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Art and Chemistry: Painting, Pottery (Ceramics), Printmaking, and Photography
Annie Dressen
February 11, 2010
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|Lecture, Project-based Learning, Research Project, Thematic Approach
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|February 11, 2010
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Madonna and Child
Segna di Buonaventura
Madonna and Child with Saints Helen and Peter and Saints Catherine and Paul...
Bernardo Daddi
GENERAL BACKGROUND The roots of the Renaissance surfaced in Italy, where urban life, banking, and capitalism had progressed at a rapid pace. By the 14th century, the city–state of Florence was the leading center of international finance. But, even more importantly, there was a growing consciousness of political identity in 14th–century Italy. Many Italians became interested in renewing their rich classical past, and scholars actively studied the Latin classics. Following the teachings of St. Francis of Assisi (c. 1182-1226), who advocated religion as an intense personal experience, religious and secular thinkers of this period emphasized the importance of personal intuition and experience in seeking both divine and natural knowledge. They challenged the existing Christian scholastic philosophy that sought to rationalize religion through argument. This new emphasis on personal experience contributed to a new view of the world called humanism. Thomas H. Greer broadly defines humanism as "any view that puts the human person (humanus) at the center of things and stresses the individual's creative, reasoning, and aesthetic powers."1Early on, Florence was the major center of humanism. Francesco Petrarch (b. 1304) and Giovanni Boccaccio (b. 1313), two of the most important humanists, were born in Florence and influenced the progressive thinking in that city. BERNARDO DADDI Second only to Giotto, Bernardo Daddi was among the leading painters active in Florence during the first half of the 14th century. Though we do not know when Daddi was born, we presume it was during the late 13th century. He is recorded in a register of the Florentine guild of apothecaries for the years documented 1312 and 1320 and in another for the years between 1320 and 1350. He died during the "black plague" in 1348. Daddi recognized a demand for personal devotional altars and popularized the small–scale portable triptych (three-paneled picture). He made an industry of producing these portable triptychs, which Duccio and his circle had merely experimented with. He established a large workshop with many assistants to complete the commissions he received. PORTABLE TRIPTYCHS The market for such small altarpieces arose from an increasing emphasis on the more human aspects of the divinity and the attainment of a more personal relationship to God. Preaching orders, primarily the Franciscans,2 were largely responsible for this change. Further, the heightened emotionalism of contemporary preaching and the increasing growth of individual wealth in the great cities encouraged personal or private devotion. With an ever–growing middle class, more individuals could afford the luxury of having their own portable triptych. The small scale of the triptychs made it possible to carry them on travels, and the two side wings, when folded, protected the painted panel. The pattern established for these by Daddi (as seen in the MIA work) was used throughout the century.
Madonna and Child with Saints Helen and Peter...
Bernardo Daddi
Crucifixion with the Virgin, Saint John the Evangelist and a Clerical Donor
Lippo Vanni
Standing Madonna with Child
Nardo di Cione
Icon: The Archangel Michael Blessing the Martyred Saints Florus and Laurus of Dalmatia
Artist Unknown
Sioux Warrior Chief
Oscar Howe
INTRODUCTION This altarpiece is an example of late 15th-century Flemish painting. It is executed on three hinged-panels, called a triptych, which can be folded to enclose the inner painted scenes. The painting illustrates the tendency of Northern Renaissance artists to humanize religious scenes by placing them in contemporary settings. FLANDERS IN THE 15TH CENTURY The most important city in Flanders (modern-day Belgium) in the 15th century was Bruges, which derived its wealth from the weaving industry and from banking. A channel of the North Sea once reached inland to Bruges, bringing ships with raw wool from England that was used to weave the woolen cloth for which Flanders was famous throughout Europe. This industry contributed to the rise of a prosperous middle class. Their wealth made possible the construction of civic and religious buildings for which they commissioned works of art. Flanders was ruled at this time by the dukes of Burgundy (cousins of the French kings). The annexation of the Low Countries had come about through the intermarriage of the dukes with the House of Flanders. They made Bruges their capital, and patronized the arts by commissioning illuminated manuscripts, tapestries, and furniture for their castles. Their taste for the specific and the tangible details of the visible world greatly influenced the development of 15th-century Flemish painting. Flanders and the city of Bruges in particular, reached their height economically and artistically under the rule of Charles the Bold, the last duke of Burgundy. His death in 1477 was followed by a gradual decline in Flemish power and its eventual annexation to Spain and the House of Hapsburg in the 16th century. The economy of Bruges likewise declined due to the gradual silting up of its North Sea channel. By the end of the century, Antwerp had replaced Bruges as the economic and artistic center of the region. PAINTING DURING THE RENAISSANCE Revolutionary changes in painting occurred simultaneously in northern and southern Europe at the beginning of the 15th century. However, the development in each region was very different. The Italians sought to discover what had made Rome a great civilization by studying antiquity. A humanistic attitude developed that focused on life on earth and the role of the individual. Italian artists scientifically explored the structure beneath the outer appearance of their subjects through mathematical perspective and proportions, the study of anatomy and the mechanics of bodily motion, and by close observation of the world around them. While humanists accepted the existence of God, they were a society more interested in worldly matters. In contrast to the ancient Roman ruins of Italy, the northern monuments were Gothic cathedrals. The tradition out of which Flemish painting grew was not antiquity but rather the late Gothic or International Style.1 Flemish artists were more interested in rendering the surface appearances of their subjects than their underlying structure. Their approach was to give a faithful representation of reality by adding detail upon detail until the painting mirrored the visible world. This was because Flemish people had a reverential attitude toward the visible world. They made no differentiation between that which was sacred and that which was secular. Because everything in God's eye was sacred, all details of ordinary life were raised to the sacred in paintings, and likewise, all that was sacred became commonplace. THE DEVELOPMENT OF FLEMISH PAINTING Flemish panel paintings first appeared about 1400. Their precursors were stained glass and miniature manuscript illuminations. The miniature paintings in religious manuscripts were made by the monks during the Middle Ages. However, with the patronage of the court and the rising prosperity of the middle class, Bruges and other Flemish cities attracted many artists to the area. By the 14th century, miniature painting was the vocation of artists who worked for the nobles and princes. A powerful guild system developed that produced local "schools" of art that prospered throughout much of the 15th century. The illuminated manuscripts produced for the dukes of Burgundy toward the end of the 14th century were characterized by an intense interest in the actual world of appearances meticulously rendered with minute detail, brilliant color, enamel-like surfaces, and flat decorative patterns. Also evident in these works was an attention to everyday activities of life, specific times of year, and the natural world, giving prominence to the secular within a sacred text. These characteristics were translated on a larger scale to altarpieces by the masters of the 15th century like Robert Campin, the van Eycks, and Rogier van der Weyden. By the late 15th century, the great flourishing of Flemish painting was already declining. Individual masters were replaced by guild workers, and the middle class replaced the nobles as patrons. Originality and innovation gave way to imitation. Artists, like the Master of St. Lucy Legend, broke no new ground, but turned instead to an eclectic approach. They combined elements of different altarpieces of the masters in a variety of ways. Rather than seeking to elicit piety or religious fervor, the later altarpieces were designed to please their patrons. Artists flattered the civic pride of their clients by rendering local landmarks in great detail, like the Bruges cityscape in the background of this altarpiece. FLEMISH NATURALISM AND SYMBOLISM It is safe to assume that everything in a Flemish painting has significance. Behind what we might interpret as the trappings of everyday life lies symbolic meaning. For example, the violets at the feet of Christ and John the Baptist in the left panel of the MIA altarpiece symbolize humility because they grow close to the ground. Dandelions are one of the bitter herbs mentioned in the book of Exodus, a common Christian symbol of grief, death, and resurrection. Together they suggest a link between Christ and John the Baptist. While many of the symbols in Flemish painting derive from Christian iconography, many are invented by contemporary artists or derive from legends. This saturation of all elements with meaning resulted in what has been called disguised symbolism. Flemish realism, realized through endless detail, is even more tangible than Italian realism achieved through a scientific approach. This vision of a serene natural beauty in the service of religion led Flemish artists to amplify the qualities of beauty inherent in even the most insignificant objects. The soft textures of hair, the glitter of gold in the heavy brocades, the luster of pearls, the flashing of gems were all painted with tireless fidelity to appearance. The symbolic content of the Gothic image is made more visual in an attempt to represent the truths of the Christian religion in their most tangible and accessible form. The Flemish artists' predisposition to naturalism and disguised symbolism embodied in the ordinary objects of everyday life had its basis in the nominalist philosophy of the time. Nominalists considered the physical world the key to knowing reality. In their view, reality exists in individual objects and persons, which are directly perceived by the senses. (This view is in contrast to the platonic idea that reality is only in the mind of God and thus expressed through ideas.) If one embraced nominalism, it was logical to reason that it was not only important to closely observe the physical nature of things in the world but also to render them accurately in painting. The nominalist philosophy was given further support by the Flemish theologian, Nicholas of Cusa, who exalted sight to divine status. He asserted that because everything in the world is in God's sight, God is present in everything that exists, no matter how insignificant. This led to the belief that faithful reproduction of the visible world was akin to an act of worship, and that the resulting painting was a mirror of the divine. CENTRAL PANEL OF THE TRIPTYCH The central panel of the triptych combines two scenes of Christian iconography that were traditionally used to depict the mourners of Christ with his dead body after its removal from the cross. The first of these traditions is shown at the center, where the weeping Virgin Mary holds the dead Christ in her lap. This motif derives from a sculptural form first witnessed in Germany around 1300. Called a pietà, the Latin word for piety, the image was originally intended to stimulate reverence among the worshippers. A pietà typically is limited to the figures of Mary and Christ. (We have an example of a sculpted wooden pietà in our collection that is sometimes on view.) The presence of several other figures around Mary and Christ in this scene, suggest the influence of the second tradition, known as a lamentation scene. In Christian iconography, persons traditionally included in a lamentation scene besides the Virgin and Christ are St. John the Evangelist, Mary Magdalene, and Joseph of Arimathea. On occasion, Nicodemus, who provided the unguents to anoint the body, and one or more holy women like Mary, the mother of Joseph of Arimathea, are also included. In the central panel (unlike the side panels) no attributes are included with the figures, so positive identification of any individuals other than the Virgin and Christ is problematic. However, we have identified the man supporting the head of Christ as Joseph of Arimathea on the basis of his sumptuous garments. According to biblical accounts, Joseph was a wealthy individual who gave his own tomb for the body of Christ. Furthermore, it is likely that the male figure in yellow on the Virgin's right is St. John the Evangelist, because we know that he was present at the crucifixion and is always included in lamentation scenes. As here, he is usually shown as young and beardless and providing comfort to the grieving Virgin. The woman on the Virgin's left with long flowing hair and dressed in contemporary Flemish fashion is probably Mary Magdalene, who is also usually present in lamentation pictures. The man on the extreme right may be Nicodemus and the woman on the left in the red robes could be Mary, the mother of Joseph of Arimathea.2 A theory has also been proposed asserting that the two figures on the far right (the man the woman previously identified as Mary Magdalene) are the donors. Their contemporary Flemish garments supports this idea. However, while not impossible, it would be unusual to find donors represented in the central panel of a triptych. Donors were more typically portrayed in the side panels, often kneeling and sometimes in smaller scale than the holy figures.3 Some of the facial types of the figures suggest Spanish or Asian influence. It is possible that the artist chose models from the great variety of different nationalities of people drawn to Bruges at that time. It is possible also that the figures conform to a conventional ideal of beauty of the age.4 The holy scene is set before an accurate and detailed view of the architecture of Bruges in the late 15th century, bringing the event closer to the everyday lives of the worshippers. In fact, the details of the cityscape are so precise that we are able to date the painting by the octagonal stage of the belfry of a commercial building that was being restored following a fire. The other notable landmark is the tall spire of the Church of Notre Dame. Both structures still exist and look remarkably similar today. If one has the energy to climb the 356 steps of the belfry, you will be rewarded by a wonderful view of the city of Bruges and the immediate countryside. Although the architecture of Bruges is accurately recorded, the artist has taken license with the natural landscape. Bruges is not a coastal city, nor is it mountainous. At one time, Bruges had access to the sea through the river Zwin, but the river was silted up by the year 1490, cutting off access to the sea. However, even before that time the fantastic landscape of vast water, hills and distant rocky mountains, typical of this artist, was completely unlike the flat terrain of Bruges. It is obvious that the artist was partial to decorative elements. Great pains have been taken to give the scene a real life setting, making it more relevant to the Flemish people. This is evidenced by the contemporary clothing of several of the figures. Likewise, instead of the traditional blue and red costume, the Virgin wears the blue and white habit of a nun. The figures occupy an idyllic landscape, where every leaf and flower has been carefully trimmed, and swans swim on the pond before the fairy-tale castles of the city. Yet there is no mistaking that this is a scene of religious importance. Stylistically, the solidity of the figures, the close observation of nature (including contemporary Bruges), the possible inclusion of donor portraits, and the realistic attention given to the appearance of Christ's body suggests the influence of the Italian Renaissance. But these characteristics are blended with the traditions of the Late Gothic style. The figures are somewhat elongated (imagine if Christ were standing up), they are stiff and angular, and their faces are not individualized. The figures are placed close to the picture plane in a shallow foreground space, and the background is treated rather like a two-dimensional curtain drop. Depth is indicated by the diminishing size of things in the distance (although notice how large the swans are), the overlapping of figures, and the separate delineation of a foreground, middle ground, and background space by color without a logical transition. Greater attention is given to the surface detail of the costumes and hair than to the actual anatomy of the figures. While considerable attention is given to the details of Christ's pale skin, rolled-up eyes, and open mouth, there is little attempt to portray accurate anatomy. Rather, the purpose is to create a pious image of suffering as a meditative device. LEFT PANEL The figure depicted in the left panel of the triptych is John the Baptist, son of the Virgin Mary's cousin Elizabeth. He is considered to be the forerunner of Christ, as the last in the line of Old Testament prophets and the first of the saints of the New Testament. Although the most common attribute of John the Baptist is a lamb, he may be identified in this panel by his index finger that points to Christ. [John looked toward Jesus and said, "There is the Lamb of God." John:1-36.] In Matthew 3:4, John is also described as being "clothed with camel's hair and a girdle of skin about his loins." In our panel, he appears as a barefoot ascetic garbed in animal skin under a cloth cloak. RIGHT PANEL In the right panel is St. Catherine who, according to legend, was born in the 3rd century at Alexandria in Egypt, possibly of royal blood. St. Catherine was famous for her beauty and learning. After her baptism, Christ appeared to her in a dream and took her as his celestial spouse. She remained a devout Christian throughout her life. The Roman emperor Maxentius, whose capital was at Alexandria, launched a massive persecution of all Christians. Catherine preached her faith so convincingly that Maxentius gathered a group of philosophers to refute her teaching. Instead, she converted them. Enraged, the emperor imprisoned her and attempted to starve her into submission. When that failed, he proposed marriage, but she refused. He then ordered her to be bound between four wheels rimmed with spikes and torn to death, but a flame from heaven destroyed the wheel. Finally, Catherine was beheaded. St. Catherine was one of the most frequently depicted saints during the Renaissance. She is identified in the panel by her attributes: the spiked wheel that is at the lower edge of her skirt the crown that signifies her royalty the sword in her right hand that is the symbol of her martyrdom the book in her left hand refers to her learning It is possible that St. Catherine appears on this altarpiece because she was the patron saint of the donor. However, the Master of the St. Lucy Legend also included her image on other altarpieces. Her symbolic importance and general popularity would certainly have warranted her inclusion during this period. (In the MIA's sculpture, 20.11, Catherine appears victorious standing upon the body of Emperor Maxentius.) EXTERIOR PANELS The exterior of the triptych is painted in grisaille (literally "grey") to simulate unpainted stone sculpture. Grisaille figures demonstrate the virtuosity of the artist and were a standard feature of triptychs after 1410. The exterior scene of this triptych represents the Annunciation (the angel Gabriel is on one panel and the Virgin Mary on the other). The side panels of the triptych remained closed over the interior paintings under normal circumstances. On special occasions, like saints' days, the altarpiece was opened to display the bright, colorful panels in the otherwise dark chapel. TECHNIQUE The brilliancy of color and enamel-like surfaces of Northern Renaissance painting of the 15th century is largely due to the development of oil paint. Although oil paint was available as early as the middle ages, oil painting techniques were not used and perfected in panel painting until the early years of the 15th century. The use of oil paint facilitated a wider range of hues. The layering of translucent glazes of color allowed light to pass through and be reflected by opaque underlayers, lending a greater sense of luminosity to the paintings. This altarpiece is painted with a combination of oil and tempera (59% oil), which was a common practice at the time. Some artists of this period liked the jewel-like beading that resulted from painting tempera over oil. This effect can be seen on the foliage. Because of the presence of tempera, this painting has less of the brilliance and luminosity of a work painted completely with oil paint. THE ARTIST Altarpieces were not usually signed by the artist in the 15th century, so the actual name of the artist who painted this triptych is unknown. However, this painting has been stylistically identified with a group of three paintings depicting the life of St. Lucy that were executed for the Church of St. Jacques in Bruges. Consequently, the artist is known as the Master of the Saint Lucy Legend. An identifiable feature of the work of the Master of the Saint Lucy Legend is the cityscape of Bruges, which he included in many of his works. Other hallmarks of this particular artist's work are a close observation of the natural world as evidenced by his attention to the foliage of the foreground and the garden-like display of the middle ground, and a pleasing decorative sense. TOUR TIPS Use on the following tours: European Masterpieces of Art (14th to 18th centuries) Spirituality and Art People and Places (for the contemporary costumes and view of Bruges) Visual Choices Music and Art Compare the minute details of objects and the disguised symbolism in this painting with that found in the d'Ancona, the Claesz, or the Madonna and Child by the Master of the Embroidered Foliage. Compare this example of Northern Renaissance painting with the Portrait of a Cardinal in His Study, attributed to Costa, as an example of Italian Renaissance painting. Compare this triptych to the 20th-century painting by Beckmann or to the earlier altarpiece by Daddi. What appeal did the format have originally? Why would it continue to be used in this century? ENDNOTES In painting and sculpture, a fairly homogeneous style predominated in Europe from about1400-1420, which combined Italian and Northern European styles. It was characterized by a close observation of the world, a humanizing of religious subjects with secular elements, and meticulous attention to detail. In Italy, the Renaissance replaced it. In the north, the traditions of panel painting grew out of it. The attribute of St. John the Evangelist is the eagle; Mary Magdalene's attribute is a vessel containing oil of myrrh with which she anointed Christ's feet; Nicodemus' attribute is a jar of spices which he provided for the anointing of Christ's body in preparation for burial. If these figures do in fact represent donors, then it is possible that Mary Magdalene is the woman in the red robe on the right next to St. John. Suggested by Michael Stoughton in lecture to MIA docents.
Lamentation with Saint John the Baptist and Saint Catherine of Alexandria
Master of the Legend of Saint Lucy
William Blake
The Annunciation
Girolamo da Santacroce
The Annunciation
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Portrait of Mlle. Lange as Danae
Anne-Louis Girodet-Trioson
Boy with Butterfly Net
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Abstract Painting No. 9
Ad Reinhardt
Black-figured Hydria
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Artist Unknown (Korea)
Hexagonal Wall Tile
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Covered ewer and bowl
Linda Sikora
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Minneapolis Institute of Arts
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Minneapolis Institute of Arts
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Minneapolis Institute of Arts
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Eugène Delacroix
Aristide Bruant in his Cabaret
Henri de Toulouse-Lautrec ; Charles Verneau, Paris
Adler Typewriter
Lucien Bernhard
Bart van der Leck ; Willem Scherjon, Utrecht, Netherlands
Henry van de Velde
Prints and Processes: Intaglio
Minneapolis Institute of Arts
Annie, Seated
James McNeill Whistler
Christ on the Mount of Olives
Albrecht Dürer
The Genius of Salvator Rosa
Salvator Rosa
Rembrandt in a Cap, Open Mouthed and Staring, Bust in Outline
Rembrandt Harmensz van Rijn
Blue Heron
Mark Catesby
El sueño de la razón produce monstruos (The Sleep of Reason Produces Monsters), Plate 43 from Los Caprichos
Francisco Jose de Goya y Lucientes
Prints and Drawings from the Museum's Collection
Minneapolis Institute of Arts
Entrance to Mary's Garden
William B. Post
. . . istan/islam
Man Ray (Emmanuel Rudnitsky)
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Edward Weston
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Ansel Adams ; Sierra Club
André Kertész
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Thomas F. Arndt
The Documentary Urge: Tom Arndt
Minneapolis Institute of Arts
The Heiress, Harlem
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Get the Picture: Thinking About Photographs
Minneapolis Institute of Arts
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text:
ANDERSON, S.C. – Playing its first nonconference game in over two weeks, Anderson University returns home for the first time since March 1 when it takes on Peach Belt Conference opponent GRU Augusta, looking to avenge an earlier season loss on Thursday. Then, on Friday, the Trojans begin a South Atlantic Conference series with Tusculum. The three-game set concludes on Saturday with the first game at 1 p.m.
The Trojans
After beginning the month of March with three straight wins, the Trojans are 1-5 since their win over Southern Wesleyan at Fluor Field on March 5. In the span, Anderson squared off with historical South Atlantic Conference powers Wingate and Catawba on the road, with a 10-9 win over the Bulldogs being AU's lone win.
Showing his power at the plate over Anderson's last four contests, sophomore first baseman Steven Cooper has knocked out three home runs in the span after beginning the first 23 games of the year without a home run. Cooper leads AU in average with a .356 mark with a team-high two triples and 10 doubles. Senior outfielder Nathan Galliford added to his home run total on Saturday with his eighth home run of the season. The senior is now in second place in the league in home runs, trailing Lincoln Memorial's Josh Coker with 10.
With Galliford (27) and Cooper (26) ranking in the top-five in the league in runs batted in, senior outfielder Paul Como is also getting conference recognition by currently leading the SAC in doubles with 11.
Junior right-hander Landon Beck, who made the switch from the closer role to a weekend starter, recorded his third complete game of the season on Sunday against Catawba. Despite the complete game, Beck ended up with his third loss of the season, due a walk-off home run in the bottom of the seventh. The junior is now 2-3 for the year with 51 strikeouts in 36 innings while carrying the league's highest strikeouts per game average of 12.75.
The Jaguars
Since Anderson and GRU Augusta met on Feb. 18, the Jaguars suffered five straight setbacks, not earning a win since March 2 when they won both games of a home doubleheader over Lindenwood. The two wins began a four-game winning streak before falling in the second game of a three-game set to North Georgia. Currently, the Jags are on a three-game losing streak after being swept by Lander last weekend.
With the setbacks, GRU Augusta is 11-15 for the season and 3-9 in the Peach Belt Conference. With the 3-9 league record, the Jaguars are tied for 10th place, joining Francis Marion and Young Harris.
Senior Jeff Rice, who did not see the field in the first meeting between the teams, leads the team in average (.364) and slugging percentage (.515). Classmate JD Sabo, who has started in every game, is hitting .344 with a team-high 33 hits and one of the team's four triples on the year.
On the mound, left-hander Frank Warren has started six games and holds a 3-1 record with a 2.57 ERA and 14 strikeouts. Reliever Clint Echols is tied for the team-lead in appearances with nine, while carrying a 4.67 ERA and a team-high 21 strikeouts.
The Series vs. GRU Augusta
GRU Augusta came away with a 4-3 win over Anderson on Feb. 18 at Lake Olmstead Field in the teams' last meeting. The middle of Anderson's order of Galliford, Brett Cash and Como all posted two hits for the afternoon, highlighted by Como's first home run of the year.
The Pioneers
Prior to the start of the 2014 campaign, Tusculum was projected to finish tied for second, as it joined Wingate for the runner-up position in the annual SAC Preseason Coaches' Poll, released in late January. Currently, Tusculum is 17-10 for the year, but holds an even 7-7 mark in league action. Last weekend, the Pioneers claimed two-of-three from Newberry before adding a 14-2 win over North Greenville on Tuesday.
In Greeneville, TC is 15-2 record, while on the road; the Pioneers have struggled, accumulating a 2-8 mark. Despite the records, seven Tusculum hitters are hitting over .300 for the season, led by senior Taylor Foster with a .361 average and a .458 slugging percentage. Teammate Trey Drewery follows with a .340 batting average with a team-high 33 hits and 24 RBI.
On the hill, starter Michael Scott is a perfect 2-0 for the year in seven starts, posting a 2.70 ERA with 16 strikeouts in 40 innings of work. Right-handers Christian Raasch and TJ Miller are the other projected starters for this weekend as they combine for 51 strikeouts in 77.2 innings this season. Tusculum's lone preseason all-conference honoree, John-Austin Shepar, leads the staff in appearances with 10 while adding 21 strikeouts and holding hitters to a .236 average.
The Series vs. Tusculum
Since joining the SAC before the 2011 season, the Trojans have managed one win over the Pioneers, coming in the 2012 season when AU took the second game of a three-game set, 14-2, on March 3. Since then, TC has recorded four straight over Anderson.

subset: commoncrawl


text:
Maybe a better way to ask the question would be: why is the Facebook app so bad?
This is not so much a question specific to the Facebook iOS app, it just uses that as an example. What I want to know is how is it possible that a company like Facebook that has all the resources it needs can make such a bad app. Facebook is famous and "cool" so a lot of devs, designers and architects want to work for them, and it has the money to pay for the best of those. And it's not like it doesn't care about the app. It's not some small internal unimportant project, it's one of the most downloaded apps on the app store. But also one of the most complained about. This brings me to my question, how is it possible that an entity with such resources and desire can end up making such a bad product?
To put it another way, what are the main complexities involved in such a big project that can ultimately lead a collection of perfectly skilled individuals to collectively create something that is not so perfect? Put in a more positive way, what is required (other than skilled people) to make a great product?


text:
I've never canned or pickled anything; however, I'm keen to give it a shot. However, I'm the only one in my family who likes cucumber pickles, so it might take me a while to go through a batch. There are a lot of recipes out there for "refrigerator pickles" which only keep for a few weeks; what steps are taken in a real pickle recipe that mark it as one for long-term storage? Can a refrigerator pickle recipe be converted to long-term storage?
Pickle recipes meant for longer-term storage will include instructions for sealing the jars. While some recipes may have you use hot jars and hot brine that will result in a fairly reliable seal ratio (meaning most of the jars will properly seal), other recipes will have you put the filled and closed jars in a boiling water bath to be processed for a specific amount of time. I've found this method to yield an even higher ratio of properly sealed jars.
In either scenario, the sign of a sealed jar (assuming you are using canning jars with a lid and ring system) is an indented dome on the lid. Jars that do not seal properly will still have a protruding dome.
Most recipes will have all the specific information you need to make pickles including the shelf life of sealed jars. The Ball canning jar company has a good website: http://www.freshpreserving.com/recipes.aspx
Best of luck - I hope your pickles are a tasty success!
Whatever you do, don't forget the food safety problems here. The reason most recipes don't claim they are good for canning is that nobody tested them if they are safe for canning.
When you can food, you have to seal it (so no bacteria can enter the jar) and sterilize it, so all bacteria in the jar will die. This gets rid of almost all nasties present in food. The only thing which survives sterilization: botulism spores. They are much hardier than the living bacteria and don't die at 100°C (the highest temperature you can achieve with boiling). Also, they are anaerobic, so they will love to multiply in your sealed jar. And botulism toxin is very strong. If you eat a jar with a botulin-producing colony inside (which you can't recognize on opening), you won't just get a day of upset stomach; botulism is a serious condition and often fatal if left untreated.
There are two ways to eliminate botulism risk. First, you can use a pressure canner. It increases the temperature in your jars enough that the spores are killed along with the bacteria. If you want to invest in a pressure canner, please refer to trustworthy literature for the exact process. But if you don't can much, it is easier to choose a recipe suitable for simple hot-water canning. For that, you don't need an actual "officially approved" recipe; all you have to do is to ensure that your current batch has a pH of below 4.6. At this acidity, botulism spores cannot grow and you are safe. As pickles contain lots of acid, it is very probable that some of the "refrigerator pickle" recipe will turn out to produce batches suitable for canning. Alternatively, you can still search for an "approved" recipe; these have been tested and found to consistently produce food of sufficient acidity.
As I have never made pickles myself, I can't tell you for sure that there won't be taste deterioration if you can a recipe originally meant for the refrigerator. But while the tase will probably change during the boiling, it won't necessarily get worse, so it may be worth a try.
Canning is relatively simple, but there are still some safety tips that you have to be aware of.
Always use a recipe from a trusted source. This can be from the Ball website or one of their many wonderful (recently published) cookbooks, or another reputable website like pickyourown, Food In Jars, etc. Don't use recipes that are very old as they may not have a high enough level of acid, may not process for a long enough time, or may rely on antiquated jar sealing technology. This USDA publication has some great recipes for free. Otherwise I highly recommend the Ball Complete Book of Home Preserving and The Joy Of Pickling.
If you are using a hot water bath method, do not use a recipe that calls for a pressure canner! Pressure canners can obtain higher temperatures than you can at standard atmospheric pressure and are used to process items with less acid, which would be unsafe to can in a water bath canner.
DO NOT invert your lids to form a seal, regardless of what other commenters on this post suggest. This doesn't sterilize the contents of the jar, and could potentially lead to Botulism. (See: pickyourown.org, http://sharonastyk.com/, foodinjars.com)
If you use a larger jar size than the recipe calls for, you may have to increase the processing time. You may also have to increase processing time when canning at altitude. These guidelines should be included in the above recommended cookbooks.
The PDF and books I recommended above also have instructions on how to use a hot water bath canner -- as well as how to make fridge pickles and lactofermented pickles.
As the time passes, vinegar-based pickles will absorb more acid, so reducing the amount of vinegar will help keep them tasty.
Other thing is that refrigerator receipes usually tell you to just cover or cover loosely the jar. For long-term storage you could can them. The simplest way, that I use mostly for jams (I don't like vinegar pickles, just sour pickles) is to pour the boiling marinade into the jar with veggies, immediately close it tightly and turn upside down (the jar and the cover get hot VERY quickly!). The boiling liquid will sterilise veggies and when it cools, the little amount of air inside the jar will seal the jar. Sometimes the middle of the cover will not pop down - those are not properly closed and should be stored like refrigerator pickles.
Returning to the vinegar. My grandma uses usually 1 portion of vinegar per 4 portions of water. This way the canned pickles will last even 2 years (well, maybe even longer, but I don't remember ever eating any older pickles) and have a beautifully mild taste. My picky 3-year old loves her pickled pears!
If you are afraid that you will be the only one to eat your pickles, maybe just make them in small batches? Just a half-liter jar or two per receipe. I know it's more work this way, but you wouldn't have to worry about the storage time.


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British Columbia-based media mogul David Black has been touting what he says will be among the 10 largest refineries in the world. He envisions refining oil from Alberta's oil sands at the $25 billion facility and exporting it from the Pacific port of Kitimat, B.C., to markets in Asia.
By ALISTAIR MACDONALD
TORONTO -- Canadian media mogul David Black said late
Thursday the Industrial & Commercial Bank of China, China's
largest bank by market value, has agreed to help finance his
plans for a $25 billion refinery on the west coast of
The British Columbia-based businessman has been touting what
he says will be among the 10 largest refineries in the world.
It envisions refining oil from Alberta's oil
sands and exporting it from the Pacific port of Kitimat, B.C.,
to markets in Asia.
Mr. Black is better known as the majority owner of closely
held Black Press Group, which runs more than 150 newspapers in
British Columbia, Alberta, Washington state, Hawaii, California
and Ohio. But he's recently made headlines in Canada for his
ambitious refinery plans.
Such a facility has been one idea floating around for years
to help Canada better capture the value of its immense oil
reserves. But many industry executives have said Canada would
be better off simply exporting its unrefined crude to Asian
At least two pipeline projects are in the works to bring
Alberta crude to the West Coast, though both face stiff
opposition from environmental and native groups.
Mr. Black told The Wall Street Journal last month
that he is close to signing memorandums of understanding with
customers for so-called off-take agreements, in which they
would agree to buy products from the plant.
The ICBC commitment is the latest move by China to try to
participate in a boom of energy production across North
American. Cnooc snapped up Canadian oil producer Nexen last
year for more than $15 billion, and other state energy and
natural resources firms controlled by Beijing have pumped
billions of dollars into Canadian and US assets in recent
Mr. Black's company, Kitimat Clean, signed memorandums of
understanding with ICBC on Thursday for the Chinese bank to act
as a financial adviser and "cooperate in the financing of the
proposed Kitimat refinery and associated pipelines," Mr. Black
said in a statement.
In an email, Mr. Black said he anticipates the Chinese bank
will both help finance the project and help set up other
ICBC will be working "toward a comprehensive agreement to
finance" the refinery, Liu Yanping, deputy head
of corporate banking at the bank and Huang Jifa, its deputy
head of investment banking, said in the statement sent out by
Mr. Black.
Dow Jones Newswires
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Qodrat Azima
-- It will be a fantastic project, the Crude Distillation capacity is estimated to be in the neighbourhood of 2Million Barrels per day with subtantial capacity in Catalytic Reforming - around a quarter MillionI Barrel per day and other conversion processes of similar capacities. I love to work on the refinery project...
Library Shell Global Solutions
That's best for Canada to look for overseas market for it's huge oil sands reseves and to compete in the open market. The main point is to get approval for kitimate pipelines so that this project can be put into practice. This is very good for not only to Alberta and BC but also to boost overall Canadian economy which is sort of in a grey area now a days.
Paul Sullivan
Might we see a reversal of the proposed oil flows from Canada to Texas and instead see northern US unconventional O&G flowing north over the border into Canada to capitalise on Canadian facilities???
jon pecaut
Great news for Canada. Too bad the US can not get the politics and enviromentalists out of the way so XL can be built along with the proposed refinery in South Dakota.
Nadeem Khan
This is good sign towards boost in Canadian economy. Currently Canada is in need of such refineries to capitalize it's Oil Sand deposits and to export it to asian markets instead of exporting unrefined crude. I think it will be beneficial and would aid the Canadian economy in a longer run. We hope that government will get all required approval to build the pipeline projects by the time.
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Engineers and designers are highly skilled individuals. Forcing them to enter design changes using tables, forms and spreadsheets is unproductive and uneconomical, and it increases the likelihood of human error—this is the way that most instrumentation software systems currently work. For too long, software vendors have denied engineers and designers the simple practicality of a graphical visual engineering interface with "drag and drop" capability and inbuilt intelligence, ensuring changes are automatically replicated into all the associated data and databases.
Is 2016 the peak for US gasoline demand?
Too soon to tell
July 2016


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In light of Joseph being called a righteous man in Matthew 1:19, does this mean that divorce because one of the two was not a virgin at the time of marriage is biblically valid?
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I know of no doctrine held by any Christian tradition based on this passages that speaks to virginity at the time of marriage in relation to possible divorce. It is simply not the subject matter of the passage and drawing such a conclusion from it would be bad hermeneutics. You would need to find other teachings on previous relationships or extra-marital relationships in order to address that issue in a Biblical fashion.
If you look at other Biblical passages, you will note that basically the only valid grounds for divorce is the case of adultery. Even then it is not prescribed / required, only possible allowed.
If you look into the marriage traditions of the time, you will find that the issue of divorce was as relevant to Betrothal (engagement of sorts) as it was to marriage. A betrothal could not just be broken off for any reason, it was as good as a marriage vow as far as being binding on the parties, but the relationship was not to be consummated until after the wedding.
Mary getting pregnant during the betrothal was (barring the supernatural) obvious proof of adultery. Having committed herself to marry and be faithful to one man and entering a binding contract with him, Joseph would know he hadn't slept with her so she must have slept with another man.
With this understanding, we see that the only thing this passage could teach us about divorce is to reinforce the teaching that says adultery is possible grounds for divorce, but that it is not unlawful to NOT divorce even cases of adultery.
This is a good question. Joseph and Mary had entered into the covenant of betrothal for marriage. The terms of that covenant were that each would maintain purity until their wedding. When it was found that Mary was pregnant, Joseph knew quite well that the child was not his. The conclusion was that Mary had been unfaithful to him, even though this turned out to be an invalid conclusion.
So, the issue was that Mary was thought to have broken the covenant of marriage by being unfaithful--not necessarily that she was no longer a virgin. Indeed, Boaz married Ruth, who had already been the wife of another. David married Bathsheba, who had been the wife of Urriah.
So, again, virginity was not the issue per se, but unfaithfulness was.
Two possible answers:
So I don't think this passage tells us anything about virginity as a grounds for divorce. It seems to be about breaking off a betrothal rather than divorce proper. And even if it is about divorce proper, Joseph had good reason to suspect unfaithfulness since the engagement or marriage or relationship had begun, while a mere lack of virginity might long predate you having ever met your marital partner.
If a person had falsely presented themselves as a virgin and you married them, that might be valid grounds for divorce. But if they never presented themselves as such (either through openly admitting such a previous sexual relationship, or if they never said but you never asked), then I don't see how that is any better grounds for divorce than simply "I'm tired of you" or "I found someone who I think is better"


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An independent panel appointed by Kentucky Gov. Steve Beshear has begun reviewing child deaths and severe abuse or neglect cases.
Among the cases the panel reviewed on Monday was that of 3-year-old Alayna Adair of Christian County. According to media reports, Department of Community Based Services Commissioner Teresa James told the panel that there were "egregious" failures that led up to the girl's death in 2011. She said the case isn't representative of how most reports of abuse and neglect are handled.
The case was one of four reviewed.
The panel is tasked with making recommendations to improve investigations of child abuse cases.


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There are two dates that are burned into my memory. February 15, 1996, the day I was told that I had Prostate Cancer (PC) and April 11, 1996, the day I had a radical prostatectomy to remove the disease from my body.
As I've pointed out in previous updates to the Oncology Bulletin Board, life right after being told one has PC, through each step including what was termed successful surgery, each successive blood test -- every 6 months for the rest of your life -- the fear and concerns continued to diminish. With every anniversary year, hope grows that it -- having cancer -- is finally, really over.
I remember doing my annual updated reports for this bulletin board, messages to other cancer victims and survivors, and how thrilled I was to have achieved 1,2,3, and 4 years post-op, cancer-free. I promised the bulletin board editor, Maggie that I'd write of my successful completion of my 5-year anniversary, because it was to be such a momentous occasion. I never did.
That was almost a year ago. Somehow, I never got around to writing that 5th-year update. Life was and is good, and perhaps, crossing that 5-year mark does something to your memory. "Oh, sure, I had cancer, yeah Prostate, but that was 5 years ago." Suddenly, it's just no big deal. And I never wrote my update as promised.
So what has prompted me to submit what is almost my 6th year anniversary chapter? Well, in December 2001, as I was walking across the parking lot of our local community college -- that's another story for another time - I saw the American Red Cross Mobile Blood Center bus in front of the administration building. They were giving away these neat T-shirts just for donating blood, and I wanted one. But of course, as a survivor of cancer, I thought my blood donating days were over -- thank heavens, because to this day, I still don't like getting stuck with a needle, even for a good cause!
Feeling as if there was no way that I would be permitted to give blood, and willing to forego the T-shirt just to avoid being stuck with another needle, this is what happened. When approached to donate, I responded with that tried and true statement, "I've had cancer, so I can't donate."
Well, to my surprise, these tenacious blood-grabbing volunteers simply asked, "How long ago did you have cancer?" I said, "About 5 ½ years ago." And they said, "Great!"
I knew I was in trouble. "What do you mean great?" I asked.
"Well, after 5 years, we consider you to be cancer free," said the cute young lady with what was beginning to look like a very bloodthirsty look in her eyes.
"You mean like I can give blood?" I asked.
"Well, if you've gone 5 years or more with no reoccurrence or signs of prostate or other forms of cancer, we'd love to have your blood. You're cured!"
"Well, I'll be damned," I thought. "Not even my own doctor was willing to tell me I was officially cured. Maybe he just likes seeing me every 6 months?"
"Let me think about this," I said, as I walked into the administration building. I wasn't ready to let a woman with a Cheshire-Cat grin, even a good-looking one with a Red Cross insignia on her sleeve, stick me with one of those pipeline-sized needles.
But as I went about my tasks, I began to think that there are sure a lot of people who would love to be healthy enough to be able to give blood, but simply cannot because, well, they're just not healthy.
And here I was, just having been informed, after little more than 5 years from the day I was told I had cancer, that I can be a blood donor.
I thought, "I'm more than a survivor, I'm cured! My blood is as good as anyone's, even someone who hasn't had cancer. Imagine that!"
So, my school business complete and my mind made up, I exited the administration building and walked up the steps into that Blood Mobile and asked, "Do you have any of those T-shirts left?"
Darn it, they did, and in my size too. I had tried to leave myself one more loophole, but even that escape route was blocked. I was officially trapped.
I gave a drop of blood from my finger to test for iron deficiency -- passed that test like my blood was made of lead -- then went through the usual 100 question form with the nurse. When the issue came up, "Have you ever had cancer?" I responded, "Indeed I have."
She asked, "How long ago?" And I said, "Well, it's been more than 5 years." To which she said, "No reoccurrence, no problem, which arm would you like us to use?"
To make a long story longer, I gave blood.
Compared to the feeling that I really am cancer-free, a little needle-stick in the arm doesn't even begin to measure up.
I've actually given blood since then -- with no T-shirt bribery necessary -- about 7 weeks later when I saw the Blood Mobile at our local grocery store parking lot. Doing so, for me, was another confirmation and reaffirmation that I, AM!
April 11, 2002, will mark 6 full years cancer free. Those memories of the diagnosis, surgery, and years 1 through 5 of worry about the possibility of reoccurrence, have somehow been all but forgotten. It's almost as if it never happened.
Oh, I still see my doctor every 6 months. But those wonderful people, who so willingly take my donated blood, now also serve as a reminder that my life is beautiful, reasonably carefree -- except for an occasional needle stick -- and most importantly, cancer free.
For a pint of my blood, a price I'm happy to pay, I hear someone remind me, every 8 weeks, "You're cured."
It just doesn't get much better than that!
Read other articles by Ron Kauffman
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Can anyone help me using the Fedora alternatives system in order to install an old version of make? I know the actual program is irrelevant, but I need it so I'll use it as my example.
I currently have
make-3.82 installed on my Fedora 14 box, but I need to have 3.81 installed to build the android kernel. I already downloaded the 3.81 source and built it, but now I want to install it alongside 3.82 and be able to switch between them using Fedora alternatives.
Now I installed
make-3.81 from source into
/usr/local, how would I use alternatives to achieve my goal? I know I must use the alternatives command, but so far my attempts have failed and I would like a concrete example.


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The Baby Jogger Car Seat Adaptor allows you to turn your stroller into a travel system by providing a place to securely attach your car seat to the stroller until your baby can sit in the upright seat.
The following Car Seats will click in to the adaptors(Manufacturer Recommends use of of the safety strap):
The following Car Seats will fit into the adaptors but will not click in:
Which Model Stroller Will This Work On?
The Following will NOT work with Baby Jogger's Standard Car Seat Adaptor
The Following car seats have not been tested on this adaptor or have been discontinued
The use of the safety strap is always recommended, regardless of whether or not the Car Seat clicks in to the adaptor. Baby Jogger is constantly testing and updating the list of Car Seats that are compatible with our adaptors. For the most up to date list of compatible Car Seats, please visit the FAQs on www.babyjogger.com.


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I have an image that is 1600x1200
I would like to use it as the background image for my site. The image should be static, only the content should be scrollable.
This is what i have tried:
background-image: url('blog-baggrund2.jpg');
background-repeat: no-repeat;
background-attachment: fixed;
background-size: cover;
The problem is
background-size: cover; stretches it so that the whole image is not shown, and
background-size: contain; minimizes it so that it does not fit the whole screen (at least in width - height is perfect)
My own screen resolution is 1600x900
Notice all the "black" stuff from the bottom of the image is not shown.
Any suggestions?


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Add to Calendar
March 8, 2013 @ 8:00 am – March 9, 2013 @ 1:00 pm
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To consign register at www.newhopenac.com
Gently used children's clothes, toys, books, games, children's furniture, and maternity items.
Register to consign or come shop for your child or grandchild.
Call 334.444.0860 for more information.


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- Binding: Paperback & eBook
- Era:
- Number of Pages: 416
- Subject: Leadership
- Date Available: October 2011
Your tax-deductible gift to the Naval Institute Press underwrites worthy books that might not otherwise be published.
Offering the wisdom of practitioners from the military, law enforcement, fire and rescue, as well as prominent scholars this guide integrates theory and research with practical experience to help the reader prepare for the unique psychological, social, and physical challenges of leading in dangerous contexts. Whether a young soldier preparing for war, seasoned combat commander, SWAT team leader, EMT supervisor, law enforcement patrol unit leader, or fire department lieutenant, those involved in life-and-death situations face common challenges, and the authors draw on their own experiences and that of others to help first responders effectively function in dangerous environments.
Published in cooperation with the Association of the United States Army
Col. Patrick J. Sweeney, a former battalion commander in the 101st Airborne, directs the Eisenhower Leader Development Program at West Point. Michael D. Matthews, a former law enforcement officer, is currently Professor of Engineering Psychology at West Point and past president of the American Psychological Association's Society for Military Psychology. Capt. Paul B. Lester is a research psychologist in the Army's Comprehensive Soldier Fitness directorate and a veteran of Iraq and Afghanistan.
Advance Praise for Leadership in Dangerous Situations
"When dangerous situations require immediate action, there is a critical need for decisive leaders who have the strength of character and unwavering determination to choose the right path. The real leadership challenge will be to not only understand the concepts of this book but to move them into action."
—CHARLIE BECK, Chief of Police, Los Angeles Police Department
"This handbook is a must-read for leaders on the line, the men and women who lead and serve others in dangerous situations that involve the risk of death or serious injury…Leaders who draw upon this resource will transform the people and the organizations they lead to produce amazing acts of courage and perform great service to the communities and the nation they serve."
—BRIG. GENERAL HOWARD T. PRINCE II, USA (RET.), Director, Center for Ethical Leadership, University of Texas at Austin
"Leadership in Dangerous Situations represents an important contribution to the social sciences and to our understanding of human nature, resilience and leadership in extreme situations. This book covers timely and important topics that will be of interest to military, first-responders, firefighters, and emergency workers who confront danger and leads others into dangerous situations…The book will have an international appeal and is highly recommended."
—JARLE EID, Dean and Professor, Faculty of Psychology, University of Bergen, Norway
"I am convinced that this book will be valuable to leaders at all levels, but especially young, junior, and less experienced leaders. No matter where they start on the spectrum of leader quality, everyone who reads this book, and integrates the knowledge and actions on the 'key takeaways' into the daily fabric of life, will be a better leader when it really, really matters."
—BRIG. GENERAL RHONDA CORNUM, USA, author of She Went to War: The Rhonda Cornum Story


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I have more than 20 solutions to deploy or retract at the same time, Currently i doing the deployment/retract one by one and each deployment is required an iis reset and this causes around 20 minutes for the complete deployment/retract.Is there a way to deploy or retract multiple solutions in a single batch process. I am using .net to do the deployment.
Not sure about
There are two basic ways to deploy/retract multiple solutions on SharePoint 2010:
stsadm command ('The Old Way')
You can use stsadm commands to retract/deploy your solutions and put them in batch file. It can look something like this:
By stopping SharePoint 2010 Administration service (SPAdminV4) before executing this batch you will save some time (but not too much). Then again instead of retracting, deleting, adding and deploying you can use
PowerShell script ('The New Way')
PowerShell is very powerful (!) tool for scripting. IMHO you need to solve your deployment by using some PS script (eg. second link). Since I would need few more pages of text to explain everything I will just point you in right direction:
When retracting solutions from SharePoint 2010, it only does an App Pool recycle on the web application the solution is deployed to (if it is deployed to all applications, then each app pool will get recycled). SharePoint treats each retraction as a separate timer job and there isn't any way to change that behavior. So, after each retracted solution, the applicable app pools will be recycled.
I prefer to group the operations. So I start by retracting all solutions, delete them, run an application pool recycle and restart the owstimer (if there are timer jobs in any of the solutions), then add all solutions and deploy them.
I have been working on projects with upto 30 solution packages at we followed that pattern. It is slow, yes, but it works everytime. Also it is seems very import to only run one deployment job at any time. So we built a tool to check for the deployment timer job to be finished before continuing with the next deployment operation. Gary Lapointe has built this into his tools.
Again, it might seem awkward and time consuming but for this is the solution that works every time and on single server as well as farms with multiple front-ends.