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Isabella d'Este (19 May 1474 – 13 February 1539) was Marchioness of Mantua and one of the leading women of the Italian Renaissance as a major cultural and political figure. She was a patron of the arts as well as a leader of fashion, whose innovative style of dressing was copied by numerous women. The poet Ariosto labeled her as the "liberal and magnanimous Isabella", while author Matteo Bandello described her as having been "supreme among women". Diplomat Niccolò da Correggio went even further by hailing her as "The First Lady of the world".

She served as the regent of Mantua during the absence of her husband Francesco II Gonzaga and during the minority of her son Federico. She was a prolific letter-writer and maintained a lifelong correspondence with her sister-in-law Elisabetta Gonzaga. Isabella grew up in a cultured family in the city-state of Ferrara. She received a fine classical education and as a girl met many famous humanist scholars and artists. Due to the vast amount of extant correspondence between Isabella and her family and friends, her life is extremely well documented.

Early life
Isabella was born on Tuesday, 19 May 1474 at nine o'clock in the evening  Isabella's mother wrote a letter to her friend Barbara Gonzaga describing the details of Isabella's birth in Ferrara, to Ercole I d'Este, Duke of Ferrara, and Eleanor of Naples. Eleanor was the daughter of Ferdinand I, the Aragonese King of Naples, and Isabella of Clermont.

One year later on 29 June 1475, her sister Beatrice was born, and in 1476 and 1477 two brothers, Alfonso and Ferrante, were born. In 1479 and 1480 two more brothers were born; Ippolito and Sigismondo. Of all the children born into the family, Isabella was considered to have been the favourite.

In the year of her brother Ferrante's birth, Isabella was among the children of the family who travelled to Naples with her mother. When her mother returned to Ferrara, Isabella accompanied her, while the other two children remained in Naples for many years: Beatrice was adopted by her grandfather, and her little brother Ferrante left under the tutelage of their uncle Alfonso.

Education
Because of her outstanding intellect, she often discussed the classics and the affairs of state with ambassadors. Moreover, she was personally acquainted with the painters, musicians, writers, and scholars who lived in and around the court. Besides her knowledge of history and languages, she could also recite Virgil and Terence by heart. Isabella was also a talented singer and musician, and was taught to play the lute by Giovanni Angelo Testagrossa. In addition to all these admirable accomplishments, she was also an innovator of new dances, having been instructed in the art by Ambrogio, a Jewish dancing master.

Betrothal and marriage

In 1480, at the age of six, Isabella was betrothed to the eight years older Francesco, the heir to the Marquess of Mantua. The Duke of Milan had requested her hand in marriage for his son, Ludovico, two weeks later. Instead, her sister, Beatrice was betrothed to Ludovico and became the Duchess of Milan. Her dowry amounted to 25,000 ducats. Although he was not handsome, Isabella admired Francesco for his strength and bravery; she also regarded him as a gentleman. After their first few encounters she found that she enjoyed his company and she spent the next few years getting to know him and preparing to be the Marchioness of Mantua. During their courtship, Isabella treasured the letters, poems, and sonnets he sent her as gifts.

Ten years later on 11 February 1490, at age 15, she married Francesco by proxy. By then, he had succeeded to the marquisate. Besides being the Marquess, Francesco was captain general of the armies of the Republic of Venice. Isabella became his wife and marchioness amid a spectacular outpouring of popular acclamation and a grand celebration that took place on 15 February. She brought as her marriage portion the sum of 3,000 ducats as well as valuable jewellery, dishes, and a silver service.  Prior to the magnificent banquet which followed the wedding ceremony, Isabella rode through the main streets of Ferrara astride a horse draped in gems and gold.

Relations with Milan
In 1491 Isabella went with a small entourage to Brescello and from there to Pavia, to accompany her sister Beatrice who was married to Ludovico il Moro. On this occasion she saw again – since she had already known him as a child in Ferrara – Galeazzo Sanseverino, with whom she undertook a dense, and at times humorous, exchange of letters. It must be said, however, that the identity of the sender is not certain and could be the almost homonymous Galeazzo Visconti, Count of Busto Arsizio, a courtier also dear to the dukes.

Between the two immediately ignited a dispute, destined to last for months, on who was the best paladin, Orlando or Rinaldo: Galeazzo supported the first, the sisters d'Este the second. Galeazzo, who exercised a strong fascination, soon managed to convert them both to Orlando's faith, but Isabella, once back in Mantua, returned to prefer Rinaldo, so that Galeazzo remembered her as "I alone was enough to make her change her mind and cry out Rolando! Rolando!", invited her to follow her sister's example and swore that he would convert her a second time, as soon as they met again. Isabella jokingly replied that she would then bring a frog to offend him, and the dispute went on for a long time.

On February 11, speaking to her about the amusements he had with Beatrice, he wrote to her: "I will also strive to improve in order to give greater pleasure to the S. V., when I come for her this summer", and lamented the lack of "his sweet company".  Isabella's presence was in fact much desired in Milan, not only by Galeazzo but also by her sister, Ludovico and the other courtiers, however the Marquise was able to go there a few times, as her husband Francesco was wary of sending it to her, judging that in that court too many "madness" were committed, and perhaps also out of jealousy of Ludovico.

Despite the affection, Isabella began to feel envy for her sister Beatrice, first for the very fortunate marriage that had touched her and for the enormous riches, then for the two sons in perfect health who were born to her a short time later, while she seemed unable to have children, and in this aroused the concerns of her mother Eleonora, who continually exhorted her in letters to be as close as possible to her husband.  A certain hatred can also be seen in a letter to his mother dating back to his visit to Pavia in August 1492, when, speaking of Beatrice, he wrote: "she is not a greater than me, but she is much bigger!"; in a similar way she also expressed herself to her husband, not being able yet to know, perhaps, that the sister's coarseness was due to the incipient pregnancy (she was at the fourth-fifth month). These frictions were perhaps also linked to the fact that Ludovico had initially asked for Isabella's hand, in 1480, and that this had not been possible because, only a few days earlier, Duke Ercole had officially promised it to Francesco Gonzaga.

Despite everything, in 1492 she was very close to Beatrice in a difficult moment of her pregnancy, that is when she was suddenly struck by an attack of malarial fevers, and in 1495 she went again to Milan to assist her sister in her second birth and also baptized her nephew Francesco.

In the summer of 1494, on the occasion of the descent of the French into Italy, Beatrice invited her sister to Milan to kiss Gilbert of Montpensier and others of the royal house, according to the custom French. Secretary Benedetto Capilupi reported: In fact, it does not seem that Beatrice had any conflicting feelings towards Isabella, nor that she saw with a bad eye the complicity between the latter and her husband Ludovico. The Moro in fact, who was of generous nature, often gave Isabella even very expensive gifts: once he sent her fifteen arms of a fabric so precious as to cost forty ducats on her arm – an amazing sum – saying that he had already made a dress for Beatrice.

After the death of his wife, which took place in 1497, Ludovico came to allude to a secret relationship with Isabella, claiming that it was out of jealousy of his wife that the Marquis Francesco played a double game between him and the Lordship of Venice. The rumor was however promptly denied by his father Ercole.

Others instead defined Beatrice's attitude towards her sister as "complexed second child" because in the letter of congratulations to Isabella for the birth of little Eleonora - who, being female, incredibly disappointed her mother - she added the greetings of her little son Hercules to "soa cusina", despite not having the child yet turned one year of age, something that historians such as Luciano Chiappini interpreted as a sort of mockery, of "refined malice", "a slap given with grace and grace". In fact, if Isabella was always the daughter most loved by her parents, Beatrice had been ceded to her grandfather, and only with the birth of the firstborn had she obtained her own revenge.

Other mischief between sisters dates back to the weeks immediately following the battle of Fornovo: Beatrice, who was at the siege of Novara together with the Marquis Francesco, wanted to see the booty stolen from the tent of King Charles VIII during the battle, booty that however Francesco had already sent to his wife in Mantua. He wrote to his wife to give it to his sister-in-law, but Isabella replied that she was not so willing to cede this honor to her sister and, with the excuse that she lacked a mule, begged her husband to invent some expedient. Beatrice replied that it was not her intention to steal the booty from her sister, but that she only wanted to see it all together and then return it to her. Meanwhile, it occurred to her to procure "a femina de partito", that is, a high-ranking prostitute, to Francis, saying to do it "for a good cause and to avoid greater evil", that is to say to preserve her brother-in-law and sister from the terrible malfrancese, but perhaps also to ingratiate herself with him. In October Francis wrote to his wife sorry that she was not there with them to see the army before it was disbanded, but it does not seem that he had urged her to come, probably because he had at heart his safety (the camps were dangerous places, where violent fights often broke out, and Beatrice herself had been saved on one occasion by Francis, when she risked being raped by a few thousand Alemannic mercenaries).

Moreover, Isabella had already had a mishap with some Genoese soldiers who, upon entering the city in 1492, surrounded her to appropriate her mount and harness, according to custom. So she later told her husband: "I was never more afraid; and they tore all the harness to pieces, and took off the bridle before I could dismount, despite the fact that the governor interposed him and that I voluntarily offered it to him. I lost heart, although among so many partisans I was afraid of some misfortune. Finally, helped, I freed myself from their hands ".

Having also received different educations, the two sisters were the opposite of each other: Isabella, more like her mother, was sweet, graceful and a lover of tranquility; Beatrice, more like her father, was impetuous, adventurous and aggressive. Beatrice loved to shoot crossbow, Isabella had "the hand so light that we cannot play well [the clavichord], when we have to strain it for the hardness of the keys". However, they were united by the desire to excel in everything.

In the last two hundred years historians and writers were divided in preference for one or the other: many - such as Francesco Malaguzzi Valeri and Maria Bellonci - regretted that Ludovico had not, only briefly, married Isabella, fantasizing about the splendors that Isabella would be able to bring to Milan, in conditions of greater well-being than to Mantua, and how he could distract the Moro from his perverse policy. These judgments were not separated from a blatant contempt for the second daughter, as in the case of Alessandro Luzio, who writes: "The luck that made play of this Sforza, making him pass from the brightest heights to the darkest abysses of misery, had in April 1480 exchanged a beneficial star for a sinister meteor".

In truth, other historians, including Rodolfo Renier himself, Luzio's colleague, judged that Beatrice was the most suitable wife for Ludovico, since she knew, with her own audacity, to instill courage in her insecure consort, and acquired political depth already in her early youth, so much so as to be decisive in situations of greatest danger, while Isabella could boast a role in this sense only in the years of maturity. The different fate of the two sisters certainly weighed in these judgments: Isabella lived sixty-five years, Beatrice died at twenty-one. It was from this tragic loss, for which she proved inconsolable, that Isabella undertook to support her brother-in-law's cause with her husband Francesco, who was against him. So he continued to do until the fall of the Sforza, in 1499, when he suddenly changed sides and declared himself to be "good French".

A difficult marriage
As the couple had known and admired one another for many years, their mutual attraction deepened into love. Reportedly, marriage to Francesco caused Isabella to "bloom". At the time of her wedding, Isabella was said to have been pretty, slim, graceful, and well-dressed.  Her long, fine hair was dyed a fashionable pale blonde and her eyes were described as "brown as fir cones in autumn, scattered laughter".

The relationship with her husband over the years often proved to be tense, at times very tense, both for the political differences between the two and for the difficulty in procreating a male heir. In truth, Francesco for his part was always very proud of his daughters and never showed himself disappointed, indeed from the beginning he declared himself in love with the firstborn Eleonora, born in 1493, despite the absolute disappointment of Isabella who refused her daughter, who was then very lovingly educated by her sister-in-law Elisabetta, who because of her husband's impotence never had children. When in 1496 the second daughter Margherita was born, Isabella was so angry that she wrote to her husband, who was then fighting the French in Calabria, a letter in which she blamed him, declaring that she did nothing but reap the fruits of his sown. Francis replied that he was instead very happy with the birth of his daughter – who, however, did not have time to know, having died in swaddling clothes – and indeed forbade anyone to show discontent with it.

Only in 1500 was finally born the long-awaited son Federico, who was the most loved by Isabella.

In his capacity of captain general of the Venetian armies, Francesco often was required to go to Venice for conferences that left Isabella in Mantua on her own at La Reggia, the ancient palace that was the family seat of the Gonzagas. She did not lack company, however, as she passed the time with her mother and with her sister, Beatrice. Upon meeting Elisabetta Gonzaga, her 18-year-old sister-in-law, the two women became close friends. They enjoyed reading books, playing cards, and travelling about the countryside together. Once they journeyed as far as Lake Garda during one of Francesco's absences,  and later travelled to Venice. They maintained a steady correspondence until Elisabetta's death in 1526.

Almost four years after her marriage in December 1493, Isabella gave birth to her first child out of an eventual total of eight. She was a daughter, Eleonora, whom they called Leonora for short, after Isabella's mother, Eleonora of Naples.

Diplomatic missions
Isabella had met the French king in Milan in 1500 on a successful diplomatic mission that she had undertaken to protect Mantua from French invasion. Louis had been impressed by her alluring personality and keen intelligence.  It was while she was being entertained by Louis, whose troops occupied Milan, that she offered asylum to Milanese refugees including Cecilia Gallerani, the refined mistress of her sister Beatrice's husband, Ludovico Sforza, Duke of Milan, who had been forced to leave his duchy in the wake of French occupation. Isabella presented Cecilia to King Louis, describing her as a "lady of rare gifts and charm".

Lucrezia Borgia
A year after her 1502 marriage to Isabella's brother Alfonso, the notorious Lucrezia Borgia became the mistress of Francesco. At about the same time, Isabella had given birth to a daughter, Ippolita, and she continued to bear him children throughout Francesco and Lucrezia's long, passionate affair, which was more sexual than romantic. Lucrezia had previously made overtures of friendship to Isabella which the latter had coldly and disdainfully ignored. From the time Lucrezia had first arrived in Ferrara as Alfonso's intended bride, Isabella, despite having acted as hostess during the wedding festivities, had regarded Lucrezia as a rival, whom she sought to outdo at every opportunity.  Francesco's affair with Lucrezia, whose beauty was renowned, caused Isabella much jealous suffering and emotional pain. The liaison ended when he contracted syphilis as a result of encounters with prostitutes.

Regency

Isabella played an important role in Mantua during troubled times for the city. When her husband was captured in 1509 and held hostage in Venice, she took control of Mantua's military forces and held off the invaders until his release in 1512. In the same year, 1512, she was the hostess at the Congress of Mantua, which was held to settle questions concerning Florence and Milan.  As a ruler, she appeared to have been much more assertive and competent than her husband. When apprised of this fact upon his return, Francesco was furious and humiliated at being surpassed by his wife's superior political ability. This caused their marriage to break down irrevocably. As a result, Isabella began to travel freely and live independently from her husband until his death on 19 March 1519.

After the death of her husband, Isabella ruled Mantua as regent for her son Federico. She began to play an increasingly important role in Italian politics, steadily advancing Mantua's position. She was instrumental in promoting Mantua to a Duchy, which was obtained by wise diplomatic use of her son's marriage contracts. She also succeeded in obtaining a cardinalate for her son Ercole. She further displayed shrewd political acumen in her negotiations with Cesare Borgia, who had dispossessed Guidobaldo da Montefeltro, duke of Urbino, the husband of her sister-in-law and good friend Elisabetta Gonzaga in 1502.

Widowhood

"Devoted head of state"
As a widow, Isabella at the age of 45 became a "devoted head of state".  Her position as a Marquise required her serious attention, therefore she was required to study the problems faced by a ruler of a city-state. To improve the well-being of her subjects she studied architecture, agriculture, and industry, and followed the principles that Niccolò Machiavelli had set forth for rulers in his book The Prince. In return, the people of Mantua respected and loved her.

Isabella left Mantua for Rome in 1527. She was present during the catastrophic Sack of Rome, when she converted her house the Palazzo Colonna, into an asylum for approximately 2,000 people (including clerics, nobles and common citizens) fleeing the Imperial soldiers. Her huge place was the only place safe from attacks, because her son Ferrante Gonzaga was a general in the invading army and she herself had good relationship with the emperor. When she left Rome, she managed to acquire safe passage for all the refugees who had sought refuge in her home.

Later years and death
Once Rome became stabilized following the sacking, she left the city and returned to Mantua. She made it a centre of culture, started a school for girls, and turned her ducal apartments into a museum containing the finest art treasures. This was not enough to satisfy Isabella, already in her mid-sixties, so she returned to political life and ruled Solarolo, in Romagna until her death on 13 February 1539. She was buried beside her husband in the Church of Santa Paola in Mantua, but the remains were stolen.

Appearance and personality
She has been described as physically attractive, though plump; she possessed "lively eyes" and was "of lively grace". The physical appearance of Isabella interested the king of France Charles VIII, an unrepentant womanizer, who having already met her sister Beatrice, whom he had greatly liked, wanted to know if Isabella resembled her, and asked the chaplain Bernardino of Urbino if she was more beautiful, taller, her age, her features, her character and her virtues.

The chaplain replied that Isabella surpassed her sister in beauty and that she was no taller than her, which greatly pleased King Charles who, being just as short, did not want women taller than him. Jacopo d'Atri communicates to the marquise his suspicion that the king would have come to Mantua to kiss her "a thousand times" as well as he had kissed Beatrice, according to French custom, and reassures her in this regard by telling her that "it is not as deformed as ours describe it"- in fact, Carlo was described by the Italians as very ugly – however the meeting never took place, since shortly after he returned to France. The Mantuan courtiers therefore judged that Isabella was more beautiful than Beatrice, but the lack of her portraits does not allow a sure comparison between the two, which distinguishes the truth from her praise.

After all, Isabella was very concerned with her appearance, as can be understood from many small details. In 1499, having to send her own portrait to Isabella of Aragon, she sent it before her to her brother-in-law Ludovico Sforza, specifying however that her painting did not resemble her very much "for being a little fatter than me". Ludovico replied that he liked the portrait very much of her and that it was very similar to her, although "somewhat more fat", unless Isabella had "grown fatter after we saw her."

With age, her figure underwent an inexorable decline: Pietro Aretino, in his own work, defines her as "monstrous Marquise of Mantua, which has ebony teeth, ivory eyelashes, dishonestly ugly and archdisonestically embellished".

Legacy
During her lifetime and after her death, poets, popes, and statesmen paid tribute to Isabella. Pope Leo X invited her to treat him with "as much friendliness as you would your brother".   The latter's secretary Pietro Bembo described her as "one of the wisest and most fortunate of women". The poet Ariosto deemed her the "liberal and magnanimous Isabella". Author Matteo Bandello wrote that she was "supreme among women", and the diplomat Niccolò da Correggio entitled her "The First Lady of the world".

Judgments less imbued with praise, indeed very harsh, were instead expressed by Pope Julius II, a man of corrupt morals, in disagreement with Isabella's conduct, even went so far as to call her "that ribald whore".  A not dissimilar judgment had also expressed her husband Francesco himself who, now a prisoner of the Venetians, accused his wife of not loving him and of having indeed been the cause of his ruin, referring to her by letter as "that whore of my wife".

Cultural pursuits
Isabella d'Este is famous as the most important art patron of the Renaissance; her life is documented by her correspondence, which remains archived in Mantua (approximately 28,000 letters received and copies of approximately 12,000 letters written).

Art patronage
In painting she had numerous famous artists of the time work for her, including Giovanni Bellini, Giorgione, Leonardo da Vinci, Andrea Mantegna (court painter until 1506), Perugino, Raphael, Titian, Antonio da Correggio, Lorenzo Costa (court painter from 1509), Dosso Dossi, Francesco Francia, Giulio Romano, and many others. For instance her 'Studiolo' in the Ducal Palace, Mantua, was decorated with allegories by Mantegna, Perugino, Costa, and Correggio. It is suggested that she requested a specific painting for her studio from da Vinci that is known as La Scapigliata and may have given it to her son Federico II on the occasion of his wedding to Margaret Paleologa.

In parallel she contracted the most important sculptors and medallists of her time, i.e. Michelangelo, Pier Jacopo Alari Bonacolsi (L'Antico), Gian Cristoforo Romano, and Tullio Lombardo. She also collected ancient Roman art.

For what concerns writers, she was in contact with Pietro Aretino, Ludovico Ariosto, Pietro Bembo, Baldassare Castiglione, Mario Equicola, Gian Giorgio Trissino, and others.

In music Isabella sponsored the composers Bartolomeo Tromboncino and Marco Cara and she played the lute. Unusually, she employed women as professional singers at her court, including Giovanna Moreschi, the wife of Marchetto Cara.

In the architecture field, she could not afford new palaces, however she commissioned architects such as Biagio Rossetti and Battista Covo.

She was also considered an icon of her time in fashion. Famous is her Balzo as headwear – documented as her invention in letters circa 1509 and visible several times in portraits of other ladies in the 1520s/30s.

Portraits

Despite her significant art patronage that included a number of portraits, there are very few surviving portraits that may be identified as Isabella, especially when compared to her sister Beatrice.  It is known that the elderly Isabella preferred idealized paintings and even waived sitting as a model. However, it may be presumed that she insisted nonetheless on seeing her personal characteristics in the outcome. These few identifications are known as inhomogeneous (i.e. differing eye and hair colours as well as divergent eyebrows in two Titian portraits) and there are no known images of her between the ages of 26 and 54.

In 1495 she refused with absolute rigor to pose for Mantegna in the Madonna della Vittoria – where her figure was provided next to that of her husband – since in the past the painter had portrayed her "so badly done" – in a painting that in fact has not survived – "which has none of my similarities". However, the negative judgment of the Marquise was not due to Mantegna's inability to portray her similar to the truth, as she herself writes, but to the opposite lack: of not knowing how to "well counterfeit the natural", that is idealize. Her husband Francesco had to pose alone and Mantegna remedied the disturbance of the symmetry by painting, in place of the Marquise, St. Elizabeth, his eponymous saint.

In recent years several museums have withdrawn their few identifications of portraits as Isabella because of concern about possible misidentification.

The remaining three colourful portraits are still inhomogeneous (Kunsthistorisches Museum/KHM, Vienna):
 Ambras Miniature, 16th century
 Isabella in Red by Titian, c. 1529 (lost, known from a copy by Peter Paul Rubens c. 1605)
 Isabella in Black by Titian, 1536

La Bella (now in Palazzo Pitti, Florence) has been discussed as an alternative to Titian's 1536 portrait in Vienna, because the commission from the 60-year-old patron was for a rejuvenated portrait; if La Bella were Isabella, eye colour, hair colour, eyebrows, and general appearance would homogenize in all known portraits, allowing potential links toward further identifications.

As of 2021, the 1495 medal by Gian Cristoforo Romano (several extant copies) is the only reliable identification because of the inscription created during Isabella's lifetime.

Idealised portraits still show characteristics of the person. The following characteristics can be derived (characteristics of the disputed Isabella in Black are excluded):
 From her medal (Giovanni Cristoforo Romano) wavy hair, preferred hairstyle with sidelocks and a (small) double chin.
 From the coloured depictions Ambras Miniature and Isabella in Red red-brown / 'medium-blond' hair and brown eyes under curved eyebrows.
 Isabella preferred idealisation (ideal of beauty, rejuvenation, simplification etc.).
 Additionally: The balzo was common in the 1530s, probably not yet in the 1510s.

Relationship with Leonardo and Mona Lisa theory

In the current catalogue raisonné of Leonardo da Vinci (2019), only Isabella d'Este is documented as a plausible alternative as the subject  of Leonardo's Mona Lisa, usually considered a portrait of Lisa del Giocondo. Lisa was the wife of a merchant in Florence and Giorgio Vasari wrote of her portrait by Leonardo, – in debate that persists about whether this is the portrait now known as the Mona Lisa. Evidence in favor of Isabella as the subject of the famous work includes Leonardo's drawing 'Isabella d'Este' from 1499 and her letters of 1501–1506 requesting the promised painted portrait. Further arguments focus upon the mountains in the background indicating the native origin of the subject, and the armrest in the painting as a Renaissance symbol used to identify a portrait as that of a sovereign. The Louvre's reservation is that Isabella would be a "blonde", a feature that exists only in the widely circulated but uncertain representation Isabella in Black.

Children
Together Isabella and Francesco had eight children:
 Eleonora Gonzaga (31 December 1493 – 13 February 1570), married Francesco Maria I della Rovere, Duke of Urbino, by whom she had issue
 Margherita Gonzaga (13 July 1496 – 22 September 1496)
 Federico II Gonzaga, Duke of Mantua (17 May 1500 – 28 August 1540), married Margaret Paleologa, by whom he had issue
 Livia Gonzaga (1501 – January 1508)
 Ippolita Gonzaga (13 November 1503 – 16 March 1570), who became a nun
 Ercole Gonzaga (23 November 1505 – 2 March 1563), Cardinal, Bishop of Mantua
 Ferrante Gonzaga (28 January 1507 – 15 November 1557), a condottiero; married Isabella di Capua, by whom he had issue
 Livia Gonzaga (August 1508 – 1569), who became a nun

Household slaves
Correspondence exchanged by Isabella documents the Renaissance European tendency to perceive black African slaves as exotic. Isabella's pursuit of a black child as a servant is extensively documented. On 1 May 1491 Isabella asked Giorgio Brognolo, her agent in Venice, to procure a young black girl ('una moreta') between the ages of one-and-a-half and four, and twice in early June reminded him of the request, emphasizing that the girl should be 'as black as possible'. Isabella's household and financial records reflect that she already had a significantly older black girl in her service when she inquired after a younger black child. Records also reflect that she obtained a little black girl from a Venetian orphanage. She opened negotiations with a Venetian patrician household for the sale of a little black boy and purchased an enslaved little black girl from her sister.

Depiction in modern media
The artwork The Dinner Party by Judy Chicago features a place setting for Isabella d'Este.

Isabella d'Este was portrayed by Belgian actress Alexandra Oppo in the television show Borgia (2011–2014).

References

Bibliography

Further reading
 George, L., The Public Perception of Isabella d'Este, Clio History Journal, 2009.
 I camerini di Isabella d'Este Mantua tourist guide.

1474 births
1539 deaths
Isabella
Isabella
16th-century women rulers
Regents of Mantua
16th-century Italian nobility
16th-century Italian women
Italian Renaissance people
Italian art patrons
Italian salon-holders
Renaissance women
Italian letter writers
Women letter writers
Daughters of monarchs

redpajama_set_name: RedPajamaWikipedia


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NRPM 2012.3 – New Policies Implemented (Inter-RIR Transfers)
Posted: Tuesday, 31 July 2012
The following Internet Number Resource Policies have been implemented today:
ARIN-2011-1: ARIN Inter-RIR Transfers
ARIN-2012-1: Clarifying requirements for IPv4 transfers
ARIN-2012-3: ASN Transfer
A new version of the ARIN Number Resource Policy Manual (NRPM) has been published to the ARIN website. NRPM version 2012.3 is effective 31 July 2012. It supersedes the previous version.
Guidelines for "8.4 Inter-RIR Transfers to Specified Recipients" are available at:
https://www.arin.net/resources/request/transfers_8_4.html
ARIN will be hosting an #IPTransfer Twitter Chat with ARIN's President and CEO, John Curran, on 8 August at 2:30 PM (EDT) to answer questions about implementation of the Inter-RIR Transfer Policy. Full details are available at: at: http://teamarin.net/?p=5232
An already implemented global policy has also been added to the NRPM; "ARIN-2011-9 (Global Proposal): Global Policy for post exhaustion IPv4 allocation mechanisms by the IANA."
The NRPM is available at: https://www.arin.net/policy/nrpm.html
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redpajama_set_name: RedPajamaCommonCrawl


text:
College of Charleston SCHOOL OF THE ARTS
EVENTS • ANNOUNCEMENTS • ACCOLADES
Back to School of the Arts website
About the School of the Arts at the College of Charleston
Events with Quattlebaum Artist-in-Residence ROBERT STORR
Robert Storr joins the College's School of the Arts and the Halsey Institute of Contemporary Art (HICA) as the 2017 Quattlebaum Artist-in-Residence to discuss the state of realistic representation in painting over the past several decades. His free talk will be held in the Simons Center Recital Hall on Thursday, September 14 at 7:00pm in coordination with the HICA exhibition Marc Trujillo: American Purgatory. Storr will also take part in a conversation with current exhibiting artist Marc Trujillo on Saturday, September 16 at 2:00pm in the HICA galleries.
Robert Storr is an artist, critic, and curator based in New York City. Storr was the curator and then senior curator of the Museum of Modern Art's Department of Painting and Sculpture from 1990 to 2002. Following his tenure at MoMA, he became the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University until 2006.He then served as Dean of the Yale School of Art for the next ten years. From 2005 to 2007, he was visual arts director for the Venice Biennale, becoming the first American to assume this position. He has been a contributing editor at Art in America sine 1981. Storr also writes for Artforum, Frieze, and Corriere della Sera and has authored catalogues on Louise Bourgeois, Chuck Close, and Phillip Guston. He has received a Penny McCall Foundation Grant for painting, a Norton Family Foundation Curator Grant, and many more awards for his contributions to art criticism and scholarship.
Tagged on: Art and Architectural History, Art History, College of Charleston School of the Arts, Halsey Institute of Contemporary Art, Marc Trujillo, Quattlebaum Artist in Residence Endowment, Robert Storr, Studio Art
By mccauleyn | September 11, 2017 | School News |
← Arts Abound | Fall 2017 Events Calendar
Objectification of Women, Forced Migration and Other Social Justice Issues to Be Explored in THE TROJAN WOMEN →
Copyright © 2021 College of Charleston SCHOOL OF THE ARTS Theme by: Theme Horse Powered by: WordPress


text:
(as per https://github.com/geopython/pywps/blob/master/CONTRIBUTING.rst#contributions-and-licensing)

- [ ] I'd like to contribute [feature X|bugfix Y|docs|something else] to PyWPS. I confirm that my contributions to PyWPS will be compatible with the PyWPS license guidelines at the time of contribution.
- [ ] I have already previously agreed to the PyWPS Contributions and Licensing Guidelines

redpajama_set_name: RedPajamaGithub


text:
PGNiG and Venture Global LNG announce SPAs
LNG Industry, Wednesday, 17 October 2018 10:40
For a 20 year term, the Polish Oil and Gas Company (PGNiG) will receive LNG from the US Venture Global LNG facility for domestic supply or for resale.
Under the agreements, PGNiG will purchase LNG on a free on board (FOB) basis starting from the commercial operation date of the Venture Global Calcasieu Pass LNG export facility, currently expected in 2022, and the commercial operation date of the Venture Global Plaquemines LNG export facility, expected in 2023.
The binding contracts were signed between Polish Oil and Gas Company (PGNiG) and two subsidiaries of Venture Global LNG – Venture Global Calcasieu Pass, LLC and Venture Global Plaquemines LNG, LLC. Both contracts are the result of an agreement concluded in June 2018 with Venture Global LNG.
"[The] recently signed contracts are a milestone towards building PGNiG's position in the global [LNG] market," said Piotr Wozniak, President of the PGNiG Management Board. "Thanks to the FOB formula, we will be able to decide, independently and based on our needs at a given time, whether the purchased LNG load should be directed to Poland or be used for further trading through our London office," added Wozniak.
"The contract conditions in the USA are very attractive. The LNG price is based on the American Henry Hub index along with liquefaction costs," stated Maciej Wozniak, Vice-President of the PGNiG Management Board for Trade. "These are the first long-term contracts for purchase of LNG from the US announced in Central Europe," he underscored.
Mike Sabel and Bob Pender, co-CEOs of Venture Global LNG, jointly announced: "We are honoured to become a partner of both Poland and of PGNiG, one of Europe's most important international oil and gas companies. We are greatly looking forward to developing a long-term supply relationship with PGNiG, who will be joining our existing, high quality partners: Shell, Edison SpA, Galp, BP and Repsol."
The new contracts will provide a total of 2 million tpy of LNG, which is approximately 2.7 billion m³ of natural gas after regasification, and this equals – depending on the vessel capacity – over 25 cargoes a year. For a term of 20 years, PGNiG will purchase from each of the companies 1 million tpy of LNG every year on a FOB basis, where the seller will deliver LNG to a tanker ship at the loading port and the purchaser will freely dispose of the load, including deciding on the cargo destination.
Read the article online at: https://www.lngindustry.com/liquid-natural-gas/17102018/pgnig-and-venture-global-lng-announce-spas/
US LNG news LNG export news LNG import news


text:
package com.intellij.openapi.actionSystem;

import com.intellij.util.BitUtil;
import org.intellij.lang.annotations.JdkConstants;

import java.awt.event.InputEvent;
import java.awt.event.MouseEvent;
import java.awt.event.MouseWheelEvent;

/**
 * A mouse shortcut, which can consist of a specific mouse button, click count and modifier keys
 * (Shift, Ctrl or Alt).
 */
public final class MouseShortcut extends Shortcut {
  public static final int BUTTON_WHEEL_UP = 143;
  public static final int BUTTON_WHEEL_DOWN = 142;
  private final int myButton;
  @JdkConstants.InputEventMask private final int myModifiers;
  private final int myClickCount;

  public static int getButton(MouseEvent event) {
    if (event instanceof MouseWheelEvent) {
      MouseWheelEvent wheel = (MouseWheelEvent)event;
      return 0 < wheel.getWheelRotation()
             ? BUTTON_WHEEL_DOWN
             : BUTTON_WHEEL_UP;
    }
    return event.getButton();
  }

  public MouseShortcut(int button, @JdkConstants.InputEventMask int modifiers, int clickCount) {
    myButton = button;
    // TODO[vova] check modifiers?
    myModifiers = mapOldModifiers(modifiers);
    if (clickCount < 1) {
      throw new IllegalArgumentException("wrong clickCount: " + clickCount);
    }
    myClickCount = clickCount;
  }

  public int getButton() {
    return myButton;
  }

  @JdkConstants.InputEventMask
  public int getModifiers() {
    return myModifiers;
  }

  public int getClickCount() {
    return myClickCount;
  }

  public boolean equals(Object obj) {
    if (!(obj instanceof MouseShortcut)) {
      return false;
    }
    MouseShortcut shortcut = (MouseShortcut)obj;
    return myButton == shortcut.myButton && myModifiers == shortcut.myModifiers && myClickCount ==
                                                                                shortcut.myClickCount;
  }

  public int hashCode() {
    return myButton + myModifiers + myClickCount;
  }

  @JdkConstants.InputEventMask
  private static int mapOldModifiers(@JdkConstants.InputEventMask int modifiers) {
    if (BitUtil.isSet(modifiers, InputEvent.SHIFT_MASK)) {
      modifiers |= InputEvent.SHIFT_DOWN_MASK;
    }
    if (BitUtil.isSet(modifiers, InputEvent.ALT_MASK)) {
      modifiers |= InputEvent.ALT_DOWN_MASK;
    }
    if (BitUtil.isSet(modifiers, InputEvent.ALT_GRAPH_MASK)) {
      modifiers |= InputEvent.ALT_GRAPH_DOWN_MASK;
    }
    if (BitUtil.isSet(modifiers, InputEvent.CTRL_MASK)) {
      modifiers |= InputEvent.CTRL_DOWN_MASK;
    }
    if (BitUtil.isSet(modifiers, InputEvent.META_MASK)) {
      modifiers |= InputEvent.META_DOWN_MASK;
    }

    modifiers &= InputEvent.SHIFT_DOWN_MASK
                 | InputEvent.ALT_DOWN_MASK
                 | InputEvent.ALT_GRAPH_DOWN_MASK
                 | InputEvent.CTRL_DOWN_MASK
                 | InputEvent.META_DOWN_MASK;

    return modifiers;
  }

  @Override
  public boolean isKeyboard() {
    return false;
  }

  @Override
  public boolean startsWith(final Shortcut sc) {
    return equals(sc);
  }

  @Override
  public String toString() {
    return "button=" + myButton + " clickCount=" + myClickCount + " modifiers=" + myModifiers;
  }
}


** Hungry at the Beach? Yes we deliver within Toi District.
Or come and pick it up as we also cater to take out's.
Eat in is subject to table availability and must be reserved in advance.
Can be enjoyed with 2-3 Persons.
Note: Size may vary slightly as the dough is hand made.
Teriyaki Chicken, Spinach, Jalapeños, and Onion.
Shrimp, Jalapeños, Corn and Onion.
Bacon, Pineapple, Jalapeños, Corn and Onion.
Salami, Jalapeños, Green Peppers and Onion.
Tomatoes, Jalapeños, Corn, Green Peppers and Onion.
Chorizo Sausages, Jalapeños, Green Peppers and Onion. The best combination!
Note: Delivery may be delay due to traffic conditions and/or shop congestion. Please order in advance.


text:
import * as React from 'react';
import { AskKeyToYubiKey } from '../card-status-list/ask-key-to-yubi-key';
import { AppState } from '../../model';
// import { GpgKey, SecretKey } from '../../../gpg/types';
import { IObservableArray } from 'mobx';
import { KeyChainDialogQItem } from './key-chain-list';
import { Dialog, DialogActions, DialogTitle, DialogContent, Button } from '@material-ui/core';

interface DialogSendToCardProps {
  readonly onClose: () => void;
  // readonly dialogQ: IObservableArray<KeyChainDialogQItem>;
  readonly current: KeyChainDialogQItem;
  readonly appState: AppState;
}

export function DialogSendToCard(props: DialogSendToCardProps): JSX.Element {
    return (
      <Dialog
        open={true}
        scroll={'paper'}
      >
      <DialogActions>
        <Button>
        <i style={{ float: 'right' }}
           onClick={props.onClose}
           className="closeBox fa fa-close"></i>
        </Button>
      </DialogActions>
        <DialogTitle>SendKeyToCard:{props.current.secKey.fingerPrint.fpr}</DialogTitle>
        <DialogContent>
        <AskKeyToYubiKey
          slot_id={props.current.idx + 1}
          fingerprint={props.current.secKey.fingerPrint.fpr}
          appState={props.appState}
        />
        </DialogContent>
      </Dialog>
    );
  }


A Country-Style Venue, Right in the City!
Whether you're looking to host a Children's Pony Party, a Corporate Event, or Country-Chic Wedding - we've got your EVENT SPACE covered!
The key to any successful outdoor event is having enough space to accommodate ALL of your guests, both young and old. We have the room you need for all your activities from dining to games. We also have AMPLE PARKING for your guests.
Wanna host a CORPORATE PICNIC with room for horseshoes, sack races & relays, but also need refrigerator space for food, electricity hook-ups, and a clean bathroom? That can be a tall order for outdoor facilities without being charged an arm and a leg. Our facilities are everything you could want - without the high sticker shock.
Our 50 ft x 60 ft outdoor pavilion provides ample shade and comfort for dining, dancing and entertaining your guests. Outdoor fans and misting systems can provide cooling relief even on the hottest days. Tables and seating can be arranged however you like. We've handled the set-up for everything from a fancy wedding to an informal family picnic. Whatever the event or size of your guest list, our staff is extremely accommodating and easy to work with.


text:
Zbąszynek (in tedesco Neu Bentschen) è un comune urbano-rurale polacco del distretto di Świebodzin, nel voivodato di Lubusz.Ricopre una superficie di 94,42 km² e nel 2004 contava 8.539 abitanti.

Collegamenti esterni

Zbąszynek


Lying in the heart of the Alföld, Jász-Nagykun-Szolnok county is and ideal investment location, as it has excellent soil. Conditions are especially beneficial for agriculture, as the number of sunny hours is high, due to this feature the county is one of the most significant producer in this field. Good quality soils of the plains are suitable for the production of base materials needed for bio-energy, and sun-, wind-, thermal water power are also perfect sources of alternative energy.
Generally the county has industrial-agricultural features. Its area can be divided into two parts: Jászság and Szolnok with stronger economic potential, and the micro-regions of Tiszántúl that are less known by investors, but have many unexploited values.
The sectors presenting the most net income and production rates are manufacturing, mechanical engineering, food industry, textile industry, trade and agriculture. Currently there are 12 industrial parks; one industrial zone and a business area operate in the county. Enterprises on an area of 590 ha altogether employ about 5,000 people in the industrial parks.


text:
Q: Bokeh - Multi-Line Plot with Categorical Values I'm working with this dataframe:

I'm trying to use Bokeh to generate a multi-line plot with ['Joined'] as the x-value:
# Split columns for multi-line plot
x = df['Joined'].tolist()
y1 = df['Mean_value'].tolist()
y2 = df['Median_value'].tolist()

# Set Figure and Plot

p = figure(height=600, width=900, toolbar_location=None, x_range=x)

p.multi_line([x, y1], [x, y2], color=['#CE1141', '#06BB6'], alpha=[0.54, 0.40], line_width=3)

It's giving me this right now:

I can get the desired result by plotting separate lines, but it makes using the HoverTool very complicated.
Any ideas?
Thanks!

A: You are passing values to the method in the wrong way. The first parameter is xs and should contain all the x series, but not any of the y series. Howefer you are passing [x, y1] for xs, which will plot the y1 values as the x-coordinates for the second line. You probably intend this:
p.multi_line([x, x], [y1, y2], ...)

redpajama_set_name: RedPajamaStackExchange


text:
Ligand influences on copper cyanide solid-state architecture: Flattened and fused "slinky", corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family
Jon Zubieta
A series of novel composite inorganic-organic materials from the copper-cyanide-triazolate-organoamine system have been isolated and structurally characterized. An unusual interpenetrating layered structure type composed of fused and flattened "slinkies", [Cu6(CN)5(trz)] (1) (trz = triazolate, C2N3H2-), a complex corrugated layer structure, [Cu5(CN)3(trz)2(bpy)] (2), and a series of increasingly intricate one-dimensional ribbons, [Cu3(CN)2(trz)(bpy)], [Cu3(CN)2(trz)(phen)], and [Cu4(CN)3(trz)(phen)] (3-5), have been isolated from hydrothermal media. All trz ligands are deprotonated and participate in μ3-bridging of Cu sites. An anionic layered compound, [Cu(OH2)4]-[Cu4(CN)6] (6), composed of {Cu6(CN)6} rings with tetraaquacupric dications intercalated into alternate interlamellar spaces, has also been characterized upon the slow evaporation of the mother liquor of 1. The syntheses and structural characterizations of compounds 1-6 by single-crystal X-ray diffraction and FTIR microscopy are discussed in relation to the supramolecular chemistry of other copper cyanide solid-state materials. Crystal data: C7H2CU6N8 (1), orthorhombic, Pcca, a = 11.108(2) Å, b = 8.886(2) Å, c = 15.397(3) Å, Z = 4; C34H24Cu10N22 (2), triclinic, P1̄, a = 9.1183(5) Å, b = 9.9838(6) Å, c = 12.7545(8) Å, α = 94.206(1)°, β= 90.492(1)°, γ = 112.534(1)°, Z = 1; C28H20Cu6N14 (3), monoclinic, P21/c, a = 9.7582(1) Å, b = 17.1622(2) Å, c = 9.901(1) Å, β = 106.869(1)°, Z = 2; C17H10Cu4N8 (4), monoclinic, P21/c, a = 11.590(3) Å, b = 20.555(4) Å, c = 16.158(3) Å, β= 103.865(5)°, Z = 8; C16H10Cu3N7 (5), triclinic, P1̄, a = 8.542(2) Å, b = 9.802(2) Å, c = 20.439(4) Å, α = 82.468(5)°, β= 83.126(5)°, γ = 79.832(5)°, Z = 4; C6Cu5N6O4 (6), monoclinic, P21,/n, a = 7.466(1) Å, b = 8.952(2) Å, c = 11.116(2) Å, β= 92.816(5)°, Z = 4.
Fingerprint Dive into the research topics of 'Ligand influences on copper cyanide solid-state architecture: Flattened and fused "slinky", corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family'. Together they form a unique fingerprint.
cyanides Physics & Astronomy
Cyanides Chemical Compounds
Supramolecular chemistry Chemical Compounds
ligands Physics & Astronomy
Copper Chemical Compounds
ribbons Physics & Astronomy
organic-inorganic materials Chemical Compounds
solid state Physics & Astronomy
Zubieta, J. (1999). Ligand influences on copper cyanide solid-state architecture: Flattened and fused "slinky", corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family. Inorganic Chemistry, 38(24), 5484-5494.
Ligand influences on copper cyanide solid-state architecture : Flattened and fused "slinky", corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family. / Zubieta, Jon.
In: Inorganic Chemistry, Vol. 38, No. 24, 01.12.1999, p. 5484-5494.
Zubieta, J 1999, 'Ligand influences on copper cyanide solid-state architecture: Flattened and fused "slinky", corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family', Inorganic Chemistry, vol. 38, no. 24, pp. 5484-5494.
Zubieta J. Ligand influences on copper cyanide solid-state architecture: Flattened and fused "slinky", corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family. Inorganic Chemistry. 1999 Dec 1;38(24):5484-5494.
Zubieta, Jon. / Ligand influences on copper cyanide solid-state architecture : Flattened and fused "slinky", corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family. In: Inorganic Chemistry. 1999 ; Vol. 38, No. 24. pp. 5484-5494.
@article{dbed563562314390afd5a87ac43cccb9,
title = "Ligand influences on copper cyanide solid-state architecture: Flattened and fused {"}slinky{"}, corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family",
abstract = "A series of novel composite inorganic-organic materials from the copper-cyanide-triazolate-organoamine system have been isolated and structurally characterized. An unusual interpenetrating layered structure type composed of fused and flattened {"}slinkies{"}, [Cu6(CN)5(trz)] (1) (trz = triazolate, C2N3H2-), a complex corrugated layer structure, [Cu5(CN)3(trz)2(bpy)] (2), and a series of increasingly intricate one-dimensional ribbons, [Cu3(CN)2(trz)(bpy)], [Cu3(CN)2(trz)(phen)], and [Cu4(CN)3(trz)(phen)] (3-5), have been isolated from hydrothermal media. All trz ligands are deprotonated and participate in μ3-bridging of Cu sites. An anionic layered compound, [Cu(OH2)4]-[Cu4(CN)6] (6), composed of {Cu6(CN)6} rings with tetraaquacupric dications intercalated into alternate interlamellar spaces, has also been characterized upon the slow evaporation of the mother liquor of 1. The syntheses and structural characterizations of compounds 1-6 by single-crystal X-ray diffraction and FTIR microscopy are discussed in relation to the supramolecular chemistry of other copper cyanide solid-state materials. Crystal data: C7H2CU6N8 (1), orthorhombic, Pcca, a = 11.108(2) {\AA}, b = 8.886(2) {\AA}, c = 15.397(3) {\AA}, Z = 4; C34H24Cu10N22 (2), triclinic, P{\=1}, a = 9.1183(5) {\AA}, b = 9.9838(6) {\AA}, c = 12.7545(8) {\AA}, α = 94.206(1)°, β= 90.492(1)°, γ = 112.534(1)°, Z = 1; C28H20Cu6N14 (3), monoclinic, P21/c, a = 9.7582(1) {\AA}, b = 17.1622(2) {\AA}, c = 9.901(1) {\AA}, β = 106.869(1)°, Z = 2; C17H10Cu4N8 (4), monoclinic, P21/c, a = 11.590(3) {\AA}, b = 20.555(4) {\AA}, c = 16.158(3) {\AA}, β= 103.865(5)°, Z = 8; C16H10Cu3N7 (5), triclinic, P{\=1}, a = 8.542(2) {\AA}, b = 9.802(2) {\AA}, c = 20.439(4) {\AA}, α = 82.468(5)°, β= 83.126(5)°, γ = 79.832(5)°, Z = 4; C6Cu5N6O4 (6), monoclinic, P21,/n, a = 7.466(1) {\AA}, b = 8.952(2) {\AA}, c = 11.116(2) {\AA}, β= 92.816(5)°, Z = 4.",
author = "Jon Zubieta",
journal = "Inorganic Chemistry",
T1 - Ligand influences on copper cyanide solid-state architecture
T2 - Flattened and fused "slinky", corrugated sheet, and ribbon motifs in the copper-cyanide-triazolate-organoamine family
AU - Zubieta, Jon
N2 - A series of novel composite inorganic-organic materials from the copper-cyanide-triazolate-organoamine system have been isolated and structurally characterized. An unusual interpenetrating layered structure type composed of fused and flattened "slinkies", [Cu6(CN)5(trz)] (1) (trz = triazolate, C2N3H2-), a complex corrugated layer structure, [Cu5(CN)3(trz)2(bpy)] (2), and a series of increasingly intricate one-dimensional ribbons, [Cu3(CN)2(trz)(bpy)], [Cu3(CN)2(trz)(phen)], and [Cu4(CN)3(trz)(phen)] (3-5), have been isolated from hydrothermal media. All trz ligands are deprotonated and participate in μ3-bridging of Cu sites. An anionic layered compound, [Cu(OH2)4]-[Cu4(CN)6] (6), composed of {Cu6(CN)6} rings with tetraaquacupric dications intercalated into alternate interlamellar spaces, has also been characterized upon the slow evaporation of the mother liquor of 1. The syntheses and structural characterizations of compounds 1-6 by single-crystal X-ray diffraction and FTIR microscopy are discussed in relation to the supramolecular chemistry of other copper cyanide solid-state materials. Crystal data: C7H2CU6N8 (1), orthorhombic, Pcca, a = 11.108(2) Å, b = 8.886(2) Å, c = 15.397(3) Å, Z = 4; C34H24Cu10N22 (2), triclinic, P1̄, a = 9.1183(5) Å, b = 9.9838(6) Å, c = 12.7545(8) Å, α = 94.206(1)°, β= 90.492(1)°, γ = 112.534(1)°, Z = 1; C28H20Cu6N14 (3), monoclinic, P21/c, a = 9.7582(1) Å, b = 17.1622(2) Å, c = 9.901(1) Å, β = 106.869(1)°, Z = 2; C17H10Cu4N8 (4), monoclinic, P21/c, a = 11.590(3) Å, b = 20.555(4) Å, c = 16.158(3) Å, β= 103.865(5)°, Z = 8; C16H10Cu3N7 (5), triclinic, P1̄, a = 8.542(2) Å, b = 9.802(2) Å, c = 20.439(4) Å, α = 82.468(5)°, β= 83.126(5)°, γ = 79.832(5)°, Z = 4; C6Cu5N6O4 (6), monoclinic, P21,/n, a = 7.466(1) Å, b = 8.952(2) Å, c = 11.116(2) Å, β= 92.816(5)°, Z = 4.
AB - A series of novel composite inorganic-organic materials from the copper-cyanide-triazolate-organoamine system have been isolated and structurally characterized. An unusual interpenetrating layered structure type composed of fused and flattened "slinkies", [Cu6(CN)5(trz)] (1) (trz = triazolate, C2N3H2-), a complex corrugated layer structure, [Cu5(CN)3(trz)2(bpy)] (2), and a series of increasingly intricate one-dimensional ribbons, [Cu3(CN)2(trz)(bpy)], [Cu3(CN)2(trz)(phen)], and [Cu4(CN)3(trz)(phen)] (3-5), have been isolated from hydrothermal media. All trz ligands are deprotonated and participate in μ3-bridging of Cu sites. An anionic layered compound, [Cu(OH2)4]-[Cu4(CN)6] (6), composed of {Cu6(CN)6} rings with tetraaquacupric dications intercalated into alternate interlamellar spaces, has also been characterized upon the slow evaporation of the mother liquor of 1. The syntheses and structural characterizations of compounds 1-6 by single-crystal X-ray diffraction and FTIR microscopy are discussed in relation to the supramolecular chemistry of other copper cyanide solid-state materials. Crystal data: C7H2CU6N8 (1), orthorhombic, Pcca, a = 11.108(2) Å, b = 8.886(2) Å, c = 15.397(3) Å, Z = 4; C34H24Cu10N22 (2), triclinic, P1̄, a = 9.1183(5) Å, b = 9.9838(6) Å, c = 12.7545(8) Å, α = 94.206(1)°, β= 90.492(1)°, γ = 112.534(1)°, Z = 1; C28H20Cu6N14 (3), monoclinic, P21/c, a = 9.7582(1) Å, b = 17.1622(2) Å, c = 9.901(1) Å, β = 106.869(1)°, Z = 2; C17H10Cu4N8 (4), monoclinic, P21/c, a = 11.590(3) Å, b = 20.555(4) Å, c = 16.158(3) Å, β= 103.865(5)°, Z = 8; C16H10Cu3N7 (5), triclinic, P1̄, a = 8.542(2) Å, b = 9.802(2) Å, c = 20.439(4) Å, α = 82.468(5)°, β= 83.126(5)°, γ = 79.832(5)°, Z = 4; C6Cu5N6O4 (6), monoclinic, P21,/n, a = 7.466(1) Å, b = 8.952(2) Å, c = 11.116(2) Å, β= 92.816(5)°, Z = 4.
JO - Inorganic Chemistry
JF - Inorganic Chemistry


In the April issue get to know Dan "the Common Man" Cole on the air at KFAN.
In the March issue we're checking in with interior designer Monica Diaz as she returns to Woodbury.
In the February issue meet Daniel Oturu, Gopher hoops recruit.
In the January issue we're sharing a new winter cocktail recipe from Cravings Wine Bar and Grille.
In the December issue we've rounded up a red and green gift guide and we're checking in with a local pet groomer on holiday looks for your pooch!
In the November issue we have tips on bringing beauty into your home through floral decorating.


text:
Interior: European Oak, clear finish, Exterior: RAL7037 Dusty Grey
Screen: Standard weave insect mesh, Shade: Boston, Quartz, Blackout
Integrated Dealer: DGL
Architect: Peter Fawcett in collaboration with The Design Partnership
Sheffield, England
When they decided to downsize two-and-a-half years ago, Peter and Alison found a 1950s home in Sheffield that perfectly suited their needs. It had been well looked after, so didn't need a lot of maintenance, and the previous owners had remodeled it to create a two-storey Dutch bungalow.
The property had all the space and facilities that Peter and Alison wanted, as well as access to a level and easy-to-maintain garden. That was an important consideration, as Alison explains: "Our previous house sat above the garden, so we had to walk down into it and consequently didn't use it much at all. Here, we can go straight outside and be part of the garden. That was very much our dream."
To enable a true inside-outside connection, the couple decided that one change they would make to the property would be to extend the ground floor to the rear creating a garden room. It would allow them to sit and admire their generous garden all year round.
Knowing that they wanted to open up the entire wall of the new extension, they visited lots of exhibitions in search of the right solution and came across the Centor 211 Integrated Sliding Door.
"We wanted a sliding door rather than a bifold to maximise the views," says Alison. "It means there's nothing intruding on either the garden or interior space, and we also wanted to avoid having too many uprights breaking our views to the garden."
"The integral fly screen was the decider," says Peter. The house used to have French doors at the rear, which the couple had to close early in the evening to exclude the midges. "We spent a lot of time looking at fly screen options, but nothing came near Centor's integral style" he says.
Their friend Peter Fawcett, an Emeritus Professor of Architecture, agreed to help with the project, working on the designs and planning consent. Peter collaborated with local practice, The Design Team Partnership, who gained Building Regulation Approval and supervised the building contract.
Their specification of the Centor Integrated Sliding Door aside, the couple's brief to architect Peter was simply to build into the outside space, so that they could feel more part of the garden.
To say they are surprised and pleased with their new extension is somewhat of an understatement.
"They are utterly delighted with the result," reports Peter Fawcett. "I always set out to create what I call a 'celebratory' living space. I do this through various forms of natural lighting."
Peter and Alison's garden faces north, meaning that the rear of the extension would nearly always be shaded. But that didn't deter their motivated architect, who suggested a vaulted ceiling with roof windows, explaining: "The idea was to open it up with a large living space at the back of the property, which relates to the garden. I arranged roof windows and various devices to get south, east and west light, and the lighting in the space changes during the day."
The extension features a west-facing porthole window to make the most of the evening sun and is finished with zinc roofing and white rendered walls.
Peter Fawcett says: "The fact that you have this very sophisticated sliding door and screen adds to the delight of the building. It's been a great success."
Peter agrees: "We've had the hottest May on record in Sheffield," he says. "It's been lovely sitting inside in the evening with the doors open and the screen across, looking out into the garden and enjoying a fresh breeze but without the midges."
He adds: "A friend asked, 'Aren't you going to put curtains up?' And they were really quite surprised when we showed them the integrated screen and shade tucked away in the doorframe!"
In their previous home, the couple had more traditional furnishings, but the new extension has enabled them to create a brighter, flexible space featuring primary colours and freestanding furniture that is easily moved.
"We can relocate it to different corners of the room, so it's given us lots of freedom for entertaining which is great fun," says Alison.
"I'm glad we didn't go the conservatory route now! This is a much nicer space to be living in with all the angles and the changing light – it's just lovely!"
Transforming good into great
A contemporary makeover was just what this country cottage needed to make it fit for a young family.
Effortless inside-outside living
This newly-renovated family home is now fully equipped to combat harsh sunlight and blinding glare.
A private retreat for connecting with the beautiful world
With a lap pool, spa bathroom and an exercise room, this secret poolhouse has the recipe for...
Share Enjoying the garden, without any irritating insects on


text:
var nav,
	product,
	utils,
	onRatingUpdated,
	ListAction;

/**
 *  Constructor
 */
(function constructor(args) {
	product = args.product;
	onRatingUpdated = args.onRatingUpdated;
	utils = require("/utils");

	if (OS_IOS) {
		nav = Ti.UI.iOS.createNavigationWindow({
			window: $.details
		});
	} else if (OS_ANDROID) {
        Alloy.Globals.setAndroidBackButton($.details);
    }

	// Mapped to the itemId's of the items
	ListAction = {
		PerformRating: 'rating',
		ShowAdditives: 'additives'
	};

	setUI();
})(arguments[0] || {});

function setUI() {
	$.title.setText(product.name);

	setImages();
	setRating(product.rating);
	setAdditives();
}

function setImages() {
	var images = product.images || null;
	var views = [];

	if (!images || images.length == 0) {
		return;
	}

	$.placeholder.hide();

	// TODO: Move to Alloy-based generation

	_.each(images, function(image) {
		var view = Ti.UI.createView({
			left: 15,
			top: 10,
			height: 165,
			width: 165,
			borderRadius: 0,
			viewShadowRadius: 2,
			viewShadowColor: "#A6444444", // 65 %
			viewShadowOffset: {x: 0, y: 2}
		});

		var productImage = Ti.UI.createImageView({
			defaultImage: "/images/noImage.png",
			borderRadius: 0,
			image: image,
		});

		// Android currently doesn't support this due to TIMOB-24379
		OS_IOS && productImage.addEventListener('click', function(e) {
			openFullscreenImage(image);
		});

		view.add(productImage);

		$.images.add(view);
	});

	var label = Ti.UI.createLabel({
		text: "+ ",
		color: "#fff",
		opacity: 0.3,
		top: 40,
		left: 10,
		font: {
			fontSize: 80,
			fontWeight: "bold"
		}
	});

	label.addEventListener("click", showCamera);

	$.images.add(label);
}

function openFullscreenImage(image) {
	Alloy.createController('/lunches/details/fullscreen', {
		image: image,
		title: product.name
	}).show();
}

function setRating(rating) {
	var section = $.list.sections[0];
	var ratingCell = section.items[0];

	ratingCell.rating.image = utils.formattedStars(rating);
	section.updateItemAt(0, ratingCell);
}

function setAdditives() {
	var section = $.list.sections[0];
	var additivesCell = section.items[1];
	var hasAdditives = product.additives && product.additives.length;

	if (!hasAdditives) {
		section.deleteItemsAt(1, 1);
		return;
	}

	additivesCell.additives.text = hasAdditives ? product.additives.length : "0";

	section.updateItemAt(1, additivesCell);
}

function close() {
    if (OS_IOS) {
        nav.close();
    } else {
        $.details.close();
    }
}

exports.open = function(animated) {
    if (OS_IOS) {
        nav.open({modal: animated});
    } else {
        $.details.open();
    }
};

function showCamera() {
	function _showCamera() {
		Ti.Media.showCamera({
			allowEditing : true,
			mediaTypes: [Ti.Media.MEDIA_TYPE_PHOTO],
			saveToPhotoGallery : false,
			success : function(e) {
				if (e.media) {
					sendProductImage(processImage(e.media));
				} else {
					showCameraError();
				}
			},
			error : showCameraError
		});
	}

	// Send red sqare on Simulator
	if (utils.isEmulator()) {
		sendGeneratedDemoImage();
		return;
	}

	if (!Ti.Media.hasCameraPermissions()) {
		Ti.Media.requestCameraPermissions(function(e) {
			if (e.success) {
				_showCamera();
			} else {
				showCameraError();
			}
		});
	} else {
		_showCamera();
	}
}

function sendGeneratedDemoImage() {
	var dialog = Ti.UI.createAlertDialog({
		title: 'Simulator',
		message: 'You are currently running on the Simulator - without camera! We will generate a 1000x1000 red square now and try to send it to the server, do you really want to proceed?',
		buttonNames: ['Cancel', 'Proceed'],
		destructive: 1,
		cancel: 0
	});

	dialog.addEventListener('click', function(e) {
		if (e.index == 1) {
			sendProductImage(Ti.UI.createView({
				width: 1000,
				height: 1000,
				backgroundColor: 'red'
			}).toImage());
		}
	});

	dialog.show();
}

function sendProductImage(image) {
	var api = require('/api');

	api.postProductImage({
		'image[productId]': product.id,
		'image[userId]': Ti.Platform.getId(),
		'image[originalResource]': image
	}, function(e) {

		if (!e.awaitingModeration) {
			var title = L(e.feedbackTitle || 'upload_success', 'upload_success');
			var message = L(e.feedbackMessage || 'upload_success_msg', 'upload_success_msg');

			var dia = Ti.UI.createAlertDialog({
				title: title,
				message: message,
				buttonNames: [L("ok")]
			});
			dia.show();
		}
	}, function(e) {
		Ti.API.info('Process:' + e.value);
	});
}

function processImage(image) {
	if (OS_ANDROID) {
		return image.imageAsThumbnail(800);
	}

	var outputImage;
	var imageFactory = require("ti.imagefactory");
	var maxImageSize = 500000;
	var maxImageWidth = 1024;

	outputImage = imageFactory.compress(image, 0);

	Ti.API.debug('Image Size (before): ' + outputImage.length / 1000 + ' kb');

	if (outputImage.length > maxImageSize) {
		var newWidth,
		    newHeight;

		if (image.width > image.height) {
			// Querformat-Bilder auf eine Breite von 1024 fixieren
			newWidth = maxImageWidth;
			newHeight = image.height / image.width * newWidth;
		} else {
			// Hochformat-Bilder auf eine Höhe von 1024 fixieren
			newHeight = maxImageWidth;
			newWidth = image.width / image.height * newHeight;
		}

		outputImage = imageFactory.imageAsResized(image, {
			width : newWidth,
			height : newHeight
		});

		if (outputImage.length > maxImageSize) {
			outputImage = imageFactory.compress(image, 0);
		}
	}

	Ti.API.debug('Image Size (after): ' + outputImage.length / 1000 + ' kb');

	return outputImage;
}

function showCameraError() {
	Ti.UI.createAlertDialog({
		title : L("warning"),
		message : L("camera_warning_text"),
		buttonNames : [L("all_right")]
	}).show();
}

function handleAction(e) {
	switch (e.itemId) {
		case ListAction.PerformRating:
			performRating();
		break;

		case ListAction.ShowAdditives:
			showAdditives();
		break;
	}

	OS_IOS && $.list.deselectItem(e.sectionIndex, e.itemIndex);
}

function performRating() {
	Alloy.createController('/lunches/details/ratingView', {
		parent: $.details,
		productId: product.id,
		onRatingUpdated: function(newRating) {
			setRating({value: newRating});
			onRatingUpdated();
		}
	}).show();
}

function showAdditives() {
	var usedAdditives = product.additives || [];

	if (usedAdditives == 0) {
		return;
	}

	try {
		var additives = JSON.parse(Ti.Filesystem.getFile(Ti.Filesystem.getResourcesDirectory(), 'json/additives.json').read());
		var result = [];

		_.map(additives, function(additive) {
			if (usedAdditives.indexOf(String(additive.id)) !== -1) {
				result.push(additive.name);
			}
		})

		// Some nice hack: Remove the last commata with an "and"
		var message = result.join(', ');

		if (message.lastIndexOf(', ') !== -1) {
			message = setCharAt(message, message.lastIndexOf(', '), ' ' + L('and') + ' ');
		}

		$.alert.setMessage(message);
		$.alert.show();
	} catch(e) {
		Ti.API.error('No assets/json/additives.json available:');
		Ti.API.error(e);
	}
}

// CREDITS: http://stackoverflow.com/a/1431110/5537752
function setCharAt(str,index,chr) {
    if (index > str.length - 1) {
		return str;
	}

    return str.substr(0, index) + chr + str.substr(index + 1);
}


Comprehensive database with annual data protecting GDP, population, employment, hours, labor high quality, capital services, labor productiveness, and Complete Issue Productivity for 123 nations on the planet. India experienced a modest slowdown in labor productiveness development in 2016 as output development weakened, but remained among the many highest progress charges within the region. The economy encompasses all activity associated to manufacturing, consumption and commerce of goods and services in an space. The preliminary September report confirmed the economy shedding jobs for the first time since 2010, but the government revised the determine Friday to show the chaotic month introduced a modest acquire of 18,000 positions.


You do not need a lot of money to be a DIY maven, and this week I intend to prove that. This week on HGTV Handmade I invite you to join me on a Hardware Store Challenge to switch things up a bit. Watch the video for the simple rules and see how to DIY-along with me! Next week I'll reveal what I made + HINT: It cost less than $5!


After a long stressful day, you may be tempted to reach for a cookie or munch on French fries. While you may feel better after eating comfort food, a new study finds that your mood would have probably improved even if you didn't eat that fatty food.
Researchers at the University of Minnesota asked study participants to take a food survey and asked them to pick three foods that would make them feel better if they were in a bad mood as well as foods that they did not think would impact their mood.
Then, participants watched movie clips that stirred feelings of anger, sadness and anxiety. After the movie clips, some subjects were given triple portions of comfort food, others were given a food they would not think would improve their mood. Others received a granola bar and some received no food at all. Three minutes after eating, they were asked about their mood. Each group responded positively saying they felt better with no differences between those who ate comfort food, other food and no food.
For women, comfort foods are often sweets while men often prefer heartier foods. For both women and men comfort foods are typically high in fat.
Remkus recommends knowing what comfort foods are your trigger, so you are ready to say "no." It is also a good idea to keep these foods out of your house to prevent sabotage. Instead, she says to keep your kitchen stocked with healthy choices such as ready-to-eat fruit and vegetables, low fat yogurt, whole grains, nuts and seeds. Reach for these healthy foods when cravings strike, Remkus says.
Interesting — will definitely keep this in mind the next time I'm stressed out and craving some mac and cheese!
Great point! The foods I like to indulge in are definitely not traditional comfort foods.
It must be another slow day in the offices of Advocate's public affairs office. Now I know why the Director-level position has been posted on various job boards for several months. And quoting a public policy dean on the definitions of "comfort?" One can tell the direction this article was taking.
As an individual who worked in the food service business (retail and wholesale) as a salesman and broker, please trust my statement that "comfort food" is a term not necessarily used to convey "healthy" eating. It is, on the other hand, a term ascribed to foods when consumed where we felt a certain nostalgia-like feel. The classic examples are meat loaf, pot roast, macaroni and cheese and fried chicken. Simple, though often times labor-intensive foods that, for most Americans, take us back to a simpler, slow-paced life. Usually, our childhood.
The term was never meant to be used in context that if such foods are consumed you will physically feel wonderful, motivated or energized. And all along I thought I was the cynical one.


text:
Emily Rosaline Orme (1835–1915) was a leader of the Edinburgh National Society for Women's Suffrage. She was a noted campaigner for women's suffrage in Scotland.

Early life
Orme was born in 1835, one of eight children to parents Eliza Andrews (1816 - 1892) and Charles Orme (c. 1807 - 1893), from a wealthy brewing/distilling family. In her early years at Avenue Road in Regent's Park, London she met leading members of the Pre-Raphaelite movement such as Holman Hunt, the Rosettis and Thomas Woolner.The closeness of the family to this movement is shown in an informal sketch of Orme by Dante Gabriel Rossetti, when she was about 18 years old.

Orme was also introduced to academic David Masson (1822-1907), by the librarian at the British Museum, Coventry Patmore, who was also a poet and critic, married to her maternal aunt, author and Pre-Raphaelite muse Emily Augusta Patmore ( Andrews; 1824–1862) about whom Patmore wrote the poem The Angel in the House which ironically was praising the female sphere as domestic and family and male as public sphere.

Marriage
Orme married Masson on 27 August 1853, moving initially into her parents' home and sharing friends with political, artistic and literary interests. The philosopher and women's suffrage supporter John Stuart Mill visited them there, and also spoke at Edinburgh later on the topic of women's suffrage.

The couple moved to Edinburgh in 1865 when her husband took up the professorial chair of rhetoric and English at the University of Edinburgh, and he strongly supported movement for the university education of women, and was one of the first professors to lecture to women at the Edinburgh Ladies' Education Association, and he also supported medical education for women. They lived first at Rosebury Crescent, then 10 Regent Terrace from 1869 to 1882 before moving to Great King Street, and finally Lockharton Gardens.

Suffrage and later life

The University of Edinburgh named its first women's undergraduate residence (which opened in George Square in 1867, and is now site of the University Library) in his honour: Masson Hall

Orme and her husband were leading activists in the campaign for women's suffrage and spoke at events in London and Edinburgh.  Orme joined the suffrage group, the Edinburgh National Society for Women's Suffrage in 1874, two years later became a member of its executive committee and then joint honorary secretary with Eliza Wigham from 1877. At the end of November and beginning of December 1877, there were a series of meetings around Edinburgh where Orme was a main speaker. Orme and other women went  from Edinburgh to the 'grand demonstration' in London on 6 May 1880.

In 1881, her daughter Flora Masson joined the Edinburgh Ladies Debating Society with her mother and questions of suffrage were debated by the group regularly.

Orme's husband, David Masson died in 1907, and she and her daughters informed the press that no one was to write a biography or publish his letters.

Orme died in 1915 and was buried with her husband in Grange Cemetery in south Edinburgh.

Family
Her daughters Flora Masson (1856-1937)  and Rosaline Masson also joined the suffrage movement and became a writer. Orme also had another daughter Helen and son Sir  David Orme Masson, KBE who became the first professor of Chemistry at the University of Melbourne . Her sister Eliza Orme was the first woman to gain a law degree in England. Her younger brother Augustus Charles Andrews became a bank clerk and his daughter Mabel Barltrop became a religious leader and prophet in Bedford.

References

1835 births
1915 deaths
British women's rights activists
Scottish suffragists
National Society for Women's Suffrage


Mom's good friend, Melanie, agreed to take some pregnancy photos of Mom and we think they turned out pretty great! They were taken on Melanie's parents property and Mom and Melanie had a lot of fun finding different places to take them. Thanks Aunt Melanie! I can't wait to meet you!
I guess my room is pretty nearly ready for me and my family (especially Mom) is ready for me to come too. I know I still have a good month before I will be ready, but it is good to know things are in place so that I will be as comfortable as possible in my new home. Mom has a few simple things she wants to do (i.e. replace a knob on a bedside table she found at an antique store and then re-painted) before posting a final picture of my room, but it will happen soon.
My family went up to the Seattle area for the 4th and Dad took this photo of Mom relaxing in the grass while my brother, Jonah, danced along to some music that was playing in downtown Bainbridge Island.
Mom's friends, Mary and Sara, threw her a baby shower this past weekend. It was a fun time for everyone with lots of yummy food (all Greek!). I wish we would've gotten a group picture, but I think there were a total of 14 women there (not including me). Mom feels so lucky to have so many wonderful girlfriends in her life. I got totally spoiled by everyone and will be wearing the cutest clothes. It's a good thing Mom and I love pink 'cause we've got a ton of it now! Here are some photos from the shower.
Here is all the yummy Greek food Mary and Sara made. It was so delicious!
Here's a close-up. You can also see Mary decorated the table with different pieces of fabric. Mary and her mom are making dresses for me out of the fabric as a gift. What a creative idea! The fabrics are all so adorable.
Here's a photo of Mary and Mom. It's hard to believe Mom and Mary have known each other for almost 15 years now, but we can hardly imagine our life without Aunt Mary.
Thanks for throwing such a wonderful shower, girls!


It's understandable for a lot of soon-to-be-wed couples to simultaneously feel excited and nervous as the countdown for the big day slowly comes to an end. Before you get swept away with all the necessary preparations, don't forget to deal with the most important part of the day: the wedding bands. This is one of the few jewellery pieces you'll wear for the rest of your life, so it's important to choose the right one from the very start.
Of course, wedding bands can be made more meaningful when you have them designed by expert jewellers. In fact, some jewellery shops offer design services, allowing you to customise your ring's design and make it even more meaningful. Start designing your own ring by considering these elements.
Nowadays, there are numerous precious metals used for wedding bands. Among these metals, platinum is considered the most durable and the most versatile, though the most expensive option. Still, platinum is worth considering if you're after a long-lasting (and hypoallergenic) ring. Palladium is a viable alternative, if you're not quite comfortable with the weight of platinum rings.
If you're after an eye-catching wedding ring, you can never go wrong with gold. This metal also comes in different colours other than yellow gold, like white gold and rose gold. You can even combine two tones to create stunning pieces. On the other hand, sterling silver is the best choice if you want to integrate intricate details into your wedding band.
There's an ideal metal for any of your design needs. For adventurous couples, you can also opt for unconventional metals such as tungsten, cobalt, or titanium.
After deciding on the metal you'll work with, it's time to decide on the ring's shape. While you can always opt for the traditional-shaped wedding bands, this shape might not work if the bride decides to wear it alongside their engagement ring. In this case, you'll want to ensure that both rings will go well together. For this, you'll want to design a curved or fitted wedding ring.
Even if you don't have to shape your wedding bands, you must still consider its profile. Will it be rounded on the inside and out, or flat on the inside and round on the outside? There are other ring profiles to consider, so make sure to talk through your options with a jeweller.
Designing your own wedding bands doesn't have to be stressful, especially if you entail the help of an expert jeweller like those from Jacob's. Ask jewellers about their design services, and see how they can create the perfect ring for your big day.


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Conventional wisdom among the media and potheads would have it that weed is way stronger than it was a generation ago. Even researchers have boasted that with THC levels as high as 30 percent, marijuana strains available today dwarf the potency levels of three decades ago.
Others in the field, however, are skeptical of these claims.
"We've seen a big increase in marijuana potency compared to where it was 20 or 30 years ago," President and Director of marijuana testing facility Charas Scientific Andy LaFrate, said in a video released by the American Chemical Society. "I would say the average potency of marijuana has probably increased by a factor of at least three. We're looking at average potencies right now of around 20 percent THC."
He added that three decades ago THC levels typically fell below ten percent. The higher potency today is the result of crossbreeding strains to meet consumer demand for stronger, longer highs.
However, some doubt the figures above, noting that the scientific method behind them just doesn't pan out. "It's fair to be skeptical." Michael Kahn, the president of Massachusetts Cannabis Research told The Atlantic.
"Back then the predominant method of quantitation was gas chromatography, which is not quite appropriate for cannabinoid quantitation. This is because [it] heats up the test material before analysis, which also alters the chemical profile—including breaking down the THC molecule,"
This lack of consistency in testing methods over the years has made it very hard—perhaps impossible—to compare strains across decades. For a true answer about the relevant potency of today's marijuana, one would have to run a perfectly preserved sample of older marijuana against today's strains—something very, very unlikely given the highly perishable nature of the plant and the relevant chemicals as well as its restricted status.
None of this is to say that today's weed isn't more potent than that which was available a generation or more ago. Given the intense horticultural efforts that have been expended on the plant over the last decades, it's likely that it is. Making clinical claims and floating numbers to argue for the relative potency of Bubba Kush or Sour Diesel over the weed your parents smoked might be harder than previously thought.


text:
Delegation of the European Union to Armenia
https://twitter.com/EU_Armenia
https://www.youtube.com/user/EUDelArmenia
https://www.facebook.com/eudelegationtoarmenia
EEAS homepage > Armenia > Torture denies the dignity of human beings - nothing justifies inhuman treatment
Torture denies the dignity of human beings - nothing justifies inhuman treatment
Torture denies the dignity of the human being. Its victims suffer both visible and invisible wounds. And this is still the horrifying reality today. On International Day in support of Victims of Torture, EU High Representative Josep Borrrell states "At a time when the world is joining efforts to overcome the coronavirus pandemic, human rights must remain at the core of our battle. On this day, we give a voice to the hundreds of thousands of people who have been victims of torture and those who are still tortured today."
Women, men, children, older people, prisoners, the homeless and all persons in vulnerable situations, including refugees, migrants and internally displaced persons, all human beings should be treated in full respect of human rights.
"Torture and other ill-treatment can never be justified. The prohibition of torture is absolute - the use of torture is illegal under all circumstances," Borrell stressed.
The European Union is strongly committed to combating torture worldwide. Eradicating torture is a global challenge, which requires global response. It is only when we act together with international partners, in particular the United Nations, the Council of Europe and the International Criminal Court, regional organisations, national partners and civil society, that we can make a real difference. The Global Alliance for Torture-Free Trade is a good example of how the EU works together with partners.
EU works hand in hand with civil society to stop torture
Thanks to the NGO "Terre des hommes" 37 minors were released from prison in Guinea. The most vulnerable were placed in foster homes. The aim of this EU-funded project is to secure 600 minors released from prison or living on the street, as part of the response to COVID-19 in Guinea.
Some of the children recall how badly they were treated while they were still in prison:
One of the youngsters at a prison in Conakry recounts, "We had nothing to eat. The grown-ups didn't give us any clothes. All our clothes were torn. Even my shoes were torn. I had wounds everywhere. Mosquitos landed on my wounds. So I had mosquito bites too."
"I spent 5 months in prison. Every single day we were punished in ways that were inhuman. They made us work in harsh conditions," another young man recounts.
Watch their story (video in French)
Video of L'UE et TdH protègent les mineurs du Covid-19 en Guinée
The International Federation of ACAT (FIACAT) is an international Non-Governmental Organisation for the defence of human rights whose mandate is to fight for the abolition of torture and of the death penalty. For example, one of their projects aims to combat abusive pre-trial detention in Chad, DRC, Ivory Coast, Madagascar, and Congo.
© Lionel Grassy, FIACAT
The "Civil Society United Against Torture" project is an initiative by The World Organisation Against Torture (OMCT), in coordination with three key partners in Asia, Africa and Latin America, and supported by the European Union and the Dutch Human Rights Fund. This is a global initiative, and includes work in over 40 countries. One of its aims is to undertake collective research studies to strengthen the protection of groups especially vulnerable to torture and abuse – migrants, women, children, and indigenous peoples – through deepening the knowledge of the causes and consequences of their vulnerability – and to protect against erosion of the anti-torture infrastructure resulting from national security discourses.
Through the European Instrument for Democracy and Human Rights, the EU supports civil society organisations working to prevent torture and assist victims worldwide. During the past ten years, over €80 million were allocated to support this work.
The UN Convention against Torture and its Optional Protocol was recently ratified by Angola and Oman, leaving 25 States still to ratify. The EU strongly calls for a universal ratification and effective implementation of the Convention to end this appalling abuse of human rights.
The EU will continue to stand by all actors and human rights defenders who courageously engage against torture around the world.
International Day in Support of Victims of Torture
Guidelines on EU Policy Towards Third Countries on Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment
Building immunity to disinformation
We need humanitarian access to Tigray as urgent first step towards peace in Ethiopia
Torture and Ill treatment- European Convention on Human Rights 70th anniversary Videos: Regions: Europe and Central Asia Topics: Multilateral Relations Human Rights & Democracy Editorial Sections: Multilateral Relations Council of Europe Organisations: Council of Europe
EU Statement: 72nd anniversary of the Convention of the Prevention and Punishment of the Crime of Genocide and the International Day of Commemoration and Dignity of the Victims of the Crime of Genocide and of the Prevention of this Crime9 December 2020, New York-- European Union Statement delivered by H.E. Mr. Silvio Gonzato, Deputy Head of the Delegation of the European Union to the United Nations, at the 72nd anniversary of the Convention of the Prevention and Punishment of the Crime of Genocide and the International Day of
International Day of Commemoration and Dignity of the Victims of the Crime of Genocide and of the Prevention of this Crime: Statement by HR/VP Josep Borrell 75 years ago, major leaders of the Nazi regime were prosecuted for crimes against humanity and war crimes during the Nuremberg trials. This paved the way to the adoption of the Convention on the Prevention and Punishment of the Crime of Genocide on 9 December 1948, punishing genocide as a crime and
For Human Rights Day, the EU teams up with the Thai Ministry of Justice and the UN to raise awareness of human rights challenges in the post-COVID worldOn the occasion of Human Rights Day, the Delegation of the European Union to Thailand is collaborating with the Ministry of Justice and the United Nations to organise two separate events to reflect on Thailand's human rights progress and stimulate constructive discussion on making human rights
21 Frik Street, Yerevan 0002, Armenia
Entrance for visitors: Proshyan Street side
Telephone: + 374 (10) 54 64 94
Fax: + 374 (10) 54 64 95
Delegation-Armenia@eeas.europa.eu


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text:
module Veewee
  module Provider
    module Core
      module Helper

        class ShellResult
          attr_accessor :stdout
          attr_accessor :stderr
          attr_accessor :status

          def initialize(stdout,stderr,status)
            @stdout=stdout
            @stderr=stderr
            @status=status
          end
        end

        module Shell

          # http://blade.nagaokaut.ac.jp/cgi-bin/scat.rb/ruby/ruby-talk/185404
          # This should work on windows too now
          # This will result in a ShellResult structure with stdout, stderr and status
          def shell_exec(command,options = {:mute => true,:status => 0,:stderr => "&1"})
            defaults={:mute => true, :status => 0}
            options=defaults.merge(options)
            result=ShellResult.new("","",-1)
            ui.info "Executing #{command}" unless options[:mute]
            env.logger.debug "Command: \"#{command}\""
            env.logger.debug "Output:"
            env.logger.debug "-------"
            escaped_command=command
            stderr_redirect = options[:stderr]? options[:stderr] : "&1"
            IO.popen("#{escaped_command}"+ " 2>#{stderr_redirect}") { |p|
              p.each_line{ |l|
                result.stdout+=l
                ui.info(l,{:new_line => false})  unless options[:mute]
                env.logger.debug(l.chomp)
              }
              result.status=Process.waitpid2(p.pid)[1].exitstatus
              if result.status.to_i!=options[:status]
                ui.error "Error: We executed a shell command and the exit status was not #{options[:status]}"
                ui.error "- Command :#{command}."
                ui.error "- Exitcode :#{result.status}."
                ui.error "- Output   :\n#{result.stdout}"
                raise Veewee::Error,"Wrong exit code for command #{command}"
              end
            }
            return result
          end

        end #Module
      end #Module
    end #Module
  end #Module
end #Module


So I read a number of blogs and because some of the sites(gawker media) have chosen to go with layouts that are slow and annoying I switched to google reader. So yeah I get through more articles faster and it archives the ones I don't have time to read. I star a lot of them and realized that they just kinda sit there. So maybe I could blog about the articles and maybe that will help me retain some of the information. Additionally I'm about halfway done with my final flash project and it's looking alright, well for the most part. I know I need to look into some more html5 and css code. And there has been a request to start a twitter account for my alter ego.