotto (1519/21; Museo Bernareggi, Bergamo) and the other by Moroni (c. 1552; church of S. Giuliano, Albino). Both show pale clouds parting to reveal the primrose-yellow dazzle of Heaven. Christ appears in the centre, upon a rainbow, with the dove of the Holy Spirit above his head. Behind him, in looming shadow, is God the Father. But in Lotto's version God appears in shadow only, as a suggestion of immanent power, hands upraised. In Moroni's Trinity, God has been humanized. He has a face, a blue robe. His arms encircle Christ in a gesture of protection. But the overall effect is stilted, bizarre. The rolled up sleeves make him look like a strongman about to perform a feat of heavy lifting. "Is that supposed to be God?" someone asked incredulously, "You don't normally see pictures of God, do you?" "Of course you do," his wife testily reproved him, "Michelangelo did one." Yes, Michelangelo did, in sophisticated, neo-pagan Rome on the Sistine ceiling. A God looking like an ancient Zeus touching fingers with Adam in the guise of a body-perfect ephebe. But that was Rome and that was then. This is Lombardy. One cannot do portraits of God.
Lorenzo Lotto: Trinity
Giovanni Battista Moroni: Trinity
Portraits of men and women, on the other hand, are another matter. Nowhere is this dichotomy better revealed than in Moroni's sensational Last Supper (1566–9), painted for the Confraternity of the Holy Sacrament in Romano di Lombardia, where the faces of Christ and his disciples are stock character heads, in sharp contrast to the man standing at the back. An intruder into the scene, he plays the role of host or servitor at the supper party, holding a flagon of wine in his hand and looking us straight in the eye. This is a portrait of a real person; perhaps, it is thought, the parish priest of the little town. The dimension he inhabits is perceptibly different from that of the staged actors in the famous dinner drama, who are all playing prescribed parts and have no existence beyond them.
Moroni, like his master before him, was fond of painting fabrics. What Vasari does not tell us is that Moretto painted the first ever Italian full-length portrait, in 1526 (London's National Gallery has it). His pupil borrowed both the full-length and the three-quarter-length style and took them to new heights. There are some superb portraits in this exhibition, shown to dazzling effect in the third room, where nine works have carefully been chosen to complement each other to perfection. Two seated ladies (opposite each other), three full-length men (opposite each other and opposite the door) and four three-quarter-length men are hung with careful attention paid to which direction their gazes face. Yet the hang is both complementary and antagonistic. The two women, both poetesses, were from opposing factions in the Bergamo of the day, the bloodily feuding Albani and Brembati families. The Brembati belonged to the imperial, pro-Spanish faction: the striking Man in Pink, Gian Gerolamo Grumelli (from Palazzo Moroni in Bergamo, the home of the artist's descendants), was the husband of Isotta Brembati (the second of the poetesses). It is signed and dated "Jo. Bap. Moronus p. MDLX" and features a Spanish motto: "Mas el çaguero que el primero" (Better to hang back than to rush to the front; an admonition to prudence?). Behind the sitter is a ruined wall. Damaged masonry over which ivy creeps and into which weeds intrude—and beyond which blue sky and cirrus clouds can be seen—is a favourite Moroni backdrop. It occurs in five of the nine portraits in this room and again in the final room. The architectural background with blue sky behind was used by Moretto in his first full-length. Again, Moroni adopts, adapts and carries forward: the warning of ruin and decay, it seems, was his idea.
Moretto: Portrait of a Man (1526)
Moroni: Man in Pink (1560)
In the final room we come face to face with Moroni's famous Tailor (c. 1570; National Gallery, London), and other mature works which show, in the curators' judgement, his role as a foreshadower of Manet and Ingres. The Tailor shows a finely-dressed young man in fashionable slashed pantaloons, looking up from his worktable where he was about to cut a length of black cloth. Black, the exhibition catalogue notes, became the favoured colour for men's costumes, replacing the sumptuously coloured stuffs of earlier years. The tailor himself is obviously a successful artisan. Tailors, according to the wall caption, often dressed well—perhaps as a way of making themselves walking advertisements for their trade. But it was not the tailor's eyes that stayed with me, as I walked out onto a rain-washed Piccadilly. It was those of the Lady in Black, whose portrait (c. 1570; Palazzo Moroni, Bergamo) is a model of minimalism and a seeming effortless skill at capturing not just a likeness but a personality.
Go and see this show if you can. The ticket price is not cheap (£12) but I think you will feel it was worth it.
Moroni: Lady in Black
Reviewed by Annabel Barber. The Royal Academy, its history, role and exhibitions, as well as the architecture of its home, Burlington House, are all described in detail in Blue Guide London.
All/Florence and Tuscany/Italy
Villa La Magia.
There are no fewer than seven UNESCO World Heritage sites in Tuscany alone—more than in some entire countries. This has perhaps tended to diminish the importance of the achievement last year of a group of experts, led by Prof. Luigi Zangheri, to have twelve Medici villas and two gardens in and around Florence (out of a total of 36 which exist in Tuscany) accepted together as a single World Heritage Site. The proposal set before the international committee had to prove that not only are these fourteen villas and gardens unique, but also intimately connected one to the other through their historical and architectural features. All of them had to be already sufficiently protected by 'buffer zones' and thus inserted in a landscape which also has fundamental significance. Their new position under the protective wing of UNESCO will now ensure that they are preserved intact, together with their surroundings, in the future.
The fourteen villas concerned are as follows: the state-owned Villa di Careggi and Villa della Petraia, next to each other on the northern outskirts of Florence; the privately-owned Villa Medici on the old road up to Fiesole; Villa di Poggio Imperiale on the south bank of the Arno and the Boboli Gardens in the very centre of town.
A little further afield, also state-owned, is the Villa di Poggio a Caiano, in the province of Prato just outside Florence. Built for Lorenzo the Magnificent in 1480 by Giuliano da Sangallo, the classical elements in its architecture—which preceded by some 60 years the buildings of Palladio—are of astonishing novelty for the time. Close by, in a wonderful landscape, is the Villa di Artimino.
Close to Florence, on the old road to Bologna, the garden of Pratolino with its extraordinary sculpture of the Appennino by Giambologna, has also been included even though the villa itself (where Handel and Scarlatti performed) no longer exists. Less well-known villas included in the group are the Villa (or Castello) di Trebbio, privately owned, and the Villa di Cafaggiolo, both in the lovely countryside of the Mugello, some kilometres north of Florence.
The last three, the Villa di Cerreto Guidi, the Palazzo Mediceo in Seravezza, and the Villa La Magia outside Quarrata, will certainly gain fame by being included in the list. The pretty village of Cerreto Guidi, between Empoli and Vinci to the west of Florence, is well outside the usual tourist itinerary and the villa is very well preserved and interesting for its architecture. The villa in Seravezza is in the foothills of the Apuan Alps, from which came the marble used for the decoration of many of the villas. The delightfully-named Villa La Magia ('magic') is the least well-known of them all: it is outside Quarrata, southeast of Pistoia, and was built by an architect favoured by the Medici, Bernardo Buontalenti, for Francesco I in the 16th century and is surrounded by a park.
When drawing up the dossier for UNESCO, the influence of these villas and gardens on the rest of the world was also underlined, and the history of the interchange of experts between the Medici and the ruling families of Europe (for instance, at the end of the 16th century Henri IV had Ferdinando I send the Francini brothers to France, where from then on they were put in sole charge of all the hydraulic works in the country).
Although today's tourism is (sadly) often no longer connected to 'culture', it is to be hoped that these villas will now receive many more visitors and draw people out of the city of Florence itself, which can become uncomfortably over-crowded. Italy's economy needs a thriving tourist 'industry': but only last week there was news that Germany now receives more tourists than Italy (and both countries are still far behind France and Spain). UNESCO's own website describes the Medici villas and gardens here.
by Alta Macadam, author of Blue Guide Florence. Image from the wesbsite of Villa La Magia.
All/Artwork of the month/Italy/Northern Italy
© Danielos Georgoudis
"Throw reason to the dogs! It stinks of corruption." While browsing the Guardian website the other day, I came upon this injunction in an article by Jason Burke, who had seen it scrawled on a wall in Kabul in the 1990s. It was only a matter of minutes after reading it that I checked my inbox and found an email from the historian Charles Freeman, alerting me to his article about the Turin Shroud in this month's History Today.
Reason. The goddess who arrived with the Enlightenment, with the Reformation. We in the West, self-appointed guardians of the world's morality, like to believe that we are governed by Reason. But do we fool ourselves? Scientists who question climate change are liable to a similar reception as that with which the Inquisition favoured Galileo. We have our shibboleths and we don't want to rock them any more than those early 17th-century ecclesiarchs did. Humankind is still guilty at times of being interested not in ideas but in ideology.
Charles Freeman is not one of those. He is firmly on the side of Reason. His fascinating article argues, persuasively, that the Turin Shroud is not the original winding-sheet of Christ but a medieval epitaphios. That is not to make it a forgery. It's a genuine article, a cloth woven in the 14th century for use in the kind of mystery plays that took place around the Easter Sepulchre. Trawling English country churches as an earnest teenager, Pevsner in hand, I often found myself alerted to the presence of "a fine Easter Sepulchre". When I found it, I always saw the same thing: a sort of arcosolium, an arched recess with a ledge in it, high enough to sit on. Sometimes the arch was traceried, sometimes plain. But that was all. I always wondered what the Easter Sepulchre's purpose was. In Freeman's article we find out. He describes the tradition of the Quem quaeritis ("Whom do you seek?") Easter mystery plays that re-enacted the events around the Empty Tomb. For these a cloth was required, the winding sheet left behind by Christ on his Resurrection. The Shroud of Turin was one such.
Its claim to be a much older, expressly sacred, relic came in the mid-15th century, says Freeman, when the Dukes of Savoy sought ways to bolster their legitimacy and influence. This seems quite possible. "Relics" were often miraculously discovered by priests or statesmen seeking to revive a flagging popularity or power. The Holy Blood at Mantua is one example. The Chains of St Peter in Rome another. And any number of Holy Thorns in reliquaries scattered across Christendom.
Yet people still stubbornly persist in venerating the Turin Shroud. Why? Are they so impervious to reason and logical argument? I think not. I think it is more a case of people not needing to be troubled by the sordid and disappointing truth. Reason is, after all, by its very nature a source of disillusion. It robs everything of suggestion and fantasy. Much as a small child really doesn't need to be told by a cocky older sibling that Father Christmas doesn't exist. In his heart of hearts he knows that. He just doesn't want to go there.
Freeman's article has made it much more likely that I will make the journey to Turin in 2015, when the Shroud is once again put on public display. Interestingly—and Freeman is at pains to point this out—the Church itself takes an ambivalent stance. It does not claim that the Shroud is the genuine cloth of Christ. In fact it was the Church that commissioned the carbon dating in 1988, which placed the Shroud somewhere in the 14th century. Yet even if it did originate in a medieval prop-box, centuries of veneration have conferred sanctity upon it. It is valuable as an artefact that reminds us, against all the promptings of reason, that we mortals might—just might—be destined to rise from the grave.
Charles Freeman, history consultant to the Blue Guides, is the author of Holy Bones, Holy Dust: How Relics Shaped the History of Medieval Europe, reviewed here.
All/Exhibition reviews/Florence and Tuscany/Italy
'Descent from the Cross' (14th century) by Pietro da Rimini.
The Popularity of the Primitives, an exhibition which runs at the Galleria dell'Accademia in Florence until 8 December, is concerned with the fascinating subject of when 14th- and early 15th-century Italian paintings (and other early art treasures) came to be considered worthy of notice and were, as a consequence, incorporated in public and private collections. Up until the late 18th century, only works from the time of Raphael onwards were in vogue: besides Raphael, Michelangelo and Titian, collections featured paintings by artists such as Correggio, Guido Reni, Federico Barocci and Rubens.
The exhibition tells the story of 42 collectors, almost all of them little-known, who lived in the late 18th or early 19th century. And an impressive amount of scholarly research has gone into it—which is heartening to see, in an age when fewer and fewer museum directors are still art historians, and curators are increasingly put under pressure to devise shows that will make money. To each collector a section is dedicated, depending on the region of Italy where they lived: besides their (for some reason usually unflattering) portrait, there is a display of a small selection of the works they are known to have acquired (and which are now in private or public collections). We discover that these erudite individuals, whether prelates or cardinals, noblemen or tradesmen, shared an interest in the cultural value of these early works and that by obtaining them they rescued them from oblivion and possible destruction. In later times when they fell into the hands of antiquarians and dealers, their monetary value steadily increased, although it is interesting to note that today the 'primitives' are worth far less than modern and contemporary artworks.
By looking at the provenance of the works one can see how many of them ended up in the great museums of the world: a certain Agostino Mariotti, who amassed 600 works and who was mentioned by travellers on the Grand Tour, was to leave his collection to the Vatican Picture Gallery. In 1780 Cardinal Stefano Borgia (who almost became pope) acquired St Euphemia by Mantegna, which is on show, and most of his collection is now in the Museo di Capodimonte in Naples. This great Renaissance artist is included as a reminder also that it was not only the 'primitive' gold-ground paintings which had been neglected up until this time but also those by artists now considered of fundamental importance. The Ranghiasci family of Gubbio in Umbria, whose large romantic park is today open to the public, owned an exquisite Descent from the Cross by Pietro da Rimini, lent to the present exhibition by the Louvre.
Marchese Alfonso Tacoli Canacci, who died in Emilia in 1801, is represented by four of the best Tuscan works in the exhibition: a Madonna of Humility by Agnolo Gaddi, which ended up in a private collection in New York; another Madonna of Humility by Fra' Angelico; a very unusual long predella panel by Giovanni di Paolo of Christ carrying the Cross surrounded by a crowd of saints all holding a Cross; and a tiny Entry of Christ into Jerusalem by Pietro di Giovanni d'Ambrogio. The three latter works went to the national museum in Parma.
Fra' Francesco Raimondo Adami, a Servite friar at the convent of Santissima Annunziata in Florence, collected important early works which are now part of the collection of the Galleria dell'Accademia itself: on show are St Mary Magdalene with stories from her life, by the Master of the Magdalene (named from this work), and paintings by Niccolò di Pietro Gerini, Andrea Orcagna and Fra' Angelico. Other works acquired at this time by Tuscan collectors (and also included in the exhibition) were to form the nucleus of the earliest works in the Museo di San Matteo in Pisa and the Pinacoteca Nazionale in Siena.
Only two of the collectors are well-known today since their collections survive on public display under their own names: Angelo Maria Bandini of Fiesole (whose exquisite museum is still in that little town above Florence) and Teodoro Correr (1750–1830) of Venice (the huge Museo Correr is in Piazza San Marco). For this exhibition a relief of the Madonna and Child by Domenico Rosselli, once owned by Bandini, has been loaned from the V&A so that it has been reunited with other works still in Fiesole; and the Correr has sent two of its masterpieces to Florence: a Pietà by Cosmè Tura and another, unfinished work of the same subject, by Antonello da Messina. A superb small St Nicholas of Bari, also by Cosmè Tura, in a section towards the end of the exhibition, illustrates some of the works acquired by French collectors while in Rome.
All/Ancient world/Book reviews/Italy/Southern Italy
Ingrid D. Rowland, From Pompeii: The Afterlife of a Roman Town, Harvard University Press, 2014.
One of the pleasures of reading The New York Review of Books is coming across the articles by Ingrid Rowland. Professor Rowland teaches at the University of Notre Dame in Rome and specialises in art history and cultural relationships, especially those between Italy and its Classical and Renaissance past. She always had something interesting to say and it is perhaps because I have happy memories of sitting around in Rome with archaeologists and art historians that I find her especially engaging.
In the introduction of her enjoyable survey of Pompeii's after-history, we see the eight-year old Rowland, pig-tailed and bespectacled, on her first visit to the ruins in 1962. The experience clearly resonated with her (never underestimate where the experiences of an eight-year old might lead!) and she now teaches permanently in Italy. From Pompeii is the story of the characters who were fascinated by the drama of Vesuvius, its eruptions and the vanished communities of Herculaneum and Pompeii as they were slowly recovered from the lava. For centuries, legends had persisted of buried cities but there was nothing to be seen. Instead the fascination was with Vesuvius. Athanasius Kircher, would-be decipherer of hieroglyphics, a priest always on the edge of disfavour with the Church on account of his belief in the natural rather than miraculous background of geological events, gave pride of place to the inner workings of the volcano in his influential work Mundus Subterraneus, 'The Subterranean World' (1665).
A hundred years later the treasures of Herculaneum and then Pompeii were beginning to emerge and were firmly fixed in the itinerary of the leading cultural figures of the day. Rowland describes the reactions of the young Mozart, Charles Dickens, Mark Twain and Renoir, not only to the ruins but to the bustling, poverty-stricken street-life of Naples. For 19th-century romantics in Russia, the painter Karl Bryullov's epic The Last Day of Pompeii gripped the imagination as much as Edward Bulwer Lytton's novel The Last Days of Pompeii did of those in Britain. A special accolade is due to the Puglian Bartolo Longo who embarked on creating a new Pompeii on the edge of the old, around a church of the Madonna of the Rosary. A damaged and ugly painting of the Virgin Mary, brought to the church on a dung cart, proved an unlikely miracle-worker and soon the trains that brought tourists to Pompeii were filled too with pilgrims. Longo energetically ploughed back their donations into the crime-ridden and impoverished neighbourhood and parts of his 'new' Pompeii survive.
Rowland enjoys her digressions. The blood of St Januarius (San Gennaro) has an important role to play. Every year it miraculously liquefies on three separate occasions—except when it doesn't, in warning of impending eruptions of Vesuvius. Then there is the phallus of Priapus from the House of the Vetii: guides in charge of prominent visitors such as Hillary Clinton and her daughter Chelsea scurry past it in haste so that no compromising photos can be snapped. There is space too for the bizarre cult of the Fontanelle, the skulls preserved in caves under the city of Naples and which, while their owners languish in Purgatory, are supposed to have miraculous powers of intercession.
However, the ruins always form the backdrop to the digressions and Rowland relates the exploits of the famous curators. Guiseppe Fiorelli, appointed in 1848, replaced treasure-hunting pits with carefully stratified excavations. His calchi (plaster casts) shifted attention to the human victims of the eruption and still provide some of the most moving testimonies to the drama of AD 79. It was Fiorelli who kept wall-paintings in situ where they were found, rather than prising them off for the royal collection. Politics met with archaeology when Superintendent Vittorio Spianazzola, an opponent of Fascism married to a Jewish scholar, was removed in 1924 and replaced by Amadeo Maiuri, who dominated the Pompeiian scene until 1961. His use of mechanical diggers exposed large parts of the city but left it impossible to maintain. I despaired, as Rowland does, over the crumbling remains. On my most recent visit to Pompeii two years ago, many of the houses were closed off. Just ten years earlier there had been more to see. Even a campaign to round up stray dogs stagnated as the available funds were embezzled. Herculaneum is now much more welcoming.
And no less ominous than the slow decay of Pompeii is the ever-present threat of a fresh eruption of Vesuvius. The last was in 1944 and it is time for it to blow again. Rowland is doubtful whether the anarchic inhabitants of the Bay, long used to outwitting authority, will submit to the evacuation plans. The blood of St Januarius will no doubt liquefy if there is nothing to fear—but if it stays solid, an early escape will be well advised. If by chance I am caught there among the fleeing residents, I shall seek refuge on a Gran Turismo bus, its hurried entry and exit from the region long perfected by the demands of whisking tourists quickly around the site and back through the traffic jams in time for dinner in Rome.
Reviewed by Charles Freeman. Pompeii, Herculaneum and Naples are covered in Blue Guide Southern Italy. Pompeii is one of the 50 sites in Freeman's Sites of Antiquity.
To see more details about this book, check the Amazon links below.


Since 2008 until March of this year, Ben Canney has been serving Kingswood University in the Enrolment Department. Over the last few years, he also worked with Caton's Island as the Assistant Director. Ben is now the Executive Director at Camp Tulakadik in Cassidy Lake, New Brunswick, where he is serving full time with this ministry of the Atlantic Convention of Baptist Churches.
Pray for Mike MacNeil, along with KU's Men's Resident Director, Nathan Maskery, son-in-law Kyle Belden, and KU students, Zach Otto and Austin White, as they are traveling in Asia for two weeks. You will be able to read about their trip to Myanmar next month.
Rev. Scott Rhyno graduated with Kingswood's Class of 2016 on April 30. He earned the Master of Arts in Pastoral Theology degree. Congratulations!
Kingswood is saying "good-bye" this month to Tyler and his wife Hannah (Gilliatt '16) as they head out to Thunder Bay, Ontario. The couple is part of a church planting team with the Central Canada District of The Wesleyan Church. Tyler will oversee building renovations for the new church plant, including remodelling the parsonage into a duplex to help generate income. Over the next year, Tyler and Hannah will also build relationships in the community, laying the groundwork for when Nathan Maskery, KU's Resident Director for Men and a current student, along with his wife Vicky and four children, joins them after Nathan's graduation.
Shelley Vail is the New Brunswick representative for the Canadian Association of Financial Aid Administrators. She is also a member of the Sussex Rotary Club and serves on the board of the PotashCorp Civic Centre. This month Shelley, along with Rev. Brittany Trafton, KU's Director of Enrolment, is taking the Dale Carnegie course, which is world famous for helping employees become stronger leaders by maximizing their performance and adding more value to the organization.


Red Fox Die Cast Supply is a full service die cast supply company. We sell lubricants such as Beeswax, Plunger Granules and Start-up lube. We are located in the heart of the Ozarks in Harrison, Arkansas. Most products are available for immediate shipment and usually go out the same day as ordered. Let us help your die cast business run smoothly.


text:
Netanyahu Says Kansas Massacre 'Perpetrated Out of Hatred of Jews,' Sends Condolences to Victims' Families
by Joshua Levitt
Prime Minister Benjamin Netanyahu. Photo: Cherie Cullen / WikiCommons.
Israeli Prime Minister Benjamin Netanyahu on Monday sent his condolences to the families of the victims of yesterday's massacre in Overland Park, Kansas, by a Ku Klux Klan leader.
"We understand that the murders were — according to indications — were perpetrated out of hatred of Jews," Netanyahu said in a statement. "The State of Israel is at the forefront, along with all civilized peoples which are committed to the struggle against this scourge."
On Sunday, 73-year-old Frazier Glenn Cross, aka Frazier Glenn Miller, a former "grand dragon" of the Carolina Knights of the Ku Klux Klan, was arrested for killing three people at a Jewish community center and nearby assisted living facility in Overland Park, Kansas. Before his identity was revealed, police confirmed that he yelled "Heil Hitler" when being arrested for the crime.

redpajama_set_name: RedPajamaCommonCrawl


Mr. Klaus "Monster" Pedersen has been requested to attend an interrogation at the Courts in Fuengirola in relation to his role in devising, approving and selling a tax evasion Equity Release Product.
Mr. Pedersen is the Managing Director of Danske Bank International S.A. and ultimately responsible for selling mortgages in Spain on the pretext that they would alleviate the burden of Spanish Inheritance Taxes. He is accused by a number of expats of fraudulent publicity.


Recipients (HCPs) will need to fulfil the criteria specified by WSPID in order to be eligible to apply for an educational participation grant. Accepted grant recipients will be contacted by the WSPID Secretariat.
The Mobile App engages attendees with personalized planning tools and real-time event updates. The App transforms smartphones, tablets, and laptops into tools for active meeting participation and makes it easy for participants to access meeting information to connect with speakers and colleagues. The App includes the scientific program, abstracts, speaker information, participant lists, the rating/voting system for sessions and speakers, and a personalized scheduler. The App can be downloaded from the Apple App Store and Google Play.
Signage, "Supported by…" and a company logo only on each individual e-poster station OR on the "sail" – to be advised.


text:
Q: How to get login username using task scheduler? I have search similar article but don't have the correct answer.
I have a schedule task using gpo which using %USERNAME% to get the current logged username but it returns the username which the task is running under, which is always the same user - I want to know the username that has logged on.

A: Try running $ query user command which will show currently logged on users with the login status and logon time.
query user

For more information refer to: https://docs.microsoft.com/en-us/windows-server/administration/windows-commands/query-user

redpajama_set_name: RedPajamaStackExchange


Hero Electric has introduced one of the most marvelous series named Safari Series. It is the most decent series that conforms the standards of modern living. If you are having a sophisticated lifestyle with contemporary evaluations, Safari Series must be your choice. For an idea, just have a look.
Here you can see, solemn and pragmatic view for Safari Series to set in. You can use these switches, plugs and sockets with matte backgrounds/ wall paints. Moreover, these can be installed over both dark and light backgrounds. Now a days, woody interior is a very preferable choice of many people. In the above image, you can see this matchless combination.
Hero Electric maintains the best standards and meet the customer requirements, demands and choices in the cost effective manner. Hero Electric provides guaranteed safety and housing optimized features. Moreover, all the products are very remarkable, easy to install and safe to use.


text:
U.S. to investigate killing of Palestinian journalist Shireen Abu Akleh
Despite Israel releasing results of internal investigation into reporter's fatal shooting, decision issued to State Attorney's Office in what officials call a 'rare event'; FBI to lead probe
Ynet, i24NEWS|
The United States on Monday informed Israel that it decided to investigate the killing of Shireen Abu Akleh, the Al Jazeera reporter who was shot to death during an Israeli army operation in the West Bank's Jenin refugee camp last May.
Initial reports indicated that the Federal Bureau of Investigation (FBI) would conduct the probe.
(Photo: Elad Gershgorn)
The decision is a major blow to the Israeli government and law enforcement, translating as a lack of trust in Israel's abilities to conduct its own investigation into the incident. The U.S. investigation could result in demands to investigate IDF soldiers and demand their placement on trial.
Back in May, 57 U.S. congressmen appealed to FBI Director Christopher Wray, demanding to investigate Abu Akleh's death. Israel attempted to convince the U.S. not to launch an investigation, but with no success. No comments were made by the Prime Minster's Office or the Foreign Ministry at the announcement of the investigation.
The decision on the investigation by the U.S. was delivered to the State Attorney's Office, saying that a request for the pertinent case material will soon follow. While Israel did not officially comment on the decision, officials call the decision a "rare event".
The U.S. was involved in the investigation into Abu Akleh's death following the incident in July, via U.S. Security Coordinator General Michael Fenzel, and so should already have the relevant material on the investigation.
(Photo: EPA)
Abu Akleh worked for Al Jazeera for 25 years before she was killed while covering an Israeli military raid conducted as part of Operation Breakwater on May 10, 2022.
Israel first claimed that the journalist was caught in the crossfire and shot by Palestinian militants. Then, in September, a report was released by the Israeli army concluding that Abu Akleh was likely hit by its forces, albeit mistakenly.
But her family, as well as much of the Palestinian community, still blame Israeli forces for deliberately targeting and killing her.
"The evidence is overwhelming. It's been over four months since Shireen was killed. Our family shouldn't have to wait another day for justice," Abu Akleh's family said in a statement in September as part of a complaint filed with the International Criminal Court (ICC).
"It's obvious that Israeli war criminals cannot investigate their own crimes. The U.S. still has an obligation to investigate and take meaningful action for one of their own citizens. But when an individual state fails to protect its own citizens, it's the responsibility of the international community to protect them instead," they added.
Shireen Abu Akleh posters in Israel
(Photo: AP)
Although the Israeli army conducted its own investigation and acknowledged that the bullet in question was likely fired by an Israeli soldier, it denies the allegations that the journalist was deliberately targeted. The family criticized the army's internal investigation, saying it "tried to hide the truth and avoid taking responsibility."
The evidence the Abu Akleh family attached to the ICC complaint was released by Al-Haq, a Palestinian rights group blacklisted by the Israeli military over its alleged ties to the terrorist group PFLP, as well as the London-based research firm Forensic Architecture.
The report combined spatial and audio analysis, drone footage, geotagged video, and never-before-seen video footage filmed by another reporter at the scene.
Reprinted with permission from i24NEWS.


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Q: Attempted to read or write protected memory. This is often an indication that other memory is corrupt. in C++ Dll i have a problem in code.
When i compile program so it write "AccessViolationException was unhandle"
"Attempted to read or write protected memory. This is often an indication that other memory is corrupt."
C# code:
    [DllImport(@"DLLmedian.dll")]
    public static extern SCIOX_bitmap median(SCIOX_bitmap image, int size);

    private void button2_Click(object sender, EventArgs e)
    {

        string url = @"img.png";
        pictureBox1.Load(url);
        SCIOX_bitmap a;

        a.height = pictureBox1.Height;
        a.width = pictureBox1.Width;
        var source = new BitmapImage(new System.Uri(url));
        int b = source.Format.BitsPerPixel;
        a.color_depth = (4 * b) * b;
        a.points = pictureBox1.Handle;
        a = median(a, 8);

    }

    public struct SCIOX_bitmap
    {
        public int width;
        public int height;
        public int color_depth;
        public IntPtr points;
    };

C++ code:
SCIOX_bitmap __stdcall median(SCIOX_bitmap image, int size)
{
    SCIOX_bitmap finMap;
    finMap.width = image.width;
    finMap.height = image.height;
    finMap.color_depth = image.color_depth;
    finMap.points = new int[finMap.height*finMap.width];

    int *valArr = new int[size*size]

    for(int i=0; i<image.width; i++)
        for(int j=0; j<image.height; j++)
        {
            for(int k=0,n=0; k<size; k++)
                for(int l=0; l<size; l++,n++)
                      valArr[n] = image.points[((i-size/2+k+image.width)%image.width)*image.height + (j-size/2+l+image.height)%image.height];
                                     **//AccessViolationException was unhandle**
            mysort(valArr, size*size);
            if(size*size%2 == 1)
                finMap.points[i*finMap.height + j] = valArr[size*size/2];
            else
                finMap.points[i*finMap.height + j] = (valArr[size*size/2-1] + valArr[size*size/2]) / 2;
        }

        return finMap;
}

   struct SCIOX_bitmap{
        int width;
        int height;
        int color_depth;
        int* points;
    };

Anybody help me please ?

Sorry I forgot SCIOX_bitmap is struct. SCIOX_bitmap is also in c++ code
public struct SCIOX_bitmap
    {
        public int width;
        public int height;
        public int color_depth;
        public IntPtr points;
    };

A: It appears to be that you're accessing the Handle of a PictureBox class as if it were a handle to the Image. That isn't correct, the Handle property is a handle to the Control.
If you want to get a Handle to the Image itself, you'll need to convert it to a Bitmap and then use GetHBitmap()
Bitmap bitmap = new Bitmap(pictureBox1.Image);
a.points = bitmap.GetHBitmap();

Additionally, I would recommend that you look into the Rule of Three for your C++ code, as you're going to leak the memory declared for the points buffer on each call to median.


Sparkling and chic, this watch from the Drive from Citizen Eco-Drive® LTR Collection is a look she'll love. Crafted in rose-toned stainless steel, this quality timepiece features a 37.0mm case, rose-toned patterned dial, luminous hands, bright crystal markers, sparkling crystal-lined bezel, date display, and second hand. The link bracelet secures with a push-button fold-over clasp. Ensuring accuracy, the Japanese quartz movement keeps you right on time. Citizen Eco-Drive® technology harnesses the power of any light source so this style never needs a new battery. Water-resistant to 30 meters, this wristwatch includes a five-year limited manufacturer's warranty. We are an authorized Citizen dealer.


Memorization Tip #4: Memorize the coffee stain!
In our previous posts in this series about tips for memorizing music, you learned about the different types of memory. You learned about singing. And you learned about listening and analyzing.
Now we'll talk about tips for enhancing the visual memory. This is where you envision the printed music, you know where you are on the page of music, you know where the coffee stain or muddy paw print is. This idea was suggested to me by one of my readers, and I have since tried it, and it is indeed comforting to be able to follow along with the printed sheet music in my mind.
Here's how I see it: use every tool you possibly can to shore up your memory. You never know when a certain type of memory will kick in to throw you a lifeline just when you need it. Memorizing where the coffee drops are or the bird poop (hey, stranger things have happened) just might be the thing that jogs the next section of notes out of your brain and into your fingers.
This is taking advantage of one of the 4 types of music memory. It is like having 4 lifeguards on duty just for you!
Can you identify which type of memory singing employs? It might be more than one!
Repeating the piece a zillion times?


The Classic Boat Museum is an exciting and award winning all weather attraction based on the waterside in the Isle of Wight. It offers a fascinating collection of sailing and power boats of local and national interest to both family visitors and maritime enthusiasts alike.
Open throughout the year, displays also include photographs, films, tools, artefacts, models, books and many other items associated with the history of boating over the past century. From unique trophies loaned by Dame Ellen MacArthur to classic wooden boats of international renown, there is something of interest to both children and adults.
The Cowes Maritime Museum has a small exhibition area that currently displays model boats from the Maritime Collection, as well as an extensive photographic and paper archive depicting yachting and the shipbuilding industry in Cowes, which is accessible by appointment only. If you require more information about the archive collection of Cowes Maritime Museum please contact Corina Westwood - +44 (0)1983 823433. You will need to make an appointment in order to access any reference materials.


Kelly Gibney suggests three simple and special Christmas recipes matched with three beautiful Nautilus wines to take the stress out of seasonal entertaining.
¼ cup fresh mint – roughly chopped.
1 rounded teaspoon harissa paste.
Use a box grater to coarsely grate the zucchini. Use your hands to squeeze out as much liquid as possible. Place on a tea towel and roll tightly to soak up any remaining liquid.
Place in a large bowl along with the halloumi, onion, eggs, tapioca flour (or whichever you're using) and the fresh mint. Stir well until thoroughly combined.
Add a generous grind of crack black pepper. Salt should not be needed as halloumi is very salty.
Heat a generous glug of oil in a sauté pan over a medium heat. Spoon heaped teaspoon of batter into the pan. You should be able to fit about 5 in at a time. Cook for roughly 2 minutes on each side, until golden brown.
Place in a warm oven until you've finished the whole batch.
Mix the harissa paste and yoghurt together. Place in a small bowl. Serve immediately. Fritters can be reheated by placing in a very hot oven for 5 minutes.
Asparagus, fennel & salmon salad with preserved lemon dressing and sourdough croutons.
Place all the dressing ingredients into a small jug. Use a hand blender to blitz. Season to taste. Set aside until ready to use. The dressing will naturally separate. Simply stir before use.
Trim the fennel and cut into wedges (retain a little of the fronds for garnishing). Drizzle with olive oil, season with salt and pepper, mix well. Roast for 30 minutes, tossing once. Leave to cool.
Drizzle the sourdough cubes with a little oil. Season with salt and pepper and bake for 15 minutes.
Pour boiling water over asparagus. Drain after 4 minutes and run under cold water to halt cooking (and retain the bright colour). Lay on a tea towel to absorb excess moisture.
To assemble: Toss the rocket with half the dressing. Scatter over a large platter. Top with the remaining ingredients, drizzle with more dressing as desired and garnish with a little finely diced fennel fronds. A good grind of cracked black pepper on top is lovely too.
Place the butter, sugar and cocoa into a food processor. Blitz until thoroughly mixed. Add the baking powder, eggs and almond meal. Run the machine until combined.
Melt the chocolate using a double boiler or a microwave. Add to the processor while running. Followed by the wine.
Bake for 22 minutes. Remove from oven and leave to cool for 10 minutes before serving. They will deflate but this is normal. Serve with vanilla ice cream.
Can be stored in the fridge in an airtight container for up to 2 days before serving. Bring to room temperature before reheating. Place in 100 degree oven for 5 minutes.
Puddings can be frozen for up to 2 months.


Having MetroNaps® EnergyPods® in your booth is a great way to boost both visual and educational impact. Event goers can't resist trying out a pod. And they love having their photo taken, so your brand carries beyond the walls of the show.
"We rented the EnergyPod offered by MetroNaps for two important aviation trade shows. The EnergyPod drew a ton of visitors to our booth and we received significant media coverage due to its popularity and unique look. We will definitely continue to use the EnergyPods as a way of unveiling new corporate messages. Additionally the support provided by the MetroNaps team was more than we expected."
The stylish and elegant looking EnergyPod(s) will draw attention to your stand and peak curiosity, bringing your audience into your booth.
The EnergyPod can be customized to match your brand appearance and to deliver your message in a unique and unexpected way. Audiences will be secluded from surrounding distractions and restfully sit back while listening to your message via the built-in audio player.
The EnergyPod can feature a company logo or slogan. Custom color options for upholstery and exterior finish are also available.
The EnergyPod's upholstery and/or exterior can be costumized to match your brand or booth design.
The visor of the EnergyPod can feature a company logo or slogan for additional branding.
The built-in speakers can play customized audio messages, educating the audience about your company, product or service while they restfully sit back.
To enhance the user experience we recommend supplying headphones. MetroNaps offers high quality, noise-canceling, Jabra Evolve 80.
Contact us and get a detailed event brochure.


SCHOOLS in Leeton shire will be feeling a little cooler this summer. As part of the state government's cooler classroom fund, Gralee School, Leeton High School, Leeton Public School, Parkview Public School, Yanco Public School, Yanco Agricultural High School, Wamoon Public School and Whitton-Murrami Public School will all receive new air-conditioning. Member for Murray Austin Evans said given how hot the temperatures in the shire can rise, it was critical classrooms be at a cool and comfortable level. RELATED "I've spoken to many people across our vast electorate who have stressed the importance of air conditioning in our classrooms, so I'm thrilled our electorate is a big winner in the program," he said. Schools in areas like the Murray electorate – that have an average maximum January temperature of 30 degrees or more – will now automatically receive air conditioning in their classrooms and libraries. Previously only schools with an average maximum January temperature of 33 degrees or more were air-conditioned. **** While you're with us, you can now receive updates straight to your inbox every Friday at 6am from The Irrigator. To make sure you're up to date with all news in Leeton sign up here.
SCHOOLS in Leeton shire will be feeling a little cooler this summer.
As part of the state government's cooler classroom fund, Gralee School, Leeton High School, Leeton Public School, Parkview Public School, Yanco Public School, Yanco Agricultural High School, Wamoon Public School and Whitton-Murrami Public School will all receive new air-conditioning.
Member for Murray Austin Evans said given how hot the temperatures in the shire can rise, it was critical classrooms be at a cool and comfortable level.
"I've spoken to many people across our vast electorate who have stressed the importance of air conditioning in our classrooms, so I'm thrilled our electorate is a big winner in the program," he said.
Schools in areas like the Murray electorate – that have an average maximum January temperature of 30 degrees or more – will now automatically receive air conditioning in their classrooms and libraries.
Previously only schools with an average maximum January temperature of 33 degrees or more were air-conditioned.
Discuss "Shire's schools ready for a much-needed cool-off"


Thank you for your interest in holding a screening of Machine of Human Dreams.
Thank you for your interest in Machine of Human Dreams.
A.I. guru Ben Goertzel grew up in a hippie community during the Vietnam War. Inspired by science fiction, he imagined a perfect rational world that would transcend the violence of 1970s' America. Since then, Ben has dedicated his life to developing OpenCog, a software that models the human mind. If Ben's design works, OpenCog will become a human-like general intelligence. But for OpenCog to work, it needs a body. Shot over the course of 2 years, this film follows Ben's attempts to create an OpenCog prototype in Hong Kong.


text:
The Stigma Is Real
What can we do about student's mental health?
Artist Abi Edwards, via Ms. Poirier, used with permission
Abington High School student (Class of 2019) Abi Edwards Scholastic Art Award Silver Key "Don't Look"
Meghan McCann, Contributor
Mental Health Awareness Month is in May. The purpose of this is so people can spread the point that there should not be any stigma about mental health and it is nothing to joke around about. The stigmas against mental illnesses need to have an end.
Some mental illnesses are bipolar disorder, depression, psychotic disorders, mood disorders and eating disorders.
Many people are not the same from how they went into the pandemic compared to how they came out."
— Meghan McCann
Kids should be taught about mental illness from a young age. They should be giving the opportunity to know what the symptoms for any types of mental illness are, so if at any point they are not okay they know what they can do to help themselves or others.
As a student, I think that it's important that we not believe the stigmas and stereotypes that come from people who do not understand them. We should hear from experts.
Some things that schools could do are assemblies. For instance, to have guidance come and speak on things that could inform students about what the point is of Mental Health Awareness Month.
Health classes could also do talks about this topic. But I think we need more than just one class to talk about something that could change someone's perspective on this. And there are more things we can do at the school in addition to putting posters around.
With a pandemic that affected people's abilities to see other people for months at a time, it has affected students' education. It has taken a toll on how students feel about being left alone and being put into quarantine.
Coming from a student in high school, I've seen the impact on how it can hurt and cause a stage of depression or anxiety. I have had this impact as well.
Many people are not the same from how they went into the pandemic compared to how they came out. There were positives and negatives. People got to really think about themselves and focus on who they are and what they had. But some people thought too much and were not able to see people they usually see. That took a toll.
Students' Mental Health Impacted by Covid-19
While researching, I found a website about an organization the supports mental health awareness and they are called NAMI (National Alliance on Mental Illness). They want to fight the stigma on mental illness and provide support. Their slogan "you are not alone" is a very powerful statement for this issue.
According to The Kaiser Family Foundation, during COVID, the rates of depression and anxiety have gone up 31%. With this percentage going up this much, it leaves a lot of people to not know how to deal and help themselves.
Before COVID, the age group found most impacted was between 18-25 years old. Now during COVID, kids under the age of 18 are now impacted the most.
Mental Health Awareness Month's ribbon is green. Green is the color representing hope, strength, support, and encouragement for sufferers.
Students' Mental Health Impacted by Covid-19
Is the Traditional American Grading System Worth the Pressure on Students?
The Fight for the Right Bathroom
Let's Talk About Asian Hate
Are we learning enough?


text:
United Voice
Food Recalls: Pub Steak Pies, Cookie Dough and Salmon Filets
Pub Steak Pies
Marie Callender has recalled approximately 12,000 pounds of frozen pub-style steak pies due to incorrect labeling. The packages, which actually contain chicken instead of beef, could pose an allergy issue due to its soy content.
https://t.co/GrgkBrDArS
Soy Allergy Alert – Marie Callender pub Style Steak and Ale pic.twitter.com/eW8giiop9q
— KidsW/FoodAllergies (@kfatweets) September 23, 2019
The Pub Style Steak & Ale packages included in the recall have the number 46299 on the packaging and were sold at retail stores in several states, including Delaware, Colorado, Michigan, Maine, North Carolina, New York, Utah, Pennsylvania, Washington and Virginia.
If you have this product in your home, either throw it out or return it to the place of purchase.
California New Foods has issued a voluntary recall after discovering some ingredients were missing on their cookie dough labels, namely peanuts and walnuts. Consumers who have a sensitivity or allergy are at risk for serious or life-threatening reactions.
Frozen and Refrigerated Cookie Dough Products Recalled Due to Potential Health Risk from Allergens https://t.co/n6WBHUtp4I pic.twitter.com/a8Bx7rFi45
— U.S. FDA (@FDArecalls) September 24, 2019
The frozen and refrigerated products were sold at retailers in California. Though they are not currently in production or for sale, customers may have them in their homes. Seven flavors of Carolyn's Cookie Co. frozen cookie dough and two flavors of Country Baking Company's refrigerated cookie dough are listed on the recall notice.
Date codes to look for on frozen products include those between September 12, 2019, and March 29, 2020, while the refrigerated products have date codes between September 18, 2019, and September 25, 2019.
If you have these products in your freezer or refrigerator, return them to the retailer for a refund.
Salmon Filets
Euphoria Fancy Food Inc., of Brooklyn, NY, has recalled its packages of Capitan K salmon due to potential Listeria contamination.
According to the recall notice, the contamination was discovered by the New York State Department of Agriculture and Market Food Inspectors.
Euphoria Fancy Food Inc. Recalls "Capitan K Salmon Fillet" Due to Possible Health Risk https://t.co/NYjEEsHPup pic.twitter.com/uTZT7dPG6r
Listeria monocytogenes can cause serious and deadly infections in young children, sick or older people, and anyone with a weakened immune system. It can also cause miscarriages and stillbirths in pregnant women.
The recalled salmon is a product of Russia and was distributed nationwide in retail stores and sold online, with UPC code 607059000362 and a best-by date of 01/20/20.
So far no illnesses have been reported, however, if you have this salmon in your home, return it to the place of purchase.
Copyright 2019, UnitedVoice.com
Booker Ends Presidential Campaign
Government Wants Access to Terrorist's iPhones
Trump Champions Religious Freedoms
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text:
Key Financial FiguresGroup financial review
Consolidated interim financial statements (condensed and unaudited)
Consolidated income statement (condensed and unaudited)Consolidated statement of comprehensive income (unaudited)Consolidated balance sheet (condensed and unaudited)Consolidated statement of cash flows (condensed and unaudited)Consolidated statement of changes in equity (unaudited)
Notes to the interim financial statements (condensed and unaudited)
1 Accounting policies2 Segment information3 Financial income and financial expense4 Financial liabilities5 Provisions6 Contingent liabilities and contingent claims7 Dividend payment8 Financial instruments9 Related parties10 Events after the balance sheet date
Share informationQuarterly review 2016 and 2017
Depreciation and amortisation, non-operating results
In CHF million, except where indicated
1st half-year
Operating income before depreciation and amortisation (EBITDA) 1,187 1,146 3.6% 2,260 2,227 1.5%
Depreciation, amortisation and impairment losses (534) (546) –2.2% (1,057) (1,092) –3.2%
Operating income (EBIT) 653 600 8.8% 1,203 1,135 6.0%
Net interest expense (37) (42) –11.9% (73) (81) –9.9%
Other financial income and expense, net (12) (24) –50.0% (25) (64) –60.9%
Share of results of associates (2) – – (3) – –
Income before income taxes 602 534 12.7% 1,102 990 11.3%
Income tax expense (136) (110) 23.6% (263) (202) 30.2%
Net income 466 424 9.9% 839 788 6.5%
Share of net income attributable to equity holders of Swisscom Ltd 467 424 10.1% 840 789 6.5%
Share of net income attributable to non-controlling interests (1) – – (1) (1) –
Earnings per share (in CHF) 9.02 8.19 10.1% 16.22 15.23 6.5%
Depreciation and amortisation decreased by CHF 35 million or 3.2% to CHF 1,057 million in comparison with the previous year, mainly reflecting the lower amortisation of intangible assets related to company takeovers. The scheduled amortisation relating to company takeovers for the first half of 2017 amounted to CHF 33 million (prior year: CHF 64 million).
Net interest expense was CHF 8 million lower at CHF 73 million as a result of the lower average interest costs for financial debt. At CHF 25 million, other net financial expense improved by CHF 39 million. Net financial expense in the previous year was affected by negative effects of CHF 42 million arising from the fair value adjustment of interest rate swaps.
Income tax expense amounted to CHF 263 million (prior year: CHF 202 million), corresponding to an effective income tax rate of 23.9% (prior year: 20.4%). The increase in the effective income tax rate is primarily attributable to the effects of prior periods. Excluding non-recurring items, the long-term expectation continues to be that the income tax rate will remain at a level of around 21%.
Net income posted by Swisscom rose by CHF 51 million or 6.5% to CHF 839 million, largely due to the higher operating income. Earnings per share is calculated based on the share of net income attributable to equity holders of Swisscom Ltd and the average number of shares outstanding. Earnings per share rose from CHF 15.23 to CHF 16.22.


Our suites are fully equipped with a queen size bed, and a queen size sofa bed. Suites have a separate bedroom. Fitted with Naxian marble and pine wood, the minimally decorated rooms are equipped with a 32" flat-screen TV, and include a modern, tiled bathroom with a bath tube. The suites can accommodate 2-4 adults. When booking for 4 guests, the sofa becomes a large sofa bed. Latest air conditioning equipment, with wi-fi and silent sleep mode. Our suites have a kitchenette with cooking facilities, coffee facilities, (nespresso), a boiler, a living area, where our guests can easily relax while having a coffee, a drink or even breakfast upon request. Mini bar and amenities are included in this room type.
Suites are sized 26 m2.


I really liked @tjvantoll article Handling Failed HTTP Responses With fetch(). The one thing I found annoying with it, though, is that response.statusText always returns the generic error message associated with the error code. Most APIs, however, will generally return some kind of useful, more human friendly message in the body.
@kujma10 Do you have any alternative as to how we extract the error message from the body then? Will this work?
I'm trying to make a unified error handling solution in my app and came to a similar conclusion. I haven't tested it yet but here's my drawn out approach which differentiates error types so that my UI components can intelligently determine what error they need to display.
👏 really useful, good job guys!
// My custom error messages from the API.
Original code with no is not a function solution.


Use the Kids Against Bullying website as a resource tool in your classroom.
Appropriate for students in elementary school. Suggested audience size is 10-25.
The following lesson plan is designed to help adults teach elementary school children about bullying prevention.
Children learn what to do when they see bullying or are bullied.
Give a brief overview about the key themes that will be explored in this lesson (items 1,2, and 3, below).
Be prepared to record student responses on paper or on a poster to display in the classroom.
1. What is Bullying? Reference Link | What is Bullying?
Ask the students how they define bullying. Write their responses on the poster. Create a collaborative definition.
Give examples of what bullying is and is not. For example, accidentally running into someone and apologizing is not bullying, while purposefully running into someone to make them fall down IS bullying. Include the definition of cyberbullying: Using technology—internet, email, cell phones, social media, pictures— to hurt or harm someone else.
2. Who is Bullied? Why Do Kids Bully? Reference Link | Are You a Target? | Do You Bully?
Ask the students who is bullied and why do kids bully.
Talk about differences as being positive and valuable.
Discuss disability. Ask the children for their ideas about what disability means to them.
Talk about invisible disabilities, such as epilepsy.
Introduce the checklists under the Are You a Target? and Do You Bully? sections. Have the students complete the checklists after the presentation.
Ask the children about how bullying makes them feel. Write their responses on the poster.
Ask the students how they think they can prevent bullying. Offer tips on what to do if they are bullied, see bullying, or are bullying.
Show 2-3 bios of the 12 Club Crew characters.
Pick one or more of the Club Crew members and answer the discussion questions .
Summarize the discussion and information covered above.
Follow the steps to take the pledge.
Hand out the Club Crew certificate to each student.
Say the pledge out loud as a group.
Emphasize that you want your school to be a safe and supportive environment for everyone.
Discuss your school policy against bullying.
Encourage all children to "Be a Kid Against Bullying."
This lesson plan may be reproduced for internal use.


text:
Poll finds one third of New Yorkers frustrated enough with political system to consider moving
PUBLISHED 11:53 AM ET Feb. 01, 2022 PUBLISHED 11:53 AM EST Feb. 01, 2022
More than one-third of New York voters are frustrated enough with the state's politics they are considering moving out of the state, a poll released Tuesday by the non-partisan organization Unite NY.
The poll, conducted by John Zogby Strategies, provides some insight on the deepening frustration among voters in the state, which has seen a steady flow of outmigration over the last several decades.
"New Yorkers voting with their feet is what led to loss of one (and nearly a second) congressional seat as our state has the highest level of outmigration per capita of any in the country," said Martin Babinec, the founder of Unite NY. "This poll demonstrates that our state's approach to public policy is at the heart of both outmigration and the lack of confidence in the political system. These issues cut across party lines and state geography with New Yorkers clamoring for more say in how their government operates, who will represent them, and for how long."
The poll found nearly half of voters, 46%, believe the state is on the wrong track, with 37% saying it's on the right track. Two-thirds of voters, meanwhile, are supportive of opening primaries to voters who are not registered in a party. The poll also found more than 75% of voters would support term limits and changes to the campaign finance system.
The poll also found nearly 65% of voters are also considering leaving New York because of high taxes, as well as the regulatory and political environment.
Meanwhile, the poll found Gov. Kathy Hochul, a Democrat seeking a full term this year, holding a 42 percentage point lead over New York City Public Advocate Jumaane Williams. On the GOP side, Rep. Lee Zeldin draws 28% of the vote to Andrew Giuliani receiving 26%.
Hochul leads Zeldin in a general election matchup, 51% to 33%.
The poll of 1,000 New York voters was conducted from Jan. 20 to Jan. 21. It has a margin of error of 3.2 percentage points.


text:
Streetcars in Augusta
Postcard view of a streetcar on downtown Augusta's Broad Street ca. 1903.
Beginning in 1866, Augusta developed an extensive streetcar system that served the city well during its seven decades of existence. It connected most of the developed areas of the city and provided quick transportation at a reasonable cost to its riders.
The system's backbone was Broad Street, the aptly named (168-ft wide) main commercial thoroughfare in the historic center of town. Its tracks extended from First Street on the east to Lake Olmstead on the west. Branching off Broad at various connecting streets were lines to Union Depot, Turpin Hill, Paine College, Magnolia and Cedar Grove cemeteries, and many other places. Two lines went to Summerville, atop the plateau overlooking downtown, one on Walton Way and the other on Central Avenue. Remarkably, the city also had an interurban connection that reached across the river some 26 miles to Aiken, South Carolina.
As was the case in many cities, horses and mules provided the initial power. By 1890 the pioneering Augusta & Summerville Railroad Company was using 112 of the animals to pull 27 cars over 10 miles of tracks, according to Poors Manual. The company, which had been incorporated March 20, 1866, only a year after Appomattox, transported nearly 800,000 passengers in 1888 with cars running over a quarter-million miles in that year.
Summerville had been established before the Civil War as a place for prosperous Augustans to escape the heat and "miasma" in town. Summer houses were built, as were year-round residences and, later, hotels. The street railroad allowed people to live on "The Hill" and commute the three miles down Walton Way to downtown.
As the 1880s came to a close, the horsecar days were also nearing their end. A new Augusta Railway Company, incorporated in November 1889 and under the direction of president Daniel B. Dyer, purchased the 10 miles of Augusta & Summerville track and began building a modern electric railway system in the fast-growing city. Dyer had been able to secure financing for the enterprise through the Jarvis-Conklin syndicate of Kansas City, where he had earlier worked as a broker and real estate agent.
The A&S RR president at the time was Patrick Walsh, a politician and newspaperman who was one of Augusta's leading citizens. Born in Ireland in 1840, he became an advocate of the "New South" in the mold of Henry Grady and a tireless promoter of Augusta. A statue of Walsh stands in Barrett Plaza in front of the former Union Depot site.
Electric Power Arrives
The conversion from horses to electric power took place quickly. By 1892 the Augusta Railway Company had 49 cars, but only a single horse. Its companions had been replaced by a power station providing electricity to 22 miles of standard-gauge cars street rail line serving two million passengers per year.
The car fleet consisted of 35 motor cars using Edison and Thomson-Houston technology. For peak demand 11 non-powered trailing cars were available; these were usually pulled by the motor cars as 2-car trains. Most or all of the cars had been purchased from the J. G. Brill Co. of Philadelphia and the John Stephenson Co. of New York, two of the nation's leading carbuilders.
The hub of the city's streetcar operations was the Confederate Monument on Broad Street. From Library of Congress Prints and Photographs Division.
A streetcar waits at the monument. (The diagonal line behind the bicycle rider is a flaw in the image.) Note: Heavily cropped photo. Complete photo is online here at Library of Congress Prints and Photographs Division.
The appurtenances of the electric city are clearly evident in this photo.
Note: Heavily cropped image. Complete photo is online here at Library of Congress Prints and Photographs Division.
In the winter only about 18 of the cars were typically in operation, but during the warmer months more were added, including open-sided cars which were favored for traveling to various recreational spots. On hot breezeless days some would ride just to enjoy a bit of moving air. The five-cent fare allowed one to travel five miles on the longest line, while free transfers at three points opened up other possible trips.
A motorman operated the cars, assisted by a conductor who collected fares. They were generally paid 14 cents per hour. To save labor expense, the company sometimes also hired 14-to-16 year-old boys as conductors on the less-used lines, paying them "fifty cents and upward" per day.
On the curve at corner of Broad and Lincoln streets. (From: Street Railway Journal, March 1894, p. 177.)
The power station stood on the north side of the Augusta Canal at Fifteenth and Greene Streets. Here water from the canal flowed through a short penstock to two horizontal turbines of 350 horsepower each. An auxiliary turbine running from the main turbine shell produced an additional 150 hp, giving a total of 800. A system of belts transferred this mechanical power to the electric generators.
In addition to powering streetcars, the station also provided electricity for 300 arc lights, 1800 incandescent lights, and several stationary motors. For situations when the hydro system was unavailable, three steam boilers and an 800-hp Corliss engine was used. (For details regarding this station, see this document by the Historic American Engineering Record at the Library of Congress.)
On the same site as the power station was a car barn and a repair shop. A short run of tracks connected these facilities to the Broad Street line which was only two blocks north.
Augusta Railway Company power station and car house at Fifteenth and Greene. The men are standing on the approach to the Fifteenth Street bridge over the Augusta Canal. (From Library of Congress Prints and Photographs Division). For a wide-angle view of these buildings, click here.
Consolidation and a Company Name Change
In 1896 the Augusta Railway Company was consolidated with the Augusta Light Company and the local Thomson-Houston Company to form the new Augusta Railway & Electric Company. Daniel B. Dyer remained president.
For 1898 the AR&E reported having 27 miles of track on 15.5 miles of streets. It operated 42 motor cars and 18 trailing cars, along with five other vehicles and two horses.
Across the River to SC
Augusta's street railway system expanded into South Carolina in 1897 when the first trolley crossed over the river at Thirteenth Street. The immediate goal was a connection to a new speculative community called North Augusta. Promoted by James U. Jackson, a former president of the Augusta Southern Railroad, North Augusta was laid out on the bluffs above the river, just to the west of the older and nearly dead town of Hamburg. Designed as a suburban residential and resort community, it was carefully planned to preserve green space along streams and hillsides while still providing ample sites for construction of homes and businesses.
Iron bridge at Thirteenth Street crossing the Savannah River between Augusta and North Augusta. (From: Street Railway Review, vol. 9, no. 5, May 15, 1899. Online at Internet Archive here.)
The short South Carolina extension served for a time, but Jackson was working on much more ambitious plans for the railway and the area. A specialized standard-gauge electric railroad running on mostly private right of way rather than on city streets was his goal. The "interurban" would run up the Horse Creek valley, through the cotton mill towns of Graniteville, Langley, and Warrenville, to Aiken, a winter colony for wealthy northeners, and potentially beyond. At North Augusta, it would link to a luxurious 300-hundred room hotel to be called the Hampton Terrace.
The idea for an Augusta-Aiken electric road had begun some years earlier. In 1893 Major W.T. Gary of Augusta had sought legislative approval of a charter for such an enterprise, but the time was not yet right. The first interurbans were just then being built, and even electric street railways were only about five years old (the first truly successful example was built in Richmond, Va, in 1887-88).
Augusta and Aiken's interurban became a reality at its opening on September 9, 1902, while the hotel was completed the following year.
An early Augusta-Aiken interurban car. (From: Elks, Augusta Lodge No. 205. Augusta, Ga., the Coming City of the South. Augusta: Augusta Chronicle, ca. 1904. Online at Internet Archive here.)
A 48-seat car built by J. G. Brill Co. (From: The Street Railway Journal, July-Dec 1904, p. 919-20. Online at Internet Archive here.)
Interior view of the type of car shown above. (From: The Street Railway Journal, July-Dec 1904, p. 919-20. Online at Internet Archive here.)
The Hampton Terrace Hotel in North Augusta. Note: Heavily cropped photo. Complete photo is online here at Library of Congress Prints and Photographs Division.
Consolidation of Jackson's Enterprises
Jackson purchased the Augusta Railway & Electric Company from Dyer in 1902 and soon began to coordinate it with his other ventures. On January 3, 1903, he established a new holding company, the Augusta-Aiken Railway and Electric Company, which would consolidate the in-town and interurban railways as well as the electric power and land development operations. It subsumed the Augusta Railway & Electric Company, the Augusta & Aiken Railway Company, the North Augusta Electric & Improvement Company, the North Augusta Land Company, and the North Augusta Hotel Company. Jackson became president of the new holding company.
By 1908 the intown streetcar operation (the Augusta Railway & Electric Company) was reporting 30 miles of track with 85 cars. The interurban operation (the Augusta & Aiken Railway Company) reported 25 miles of track with 14 cars and a power station near Clearwater, SC. The cars were manufactured by Laconia and J.G. Brill. Eleven cars were of the double-truck type powered by four motors.
J.G. White Enters the Scene
In 1910 the street railway and light and power properties of Augusta were purchased by the J. G. White interests of New York. Through some legal maneuvering, reorganizing, and company name changing emerged the Augusta-Aiken Railway and Electric Corporation in April of the following year. Among the holdings by this corporation was majority stock ownership, control, and operation of the Georgia-Carolina Power Company.
In December 1912, excavation began for a new concrete dam and hydroelectric power plant on the Savannah River about nine miles upstream from Augusta. Completed in 1914, it was built by the J.G. White Engineering Company for the Georgia-Carolina Power Company. Meanwhile, the J.G. White Management Company, an operating or consulting manager of public utilities and railroad properties in several states and nations, assumed management of the street railway system.
In Augusta, as in many other cities, the demand for electricity was growing. For a time, street railway companies produced their own electric power for their streetcars while selling excess production for lights and nearby motors. But the future was in producing power for the masses. Thus, the electric power industry would gradually supercede the electric streetcar industry.
For 1914 the Augusta-Aiken Railway and Electric Corporation reported owning 42 motor cars, 17 trailing cars, and 30 cars of other types. These 89 electric vehicles operated on 55 miles of track.
Most of the city's streetcar routes were double-tracked, including those in residential neighborhoods such as this one on Broad Street.
Parks and Recreation along the Lines
Many of the nation's streetcar systems had recreational parks anchoring the end of a route, and Augusta was no exception. Lake View Park, on the south and east side of Lake Olmstead, lay at the western terminus of the Broad Street route. Now known as Julian Smith Park, it was popular for picnics and boating, including boat races. Other popular amusement and picnic stops included the German-themed Scheutzen Platz in Summerville and Piney Dell, a park near the company's car barn and power house between Belvedere and Clearwater on the interurban line. Scheutzen Platz, owned by the German Society of Augusta, featured a beer garden, shooting gallery, and clubhouse. In 1917 during World War I, it was sold and the present Tubman School was built on the site.
Acquisition by Big Electric and the End of the City's Streetcar Days
In 1928 Southeastern Power & Light Company acquired the Augusta-Aiken Railway & Electric Company and the Georgia-Carolina Power Company. Their various properties were quickly merged into SP&L subsidiaries Georgia Power Company and South Carolina Power Company.
By this time electric power production had become much more profitable than street railways and interurbans. In the early decades of street railway investment, the automobile was not a threat because it was rare and affordable to only a few, but by the end of the 1920s automobile ownership had grown nearly threefold. The result was declining revenues for the streetcars and disinterest on the part of the power companies to keep investing in them.
On July 8, 1929, the interurban made its last run. Intown operations hung on until December 29, 1937, when Augusta's streetcars were replaced by buses.
Few reminders of the city's streetcar system exist today. Broad Street and Central Avenue still have medians where the cars once ran, and intersections at Central and Monte Sano, Central at Druid Park, and Druid Park at Laney-Walker still have turn lanes with the gentle curves preferred for streetcars. (As only one corner at each intersection has such a curve, it becomes clear where the streetcars made the turns.) The most tangible survivor is a restored single-truck streetcar at the Augusta Museum of History.
1904 map.
Map of intown streetcar routes relative to today's streets.
Map of Augusta-Aiken line.
Online at Georgia Archives are photographs of various streetcars on Broad Street, including a horsecar around 1880, three electric streetcars in 1910, and another electric streetcar in the 1930s. There's also an early electric in Summerville.
Streetcar at Augusta Museum of History.


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Coldiretti brings bad news: green light for the fake Made in Italy in Japan, according to a new agreement with the Asian country, imitations of Italian typical products will be freely produced and sold. This is the direct result of the free trade agreement between the European Union and the Japanese JEFTA, which worsen the conditions of the free trade agreement with Canada (Ceta).
The agreement does not even require the ratification of the national parliaments and foresees the protection of just 18 protected designations of origin out of 293 (it is about the 6 %) and 28 wines and alcoholic beverages out of the 523 protected designations of origin recognized in Italy. Furthermore, even if for some products such as Grana Padano, Pecorino Romano and Toscano, Provolone Valpadana e Mozzarella di Bufala campana the agreement guarantees the protection of the entire name (substantive + adjective), sigle names such as Grana or Mortadella could be freely used.
Several problems are brought also by the agreement EU-Singapore, which protects only 26 Italian designations of origin and 21 wines and foresees the possibility for foreign producers to use terms contained in a designation of origin or the name of an Italian grape variety.
These agreements, such as the ongoing negotiation with the countries of South America (Mercosur) are literally legalizing food piracy, seriously damaging the products of our ancient culinary tradition. Lucky for us,Traditional Balsamic Vinegar of Modena is one of the designation of origin protected by the agreement, however the situation remains very serious. Stay tuned for further developments about the matter!


text: `dotfiles` is a set of UNIX dotfiles for FreeBSD, OpenBSD and macOS Sierra.

redpajama_set_name: RedPajamaGithub


Today, PBS announced the educators across the country selected for the fifth annual PBS Digital Innovators Program. Among those selected were teachers who are using 3D printers with their students to create prosthetic limbs; a technology coach whose classroom is a "STEM Bus" and co-teachers who use technology to bring their students together in one class, even though they're in physical classrooms that are miles apart. A panel of esteemed judges selected the 52 PBS Digital Innovators from across the US, representing each of the 50 states, and the District of Columbia.