text:
Christ Healing a Lunatic and Judas Receiving Thirty Pieces of Silver
Francesco d'Antonio, Italian (active Florence), born c. 1393-94; last documented 1433, Florence
Made in Florence, Italy, Europe
c. 1425-1426Medium:
Tempera and gold on linenDimensions:
45 3/8 x 41 3/4 inches (115.3 x 106 cm) Framed: 48 1/4 × 44 3/4 × 3 inches (122.6 × 113.7 × 7.6 cm)Curatorial Department:
European Painting
* Gallery 209, European Art 1100-1500, second floorAccession Number:
Cat. 17Credit Line:
John G. Johnson Collection, 1917
Social Tags [?]florence [x] linear perspective [x] linen [x] mannerism [x] renaissance [x] tempera [x]
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Early sources suggest that the great Renaissance painter Masaccio worked out the sophisticated perspective of the temple. The design is based, in part, on the plan for the dome of the cathedral of Santa Maria del Fiore in Florence.
The haloes of Christ and the apostles contain an emblem with the Greek letters for Christ's name, a symbol Bernardino of Siena promoted for religious devotion. He preached sermons in Florence in 1425 and 1426, and this lightweight canvas painting may relate to that visit.
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Italian Paintings 1250-1450
The scene takes place in an open building with a multifaceted dome meant to represent the temple in Jerusalem (see Giovanni di Paolo, Philadelphia Museum of Art, Johnson Collection cat. 105). To the left Judas, identified by a dark blue halo, accepts thirty pieces of silver from the elders to betray Christ (Matthew 26:14-15). 1 To the right Christ, surrounded by a group of apostles, performs a miracle by raising his hand toward two figures on the street outside, where a man clad only in underpants kneels over a child in red.
Although the Gospels do not record that Christ performed such a miracle in the temple, Matthew 17:14-20 does describe how a man brought his lunatic son to Christ for healing after none of his disciples had been able to cure him. The verses that immediately follow (22-23) would explain the combination of the miracle with Judas's betrayal: "Jesus said to them: The Son of man shall be betrayed into the hands of men: And they shall kill him, and the third day he shall rise again." The passage (verses 23-26) further recounts the story of the tribute money, or tax, that Christ and the apostles had to pay, which Masaccio depicted in the murals of the Brancacci chapel in the mid-1420s.2 The grouping of Christ and the apostles in the Johnson painting reflects the arrangement of the central group in the tribute money scene. The seminude man kneeling in the foreground is also derived from a figure in Masaccio's Apostle Peter Baptizing the Neophytes in the same chapel.3
As first noted by Roberto Longhi (1927, p. 65; 1940, p. 161), the combination of the scenes of Judas receiving blood money and Christ healing the lunatic occurs in a nearly contemporary silver plaque (see Paris, Musée du Louvre, Département des Objets d'art), often attributed to Filippo Brunelleschi, though recently it has been proposed that it was designed by Leon Battista Alberti, about 1439-42.4 There the two scenes are set in a city square in front of idealized antique and modern architecture. Clear correspondences between figures in the plaque and in Masaccio's paintings in the Brancacci chapel can also be found. In addition, as Paul Joannides (1993, p. 467) observed, the apostle seen from behind in the far right of the Johnson Collection's painting is the same-but reversed-as the apostle in the front right of the silver plaque.
William Blundell Spence's identification of the Johnson painting as the work by Masaccio described by Vasari in 1550 as being in the house of Ridolfo del Ghirlandaio was supported by August Schmarsow (1895-99, 1928a), Wilhelm R. Valentiner (letter to Johnson, dated New York, May 16, 1911), Herbert Horne (letter to Johnson, dated Florence, June 9, 1911), and Frank Jewett Mather (letter to Johnson, dated Princeton, May 22, 1913; letter to Henri G. Marceau, dated Washington's Crossing, May 4, 1942; and his article of 1944). The auction catalogues of the Somzée (1904) and Sedelmeyer (1907) collections simply attributed the picture to Masaccio. Bernhard Berenson (1913, pp. 12, 14) was much more cautious, suggesting that it was an "imitation of or possibly a copy after a lost work." However, Berenson had trouble even with the idea that the picture was a copy, and wrote that "if it were a copy after Masaccio [it] would thus suggest questions regarding him not easy to answer. . . . Perhaps however, the problems here suggested have no real existence, for it is more than likely that Vasari was mistaken in ascribing to Masaccio the design which probably is the creation of his imitator Andrea di Giusto."
In Berenson's lists (1932, 1936, 1963) the picture appeared as the work of Andrea di Giusto. Jacques Mesnil (1927), Mario Salmi (1932; 1948), Longhi (1940), Alessandro Parronchi (1966), and Luciano Berti (1964 and in Berti and Paolucci 1990) all concurred but recognized the possibility that Masaccio had had a hand in the design. Shell (1965) attributed the execution to Francesco d'Antonio and suggested that it was a copy from about 1430 after a lost original. He, however, felt that the design should be attributed to Masolino rather than Masaccio.
Shell's attribution of the figures to Francesco d'Antonio was accepted by Beck (1977), who, however, believed that the painting was essentially designed by Masaccio, and Joannides (1993), who, like Shell, thought that Masolino was most likely responsible for its conception. The most telling comparison with Francesco d'Antonio's known work is perhaps with the figures in his predella to the Rinieri altarpiece of about 1426-30 (see Avignon, Musée du Petit Palais, no. M.I.475). Furthermore, although Francesco is recorded as being associated with Masolino on three occasions, this does not exclude the possibility that he worked with Masaccio on the Johnson painting.
The Perspective:
The perspective of the painting has been the object of much study. Parronchi (1959, fig. 3; 1964) demonstrated that the orthogonals receded to two vanishing points at the far ends of the horizon line, which he noted was the scheme Brunelleschi used to paint a perspectival rendering of the Palazzo Vecchio in Florence. The date of Brunelleschi's lost painting is much debated,5 but the most likely period is 1424-25, when he was involved in the construction of the cupola of the city's cathedral and made a painting of the baptistery from the main entrance of the cathedral.
Shell (1965, p. 466 and fig. 3), while acknowledging the perspectival qualities of the Johnson picture, sought to demonstrate that Francesco d'Antonio's perspective was much more haphazard than Brunelleschi's and that the orthogonals did not merge on two precise vanishing points. However, careful examination of the principal orthogonals shows that they do converge on two vanishing points, although the artist did have trouble with some of the details, and the projection of the perspective can at best be called simplistic and imprecise (see Layout of the perspective of Philadelphia Museum of Art, Johnson Collection cat. 17 executed by Irma Passeri). For instance, orthogonals that do not run along a continuous straightedge (such as the capitals of the piers) do not in every case converge on the vanishing points. In addition, the rounded shapes and the arches were drawn with a compass as arcs of a circle and not in proper recession. The arches of the first and second bays of the left aisle are of equal size, with only the third bay adjusted in size to account for its recession in space. The piers and columns likewise fall in uneven spacing as they recede. Nevertheless, Francesco d'Antonio achieved a convincing sense of rational space by carefully hiding some of the inconsistencies with figure groups. For example, the pier before which Christ and the apostles stand has been pushed back and out of line with the others.
The Architecture:
The architecture of the Johnson canvas, while admittedly eclectic, is decidedly Brunelleschian. The cupola, the arched gallery surrounding its base, and the lantern resemble Brunelleschi's project for the cathedral of Santa Maria del Fiore in Florence, which was under construction at the time that this painting was executed, probably sometime between 1424 and 1429. Brunelleschi had first presented his plan in 1417. In 1418-19, together with Nanni di Banco and Donatello, he built a large brick model with painted and gilded wood detailing and displayed it outside the cathedral next to the bell tower. There were other models as well,6 and the project was officially approved in July 1420. While most of the models were destroyed, elements of some of them may survive in part in a model in the Museo dell'Opera del Duomo (see Florence, Museo dell'Opera del Duomo). An earlier model of the whole church, including the then-proposed cupola, made in 1367 by Giovanni di Lapo Ghini according to the specifications of a special artists' committee, was kept in the nave of the cathedral. This model was reflected in a mural of 1367-68 by Andrea di Bonaiuto in the Spanish chapel in the convent of Santa Maria Novella in Florence.7 Likewise, the Johnson painting seems to present Brunelleschi's plan as it would have appeared in the brick and wood model of 1418-19 and during the cupola's initial phase of construction.
Brunelleschi's model of 1418-19 probably showed the design for the lantern and ballatoio, or walkway, at its base. On July 20, 1420, Brunelleschi and other members of the commission appointed to oversee the construction of the cupola drew up an elaborate statement in which the project is described in detail, with particular attention given to the exterior gallery around the drum.8 The Johnson painting shows the ballatoio plan as described by Brunelleschi and others in 1420: a covered ambulatory with arched openings supported on a console and another walkway above. This ambulatory, however, was never executed.9 Curiously, in the painting the occhi, or circular windows, at the base of the cupola are not depicted at all. The same is true of the earlier mural by Andrea di Bonaiuto. Although in a 1364 plan occhi were conceived for the side aisles,10 no definitive decision had been made concerning their placement on the drum. The occhi were added between 1410 and 1413, before any final decision had been made about the design of the cupola.11 Brunelleschi's famous model of 1418-19 seemingly only represented the cupola, so it may not have included the occhi.12
As construction of the dome was nearing completion, Brunelleschi's design for the lantern of the cathedral was changed in 1432. In fact, earlier models of it were ordered to be destroyed, and Brunelleschi was hired to create a new one. The Johnson painting reflects the older design and follows the simple trecento project seen in Andrea di Bonaiuto's mural. As can be surmised from the mural and the Johnson painting, Brunelleschi's first design was most likely derived from the mid-twelfth-century lantern on the baptistery of Florence.13
Other details of the architecture reflect Brunelleschian ideas. The window on the far left of the tribune resembles the typically Gothic windows of the fourteenth-century cathedral, but with the addition of a Renaissance frame with a triangular pediment. The horizontal windows in the clerestory have similar frames, perhaps suggesting that Brunelleschi planned to update the style of the cathedral's existing construction. The modernity of the painting's architecture is most apparent in the two-storied central nave, defined by columns supporting an architrave. In the upper story squared pilasters continue the vertical thrust of the columns. In general, the structure reflects a knowledge-undoubtedly derived from Brunelleschi-of Roman early Christian basilican architecture, and particularly, as August Schmarsow (1928a, p. 121) noted, Old Saint Peter's and Saint John Lateran.
Joannides (1993, p. 467) suggested that the painting's architecture expresses a Ghibertian interpretation of Brunelleschian ideas. He related it to buildings in Ghiberti's reliefs for the first set of bronze doors for the Florentine baptistery, which were unveiled on Easter Sunday 1424: the slender piers on the temple's exterior are indeed very close to those in Ghiberti's Christ among the Doctors;14 columns supporting an architrave are found in his Flagellation;15 and Gothic and antique elements are nicely combined in his Last Supper.16
While the architecture of the Johnson canvas is at most eclectic, it is the earliest surviving example of interest in architectural views as an independent subject for painting, which only begins to be recorded in the mid-fifteenth century.17 However, a number of trecento compositions inform the basic design. The representation of a large, open, cathedral-like building seen principally from the side, like the one in the Johnson painting, occurs in Taddeo Gaddi's Presentation of the Virgin in the Baroncelli chapel in Santa Croce, executed in the 1330s.18 Miklós Boskovits (quoted in Beck 1977, p. 52) also noted that the temple in the Johnson picture is similar to the cathedral of Pisa in Antonio Veneziano's mural the Death of Saint Ranieri and the Translation of His Corpse (see Pitture a fresco del Campo Santo di Pisa disegnate e incise [Florence, 1832]) of 1384-86 in the Camposanto in Pisa. Christine Smith (in Millon and Magnago Lampugnani 1994, p. 459) observed that the painter of the Johnson canvas would have known Stefano Fiorentino's now-lost lunette mural in the cloister of the Florentine convent of Santo Spirito, where another scene of Christ removing a demon from a possessed person is staged in a complex architectural setting. In 1568 Vasari wrote that Stefano Fiorentino had
rendered a building in perfect perspective, in a manner then hardly known, with good form and better knowledge in recession. And in this [mural] he worked in a modern manner and with the greatest judgment. He showed such art and invention and proportion in the columns, doors, windows, and frames, and a way that was so different from other masters, that it seemed that one began to discern the light of the good and perfect manner of the moderns.19
The "Curing of the Lunatic" and Brunelleschi:
The interest in the scene of the curing of the lunatic enjoyed a revival in Florence during the 1420s. The near-contemporary silver plaque (see Paris, Musée du Louvre, Département des Objets d'art), for example, shows a similar vignette and is also set in an idealized architecture that somewhat reflects Brunelleschi's plans for the Florentine basilica of San Lorenzo.20 Smith (in Millon and Magnago Lampugnani 1994, p. 459) suggested that the choice of the scene in Johnson's painting may have been related to the doubts being expressed in Florence in the 1420s over whether the cupola could be built. According to the Gospel account of the story, after Christ healed the boy, the apostles asked why they could not cast out the demon. Jesus responded: "Because of your unbelief. For, amen I say to you, if you have faith as a grain of mustard seed, you shall say to this mountain, Remove from hence hither, and it shall remove; and nothing shall be impossible to you" (Matthew 17:19). Thus the Francesco d'Antonio may have been made in response to the criticisms Brunelleschi faced regarding the cupola in 1425-26, especially from his most virulent critic, Giovanni di Gherardo Gherardi.21 At about the same time Gherardi and Brunelleschi exchanged accusatory sonnets about each other.22
The "Curing of the Lunatic" and Saint Bernardino:
Berti (1964, p. 144 n. 228) noted that the halos of Christ and the apostles are incised with the insignia of Saint Bernardino of Siena, which contains the symbol of the Name of Jesus he invented as a new devotion and frequently used in his sermons. Bernardino preached in Florence in Santa Croce between March 8 and May 3, 1424, and again between February 4 and April 18, 1425; he later returned for a brief period in late July and early August 1427.23 Furthermore, in the 1480s Vespasiano da Bisticci (Greco ed. 1970-76, vol. 1, p. 250) notes that the saint also preached some very popular sermons in the cathedral, after which he visited the house of the humanist Giannozzo Manetti. Exactly when Bernardino preached in the cathedral is unknown, but it could have occurred during his short visit of 1427 or even during one of his visits to Santa Croce.
The biblical miracle in the painting might refer to incidents that took place in nearby Prato. On June 12, 1424, Bernardino is said to have cured a madwoman by showing her the cross and a tablet painted with the symbol of the Name of Jesus. A witness described the miracle and noted that there were "one hundred Florentine citizens present, who had never seen such an event."24 During this same time, at the Porta Santa Trinità in Prato, a young man named Cosimo di Niccolò Lorenzi fell unconscious after having been hit by a bull. Bernardino knelt next to him and prayed until the youth stood up and walked.25 Both of these episodes were later cited as miracles in the acts of the saint's canonization.26
Whether the choice of the subject of Christ healing the lunatic relates to Bernardino's extraordinary experience in Prato cannot be determined, but certainly the presence of his insignia on the halos suggests that the painting was at least produced around the time of one of his Florentine sojourns. The use of the lightweight canvas might mean that it was carried in procession during the ceremonies surrounding one of his sermons, which were extremely popular and emotional events. In Florence on one occasion his preaching in Santa Croce was interrupted by a crowd who wanted him to come out of the church to light a bonfire of vanities.27 He was invited back to preach in 1426, most probably by Leonardo Bruni, chancellor of the Republic of Florence.28 He did not return, however, until 1427.
In Rome during the spring of 142729 Bernardino was investigated for the orthodoxy of his cult of the Name of Jesus but was eventually exonerated. Many of the initial attacks concerning his cult had been made in Florence in 1424 by his bitter enemy, the Dominican Manfredo da Vercelli. Two letters written by the humanist Ambrogio Traversari, a monk at the Florentine convent of Santa Maria degli Angeli, show how closely Bernardino's trial was followed and with what joy his exoneration was greeted in the city. 30 The presence of the symbol on the halos in this picture thus might have been a response to attacks on the Name of Jesus, just as the architecture may have been an answer to the doubts about Brunelleschi's program for the cathedral's cupola.
Commission and Function:
It is not clear who would have commissioned a picture such as this. Few paintings on canvas survive from before the late fifteenth century, and of those that do there is little, if no, documentation as to their use. However, there are contemporary canvas processional banners made for lay confraternities. A canvas by Spinello Aretino seems to have been made around 1375 for a brotherhood in Borgo San Sepolcro.31 It was painted on both sides, making it particularly appropriate for use in a procession. Another canvas, showing the Decapitation of Saint John the Baptist, by a mid-trecento Florentine artist,32 now in the Museo dell'Opera del Duomo of Florence, might have been a processional banner, although there is no record of its specific use. In the Florence cathedral there was also an altar complex that included a painting on canvas.33 After the canonization of Saint Bernardino in 1450, several canvas banners were made celebrating the occasion.34 In addition, his preaching in the squares of Italy inspired several artists to paint scenes of these events.35
The detail of the Johnson painting and especially its careful study of buildings and perspective would suggest that its use as a processional banner was rather limited, for its images would not have been readable at much distance. The artist may have used canvas instead of panel because he viewed the painting as an experiment in working out problems of representing buildings in perspective. However, the careful choice of the biblical text, especially as it might relate to criticism concerning Brunelleschi's cupola, and the presence of Bernardino's insignia on the halos would indicate that the painting was in fact prepared for or in response to a specific event. Carl Brandon Strehlke, from Italian paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art, 2004, pp. 134-143.
1. Judas has a similar halo in Lorenzo Monaco's Man of Sorrows of 1404; Florence, Galleria dell'Accademia, no. 467; Marvin Eisenberg. Lorenzo Monaco. Princeton, 1989, fig. 18, color plate details 1-2; Giorgio Bonsanti. La Galleria dell'Accademia, Firenze: guida e catalogo completo. Florence, 1987, color repros. pp. 78, 82.
2. Umberto Baldini and Ornella Casazza. La cappella Brancacci. Milan, 1990, postrestoration color repro. p. 38.
3. Umberto Baldini and Ornella Casazza. La cappella Brancacci. Milan, 1990, postrestoration color repro. p. 100.
4. Massimo Bulgarelli in Luciano Bellosi with Laura Cavazzini and Aldo Galli. Masaccio e le origini del rinascimento. Milan, 2002. Exhibition, San Giovanni Valdarno, September 20-December 21, 2002, pp. 218-21.
5. See Alessandro Parronchi. "Le due tavole prospettiche del Brunelleschi, I." Paragone-arte (Florence), vol. 9, no. 107 (November 1958), pp. 15-18; Alessandro Parronchi. Studi su la dolce prospettiva. Milan, 1964, pp. 245-49. Parronchi based his dating on the 1425 return to Florence of Paolo dal Pozzo Toscanelli, a mathematician friend of Brunelleschi's who had previously taught in Padua.
6. The painter Giuliano d'Arrigo Pesello, who was on the advisory committee for the cupola, also produced wooden models in 1420 (Cesare Guasti. La cupola di Santa Maria del Fiore, illustrata con i documenti di Archivio dell'Opera Secolare. Florence, 1857, p. 25, document 42) and 1425 (Cesare Guasti. La cupola di Santa Maria del Fiore, illustrata con i documenti di Archivio dell'Opera Secolare. Florence, 1857, p. 33, document 60). In his written report on the project, Giovanni di Gherardo Gherardi refers to another wooden model made by Brunelleschi in c. 1419 (see n. 21 below). Brunelleschi and Ghiberti were commissioned to prepare yet another in September 1429 (Cesare Guasti. La cupola di Santa Maria del Fiore, illustrata con i documenti di Archivio dell'Opera Secolare. Florence, 1857, pp. 33-34, documents 61-67). Probably other models were also made, as the building committees found them the best way to evaluate the project.
7. Richard Offner and Klara Steinweg. A Critical and Historical Corpus of Florentine Painting. Sec. 4, vol. 6, The Fourteenth Century: Andrea Bonaiuti. New York, 1979, plate ii.
8. "Fariassi un andito di fuori, sopra li occhi di sotto imbecchatellato con parapeti trasforati e d'altezza di braccia 2 o circa, al'avvenante delle trebunete di sotto; o veramente due anditi, l'uno sopra l'altro, in su una cornice ben ornata; e l'andito di sopra sia scoperto" (Let an outer ambulatory be constructed over the round windows below made up of open parapets of about two braccia in height, like the tribunes below. Actually [there should be] two ambulatories, one above the other, within a finely decorated cornice. The upper ambulatory should be open). Adapted from Howard Saalman. Filippo Brunelleschi: The Cupola of Santa Maria del Fiore. Studies in Architecture, 20. London, 1980, p. 73; on the date and meaning of this document, see Howard Saalman. Filippo Brunelleschi: The Cupola of Santa Maria del Fiore. Studies in Architecture, 20. London, 1980, pp. 77-97.
9. The only section of the ballatoio that was executed was the part that was built by Baccio d'Agnolo on the southeast side of the cathedral in 1514-15. It was never finished, seemingly because Michelangelo, who compared it to a grasshopper cage, said that it subverted Brunelleschi's design (Giorgio Vasari. Le vite de' più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568. Text edited by Rosanna Bettarini. Commentary edited by Paola Barocchi. vol 3 [text]. Florence, 1976, pp. 612-13). Alessandro Nova in Henry A. Millon and Vittorio Magnago Lampugnani. The Renaissance from Brunelleschi to Michelangelo. The Representation of Architecture. Milan, 1994. Exhibition, Venice, Palazzo Grassi, March 27-November 6, 1994, pp. 593-97.
10. Cesare Guasti, ed. Santa Maria del Fiore: la costruzione della chiesa e del campanile secondo i documenti tratti dall'Archivio dell'Opera Secolare e da quello di Stato. Florence, 1887, p. 158, document 119; Frank D. Prager and Gustina Scaglia. Brunelleschi: Studies of His Technology and Inventions. Cambridge, Mass., 1970, p. 7.
11. Cesare Guasti, ed. Santa Maria del Fiore: la costruzione della chiesa e del campanile secondo i documenti tratti dall'Archivio dell'Opera Secolare e da quello di Stato. Florence, 1887, pp. 308, 313, documents 454, 466-67; Frank D. Prager and Gustina Scaglia. Brunelleschi: Studies of His Technology and Inventions. Cambridge, Mass., 1970, p. 19.
12. Antonio di Tuccio Manetti, the architect's biographer, noted that the excessive width of the stone fittings around these windows seems to have disturbed Brunelleschi, in particular with regard to his plan for the ballatoio (Antonio di Tuccio Manetti. Vita di Filippo Brunelleschi preceduta da La Novella del Grasso. Edited by Domenico De Robertis. Introduction and critical notes by Giuliano Tanturli. Testi e documenti, 2. Milan, 1976, p. 115). The surviving wood model (see Florence, Museo dell'Opera del Duomo) of uncertain date has the occhi, but they are shown without their molding. The only explanations are either that that part of the model dates before 1413, or that, if Brunelleschi designed this model, he hoped a different solution would be eventually reached.
13. Howard Saalman. Filippo Brunelleschi: The Buildings. Studies in Architecture, 27. University Park, Pa., 1993, fig. 38.
14. Richard Krautheimer in collaboration with Trude Krautheimer-Hess. Lorenzo Ghiberti. Princeton Monographs in Art and Archaeology, 31. 3rd ed. Princeton, 1982, plate 30.
15. Richard Krautheimer in collaboration with Trude Krautheimer-Hess. Lorenzo Ghiberti. Princeton Monographs in Art and Archaeology, 31. 3rd ed. Princeton, 1982, plate 47.
16. Richard Krautheimer in collaboration with Trude Krautheimer-Hess. Lorenzo Ghiberti. Princeton Monographs in Art and Archaeology, 31. 3rd ed. Princeton, 1982, plate 42.
17. As noted by Christine Smith (in Henry A. Millon and Vittorio Magnago Lampugnani. The Renaissance from Brunelleschi to Michelangelo. The Representation of Architecture. Milan, 1994. Exhibition, Venice, Palazzo Grassi, March 27-November 6, 1994, p. 460), Filarete, writing in 1464, recorded that various artists painted views of buildings and places for Piero di Cosimo de' Medici, and Vasari, writing in the mid-1500s, mentioned a view of Venice with San Marco painted by Leon Battista Alberti. The Medici may have also owned Brunelleschi's views of the baptistery and the Palazzo Vecchio, or at least copies of them, as several versions of these subjects are recorded in the copy of the 1492 inventory of Lorenzo de' Medici's effects. See Marco Spallanzani and Giovanna Gaeta Bertelà, eds. Libro d'inventario dei beni di Lorenzo il Magnifico. Florence, 1992, pp. 21-22.
18. Andrew Ladis. Taddeo Gaddi: Critical Reappraisal and Catalogue Raisonné. Columbia, Mo., 1982, plate 4a-9. In the Florentine Filippo Villani's De origine civitatis Florentiae et eiusdem famosis civibus of 1381-82, Taddeo is described as being particularly talented in his representation of architecture. His fame with this regard did not die out in the following decades. A drawing after the mural exists (Andrew Ladis. Taddeo Gaddi: Critical Reappraisal and Catalogue Raisonné. Columbia, Mo., 1982, fig. 60), and, when they were in Italy in the early 1440s, the Limbourg brothers also made a copy of it, which they reemployed in an illumination of the Très Riches Heures (Chantilly, Musée Condé, Ms. 65; Millard Meiss with Sharon Off Dunlap Smith and Elizabeth Home Beatson. French Painting in the Time of Jean de Berry: The Limbourgs and Their Contemporaries. 2 vols. London, 1974, fig. 13).
19. Giorgio Vasari. Le vite de' più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568. Text edited by Rosanna Bettarini. Commentary edited by Paola Barocchi. vol. 2. Florence, 1967, p. 134.
20. The frame has enameled medallions of the four doctors of the church that recall the founding of San Lorenzo by Saint Ambrose in 593. The two cupolas on the sides of the main, templelike building in the center derive from Brunelleschi's design for the cupola of the Old Sacristry of San Lorenzo. The building on the left recalls an ancient model: the tombs of the Republican baker M. Virgilius Eurysaces, outside the Porta Maggiore in Rome, which are in the unusual form of a furnace. This may refer to the fact that the area of San Lorenzo was historically one of the principal places in Florence for public furnaces (Piero Bargellini and Ennio Guarnieri. Le strade di Firenze. vol. 4. Florence, 1978, pp. 144-45). For other elements on the architecture and the figures, see Massimo Bulgarelli in Luciano Bellosi with Laura Cavazzini and Aldo Galli. Masaccio e le origini del rinascimento. Milan, 2002. Exhibition, San Giovanni Valdarno, September 20-December 21, 2002, pp. 218-21.
21. Gherardi's criticisms are contained in a written and illustrated report. Florence, Archivio di Stato, inv. Mostra 158; Henry A. Millon and Vittorio Magnago Lampugnani. The Renaissance from Brunelleschi to Michelangelo. The Representation of Architecture. Milan, 1994. Exhibition, Venice, Palazzo Grassi, March 27-November 6, 1994, repro. p. 22. On him, see Howard Saalman. "Giovanni di Gherardo da Prato's Designs Concerning the Cupola of Santa Maria del Fiore in Florence." Journal of the Society of Architectural Historians (Amherst, Mass.), vol. 18, no. 1 (March 1959), pp. 11-20.
22. Frank D. Prager and Gustina Scaglia. Brunelleschi: Studies of His Technology and Inventions. Cambridge, Mass., 1970, pp. 143-44, nos. v-vi.
23. Felice Alessio. Storia di San Bernardino da Siena e del suo tempo. Mondovì, 1899, p. 273; A. G. Ferrers Howell. S. Bernardino of Siena. Essay by Julia Cartwright. London, 1913, p. 167.
24. Dionisio Pacetti. "La predicazione di S. Bernardino in Toscana con documenti inediti estratti dagli atti del processo di canonizzazione." Archivum franciscanum historicum (Florence), vol. 33, nos. 3-4 (July-October 1940), p. 296. The account is in a letter from one Sandro Marcoualdi to his brother in Dubrovnik, received July 4, 1424.
25. Dionisio Pacetti. "La predicazione di S. Bernardino in Toscana con documenti inediti estratti dagli atti del processo di canonizzazione." Archivum franciscanum historicum (Florence), vol. 33, nos. 3-4 (July-October 1940), pp. 296-97 n. 3.
26. In 1451 Giovanni da Modena included the two episodes on a canvas altarpiece showing Saint Bernardino and his miracles for a chapel dedicated to the saint in San Francesco in Bologna (now Pinacoteca Nazionale; Carla Bernardini et al., eds. La Pinacoteca Nazionale di Bologna: catalogo generale delle opere esposte. Introduction by Andrea Emiliani. Bologna, 1987, repro. p. 56).
27. On the Florentine appearances, see A. G. Ferrers Howell. S. Bernardino of Siena. Essay by Julia Cartwright. London, 1913, pp.132, 135; and Karl Hefele. Der Hl. Bernardin von Siena und die franziskanische Wanderpredigt in Italien während der XV Jahrhunderts. Freiburg im Breisgau, Germany, 1912, esp. p. 97 n. 1. On the bonfires, see Vespasiano da Bisticci. Le vite. Edited with an introduction and commentary by Aulo Greco. vol. 1. Florence, 1970-76, p. 246.
28. F. Donati. "Notizie su S. Bernardino con un documento inedito." Bullettino senese di storia patria (Siena), vol. 1 (1894), esp. pp. 53-54.
29. There is some argument as to the date. Some authors prefer to place the event in 1426 (Dionisio Pacetti. "Cronologia bernardiniana." Studi francescani (Florence), vol. 40, 3rd ser., vol. 15, nos. 3-4 (July-December 1943), p. 167).
30. Ephrem Longpré. "S. Bernardin de Sienne et le nom de Jésus." Archivum franciscanum historicum (Florence), vol. 28 (1935), pp. 467-68, 472-73.
31. New York, The Metropolitan Museum of Art, no.13.175, 69 x 47" (175.2 x 119.4 cm); Federico Zeri with Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art-Florentine School. New York, 1971, plates 24-25.
32. Decapitation of Saint John the Baptist, no. 41; 44 3/8" (including a 1 5/8" [4 cm] strip of replaced canvas) x 29 5/8" (112.5 x 75 cm): Luisa Becherucci and Giulia Brunetti, eds. Il Museo dell'Opera del Duomo a Firenze. vol. 2. Milan, n.d. [1969-70], plate 263. It is usually assumed that this painting was a processional banner.
33. Intercession of Christ and the Virgin (1402; canvas; 11 ¼ x 60 ¼" [239.4 x 153 cm]; New York, The Metropolitan Museum of Art, no. 53.37), by Lorenzo di Niccolò, was part of this complex on the west wall of the cathedral. See Federico Zeri with Elizabeth E. Gardner. Italian Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art-Florentine School. New York, 1971, pp. 115-17 (with earlier bibliography), plate 33.
34. See n. 26 above for the canvas altarpiece by Giovanni da Modena. For another canvas banner of 1445, by Orazio di Jacopo, see Bologna, Pinacoteca Nazionale and Museo Civico Medievale. Il tramonto del medioevo a Bologna: il cantiere di San Petronio. Exhibition, October-December 1987. Catalogue edited by Rosalba D'Amico and Renzo Grandi, fig. 125. It is now in a private collection.
35. Shortly after the saint died, Sano di Pietro (q.v.) produced two detailed views of him preaching in the Campo and Piazza San Francesco in Siena (Keith Christiansen, Laurence B. Kanter, and Carl Brandon Strehlke. Painting in Renaissance Siena, 1420-1500. New York, 1988. Exhibition, New York, The Metropolitan Museum of Art, December 20, 1988-March 19, 1989, p. 41, figs. 5, 6), and the banner that Benedetto Bonfigli made in 1464 for a lay confraternity dedicated to the saint in Perugia showed Bernardino before an exact view of the confraternity's seat and the church of San Francesco al Prato (Perugia, Galleria Nazionale dell'Umbria, no. 164; Francesco Federico Mancini. Benedetto Bonfigli. Perugia, 1992, repro. p. 110).
Giorgio Vasari. Le vite de' più eccellenti pittori, scultori e architettori nelle redazioni del 1550 e 1568. Text edited by Rosanna Bettarini. Commentary edited by Paola Barocchi. vol. 3 (text). Florence, 1967, plate 26 (Masaccio);
Wilhelm Bode. "La Renaissance au Musée de Berlin. IV: Les peintres florentins du XVe siècle." Gazette des beaux-arts (Paris), 30th yr., 2nd ser., vol. 37, no. 6 (June 1888), pp. 475-76 (impossible to judge if an original or a copy by Masaccio);
August Schmarsow. Masaccio Studien. vol. 2. Kassel, 1896, pp. 89-96 (Masaccio);
Felix Becker. "Neuigkeiten vom Kunstmarkte." Der Kunstmarkt (Leipzig), vol. 1, no. 35 (June 3, 1904), pp. 233-34;
Joseph Kern. "Die Kritik der perspektivischen Zeichnung und ihre Bedeutung für die Kunstgeschichte." Sitzungsbericht der Berliner Kunsthistorischen Gesellschaft (Berlin), October 13, 1905, p. 40 (Masaccio);
Bernhard Berenson. Catalogue of a Collection of Paintings and Some Art Objects. Vol. 1, Italian Paintings. Philadelphia, 1913, pp. 2-4, repro. p. 239 (imitator of Masaccio or copy of a lost work);
Philadelphia, Pennsylvania Museum, Memorial Hall. Temporary Exhibition of a Selection of Italian Paintings of the XIV and XVI Centuries from the John G. Johnson Collection. March 10-June 6, 1920, p. 2 (Masaccio, possibly a contemporary copy);
Frank Jewett Mather, Jr. A History of Italian Painting. New York, 1923, p. 3;
Roberto Longhi. Piero della Francesca. Rome, 1927, p. 65;
Jacques Mesnil. Masaccio et les débuts de la renaissance. The Hague, 1927, pp. 45, 36, plate 7 (late imitator of Masaccio);
"The New Museum of Art Inaugural Exhibition." The Pennsylvania Museum Bulletin (Philadelphia), vol. 23, no. 119 (March 1928), p. 9 (follower of Masaccio);
August Schmarsow. Masolino und Masaccio. Leipzig, 1928, pp. 119-26 (Masaccio);
August Schmarsow. "Masaccios Heilung des Mondsüchtigen Knaben in Philadelphia, U.S.A." Belvedere (Vienna), vol. 12, no. 65 (May 1928), pp. 103-16. (Masaccio);
Raimond van Marle. The Development of the Italian Schools of Painting. vol. 10. The Hague, 1928, pp. 304-5;
Odoardo H. Giglioli. "Masaccio: saggio di una bibliografia ragionata." Bollettino del regio Istituto di Archeologia e Storia dell'Arte (Rome), vol. 3, nos. 4-5 (1929), pp. 62-63 (not Masaccio);
Hendrik Lindberg. To the Problem of Masolino and Masaccio. Malmö, Sweden, 1931, pp. 53, 190-93, plate 98;
Bernhard Berenson. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932, p. 2 (Andrea di Giusto);
Mario Salmi. Masaccio. Rome, c. 1932, pp. 78-79, 130, plate cxci (Andrea di Giusto);
Robert Oertel. "Die Frühwerke des Masaccio." Marburger Jahrbuch für Kunstwissenschaft (Marburg), vol. 16 (1933), pp. 286-89, plate 50;
Ruth Wedgwood Kennedy. Review of Salmi c. 1932. The Art Bulletin (New York), vol. 16, no. 4 (December 1934), p. 397;
Bernhard Berenson. Pitture italiane del rinascimento: catalogo dei principali artisti e delle loro opere con un indice dei luoghi. Translated from the English by Emilio Cecchi. Collezione "Valori plastici." Milan, 1936, p. 1 (Andrea di Giusto);
Roberto Longhi. "Fatti di Masolino e di Masaccio." Critica d'arte (Florence), vol. 5, no. 34, fascs. 25-26, pt. 2 (July-December 1940), p. 161 (Roberto Longhi Edizione delle opere complete di Roberto Longhi 14 vols. Florence, 1956-91, vol. 8, pt. 1, 1975, pp. 23-23, fig. 19a) (Andrea di Giusto);
John G. Johnson Collection: Catalogue of Paintings. Foreword by Henri Marceau. Philadelphia, 1941, p. 1 (Andrea di Giusto);
David Rosen. "Preservation versus Restoration." Magazine of Art (Washington, D.C.), vol. 34, no. 9 (November 1941), p. 461, fig. 8 (Andrea di Giusto);
Frank Jewett Mather, Jr. "The Problem of the Brancacci Chapel Historically Considered." The Art Bulletin (New York), vol. 26, no. 3 (September 1944), p. 185 (early Masaccio);
Frederick Antal. Florentine Painting and Its Social Background: The Bourgeois Republic before Cosimo de'Medici's Advent to Power, XIV and Early XV Centuries. London, 1948, p. 332;
Mario Salmi. Masaccio. 2nd ed. Collezione "Valori plastici." Milan, 1948, p. 9, fig. 27;
Kurt Steinbart. Masaccio. Vienna, 1948, p. 79;
John White. The Birth and Rebirth of Pictorial Space. London, 1957, p. 136, fig. 30a;
Alessandro Parronchi. "Le due tavole prospettiche del Brunelleschi, II." Paragone-arte (Florence), vol. 9, no. 109 (January 1959), pp. 9-12, fig. 3;
Robert Klein. "Pomponius Gauricus on Perspective." The Art Bulletin (New York), vol. 43, no. 3 (September 1961), p. 222 n. 35, fig. 10;
Umberto Baldini in Enciclopedia universale dell'arte. vol 8. Venice, 1962, col. 875;
Timothy K. Kitao. "Prejudice in Perspective: A Study of Vignola's Perspective Treatise." The Art Bulletin (New York), vol. 44, no. 3 (September 1962), p. 185 n. 37;
Bernhard Berenson. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Florentine School. 2 vols. London, 1963, p. 6 (Andrea di Giusto);
Alessandro Parronchi. "Il più vero ritratto di Dante." Bollettino del Museo Civico di Padova (Padua), vol. 52, nos. 1-2 (1963), p. 6;
Luciano Berti. Masaccio. Arte e pensiero, 6. Milan, 1964, pp. 84-85, 144 n. 228, fig. 55;
Alessandro Parronchi. Studi su la dolce prospettiva. Milan, 1964, pp. 270, 539-40, figs. 96-97;
Curtis Shell. "Francesco d'Antonio and Masaccio." The Art Bulletin (New York), vol. 47, no. 4 (December 1965), pp. 465-69, figs. 1-9;
Samuel Y. Edgerton, Jr. "Alberti's Perspective: A New Discovery and a New Evaluation." The Art Bulletin (New York), vol. 48, nos. 3-4 (September-December 1966), pp. 372-73 n. 29;
Alessandro Parronchi. Masaccio. I diamanti dell'arte. Biblioteca di pittura, scultura e architettura. Florence, 1966, pp. 20-22, diagram p. 9, repro. p. 20;
[Barbara Sweeny]. John G. Johnson Collection: Catalogue of Italian Paintings. Foreword by Henri Marceau. Philadelphia, 1966, p. 1, repro. p. 3 (Andrea di Giusto);
Luciano Berti in Luciano Berti. L'opera completa di Masaccio. Introduction by Paolo Volponi. I classici dell'arte, 24. Milan, 1968, p. 102, fig. 27;
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, 1972, pp. 73, 617 (Francesco d'Antonio);
James H. Beck. "'Una prospettiva . . . . di mano di Masaccio.'" In Studies in Late Medieval and Renaissance Painting in Honor of Millard Meiss (pp. 48-53). Edited by Irving Lavin and John Plummer. 2 vols. New York, 1977;
James H. Beck with Gino Corti. Masaccio: The Documents. Villa I Tatti, The Harvard University Center for Italian Renaissance Studies, 4. Locust Valley, N.Y., 1978, figs. 1-5, 7;
Alessandro Angelini in Giorgio Vasari. Le vite de' più eccellenti architetti, pittori et scultori italiani, da Cimabue insino a' tempi nostri nell'edizione per i tipi di Lorenzo Torrentino, Firenze 1550. Edited by Luciano Bellosi and Aldo Rossi. Introduction by Giovanni Previtali. I millenni. Turin, 1986, p. 268 n. 5;
Alexander Perrig. "Massacios 'Trinità' und der Sinn der Zentral-perspektive." Marburger Jahrbuch für Kunstwissenschaft (Marburg), vol. 21 (1986), pp. 19, 37-38 nn. 48-49, fig. 12 (Andrea di Giusto);
Decio Gioseffi in Tokyo, The National Museum of Western Art. Space in European Art: Council of Europe Exhibition in Japan. Exhibition, March 28-June 14, 1987. Tokyo, 1987, pp. 145-46, repro. p. 145 (color);
Paul Joannides. "Masaccio, Masolino, and 'Minor' Sculpture." Paragone-arte (Florence), n.s., vol. 38, no. 5/451 (September 1987), pp. 15-16, fig. 22;
Luciano Berti. Masaccio. Essay by Umberto Baldini. Entries by Rossella Foggi. Florence, 1988, pp. 30-32, color plate p. 209;
Rossella Foggi in Luciano Berti. Masaccio. Essay by Umberto Baldini. Entries by Rossella Foggi. Florence, 1988, p. 208;
Luciano Berti in Luciano Berti and Rossella Foggi. Masaccio: catalogo completo dei dipinti. I gigli dell'arte, 7. Archivi di arte antica e moderna. Florence, 1989, p. 6, color plate p. 45;
Rossella Foggi in Luciano Berti and Rossella Foggi. Masaccio: catalogo completo dei dipinti. I gigli dell'arte, 7. Archivi di arte antica e moderna. Florence, 1989, p. 44;
Umberto Baldini. Masaccio. Collana "La Specola." Florence, 1990, p. 34;
Luciano Berti in Luciano Berti and Antonio Paolucci, eds. L'età di Masaccio: il primo quattrocentro a Firenze. Milan, 1990. Exhibition, Florence, Palazzo Vecchio, June 7-September 16, 1990, p. 200, color repro. p. 20;
Attilio Droandi. Masaccio: pittore di Valdarno. Arezzo, 1993, pp. 141-42;
Paul Joannides. Masaccio and Masolino: A Complete Catalogue. London, 1993, pp. 466-67, plate 478;
Carl Brandon Strehlke. "Fra Angelico and Early Florentine Renaissance Painting in the John G. Johnson Collection at the Philadelphia Museum of Art." Philadelphia Museum of Art Bulletin, vol. 88, no. 376 (Spring 1993), pp. 23-24, fig. 32;
Franco Ambrosio. Masaccio. Milan, 1994, pp. 8-9, color plate 5 (Masaccio);
Christine Smith in Henry A. Millon and Vittorio Magnago Lampugnani. The Renaissance from Brunelleschi to Michelangelo. The Representation of Architecture. Milan, 1994. Exhibition, Venice, Palazzo Grassi, March 27-November 6, 1994, cat. 5, pp. 458-59;
Cecilia Frosinini and Hellmut Wohl in The Dictionary of Art. Edited by Jane Turner. vol. 11. London, 1996, p. 603;
Hellmut Wohl in The Dictionary of Art. Edited by Jane Turner. vol 20. London, 1996, p. 536;
B. Edelstein in Dizionario biografico degli italiani. vol. 49. Rome, 1997, p. 659
* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit.


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Vikings set to invade British Museum in 2014
LONDON (AP) — The biggest Viking ship ever found is coming to London as part of a major exhibition that aims to expand the popular image of the Scandinavian plunderers, whose voyages took them as far as Asia and North America.
The 1,000-year-old, 37-meter (120-foot) wooden longboat discovered on the banks of a fjord in Roskilde, Denmark, in 1997 is the centerpiece of "Vikings: Life and Legend," which opens at the British Museum in March.
The Vikings set out in ships like these from Scandinavia more than a millennium ago, traveling as far as Newfoundland and Morocco, and occupying territory from Greenland to Britain to France.
Announcing details of the exhibition Thursday, British Museum director Neil MacGregor said the Viking world stretched "from Dublin to Kiev ... from Ulster to Samarkand."
Curator Gareth Williams said the show — the British Museum's first major Viking exhibition since 1980 — will look at the Nordic voyagers' skills as warriors and seafarers, and also their role as explorers, traders and creators of sophisticated culture.
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The exhibition is co-created with the National Museum of Denmark — where it is on display until November — and National Museums in Berlin. It runs at the British Museum from March 6 to June 22, 2014, and moves to Berlin in September 2014.
Williams said transporting the fragile remains of the Viking ship, whose ancient wooden beams are held in a modern steel frame, was surprisingly straightforward.
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Jill Lawless can be reached at http://Twitter.com/JillLawless


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Major Section: OTHER
Examples: :trans (list a b c) :trans (caddr x) :trans (cond (p q) (r))
This function takes one argument, an alleged term, and translates
it, expanding the macros in it completely. Either an error is
caused or the formal meaning of the term is printed. We also print
the ``output signature'' which indicates how many results are returned
and which are single-threaded objects. For example,
a term that returns one ordinary object (e.g., an object other than
STATE or a user-defined single-threaded object (see defstobj))
has the output signature
=> *A term that returns the single-threaded object
STATE has the
output signature
=> STATEand a term that returns four results might have the output signature
=> (MV $MEM * * STATE)This signature indicates that the first result is the (user defined) single-threaded object
$MEM, that the next two results are ordinary,
and that the last result is
See trans! for a corresponding command that does not enforce restrictions of single-threaded objects.
It is sometimes more convenient to use
trans1 which is like trans
but which only does top-level macroexpansion.
For more, see term.


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On the whole betting on football is a relatively simple matter but there are one or two questions that beginners often ask or rules that may seem slightly counter-intuitive. Whilst 99% of your bets will pass simply and effortlessly (and hopefully you'll win 99% too!) it is worth knowing these basics to avoid disappointment. Some rules can vary from company to company so check to be sure but these general points are applicable to most bookmakers. The first regards own goals. Whilst these can be massively crucial in football (indeed Colombian footballer Andres Escobar was killed because of one!) they do not count at all in player goal markets. So if you back a player to score first and he nets an own goal you don't win but the next player to score a "proper" goal does. This also applies to last scorer bets. If a bookie offers 0-0 at the same odds as "no scorer" in the first goalscorer odds, always bet on "no scorer" as this will cover 0-0 and also any score that includes only own goals. The other main rule to be aware of is that almost all bets, unless clearly stated, apply to the full 90 minutes, plus injury time but not extra time or penalties. This is mainly relevant to cup games and applies to a huge range of bets, including first scorer, last scorer, correct score, match result… basically any bet that didn't clearly state otherwise. Another thing to note is that most bets are settled according to how the match is reported at the time. So in the case of a goal subsequently being awarded as an own goal, rather than given to the striker, or a red card being rescinded on appeal it will be the officially reported player/score/event that stands as the winner. The final thing to be aware of, though something that will apply even less frequently than the aforementioned quirks, is that bookmakers apply different rules in the event of a match being postponed or abandoned. Some will void all bets, others will allow the result to stand if it reached a certain point in the game or the match is replayed within a certain timeframe.
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text: Casinos: State Industry Market Evaluator 713290.02 This State Industry Market Evaluator reports on industry trends broken out for each US state. Each state sub-report is comprised of eight pages of data. Statistics are displayed for 2013-2014-2015-2016q2 for these measures: industry market volume, average firm, site and small business sales, sales per employee, market volume by employment class, employment by employment class and more. Additional statistics include failure rates (firms, establishments, small business, startups). startup activity rates and sales (average and market volume). The report applies data only from US firms which identify this classification as their primary line of business. Firms in this market may elect to identify a broader classification only, in which case their sales, etc. may not be attributed to this specific classification. For example, a report on Furniture Retail shops will not include sales data for furniture sales from department stores, which are in a different classification although they sell furniture. Note that the US Market Research series is statistically-driven industry trend report. Although detailed explanation of the metrics is provided, it is not a narrative report, and no individual company information is conveyed. Detailed tables plus explanatory text.


text:
Wildlife management area created as working dairy farm is saved
by Bethany M. Dunbar
copyright the Chronicle 8-8-2012
CANAAN — A landmark working dairy farm here has been sold to a young farm family while a new wildlife area was created, protecting six miles of frontage on the Connecticut River and ensuring public access for fishermen, campers, and bird watchers.
It was a complicated deal and one lots of people wanted to celebrate at the Bill and Ursula Johnson farm on Friday, August 3. About 70 people attended, including the heads of several state agencies, plus local legislators — Senator Bob Starr and Representative Bob Lewis.
Secretary Deb Markowitz of the Vermont Agency of Natural Resources said the Johnsons' sense of civic duty in wanting to make the whole thing happen was laudable.
"This is just one more example of what it means to be a Vermonter," she said.
Secretary Chuck Ross of the Agency of Agriculture said when he was approached about this idea that it was so clearly a wonderful project that it was a "no-brainer."
Vermont Fish and Wildlife Commissioner Pat Berry said the project is unusual because it brings together three of Vermont's top values: working lands, conservation, and public access.
"Look around you. This is a big deal," he said.
Bob Klein of the Nature Conservancy agreed. "What makes Vermont so special is the integration of those things," he said. "Every project is a manifestation of a collection of values. Conservation isn't something somebody else does."
The deal took more than two years to put together. The Johnsons sold 849 acres, of which 583 is being kept in farming, with conservation easements. The remaining 266 is being made into a state-owned Wildlife Management Area (WMA). The property and easements cost $1.45-million, according to Tracy Zschau, regional director of the Vermont Land Trust.
She said the first step was to buy the conservation easement, which was about $450,000 of the total cost.
The first main funding source was the New Hampshire Charitable Foundation's Upper Connecticut River Mitigation and Enhancement Fund. Representatives of the fund put up the money for the easement plus the additional $1-million to buy the property, with the understanding that VLT would find others to help share the cost.
In the long run, Ms. Zschau said, other funding sources agreed to help, and the New Hampshire group ended up paying under $500,000.
Funds came in from the Vermont Housing and Conservation Board, the United States Department of Agriculture Natural Resource Conservation Service, Pew Charitable Trusts, and the Vermont Department of Environmental Conservation.
Cy and Andrea Nelson bought the 583-acre working farm, with easements in place, for $965,000. The Nelsons will also have a free lease on 50 acres of land within the state-owned WMA in exchange for allowing public access to the river.
Mr. Nelson said he was glad to have the opportunity. It was not a simple decision though.
"It was a big commitment financially and for our family in general," he said. Cy is the son of Doug Nelson, who was also on hand for the celebration.
"I've worked for him on the family farm since I was a kid," he said. Now he and his wife, Andrea, have a two-year-old daughter of their own, named Sloan. They are expecting again soon.
Mr. Nelson said the Johnsons helped make the transition very smooth. The Nelsons are employing the same five workers the Johnsons did, which they said has made a big difference. Some of the employees live in housing on the farm.
Cy and Andrea Nelsons have 215 milking cows in Canaan and 250 in Coventry. He said the river-bottom rock-free land on the Johnson farm is ideal for farming, and the corn is doing extremely well this year.
"I think we're as good as anything," he said.
"The dairy industry is a pretty unique industry. Our profits are always fluctuating."
Bill and Ursula Johnson have retired as farmers, but Mr. Johnson still serves the area in the state House of Representatives. Mr. Johnson represents the towns of Brighton, Canaan, East Haven, Lemington, Newark, Norton, and Westmore. Ursula Johnson worked in the field of conservation.
Over and over again in the course of the day, officials remarked on what a wonderful job the couple had done keeping the land in great shape. Where many farmers would have drained a lot of the wetlands in order to make more pasture or hay land, the Johnsons kept a lot of it intact, and as a result there is a tremendous abundance and variety of birds and wildlife. On Friday, people saw half a dozen great blue herons, a northern harrier (marsh hawk), and several other species of birds.
After the speeches, people were invited to take tours of the farm or two parts of the WMA. One was north of the main barn, and the other was south into part of Lemington.
"There's not a written plan for this area yet," said Fritz Gerhardt of Beck Pond LLC, a conservation scientist who led the Lemington tour and pointed out some highlights in the farm land and wetlands. The WMA plans for the whole state will be discussed at a public hearing in Montpelier on August 21. People who have ideas for what should be done with the property will have a chance to give their opinions.
Joan Allen of The Nature Conservancy, Ms. Zschau and Jane Lazorchak of the Vermont Fish and Wildlife Department were credited as being the three masterminds behind the complicated project.
"This is exemplary by national standards," said David Govatski, president of Friends of Pondicherry, based in New Hampshire. Mr. Govatski did a bird survey for the land trust that showed 89 species, some of them rare. He said the wetlands are home to hundreds of wood ducks, American bitterns, and purple sandpipers to name a few. Of the species found in the survey, 30 species of special concern to conservationists were noted.
contact Bethany M. Dunbar at [email protected]
For more free articles from the Chronicle like this one, see our Featuring pages. For all the Chronicle's stories, pick up a print copy or subscribe, either for print or digital editions.


text:
Major Section: MISCELLANEOUS
Occasionally the ACL2 theorem prover reports that the current goal simplifies to itself or to a set including itself. Such simplifications are said to be ``specious'' and are ignored in the sense that the theorem prover acts as though no simplification were possible and tries the next available proof technique. Specious simplifications are almost always caused by forcing.
The simplification of a formula proceeds primarily by the local
application of
type-prescription, and other rules to its
various subterms. If no rewrite rules apply, the formula cannot be
simplified and is passed to the next ACL2 proof technique, which is
generally the elimination of destructors. The experienced ACL2 user
pays special attention to such ``maximally simplified'' formulas;
the presence of unexpected terms in them indicates the need for
additional rules or the presence of some conflict that prevents
existing rules from working harmoniously together.
However, consider the following interesting possibility: local
rewrite rules apply but, when applied, reproduce the goal as one of
its own subgoals. How can rewrite rules apply and reproduce the
goal? Of course, one way is for one rule application to undo the
effect of another, as when commutativity is applied twice in
succession to the same term. Another kind of example is when two rules
conflict and undermine each other. For example, under suitable
(length x) might be rewritten to
(+ 1 (length (cdr x)))
by the
definition of
length and then a
rewrite rule might be used
to ``fold'' that back to
(length x). Generally speaking the
presence of such ``looping'' rewrite rules causes ACL2's simplifier
either to stop gracefully because of heuristics such as that
described in the documentation for
loop-stopper or to cause a
stack overflow because of indefinite recursion.
A more insidious kind of loop can be imagined: two rewrites in different parts of the formula undo each other's effects ``at a distance,'' that is, without ever being applied to one another's output. For example, perhaps the first hypothesis of the formula is simplified to the second, but then the second is simplified to the first, so that the end result is a formula propositionally equivalent to the original one but with the two hypotheses commuted. This is thought to be impossible unless forcing or case-splitting occurs, but if those features are exploited (see force and see case-split) it can be made to happen relatively easily.
Here is a simple example. Declare
foo to be a function of one
argument returning one result:
(defstub p1 (x) t)Prove the following silly rule:
(defthm bad (implies (case-split (p1 x)) (p1 x)))Now suppose we try the following.
(thm (p1 x))The rewrite rule
bad will rewrite
(p1 x) to
t, but it will
be unable to prove the hypothesis
(case-split (p1 x)). As a result, the
prover will spawn a new goal, to prove
(p1 x). However, since this new
goal is the same as the original goal, ACL2 will recognize the simplification
as specious and consider the attempted simplification to have failed.
In other words, despite the rewriting, no progress was made! In more common cases, the original goal may simplify to a set of subgoals, one of which includes the original goal.
If ACL2 were to adopt the new set of subgoals, it would loop indefinitely. Therefore, it checks whether the input goal is a member of the output subgoals. If so, it announces that the simplification is ``specious'' and pretends that no simplification occurred.
``Maximally simplified'' formulas that produce specious simplifications are maximally simplified in a very technical sense: were ACL2 to apply every applicable rule to them, no progress would be made. Since ACL2 can only apply every applicable rule, it cannot make further progress with the formula. But the informed user can perhaps identify some rule that should not be applied and make it inapplicable by disabling it, allowing the simplifier to apply all the others and thus make progress.
When specious simplifications are a problem it might be helpful to disable all forcing (including case-splits) and resubmit the formula to observe whether forcing is involved in the loop or not. See force. The commands
ACL2 !>:disable-forcing and ACL2 !>:enable-forcingdisable and enable the pragmatic effects of both
case-split. If the loop is broken when forcing is
disabled, then it is very likely some forced hypothesis of
some rule is ``undoing'' a prior simplification. The most common
cause of this is when we force a hypothesis that is actually
false but whose falsity is somehow temporarily hidden (more below).
To find the offending rule, compare the specious simplification with
its non-specious counterpart and look for rules that were speciously
applied that are not applied in the non-specious case. Most likely
you will find at least one such rule and it will have a
hypothesis. By disabling that rule, at least for the subgoal in
question, you may allow the simplifier to make progress on the


text:
The "Tunnel of Oppression" was a boldly imagined collection of interactive artwork at Fort Lewis College, highlighting the myriad ways people suffer oppression in modern society.
The artwork had attracted about 100 students, who stood waiting in line to be guided through enactions of oppression so visceral that everyone had to sign a disclaimer on entering.
Inside the exhibit, one woman started crying when confronted by a scene labeled "factory farming," in which a young man, imprisoned within a fencing-wire cage, his mouth taped shut, stared blankly. Behind him were photos of livestock fated to become our food.
In another room, Nazi guards sprung forward, ordering the tour groups to "back against the wall" with terrifying menace. On abducting one group member, who they hustled behind an enormous black plastic curtain, gas suddenly shot from a corner of the room.
The tour was told it had just become one of the Jews exterminated in the Holocaust.


text:
Friday, April 26, 2019 - 7:00pm to 9:00pm
Event location:
Blue Bell
This book sale preview is for members of the Friends of the Library only. Non-members of the Friends are invited to shop Saturday through Tuesday. Membership in the Friends may be purchased at the door; download the membership form and bring it with you.
Who should attend:


text:
Description:72.8GB Ultra320 3.5-inch SCSI 68-Pin Non-Hot-Plug 10K DriveGenuine HP Serial number and firmwarePart Number(s)
Option Part# 332751-B21
Spare Part# 332934-001
Assembly Part# 356910-004
2-5-2 Part# FE-26937-01
Model# BD07297B57
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text:
- Science Visualized
Bird's-eye views of the globe highlight avian trouble spotsRecent maps reveal trouble spots for the world's imperiled birds.
- Feature
How species will, or won't, manage in a warming worldFast evolution and flexibility, in biology and behavior, may allow some species to adapt to a warming world. Others may need help from humans, or risk dying out.
- News
Dramatic retraction adds to questions about stem cell researchResearchers who reported an easy method for making stem cells admit mistakes mar their work, and have retracted their papers from Nature.
- News
Commercial quantum computer fails to impress in new testFifteen million dollar D-Wave machine runs no faster than traditional computer in head-to-head challenge.
- News in Brief
One lichen is actually 126 species and countingOne supposedly well-known tropical lichen could really be several hundred kinds.
- Reviews & Previews
Microscapes take off at D.C's Dulles airport"Life: Magnified," a display of microscope images depicting cells, microbes and details of life invisible to the naked eye runs from June to November.
- News
Lionfish dance can recruit partner for huntingSlow but superb predators recruit pals for cooperative hunting, often striking in what looks like well-mannered turn taking.
- News
Magnetic bubbles could shield astronauts from radiationWith help from plasma and a magnet, solar storms' dangers would lessen on long space trips.
- News
Rare trio of supermassive black holes foundThree supermassive black holes residing where two distant galaxies collide offer new clues about where to look for gravitational waves.
- Science Stats
Humans have long history with causing extinctionsData suggests major die-offs of large animals during the last Ice Age were linked to people, not climate.


text: Please don't call us for a price! We can't display a price here, because we simply don't have this information yet. We do our best to research requests as fast as possible, but it takes time to get this information. Email really is the fastest (and easiest) method. Thank you for your understanding.


text:
Eva Mule
Pour La Victoire
Pour La Victoire
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- Slip-on styling
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- Manufacturer Style No. EVA
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- Your card will ONLY be charged when your order is shipped.
- Availability is not guaranteed.


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text:
Leader, Father, Husband, Brother, God Worshipper, Jesus Follower, Promise Believer
Gary Mack Maher, age 62, of Four Seasons, Missouri conquered death Wednesday, March 27, 2013 at his home in Four Seasons, Missouri.
Gary was born October 31, 1950 in Barnett, Missouri, the son of Raymond and Virginia Maher.
He graduated from Eldon High School in 1968 and was inducted into the United States Army April 9, 1970. He served until November 6, 1971. He received the National Defense Service Medal, Vietnam Campaign Medal, two overseas bars, Vietnam Service Medal, Army Commendation Medal, Good Conduct Medal and Sharpshooter M16. He was honorably discharged. He graduated from Lincoln University in 1976 with a Bachelor of Science.
Gary committed his life to following Jesus in January, 1978. He married Rhonda Kay Woods May 27, 1978 and became the proud father of an amazing baby boy, Eric Jordan Maher on May 30, 1979. He was ordained in May 1986, and he became the pastor of Christ's Church in June 1995. Gary married the love of his life Christelle Del Mastro on February 15, 1997 in Kaiser, Missouri. He had the privilege and blessing of fathering his second amazing son Samuel Isaac Maher on January 28, 2005. He was faithful and obedient to God. He lived a life of sacrifice for others. His legacy is much more than can be written here. It can be seen in the lives of his children and all he mentored. This man believed God and it was reckoned to him as righteousness.
Gary was preceeded by his parents Raymond and Virginia Maher, and his sister Madalyn Kay Maher. Surviving are his amazing wife Christelle Maher; his handsome sons Eric and Sammy Maher; his brothers Kent, Larry, Terry, Kevin, Mark; and his sisters Carole, Sharon, Sue, Rhonda, and Mary.
Life Celebration Service will be held Saturday, March 30, 2013, 1:00 p.m. at Christ's Church, 342 Hwy 42, Osage Beach, MO officiated by John Lanfeman.
Memorial donations are suggested to Christ's Church.
Expressions of sympathy may be forwarded to the family at www.hedgesscottfuneralhomes.com
Arrangements have been placed under the care of Hedges-Scott Funeral Home, Osage Beach, Missouri.


text:
Major Section: MISCELLANEOUS
To enter the ACL2 command loop from Common Lisp, call the Common
Lisp program
lp (which stands for ``loop,'' as in ``read-eval-print
loop'' or ``command loop.'') The ACL2 command loop is actually
coded in ACL2 as the function
ld (which stands for ``load''). The
command loop is just what you get by loading from the standard
object input channel,
*standard-oi*. Calling
ld directly from
Common Lisp is possible but fragile because hard lisp errors or
aborts throw you out of
ld and back to the top-level of Common Lisp.
Lp calls
ld in such a way as to prevent this and is thus the
standard way to get into the ACL2 command loop. Also
see acl2-customization for information on the loading of an
initialization file.
All of the visible functionality of
lp is in fact provided by
which is written in ACL2 itself. Therefore, you should see ld
for detailed documentation of the ACL2 command loop. We sketch it
below, for novice users.
Every expression typed to the ACL2 top-level must be an ACL2 expression.
Any ACL2 expression may be submitted for evaluation. Well-formedness is checked.
Some well-formed expressions cannot be evaluated because they involve (at some level)
undefined constrained functions (see encapsulate). In addition, ACL2 does not
allow ``global variables'' in expressions to be evaluated. Thus,
(car '(a b c))
is legal and evaluates to
A, but
(car x) is not, because there is no
``global context'' or binding environment that gives meaning to the variable symbol
There is an exception to the global variable rule outlined above:
single-threaded objects (see stobj) may be used as global variables
in top-level expressions. The most commonly used such object is the
ACL2 ``current state,'' which is the value of the variable symbol
state. This variable may occur in the top-level form to be
evaluated, but must be passed only to ACL2 functions ``expecting''
as described in the documentation for
state and for
stobjs in general.
If the form returns a new state object as one of its
values, then that is considered the new ``current'' state for
the evaluation of the subsequent form. See state.
ACL2 provides some support for the functionality usually provided by global variables in a read-eval-print loop, namely the saving of the result of a computation for subsequent re-use in another expression. See assign and see @.
If the form read is a single keyword, e.g.,
pe or
ubt, then
special procedures are followed. See keyword-commands.
The command loop keeps track of the commands you have typed and allows you to review them, display them, and roll the logical state back to that created by any command. See history.
ACL2 makes the convention that if a top-level form returns three
values, the last of which is an ACL2 state, then the first is
treated as a flag that means ``an error occurred,'' the second is
the value to be printed if no error occurred, and the third is (of
course) the new state. When ``an error occurs'' no value is
printed. Thus, if you execute a top-level form that happens to
return three such values, only the second will be printed (and that
will only happen if the first is
nil!). See ld for details.


text:
CRANBERRY TWP — The little girl who suffered a severe brain injury after the lid of a storage trunk closed on her neck and deprived her of oxygen has died.
Camryn Surman, 5, died on Wednesday as a result of complications from her condition in a persistent vegetative state, which she has suffered since the July 20, 2009, accident at her Cranberry Township home.
On that morning, the lid on the rattan trunk that the family used to store toys snapped closed on the toddler's neck. Camryn's life was saved, but oxygen deprivation left her unable to move and reliant on breathing and feeding tubes.
Attorney Martin Lazzaro, who served as the Surman family spokesman today, said Camryn was admitted to the hospital recently after her health began to decline.
He said doctors were unable to help the little girl because of her vegetative state, and her parents, Eric and Laura Surman, decided to bring their daughter home. She died in the early morning hours on Wednesday.
"She was basically released from the hospital and they sent her home because nothing could be done for her," Lazzaro said. "Obviously, they are devastated."
A memorial service was held this morning at St. Ferdinand Catholic Church in Cranberry Township.
There was no visitation, and interment was private.


text:
Toho 3mm cube beads have a cube or diamond shaped hole, instead of a round one. This is an advantage due to the shape adding sparkle to the bead, due to the corners, and also the hole shape allows for more passes of thread. Toho Cube or Square beads are slightly larger than Miyuki Cube Beads.
We pack them in large 3" tubes, a tube holds appx. 14 grams. There are appx. 9-10 beads per gram so a tube hold 126-140 beads.


text:
Independent sports website The Classical today published an interview and profile of baseball's greatest injustice — the conspiracy that prevents Teddy Roosevelt from winning the Washington Nationals' presidents race.
Writer Aaron Gordon explores why the Nationals promote the race as "the main event," and suggests that now is the perfect time to let Teddy win.
Filed under: The Movement | Tagged: Aaron Gordon, The Classical |


text:
Rolex Collections
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text:
Modern Initial in Gray: Deluxe Pre-made Logo
Modern Initial in Gray: Deluxe Pre-made Logo
Are you in need of a custom logo design with a super quick turnaround time and easy on the budget? A J+M Deluxe Pre-made Logo may be the perfect solution. These logos are designed to be easily customizable to fit any company name quickly— with the same impeccable quality of a design built from scratch.
How does the process work?
▸ Simply write out in an email upon purchasing how you want your company name written. Include your tagline or other text to be included in the design (if applicable).
▸ The design will then be edited for you. A proof will be emailed within 1-3 business days. After reviewing, you have the option of requesting additional edits (pertaining to sizing and color choice) with another proof for review. If one more round of edits is necessary to get the design just right, that is certainly okay, as well!
▸ Upon approval, the final files and instructions explaining each file type will be sent to you via email.
▸ Final files include an EPS/vector, SVG, PDF, 3 sizes of PNG files with transparent backgrounds and 3 sizes of JPG files in RGB, 1 JPG in CMYK, and your logo sized for social media profiles. (For more information on files included and what in the world all this means, please take a look at the FAQ page.)
▸ Future technical support is also included if you happen to have questions down the road on file types, file usage, etc.
Other Options + Customizations:
▸ Do you want to change the colors? No problem. See color samples here. (Color palette changes are included in the purchase price.)
▸ Do you want to change the font style? A font style change isn't include, but is available as an add-on.
▸ Would you like to ensure no one else purchases this design after you? You have the option of retiring the design so that it will not be resold.
▸ Would you like to add paint or a custom illustration? If you really want to take this to the next level, other customizations are available like adding paint to the design (yummy!) or a custom illustration/icon.
So, what next?
If you are interested, you may purchase this listing!
If you have additional questions, please email me directly:


text:
I'm occasionally asked for advice on how to be a more productive programmer. My response frequently seems to disappoint, but it's the one I believe confers the greatest immediate results: Get a second monitor. The ability to have a Web browser in a window beside multiple open code windows is a huge productivity boost. Add windows for documents, all tiled so that everything is visible at once, and I have before me a vast visual plain of all the needed support items as I focus in on the one window where furious typing is being magically transformed into working, legible code.
But more than a simple hardware solution, people want to know about personal habits that have contributed to being productive. In the past, I've discussed some helpful practices: using mind maps for design, keeping an inventory of the small design decisions I make as I code, and so forth. So here I'd like to discuss several fundamental practices that I adopted by appreciating the repeated cost of not doing them. They are the practices of experience that I wish I'd understood earlier.
Know your principal tools thoroughly. I am still surprised to see how frequently developers know only a small subset of the commands and features their principal tools offer. Watching them do things manually that would have been trivial to do if they knew their editor, IDE, or build tool better is as agonizing as watching a clerk who can't type enter your name and address into an online form, one searched-for keypress at a time. You just want to say, "Spend the few hours necessary to learn the basics and you'll reap enormous rewards."
Keep up-to-date breadcrumbs. Every developer knows the personal cost of interruptions and unavoidable context switches. I find it much easier to deal with them, especially long interruptions, if I keep notes on what I was doing and where I thought I was going. Typically, the notes consist of what remains to be done before I can check in the code. It'll be something like:
- Verify new code doesn't hang when there is no connection
- Add Jeff's suggestion to the
- Unit tests for the data extraction
As you can see, it's nothing dramatic, but it allows me to return quickly to what I was doing. As I'm coding, I might insert an occasional tasks in the list. But it's important, I believe, to keep the list short and mostly trivial. Important things should go into the defect tracker. This is purely a set of reminders, so that I have less to recall later and can quickly return to what I was doing.
Test constantly while coding. Personally, I think the single most important contribution of the Agile movement to programming is communicating the value of developer testing (generally, unit testing). I am not an advocate of TDD and feel that many of the critiques directed at it are valid. But I am a passionate believer in unit testing. Of all the practices here, this is the one that would have served me best in my salad days. The ability to check in code knowing that it's unlikely to contain silly errors and overlooked conditions allows me to have a much clearer idea of what progress I've made. I don't have to worry nearly as much that there is still an extended debugging cycle of unknown length ahead of me. I now compile with the expectation the code will work the first time, rather than entertaining the fond hope that it might.
Fully automate the pipeline. This seems like unremarkable advice. But it got me to continuous delivery before that concept had a name. I automated build, test, deploy. I also automated updates to the website, to the Javadocs, to just about everything I could possibly update as part of the regular build. While this took a lot of time to write out (using Ant), the payoffs are continual. By having automated everything (well, except for some manual tests) I can build with high confidence in the generated software, even if a given feature is incomplete. I don't worry at all about fragility. In the future, I expect to automate things even more: I want to write more scripts that simulate all the possible installation options and make sure they all work correctly or provide accurate error messages. Right now, I'm pretty sure they do, but I don't know for certain because of the absence of this step from the automated pipeline.
There are certainly other practices I wish I'd learned a lot sooner. If these are helpful, then in the future, I'll present some others and invite other developers to share their words of wisdom. Till then!
Andrew Binstock
Editor in Chief
[email protected]
Twitter: platypusguy


text:
Mallory Summa and Travis Maine, both of Wayne Township, Lawrence County, were united in marriage Aug. 25 at Cascade Park in New Castle. The Rev. Ron Nagel officiated. A reception followed at Cascade Park.
The bride is the daughter of Don and Susan Summa of Fombell. Parents of the bridegroom are Don and Barbara Maine of Ellwood City.
The honor attendant was Carley Parsons of Evans City. Junior bride attendants included Hayden Maine of Mercer and Kylie and Madison Maine, both of New Castle.
The flower girl was Mackenzie Maine of New Castle.
Performing the duties of best man was Colton Summa of Fombell. Junior groom attendants included Zach Maine of New Castle and Tucker Maine of Mercer.
The ring bearer was Ashton Maine of New Castle.
The bride is a graduate of Lincoln High School. She is self-employed.
The bridegroom graduated from Lincoln High School. He is employed by Allied Rubber and Supply.
Following a honeymoon trip to Kalahari Resort and Spa in Sandusky, Ohio, the couple is residing in Wayne Township.