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The Pilates Reformer with Half Trapeze Table is a beautifully finished, solid dual Pilates Reformer with Trapeze system, perfect for the home or professional studio environment. Made from A-Grade quality German Beech Wood and Stainless Steel parts, the Pilates Reformer with Half Trapeze is designed for premium performance so you or your clients can benefit from the incredible range of exercises that a Pilates Reformer with acrobatic hanging capabilities can offer when you have limited space. Learn more about the features of our Reformer with Half Trapeze Table below...
The Reformer features a one-piece rail structure for an ultra-smooth and continuous movement ride. This refined system ensures that the reformer moving along the carriageway is virtually silent with no bridging or bumps between rails as can be found in some lesser quality Pilates Reformers. The singular railway also provides incredible frame stability and durability.
The carriage works on an 8-wheel system with 4 vertical wheels that support the carriage while another 4 wheels sit horizontally in order to guide the carriage fluidly along the rail. The solid standing platform at the end of the carriage is coated with a non-slip surface for sturdy and stable use.
Save space while experiencing a complete workout by combining the features of the Reformer and the Trapeze Table. Our Pilates Reformer with Half Trapeze Table comes with a sturdy stainless steel trapeze tower, adjustable push-through bar, roll-down bar, and trapeze springs for you to incorporate maximum versatility into your exercises.
The Reformer has a 3-position EVA Foam padded headrest for comfort and support -regardless of user's height and shape. Two of these sit above the carriage and one level with the carriage.
There are 5 included springs on the Reformer, with different tensions for differing degrees of strength: 2 x light, 2 x medium and 1 x heavy. These springs slot into a gear bar which has three different settings to choose from. The Reformer footbar has 4 positions for different exercises and the carriage has 2 stop adjustments at either end of the machine for a smooth glide. Rope lengths are fully adjustable and attach to a double-loop dual use hand and foot strap, maneuvered through a pulley system so you can quickly and easily adjust your positioning for different exercises.
The Pilates Reformer with Half Trapeze by Byron Bay Pilates Co. is made from A-grade German Beech Wood and is backed by a lifetime warranty. Extremely durable and sturdy, German Beech Wood also has a beautiful smooth finish, made even more sleek by the delicate hand staining and sanding process.
The five springs are made from Nickel-Plated Carbon Steel, making them rust-proof and incredibly strong.
All other parts are made from stainless steel and anodized aluminum - an oxidation and "black-dust" free treatment method.
The Pilates Reformer with Half Trapeze has a lifetime warranty on the wood/frame, 3 year parts home warranty and a 12 month commercial parts warranty.
The Byron Bay Pilates Co. 'Pilates Reformer with Half Trapeze Table' comes with Solid Jump Board / Cardio Rebounder, Long Box, and adjustable Foot Strap. By using the foot strap and the box you or your client can perform exercises which allow greater flexibility - as you can work through a fuller range of motion and change the direction of resistance to work different muscles. Benefit from adding cardio to your reformer workout by incorporating the jump board as an excellent, low-impact and non-weight bearing method to increase your heart rate and burn fat.
This product requires some assembly, a manual is provided. Please note delivery of your product will be to your front door. As this is a large item we recommend you have assistance on hand to help you move the product inside your house. If you require further assistance getting the item inside, please let us know and we can source a quote for this service at an additional delivery cost.
|Byron Bay Pilates Co
|Model Number
|Domestic Warranty
|Lifetime Wood & 3 Years Parts | 1 Year Commercial
|Product Weight
|125 kg
|Shipping Weight
|167 kg
|Product Dimensions
|L240 cm x W71cm x H 71cm
|Shipping Dimensions
|L252cm x W78cm x H41cm


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Massachusetts Shopping Center/Mall Real Estate Expert Witnesses
Massachusetts Real Estate Expert Witness Listings
Although there are no experts who have listed "Shopping Center/Mall Real Estate" as their area of expertise from Massachusetts , the below listed expert witnesses have indicated they are available to assist in your selected state.
Expert Witnesses
List Your Qualifications by Clicking Here
Featured Experts
Robert S. Griswold, CRE, CPM, CCIM, RPA, PCAM, CCAM, GRI, ARM (Griswold Real Estate Management, Inc.)
Currently active as a day-to-day hands-on, licensed practitioner, consultant and expert witness in all aspects of real estate (except valuation) - standards of care, standards of practice, best practices, industry standards, and custom and practice for... Learn More ›
Ken Leonard is a SHOPPING CENTER and RETAIL REAL ESTATE SPECIALIST with extensive LITIGATION CONSULTING, LITIGATION SUPPORT services and EXPERT WITNESS experience serving leading Law Firms and "Fortune 100" Companies throughout the United States and in... Learn More ›
Bill Nesbitt, who is a Board Certified Protection Professional (CPP) since 1978, as well as a Certified CPTED Practitioner. Bill is the President of Security Management Services International, Inc. Bill is a fulltime Security Consultant and a Board Certified... Learn More ›
Introduction PROPERTY MANAGEMENT EXPERT • Premises Liability • Slip, Trip & Fall • Standard of Care • Wrongful Death • Fire Safety • Landlord/Tenant • Habitability, Health and Safety Codes • HUD Housing (Section 8) • Senior Housing • Discrimination Trial... Learn More ›
30+ years of operational and consulting experience in: • Shopping centers, Multi-family , Light industrial, • Office • Acquisitions/Dispositions • Development • Investment Analysis • Brokerage • Property Management, Due Diligence, Lease... Learn More ›
Location: Massachusetts
Areas of Expertise: • Hotel and real estate industry business issues expert with 30 years consulting experience resolving disputes between owner-operator, borrower-lender, tenant-landlord and franchisee-franchisor....
Location: Massachusetts
Areas of Expertise: Mr. Fontes has 30+ years of experience in the appraisal of commercial real estate. He holds the MAI Designation from the Appraisal Institute and served as the 77th President of the Southern California...
Location: Massachusetts
Areas of Expertise: Active Lender with over 30 years experience in Banking, Finance, and Real Estate Lending. Experienced in Trial and Deposition Testimony. James (Jay) Hibert was in the commercial banking industry for...
Location: Massachusetts
Areas of Expertise: Mr. Maglocci, a 30+ year Member of the Appraisal Institute (MAI), has been employed as the Managing Partner of the Midwestern Regional Office since April of 1985. Prior to that, Mr. Maglocci was a Senior...
Location: Massachusetts
Areas of Expertise: As a lawyer I have represented the private or hard money lending industry in California for over 40 years, including licensing, DRE and DBO compliance, loan documentation, workouts, consumer credit compliance,...
Location: Massachusetts
Areas of Expertise: Mr. Cantrell is a hands on property manager running residential and commercial properties. He is a Real Estate Broker and a Certified Property Manager(CPM) and is an instructor for the Institute of Real...
Location: Massachusetts
Areas of Expertise: Ann E. Reisch is a real estate expert with a specialization in property management and leasing. Typical matters involve premises liability issues related to property operations, maintenance and management...
Location: Massachusetts
Areas of Expertise: National Real Estate Research is a national real estate counseling and valuation firm specializing in litigation support, expert witness services and distressed property solutions. John A. Dalkowski III,...
Location: Massachusetts
Areas of Expertise: Premises Safety and Liability · Retail Store Safety · Retail Display Safety · Falling Merchandise/Top Stock Accidents · Slips/Trips and Falls · Negligent Maintenance ·...
Location: Massachusetts
Areas of Expertise:
Location: Massachusetts
Areas of Expertise: Pountain Partners provides expert witness testimonies for attorneys and real estate developers. Services include market studies, feasibility analysis, deposition, mediation, arbitration, litigation support...
Location: Massachusetts
Areas of Expertise: Evaluation in the retail environment regarding slip/trip and falls, security, customer safety, employee training, food service, and product merchandising. Over 50 years experience in the retail industry...
Location: Massachusetts
Areas of Expertise: Mr. Lapin is a certified property manager (CPM) through the Institute of Real Estate Management (IREM). He has been an active property manager of all kinds of residential and commercial properties for...
Shopping Center/Mall Real Estate Expert Witnesses by State
All States, Alaska, Alabama, Arkansas, Arizona, California, Colorado, Connecticut, District of Columbia, Delaware, Florida, Georgia, Hawaii, Iowa, Idaho, Illinois, Indiana, Kansas, Kentucky, Louisiana, Massachusetts, Maryland, Maine, Michigan, Minnesota, Missouri, Mississippi, Montana, North Carolina, North Dakota, Nebraska, New Hampshire, New Jersey, New Mexico, Nevada, New York, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Virginia, Vermont, Washington, Wisconsin, West Virginia, Wyoming

subset: commoncrawl


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Library e-books to become too tatty to lend
Digital copies must not outlast paper one, HarperCollins insists
Does an e-book wear out? If it's from publisher HarperCollins and belongs to a library, then the answer is now 'yes' – and potentially in as short a time as one year.
New terms introduced by the publishing giant mean that instead of being sold with a perpetual licence, as they are now, e-books sold to libraries will be limited to just 26 loans.
With many libraries having a default lending period of two weeks, that means that a popular book could need replacing after just one year.
Libraries already work with e-books on the basis of one copy, one loan, leading to waiting lists for popular titles, which will mean that those will have the shortest life span before 'wearing out'.
HarperCollins claimed in the Library Journal that the 26-loan figure reflected the average lifespan of a paper book, after which it is too tatty, torn or stained to offer for lending, forcing the library to buy a new, replacement copy.
If its e-books don't disintegrate virtually, the publisher said, libraries will not replace them, costing it sales revenue.
Many librarians dispute this claimed lifespan, and some said they can now no longer afford to offer HarperCollins e-books. With many library services facing budget cuts, few will relish the prospect of having to replace e-books on an annual basis.
Perhaps in response to the outraged librarians, HarperCollins US' President of Sales, Josh Marwell, wrote an open letter claiming that the new system will provide for cheap renewals of expired e-books, and should cost libraries less overall, though without figures, that can't be verified.
Reg Hardware spoke to OverDrive, which runs e-book lending services for 50 UK libraries, and told us the new policy would be applied worldwide.
HarperCollins UK described the 26-loan limit as one of "many models that may need to be tested before we reach the optimum outcome", adding that it was preferable to simply not allowing e-book lending, which is the line taken by some publishers. ®
Sponsored: Detecting cyber attacks as a small to medium business


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Professional Web Designer Online Course
Professional Web Designer Online Course in Angola
2KO Angola offers online Professional Web Designer courses in Angola. 2KO Angola's Professional Web Designer course is offered to our international and local students. 2KO delivers cutting-edge IT products in the consulting and business services space, as well as offering top-rated training for various IT vendors. Our internationally recognised courses can be offered either as hands-on full time classes, or as online learning, to ensure students have access to the best Professional Web Designer training in Angola.
Courses Included in this Bundle - 21
HTML5 and CSS3 Fundamentals
Learn responsive website design for beginners with HTML5 and CSS3. In the last year one aspect of this - the world wide web - has kicked up a gear with the introduction of HTML5, the newest version of the code that makes the web tick.
Introduction to Web Design
The Internet is everyone's go-to source of information in today's world. Businesses, public figures, publications and everything in between all have a presence on the web; and the more professional their website looks, the more successful they tend to be.
Fundamentals of CSS
and CSS3
If you have ever wanted to become a web developer, then you know you need to know both CSS and CSS3. It's your choice how you learn it. You can read through a textbook or eBook, or you can have your own personal tutor showing you how to do everything every step of the way. That's what this course is all about.
Introduction to Sass for CSS
Every current web designer will most likely have mastered CSS long ago. But believe it or not, some have not yet realised the enormous benefits Sass can add to CSS - for one thing, it opens up a whole range of features not available in CSS.
Develop Responsive Websites with Bootstrap 3
In the Develop Responsive Websites with Bootstrap 3 course, we will walk you through the popular Bootstrap HTML and CSS framework. Bootstrap helps build websites that look beautiful on mobile, tablet, and desktop browsers.
Fundamentals of HTML
This course is focused on beginners, and will take you all the way from 'what does that even stand for' to creating real life projects using -- and understanding why and how you just did it.
Build a Responsive Website with a Modern Flat Design
Build a great looking flat design website using a simple but well coded template. The days of PHP to HTML5 are dead. No longer do you need to cut up an entire design in Photoshop to use great looking templates for web design.
Bootstrap 4: Exploring New Features
Exploring New Features:Build Responsive Websites. First look at the all new BOOTSTRAP 4. Find out what's new LEARN Bootstrap 4. This course is perfect for anyone with a basic knowledge of HTML and CSS, and will tell you everything you need to know about Bootstrap 4 in record time.
Building Responsive Websites with HTML 5 & CSS3
In this hands-on training course, award-winning veteran trainer Geoff Blake shows you, step-by-step, how to build beautifully designed, responsive websites that adjust and function perfectly on smartphones, tablets, and desktop displays.
Creating a Business Website with a Responsive Design
Create future-proof responsive website designs. This Responsive Website Design course will enable you to create a Responsive Website for a business using the Genesis theme framework on the WordPress platform.
Getting Started with Dreamweaver CC
Hands-on Dreamweaver CC training. Delve into the world of web design and Dreamweaver with this hands-on, step-by-step course hosted by award-winning software trainer and designer, Geoff Blake.
Photoshop CC For The Web
With so many file formats, colour spaces, and image types, knowing where to start with web graphics can be daunting. But guided by this thorough, yet easy to follow course, you'll be feeling like a pro in no time!
Website Wireframing with HTML5 & CSS3
Get your web design ideas out of your head and into a wireframe. Whether you're an HTML veteran or just a beginner, this course is for you. Award-winning trainer Geoff Blake will walk you through the process of creating a website wireframe in just under three hours!
Applying Design To Wireframes with HTML5 & CSS3
Turn your wireframes into beautiful web designs.Featuring advice on typography, graphics, and colour schemes, award-winning trainer Geoff Blake will lead you through the full process of making your site look amazing in every web browser.
Running A Web Design Business
You can run your own web design business from home and make exceptionally good money - all you need is a computer and an internet connection. My name is Rob Cubbon and I have been running a successful web design business since 2006 which turns in more profit year after year.
Designing A Website in Photoshop, Illustrator (& GIMP)
In this course I will show you how to design a pixel-perfect, beautiful website design using the Adobe photo editing (Photoshop) and vector editing (Illustrator) applications - I will also show you how to do most of the same with the free tool GIMP.
CSS Floating Layouts
You'll learn about floats and clears, then delve into creating three different types of layouts: flexible layouts, fixed layouts, and combination flexible/fixed layouts - all from scratch, all with floats, all by hand!
Responsive Wordpress Site Design for Clients
Learn responsive design that meets your client's needs. Create a custom responsive WordPress website for a client using the Genesis theme framework on the WordPress platform.
Charge your clients much more money by creating a WordPress website exactly to their requirements.
Building Websites With Photoshop CC
Looking to design websites, either professionally or for your own use? Award-winning veteran trainer Geoff Blake will guide you through the process of building an entire web page from scratch using Photoshop!
Building Websites with Dreamweaver CS6
Build sites in Dreamweaver for complete beginners
Responsive Design with Dreamweaver CS6
Learn about Dreamweaver fluid grid layouts and more. Learn how to build a website from scratch that's responsive and flexible by using the fluid grid layout features inside Dreamweaver CS6!


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Web ID: 6171180
Whitehall Personalized Square Estate Lawn Address Plaque - 1 Line
colorSelect a Color
Select your options to be notified when it's back in stock
Select all your options above to check availability
Whitehall Personalized Square Estate Lawn Address Plaque - 1 Line
Product Description
The Whitehall Square personalized plaque adds instant curb appeal to your home address numbers. The traditional style of the Square plaque compliments any home exterior. Every Whitehall plaque is proudly hand crafted in the USA. Manufactured from cast, high-density aluminum alloy and protected by our exclusive Alumi-Shield™ all weather coatings.Alumi-Shield™ All Weather Coating: A Whitehall ExclusiveAlumi-Shield™ - Protects against the harshest weather and environmental elements. Extends the product life and maintains the look and function.Please check for accuracy; personalized orders cannot be modified, cancelled, or returned after being placed.Available in multiple color options.Line 1: 5 - 4.5 inch characters
- Included: 1 Set of Mounting Hardware, 1 Set of Assembly Instructions
- Features: Personalized
- Mounting Type: Surface Mount
- Measurements: 15 Depth/Inches, 15 Width/Inches
- Base Material: 100% Metal
- Care: Wipe Clean
- Country of Origin: Made in US
Shipping & Returns
Convenient Shipping Options
Not available at your store? We can ship to you directly or to your favorite JCP location.
Easy Returns
Shop with confidence. Read our full, common sense


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To truly experience nature, you need to take inspiration from it. This concept has been reflected in every single idea of ZEISS products for more than 100 years.
The excitement of being closer to nature than ever before - this is our philosophy. Get more information about our Innovation & Tradition.


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Today I will be showing you how to make these cute teacup candles. It's a nice gift idea for someone who likes vintage things and scented candles. All you need are teacups, old candles, chop sticks, and a pot to melt the wax.
You don't have to buy a new expensive set of teacups for this project. I found these teacups in a thrift store near our house.
And I found these old candlesticks in our cupboard. Nobody uses them anyway. First, melt the old candlesticks in a pot or sauce pan.
Make sure to save the wick. Wind it around a pair of chopsticks and place it on top of the teacup. This will keep the wick stable while you are pouring the hot wax.
Add a few drops of essential oils if you want your candle to be scented. After pouring the hot wax, let it cool.
And when it's completely cool, light up your candle!
There you have it. I prefer using vanilla or coffee extract for a yummier scent. And you can even add food coloring to make it look like a real drink.


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The building of a second bridge connecting Detroit with Windsor, Ontario, has moved another step closer to reality with U.S. federal approval, but opposition to the plans still exist, including in the form of lawsuits.
The U.S. State Department issued a building permit late last week, nearly a year after it was submitted by Michigan for the New International Trade Crossing.
The State Department said in its statement that the bridge "contributes to ensuring that our border infrastructure supports increased competitiveness, job creation and broad-based prosperity in the United States and Canada. The NITC will help to meet future capacity requirements in a critical travel corridor, promote cross-border trade and commerce, and advance our vital bilateral relationship with Canada."
The move also comes following voters in Michigan last year rejecting a ballot initiative to get the public's approval for construction of the span that will be downstream of the Ambassador Bridge, currently linking the two cities.
It's opposed by the private owner of the Ambassador Bridge, Matty Moroun, who says it is not needed and in a federal lawsuit says his company has an exclusive right to operate the crossing without competition in a federal lawsuit.
TollRoadNews.com reports formal ownership of the bridge on the U.S. side of the river border will be by the state of Michigan but the Canadian government will pay for the bridge plus connections, inspection plaza facilities and the interchange with I-75 in Detroit as well as facilities on the Canadian side. Tolls will be collected by the Canadians on its side of the Detroit River.
It's expected to take seven years to build the span and should be completed around 2020 or 2021 if there are no delays, but that could change.
Michigan representative Fred Durhal, who is running for mayor of Detroit and has reportedly has received campaign contributions from the Mouron family, has filed a lawsuit seeking to overturn building of the bridge on the grounds that Michigan Governor Rick Snyder exceeded his authority when he negotiated building of the span with the Canadian government, but did not get authority from state lawmakers.
Related Stories:


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The primary purpose of this website is to document and separate fact from fiction about the original experiment. As the story is told and re-told, reported and fictionalized, carried in the news and blogged on the internet, it is becoming more difficult to learn what really happened. There has also been more information available recently from the original students, and that has been very helpful in sorting things out. This is intended to be a comprehensive and current collection of material and news, mostly from original sources.
It is also the purpose here to provide additional material for the discussion of this dark and never-ending side of human nature. In today's confused and chaotic world, it seems that polarization, persecution, political and religious extremism, cults, gangs and bullying are as prevalent as ever. The risks and stakes have never been higher, and this lesson is needed now more than ever.
This website is managed and overseen by original participants in The Third Wave experiment, and will contain the latest news of our activities, along with the most complete and accurate information about our experience. We hope you find it helpful in your research and studies.
History of the Wave Story
The original experiment was named "The Third Wave" and occurred at Cubberley Senior High School in Palo Alto, California, in March/April 1967. Teacher Ron Jones wrote a short story about the experience that was published in spring 1976. This was followed by a TV movie ("The Wave") by famed producer Norman Lear on October 4, 1981. The subsequent 1981 book "The Wave" is a novelization of the Lear movie, and was written by Todd Strasser (aka Morton Rhue). This book is widely read by students in schools throughout the world. In spring 2008, German director Dennis Gansel's popular film "Die Welle" set the story in a high school in present-day Germany. There have also been various Wave plays and musicals performed over the years, and a new musical by original teacher Ron Jones debuted in March 2010, as well as his new play "The Third Wave" in 2011. On October 10, 2010, Emmy nominee and original Third Wave class member Philip Neel's new documentary of the original experiment, entitled "Lesson Plan", premiered at the Mill Valley Film Festival. New accounts are emerging from original Third Wave students. There are also periodic rumors that Hollywood will produce a new Wave film for theaters, especially given the recent success of the German film. This is all outlined in more detail on the Stories page, and further examined in the FAQ pages. There is also a chronology page of early articles.
Lessons from The Wave
The Wave story is a simple one, but an excellent means to facilitate discussion about very sensitive and difficult subjects: the rise of the Nazis and other totalitarian societies and the atrocities they perpetrate, the psychology of leaders and followers, when passion for one's cause leads to intolerance and persecution of others, extremist political and religious groups, cults, gangs, bullying, etc. Quotes, traits, terminology, and other information are explored on the Lessons page.
Online Wave Museum
While very little remains from the original Third Wave experiment, more material is surfacing as former students have been located. Photos of the classroom, articles in the school newspaper, a report card from the class, party membership cards, Third Wave posters, some class notes and handouts, etc. have been discovered. There are also interesting materials from the subsequent films, books, plays and musicals. These are shown or linked via the Museum page.
News and Links
The News and Links page includes leads to current and past articles, where useful material may be found to learn more about the history and evolution of the story.
Contact Information
We hope you find this website helpful. We welcome comments on this website, new questions for the FAQ's, and are always looking for more stories from original Third Wave students and items to share in the "museum." We are also available to meet with your school or organization. Click Here for contact information
Thank you to our many visitors and supporters around the world !
(click on the map to see a bigger map)
ï¿¿ Copyright 2015 Mark Hancock and The Wave Home All Rights Reserved


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SET 1: Possum, Ya Mar, David Bowie, Carolina, The Oh Kee Pa Ceremony > Suzy Greenberg, You Enjoy Myself > The Lizards, Fire
SET 2: Reba, Uncle Pen, Jesus Just Left Chicago[1], AC/DC Bag, Donna Lee, Tweezer, Fee > Cavern, Mike's Song > I Am Hydrogen > Weekapaug Groove, If I Only Had a Brain, Contact
ENCORE: Golgi Apparatus
Add a Review
March 27, 1993
25 years ago
Warfield Theatre
Set 1: Llama, Guelah Papyrus, Rift, Stash, Reba, My Friend, My Friend[1], Uncle Pen, Sample in a Jar, I Didn't Know[2], David Bowie[3]
Set 2: Buried Alive > Halley's Comet > It's Ice > Bouncing Around the Room, Chalk Dust Torture, The Man Who Stepped Into Yesterday > Avenu Malkenu > The Man Who Stepped Into Yesterday > Mike's Song > I Am Hydrogen > Weekapaug Groove, Hold Your Head Up > Cracklin' Rosie > Hold Your Head Up, Poor Heart > Golgi Apparatus
Encore: The Squirming Coil, Carolina
[1] Beginning featured Trey on acoustic guitar.
[2] Fish on trombone.
[3] All Fall Down signal in intro.
Phish.net is a non-commercial project run by Phish fans and for Phish fans under the auspices of the all-volunteer, non-profit Mockingbird Foundation.
This project serves to compile, preserve, and protect encyclopedic information about Phish and their music.
Credits | Terms Of Use | Legal | DMCA
The Mockingbird Foundation is a non-profit organization founded by Phish fans in 1996 to generate charitable proceeds from the Phish community.
And since we're entirely volunteer – with no office, salaries, or paid staff – administrative costs are less than 2% of revenues! So far, we've distributed just about $1,500,000 to support music education for children – hundreds of grants in all 50 states, with more on the way.


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A gallbladder scan is a
nuclear scanning test that is done to check
gallbladder function. The scan can find blockage in the
tubes (bile ducts) that lead from the liver to the gallbladder and small
intestine (duodenum). See a picture of the
gallbladder and the
During a gallbladder scan, a
radioactive tracer substance is injected into a vein
in the arm. The liver removes the tracer from the bloodstream and adds it to
the bile that normally flows through the bile ducts to the gallbladder. The
gallbladder then releases the tracer into the beginning of the small intestine.
A special camera (gamma) takes pictures of the tracer as it moves through the
liver, bile ducts, gallbladder, and small intestine.
A gallbladder scan is done to:
Before your gallbladder scan, tell your
doctor if:
Do not eat or drink for 4 to 12 hours before a gallbladder
scan. Your doctor will tell you how long depending on what the test is being
done for.
You may be asked to sign a consent form before the test.
Talk to your doctor about any concerns you have regarding the need for the
test, its risks, how it will be done, or what the results will mean. To help
you understand the importance of this test, fill out the
medical test information form(What is a PDF document?).
A gallbladder scan is usually done by a
nuclear medicine technologist. The scan pictures are usually interpreted by a
radiologist or
nuclear medicine specialist.
You will need
to remove any jewelry that might interfere with the scan. You may need to take
off all or most of your clothes, depending on which area is being examined (you
may be allowed to keep on your underwear if it does not interfere with the
test). You will be given a cloth or paper covering to use during the
The technologist cleans the site on your arm where the
radioactive tracer will be injected. A small amount of the radioactive tracer
is then injected.
You will lie on your back on a table and a large
scanning camera will be positioned closely above your abdomen. After the
radioactive tracer is injected, the camera will scan for radiation released by
the tracer and produce pictures as the tracer passes through your liver and
into your gallbladder and small intestine. The first pictures will be taken
right after the injection. The pictures may be continuous (like a video) or may
be taken once in a while for up to the next 1½ hours. Each scan takes only a
few minutes. You need to lie very still during each scan to avoid blurring the
pictures. The camera does not produce any radiation, so you are not exposed to
any more radiation while the scan is being done.
A substance
(cholecystokinin) that stimulates the gallbladder may also be injected into
your vein during the scans. The pictures taken after this injection can help
determine whether the gallbladder is functioning normally. Computer analysis of
the data may be used to check gallbladder function. You may be asked to
answer questions about your reaction to the cholecystokinin. Occasionally
medicine (morphine sulfate) is given to help diagnose inflammation of the
Depending upon your results, additional scans may be
taken up to a day later. If you need to return for another gallbladder scan,
you should not eat any fatty foods before you return.
gallbladder scan takes about 1 to 2 hours.
You may feel nothing at all from the
needle puncture when the tracer is injected, or you may feel a brief sting or
pinch as the needle goes through the skin. Otherwise, a gallbladder scan is
usually painless. You may find it hard to remain still during the scan.
Ask for a pillow or blanket to make yourself as comfortable as possible before
the scan begins.
The test may be uncomfortable if you are having
abdominal pain. Try to relax by breathing slowly and deeply.
cholecystokinin is used during the test, it may cause nausea or abdominal pain.
The technologist may ask you about changes in your pain during the test.
Allergic reactions to the radioactive
tracer are rare. Most of the tracer will be eliminated from your body (through
your urine or stool) within a day, so be sure to promptly flush the toilet and
thoroughly wash your hands with soap and water. The amount of radiation is so
small that it is not a risk for people to come in contact with you following
the test.
Occasionally, some soreness or swelling may develop at
the injection site. These symptoms can usually be relieved by applying moist,
warm compresses to your arm.
There is always a slight risk of
damage to cells or tissue from being exposed to any radiation, including the
low level of radiation released by the radioactive tracer used for this
A gallbladder scan is a special
nuclear scanning test that is done to check
gallbladder function. The results of a gallbladder
scan are available in 2 days.
The radioactive tracer flows evenly through
the liver and then into the gallbladder and the beginning of the small
intestine (duodenum).
The gallbladder is normal in size, shape,
and location.
The tracer may not be removed normally from
the bloodstream by the liver, meaning possible liver disease.
The gallbladder does not contract or empty normally.
The tracer may not reach the gallbladder,
meaning inflammation or blockage of the duct by a
The tracer may not reach the beginning of
the small intestine (duodenum), meaning blockage of a bile duct by a stone,
a tumor, infection, or inflammation of the
pancreas. See a picture of a
gallbladder scan.
Pain occurs when the gallbladder empties
the tracer.
Reasons you may not be able to have the test or why the results may not be helpful include:
Other Works ConsultedChernecky CC, Berger BJ (2008). Laboratory Tests and Diagnostic Procedures, 5th ed. St. Louis:
Saunders.Fischbach FT, Dunning MB III, eds. (2009).
Manual of Laboratory and Diagnostic Tests, 8th ed.
Philadelphia: Lippincott Williams and Wilkins.Pagana KD, Pagana TJ (2010). Mosby's Manual of Diagnostic and Laboratory Tests, 4th ed. St. Louis: Mosby Elsevier.
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Last Revised:
October 17, 2012
Healthwise Staff
Medical Review:
Adam Husney, MD - Family Medicine & Howard Schaff, MD - Diagnostic Radiology
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Suzanne Hammond
Suzanne is a Fellow and Examiner of the ISTD. She began dancing at the age of seven at her local school in Liverpool studying many dance genres.
Having left school she went on to train professionally in dance and drama for three years. A career on the stage took her all round Europe, Asia, the Middle East, the Far East, the Mediterranean and indeed around the world. She also worked on the cruise ships and was always home in time for pantomime season. When back in the UK she would often embark on some TV work for ITV. Retiring from the stage she made teaching her career. Suzanne taught in many schools, colleges and theatre groups throughout the UK before opening her own school on Merseyside. After a few years she relocated to the south of England where she set up Hammond Academy of Performing Arts.
Suzanne is also a choreographer and has worked for a casting agency choreographing everything from club circuit productions to music videos and TV shows. She has directed and produced many theatre shows and pantomimes such as Snow White, Cinderella, Peter Pan, Bugsy Malone, Sweet Charity and many more.
In 2005 Suzanne joined both the Club Dance and the Disco/Freestyle/R 'n' R Faculty Committees of the ISTD. She does a lot of work outside the Academy, examining, adjudicating and training professionals in many dance genres.


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It's difficult to know which has followed Minneapolis four-piece Tapes 'N Tapes most doggedly since their 2006 debut; the comparisons with Pavement, or a persistent collective response we might charitably christen as 'favourably indifferent'. Kicking up a sizeable shitstorm of publicity off the back of some salivating blog-based eulogies, The Loon was damned with faint praise in some quarters as adroit pastiche of various established alt-rocking troupes, Malkmus' consciously stumblebum outfit being chief among suspects.
In hindsight critics needn't have exhaled quite so loudly; The Loon holds up well as a record of unflashy depth and confounding character two years down the line. Even so, there remains the lingering notion that Tapes 'N Tapes would have to pull something pretty special out of the bag if their fractious relationship with expectation – unfair or otherwise - is ever to be reconciled.
To that end, Walk It Off is a beefier-sounding record than its predecessor, played with an arm-swinging confidence that borders on belligerence. Not as light on its feet as The Loon in songwriting terms, the more raucous tracks on Walk It Off sound pissed and engaged in a losing battle with a thicket hedge. Promisingly, they succeed in conjuring a great moment almost at the hitching of the curtain, someone apparently setting off a fire alarm in the middle of 'La Ruse''s eye-rolling pummel and the band responding in kind with a performance of drilled, Pogues-ish intensity. Hardly next-level stuff, perhaps, but an agreeably bad-tempered opener.
More so than the bothersome Pavement comparisons it's Modest Mouse's raving sea shanty vibe Walk It Off most pungently recalls - from the aforementioned opener to 'Headshock''s seasick waltz, which effectively showcases the band's flair for subtle rhythmic interplay, there's a bug-eyed lucidity about Tapes 'N Tapes that only partially masks a disconcerting off-ness.
'Hang Them All''s funk riffs and jittery momentum have all the spooky satisfaction of headlamps down narrow country lanes, and 'Time Of Songs' builds carefully on The Loon's template, sounding not unlike recent bloggists' squeeze of choice MGMT minus the hokey transparency, and underpinned by a poised bassline like woodland creatures basking in moonglow. But many of Walk It Off's best moments sound stumbled upon mid-recital rather than left there by design: the way 'Lines' suddenly gathers dark momentum after a sluggish first half, or the martial drum rolls and free-roaming bass on 'Conquest''s clever middle section.
As a result we get some fine performances wasted on indifferent material, particularly toward the record's back end: 'Blunt' rocks out in lieu of proper ideas and is one of several tracks to trade off Josh Grier's enigmatic upper register for a mushy, distorted mid-range, and 'George Michael' circles mournfully as if traumatised by its own lack of a tune, before 'The Dirty Dirty' restores some balance, hobbling around menacingly on a peg-legged kraut groove and robotic, one-note riff.
There are enough sturdy ideas in Walk It Off's first half – just about – to ensure Tapes 'N Tapes' good ship stays afloat for a third bout, and it's definitely a record that'll reward repeated plays, but with the twilit otherness of The Loon largely evaporated here, it'll need a change of tack to put the wind back in their sails and set the blogosphere to reeling once more.
6Alex Denney's Score


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Russian billionaire Roman Abramovich, who is better known in Tanzania as the owner of the popular English Premier league Club Chelsea, is in the country for a visit. No wonder that his arrival on Wednesday has stirred the north of the country, which is home to some of the best tourist attractions in the world. During his 10-day tour, Mr. Abramovich will attempt to scale Mount Kilimanjaro.
Roman Abramovich is one of the wealthiest people in the world. During his stay, the international spotlight will certainly be on Tanzania, and that's good news for tourism, reports The Citizen.
The owner of Chelsea FC arrived with six friends and staff on his private Boeing 767 before embarking on the gruelling ascent. Although Onsea House was fully booked for accommodation at the time of booking, the entourage of Roman Abramovich chose Onsea House to cater the dinner on the night before the ascent and during the climb.


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Meanwhile, I was wandering in the forests of my neighbourhood, and took these pictures. Hmm, I wonder which Vappu I prefer..?
I took this picture of the field that belongs to the nearby stables just because you can sort of see the green emerging from everywhere, not just the grass, but the trees further back too. I love how everything is still bare, but you can tell that there are thousands and thousands of leaves waiting to burst out into the open.
It was so warm today that I got to wear my Gudrun Sjoden linen jacket. Happy Vappu, everyone!


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With the passing of Uncle Ellis and his funeral today, I thought I would make available the pictures I have of him over the years similar to other family members. My way of remembering him and honouring the family. Until we meet again.
Ellis Seth Jonas was born 6 September 1926 in Lewiston, Cache, Utah to Lillian Coley and Joseph Nelson Jonas. The fifth child of eight to his parents (my Grandfather, Norwood, was fourth). Ellis was born on the tenth wedding anniversary of his parents. He married Geraldine Pitcher 17 August 1946 in Elko, Elko, Nevada. My Grandparents were going to elope and go at the same time but chickened out and ended up making the trip the next month. Five children were born to the marriage; Kent in 1949, Mary Lou in 1951, Julie in 1954, Dan in 1958, and Ron in 1965. Ellis died at home in Smithfield, Cache, Utah 12 August 2012 and will be buried today, 18 August 2012 in Smithfield.
Ellis as a boy.
A certificate regarding his promotion to North Cache High School.
I have a host of World War II pictures. I will just present them all here.
A letter home near the end of the war.
I have this graduation picture. I don't know if it is high school or college, probably graduation from Utah State in 1951 or 1952. At this link are a couple of photos from Ellis' days coaching baseball.
A picture of Ellis on the ground at the 1957 Jonas Reunion.
The Ellis and Geri Jonas family in classic 1970's fashion.
Working at the armory.
Ellis and Geri.
Here is a picture of their home in Smithfield taken in July 2003.
The last picture I have in life of Ellis is from 2009 with his great grand niece.


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8 Fishermans Wharf San Francisco, CA 94133(415) 830-9639 |
Planning a romantic weekend exploring San Francisco and looking for one of the area's best seafood restaurants? Alioto's is a local secret, offering private dining and banquet rooms to all patrons looking for the freshest seafood and most enticing recipes. With the facilities to accommodate a quiet romantic dinner for couples, as well as larger family gatherings, Alioto's Restaurant in San Francisco is the place for high-end seafood.
Enjoy a fine seafood meal right
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you look out onto the beautiful harbor is sure to set the mood for
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special someone or hosting a party in one of our banquet rooms. Our
seafood restaurant serves the freshest dishes in San Francisco and
is sure to offer something to suit every taste.
A seafood restaurant with a twist, Alioto's has been serving the San Francisco area for years. We serve only the most delicious seafood dishes, prepared fresh to order with quality ingredients. It is truly one of the best private dining experiences in the area.
Alioto's long history begins as a small fresh fish stall on Fisherman's Wharf in 1925. Since that time, little has changed in terms of the fresh seafood that Alioto's Restaurant uses. Alioto's Restaurant still buys the freshest seafood directly from the wharf, including sea bass, sole, swordfish, scallops, and the iconic Dungeness crab. A seafood restaurant with integrity and respect for its roots, Alioto's Restaurant never compromises on quality and source of our local seafood.
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Alioto's Restaurant is a renowned Seafood Restaurant conveniently located in Fisherman's Wharf. We specialize in Private Dining in our Banquet Rooms for a variety of events. Aliotos' only purchases the freshest seafood available, ensuring each dish exhibits quality. Visit www.aliotos.com for further information.


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Thesis Year Snapshots: 2014
POSTED ON: May 29, 2014
This third and final article in the 2014 "senior snapshot" series focuses on the fifth-year students of The Irwin S. Chanin School of Architecture. As part of their final year of study, each must develop a thesis proposal they present to faculty and guests during a thesis critique prior to graduation. We sat down with three graduating students to talk about how they got to the school, what they focused on in their thesis, and how the time they spent at The Cooper Union changed them.
Tjhang Felicia Gambino, who goes by her last name rather than her first, credits the school of architecture with making her a different person. The seeds of that change can be found at the very beginning, when she was challenged by the famously intimidating home test required for admission to the school. A recent such test requested, among other things, a "self portrait in terms that have no reference to the body" and also instructed the applicant to "observe a structure such as a facade, a frame or an order. Draw an intersection."
Gambino, 26, was born in Jakarta, Indonesia and moved to Singapore during her high school years. After receiving a diploma in interior design there she wanted to get out of her "safety net" and study architecture in America at The Cooper Union. "In my first home test I depended on other people, like asking my teachers for their feedback, because I was not confident," Gambino says. "I was more doing the test by thinking, 'What's the right answer?' " She was not admitted to the school. So she got a job at an architecture firm in Singapore and applied again the next year. "The second time I applied I was like, 'You know what, if I don't get in, let it be just my fault.' So I was being truthful about the questions and showing the struggle." Her change in thinking got her accepted to the program.
Five years later Gambino's thesis project, titled "Urban Transience," examines questions of living in a globalized age. She was inspired by Pico Ilyer's book The Global Soul and its notion of someone who feels no particular affiliation with any one nation. "I was really into that because I am one myself," she says. "I am a global soul." Unusually for a thesis proposal, Gambino's has no specific site. "It is a structure that can be placed in any urban place in the world," she says. "I want to create a space for people who live a life of transience. When I move place to place, I struggle, even on an emotional level. So I am proposing transitional housing for such people."
Gambino designed a 10' x 10' modular house that would travel with the migrant. She envisions the houses plugging into adaptable "connections" between them that allow for the fluctuations of such peripatetic populations. "The individual housing becomes the structure, forming a shape," she says. "And the negative area becomes a public space. The form is not the most important thing. It would change depending on the number of migrants. In New York, for example, it would be huge, but in Jakarta it would be small."
After graduating Gambino hopes to find a position at a firm in the U.S. that will sponsor her so she can get an architectural license. Failing that, she will move on, perhaps to Europe she says, and eventually make her way back to Jakarta.
Gambino says that she has changed since attending The Cooper Union. "It's the best thing to happen in my life," she says. "At Cooper Union you learn that the process is the most meaningful part. That's a huge change for me. The way my thesis is autobiographical is an example. It's like a kind of critical thinking. How do I transform something personal into a project? You start opening the mind."
Jennifer Kim's story of attending the school of architecture exemplifies how each student makes the experience their own. Jennifer, 24, had settled in Queens, New York at age ten, after moving from Minnesota to Korea and then Colorado. A talent for fine art got her entry into New York City's exclusive Fiorello H. LaGuardia High School of Music & Art and Performing Arts. Later, she applied for early decision to The Cooper Union School of Art. But she did not get accepted. Undaunted and determined, she took a daring step into the unknown and applied to the school of architecture. "The first year was rough for me," she says. "I came into it not knowing anything about architecture, and I had a difficult time understanding what the professors were trying to teach us." But, she says, she found the structure of the curriculum to be supportive. It also allowed her to fold her fine arts background into her architectural work, something that became her hallmark.
Like Gambino, her classmate, Jennifer's thesis proposal touches on the notion of mobile housing. She decided to reconceive the notorious American trailer park. Her interest began when, taking a break from school after her fourth year, she joined AmeriCorps. "I worked at a trailer park in New Jersey immediately after Hurricane Sandy hit," she says. "The insulation under the homes was damaged from flooding. They had us come in and gut out the molding insulation and install new insulation by crawling under the mobile homes. It was a horrific experience but I am glad I did it. Sometimes you forget that there are places in need of assistance when you are in school for a long period of time."
The work inspired her. "It struck me that mobile communities have a stigma attached to them, yet they take up so much of the United States," Jennifer says. "I thought it would be interesting to do a project on them." She started with what she saw under the trailers. "I noticed the residents used cinder blocks as the structure to hold up the mobile homes, but there could be a more stable and permanent solution. Also, these homes are called 'mobile,' yet they were immobile when the hurricane came. They couldn't just drive away."
She located her proposal in Orangeburg, South Carolina, a once thriving city now reduced to a strip mall "downtown" and a population of trailer parks on the outskirts of the city, according to Jennifer. "I thought there could be a way for a shrinking city to revitalize itself through a mobile community; reestablishing the mobile culture that the trailer used to allow while also reestablishing a city that was once functional. When trailers were first introduced, there was an established mobile culture. It wasn't considered an impoverished way of living but an alternative lifestyle. I wanted to try and bring that thinking back and counteract their being considered a last resort." She reshaped the home, removing its superficial mimicry of a suburban house in such features as the pitched roof and boxy shape. Instead she imagines trailer homes made of lightweight materials that can be more easily hitched and moved. She also designed a permanent structure where the trailers could dock, which could add additional space.
Jennifer's thesis uses supporting materials that reflect her merged passions of fine art and architecture. Her model of the trailer and dock seems typical of an architectural proposal. But less typical is the life-size plaster casting of mobile home tire tracks she presents as "a message of the immobility with the possibility of mobility." She also integrates painting and watercolor into her final presentation. Still, she says she thinks of herself foremost as an architectural graduate. So much so that her next step will be to seek an architecture license after finding a job somewhere outside of New York. "I am a different person from who I was in first year," she says of her experience at the school. "I can actually talk about architecture and be passionate about it. And I can have my own opinions and fight for them. Even the way I present my work has changed. I have become more confident. It was rigorous. But I would do it again in a heartbeat."
In a previous snapshot we met a graduate who started out thinking he would pursue architecture but instead went into engineering. Harry Murzyn, 24, took the opposite path. Born in Taipei, Taiwan but raised in Indiana, he had a talent for math and science in high school and considered an engineering degree. But when he took industrial design and drafting classes, those skills met with an artistic talent as well. "I found I was really good at it and just kept going in that direction," he says. At the same time, during a class trip to New York, a tour bus guide turned everyone's attention to the Foundation Building. "The guide said, 'If you look out to your left, you will see one of the best schools here in the city. It's very selective,' " Harry recalls. Shortly thereafter he found The Cooper Union again while searching for architecture schools on the Internet.
Like Jennifer Kim (his girlfriend), Harry also took a year off after his fourth year and joined AmeriCorps. "Everything happens so fast, and I felt I wanted to take time to digest what I had learned," he says. Like Jennifer he came back with an idea for his fifth-year thesis. He had spent six weeks in Crown King, a former mining town turned recreational destination set amid ponderosa pines in the central Arizona mountains. Harry's days were spent on forest fire fuels reduction, clearing undergrowth and dead brush from town structures. "We would follow the fire department around as they cut up all this stuff with chainsaws, hauling it up and down the maintain to a wood chipper," he says. "They need to do this constantly. That's part of the reason that my thesis project turned toward the more sustainable questions of such an endeavor."
In the year prior to Harry's arrival the town lived through the Gladiator Fire that ate up 16,000 acres. "My entire first semester was spent studying this one fire and trying to figure out how to represent it," Harry says. "The firefighters produce these really amazing tactical fire maps to plan their daily attack. If you are a firefighter from the area, you understand what these maps are conveying. But to someone unfamiliar you are not aware of everything they imply: the interaction of fire with the geography, the terrain, the weather. So I spent my first semester trying to represent that through the techniques of drawing and model making."
In his final proposal, "Cauterized Terrain," Harry went further by imagining a town that "engages with fire" rather than expending resources on fighting it. "The type of city form that I proposed was one that would require no disaster response when fire burns through. There would be no need for a massive mobilization of resources because the town structure actively engages with the natural process of forest fire." He envisions a town planned in concentric circles of fire engagement. He acknowledges that the proposal is highly theoretical. "I left Crown King with very strong feelings about the ideas of obsolescence and ruin and renewal and rebirth. Coming back, I wanted to express those things in material form. My thesis studies were more about exploring these themes rather than proposing a direct solution to a single problem."
Next up for Harry? He's unsure. "I am looking to move and looking for a place in the profession," he says. He takes a few moments to consider how to sum up his experience at The Cooper Union. "It was something absolutely necessary for me to do. My views and my interests focused during my time here. After six years at the Cooper Union, I feel that the most purposeful and personally satisfying work is that which remains optimistic, with the goal of always bettering the communities we belong to."


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At the end of two rounds of group stage action in Africa's qualifiers for the 2014 FIFA World Cup Brazil™, only two teams - Egypt and Tunisia - are sitting on a maximum six points. But while Egypt, who scored a late winner on Sunday, can look forward to the next matchday with some optimism, there will be concern in Cameroon, who were stunned by Libya, as only the group winners advance to the final round.
Match of the day
Libya 2-1 Cameroon*
Goals: Ahmed Zouay (8), Hamad Ahniash (90+3); Eric Choupo Moting (16)*
In a match played in the Tunisian city of Sfax due to security concerns in Libya, the North Africans stunned the Indomitable Lions with a late goal scored by Ahniash. The game had originally been scheduled to take place behind closed doors, but this was then changed allowing 5,000 fans to watch. Zouay gave the Libyans an early start, which German-based Choupa Moting equalised for the six-time FIFA World Cup finalists. As the match was heading towards a draw, substitute Ahniash, who was thrown into the deep end with just five minutes to go, scored the winner deep into injury time.
In Group A, Ethiopia moved to the top of the standings with a 2-0 victory over the Central African Republic. The Black Lions are on four points, while their opponents have three. South Africa and Botswana, who drew on Saturday, are on two and one points respectively. Sudan, who stunned African champions Zambia in their opening Group D match last weekend, missed out on a chance to put some distance between themselves and the chasing pack as they managed no better than a goalless draw in Lesotho. In Group C, Erasto Nyoni converted a late penalty for Tanzania as the Taifa Stars moved into second place in the table behind Côte d'Ivoire, who drew 2-2 in Morocco on Saturday. In Group G, Egypt scored three times in the second half in Conakry to secure a dramatic 3-2 victory over Guinea, while Zimbabwe played to a goalless draw in Mozambique. Algeria failed to join Egypt and Tunisia on six points, losing to Mali 2-1 after going ahead in the opening minutes in Burkina Faso. Also in Group H, well-travelled striker Razak Omotoyossi scored his second goal of the qualifying campaign as Benin secured a 1-1 draw in Rwanda to move to four points.
Congo DR, who lost their opening game in Cameroon 1-0, bounced back on Sunday with a 2-0 victory against Germany 2006 qualifiers Togo. Striker Tresor Mabi Mputu opened the scoring midway through the first half. The home side were then reduced to ten men when Albert Mutamba was sent off shortly before the break. Anderlecht striker Dieumerci Mbokani marked his return from 14 months of international wilderness by scoring a penalty nine minutes from the end to take Congo DR to three points in Group I. Angola's Palencas Negras, also surprise 2006 FIFA World Cup finalists, will have their work cut out for them if they want to repeat that feat after a goalless draw in Liberia that leaves them with two points from their two opening games. The team from southern Africa enjoyed more of the match, but failed to find the breakthrough they needed to beat the Lone Stars. Angola and Uganda both have two points, while Senegal, who drew in Uganda on Saturday, top Group J with four points.
Player of the day
Mohamed Aboutrika (Egypt)
After the disappointment of missing out on a place at the last FIFA World Cup finals in South Africa two years ago, Pharaohs supporters are desperate for global success. After beating Mozambique in their opening match, the North Africans faced perhaps their trickiest match of the group, in Guinea. Abdoul Camara gave the home side a first-half lead from the penalty spot, but veteran Aboutrika turned things around after the break with two goals to put his side ahead. Guinea, who had goalkeeper Naby Yattara sent off midway through the second half, thought they had snatched a share of the spoils when Alhassane Bangoura equalised matters two minutes from the end, but deep into injury time Mohamed Salah gave the visitors a hard-fought victory.
The stat 3 – The number of goals scored in two group stage matches by Ethiopia's Egyptian-based striker Said Saladin, the most of anyone.
What they said
"We have played two games, we are number two in the group and we are only getting stronger and stronger. It was a good match for the players because they got what they deserved," Tanzaniacoach Kim Poulsen.
Results9 JuneMalawi 1-1 Nigeria
Botswana 1-1 South Africa
Zambia 1-0 Ghana
Gabon 1-0 Burkina Faso
Congo 1-0 Niger
Uganda 1-1 Senegal
Cape Verde Islands 1-2 Tunisia
Equatorial Guinea 2-2 Sierra Leone
Namibia 1-0 Kenya
Morocco 2-2 Côte d'Ivoire* *10 JuneLesotho 0-0 Sudan
Mozambique 0-0 Zimbabwe
Rwanda 1-1 Benin
Congo DR 2-0 Togo
Ethiopia 2-0 Central African Republic
Tanzania 2-1 Gambia
Liberia 0-0 Angola
Guinea 2-3 Egypt
Libya 2-1 Cameroon
Mali 2-1 Algeria


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BERLIN- Stephen Decatur's varsity baseball team trounced visiting Pocomoke, 34-1, on a windswept field at home on Monday to improve to 3-0 on the season.
The Seahawks dominated the Warriors from the start, building a huge early lead and adding to it through the middle innings. Decatur already led, 15-0, after two before a seemingly endless third inning during which Pocomoke could not record an out. After a steady parade of walks and hit batsmen with a few hits sprinkled in along with a few fielding errors, the Seahawks were up for nearly an hour in the bottom of the third inning and scored 18 more runs to extend its lead to 33-0.
It's important to note the Seahawks did not attempt to run up the score on the Warriors and ran just station to station with the bases loaded and no outs when they had opportunities to add even more runs. Even when Decatur put the ball in play, the Warriors struggled to make the plays necessary to end the inning.
Decatur added one more in the bottom of the fourth to make it 34-0. Pocomoke got on the board in the top of the fifth inning to end the shutout bid and a no-hit bid by two Decatur pitchers. Grant Donahue started the game for the Seahawks and pitched three shutout innings, allowing no hits and just one walk. After the marathon bottom of the third, however, Donahue was replaced with junior varsity call-up Sean Colgan in the top of the fourth.
Colgan got through the fourth without yielding a hit, but surrendered one hit and a run in the bottom of the fifth, the last inning of the game shortened by the scoreboard. Decatur has now beaten Wicomico, 9-0; Mardela, 12-1, and Pocomoke, 34-1. The Seahawks have outscored their opponents by a combined 55-2.


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Ben "Yahtzee" Croshaw releasing horror rogue-like The Consuming Shadow
The Consuming Shadow is a new horror rogue-like from Ben "Yahtzee" Croshaw. It's currently in beta.
Yahtzee headlines
Hasbro Family Game Night is this weeks Live Deal of the Week
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Yahtzee moves ahead with Game Damage
Zero Punctuation ranter Yahtzee's moved beyond a pilot for Australian games show Game Damage, releasing a round-up video of what to expect from its first season. See it after the break. Looks a lot like the pilot, non-oddly. Not sure when episode one's going to appear. Thanks, GoNintendo.
Yahtzee pilots "GameDamage" TV show
Zero Punctuation review man Yahtzee's made a TV show pilot with some Australian buddies called GameDamage. The 30-minute show's embedded after the link. It features the Brit down under being told to "settle down" by a co-presenter, a trip to see Edge of Twilight and someone dressed as Master Chief walking round an Australian city. […]
Hasbro is "embarrassment of riches", says EA
Speaking here, EA Hasbro Studio boss Chip Lange has backed up yesterday's partnership announcement with an interview about how simply wonderful the whole deal is. Chip's properly loving it. Hasbro's back catalogue is "unmatched by probably any other toy or game IP holder," he said. "Let's just put it this way: There are far more […]
EA confirms Monopoly and Scrabble
Looks as though the nuking of Scrabulous last month wasn't exactly coincidental. EA today confirmed Scrabble and Monopoly for multiple platforms as part of a sizeable deal with Hasbro. Did you know EA had a "Hasbro Studio"? "EA and Hasbro want to give families new ways to enjoy games; we want give them a new […]


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- DuckToaster
- Subber
Before we started the Kiss Cosplay Bus, our group tackled the 2nd Matsumoto Sports Challenge: Vaulting Horse 10 out of 10. This is possible due to Hinnerk, part of Team Gaki, who had already completed the typesetting. Special thanks to typesoshee for translating and Oolong for proofreading. Some corrections have been made since the original Aegisub file and the video I had screwed up the typesetting. Anyway, I hope you enjoy this.
Edit: Typesoshee did some tiny edits.
Edit: Typesoshee did some tiny edits.


text:
Jacopo Ligozzi (Italian, Verona 1547 - 1626 Florence)
Portable Altar in a Carrying Case (Christ on the Mount of Olives), 1608
Signed and dated on rock at lower left: Jacopo / Ligozzi. F. 1608
Painting, oil on copper; tabernacle and case of mixed materials1
Painting: 10 1/2 x 6 3/8 in. (26.6 x 16.1 cm)2
R. T. Miller, Jr. Fund, 1958
View this object's K-12 Classroom Resource Sheet
This richly decorated piece by Jacopo Ligozzi, a painting mounted in an elaborate tabernacle frame and carrying case, is a rare surviving example of the type of small altarpiece used for private devotions in Europe during the late sixteenth and seventeenth centuries.
All elements of this work--painting, tabernacle, and case--appear to have been designed by Jacopo Ligozzi, and executed either by him or by members of his workshop. Although records exist for many paintings executed by Ligozzi for the Medici court, no reference to this particular piece has been found.3 This may indicate that the altarpiece was commissioned of Ligozzi by a patron outside the Medici court, or, as Hagenmann has suggested, that it was commissioned by a member of the Medici family as a gift for someone else.4
The altar's central painting depicts Christ on the Mount of Olives, consoled and supported by an angel as he is literally overcome by his spiritual torment. In Ligozzi's composition, a chalice--a visualization of the metaphorical cup of bitterness referred to in the Gospels, and a ubiquitous if textually unauthorized allusion to Christ's Passion--appears on a rocky outcropping at upper left, illuminated by a burst of celestial light.
Directly below the central painting and set into a panel inlaid with pietre dure is a lapis lazuli plaque with The Sacrifice of Isaac painted upon it. Here too, an angel intervenes, staying the blow of Abraham's sword and sparing Isaac's life. The juxtaposition of this scene with Christ on the Mount of Olives is not arbitrary; in a long-established system of typological correspondences between Old and New Testament scenes, the Sacrifice of Isaac was interpreted as a prefiguration of Christ's Crucifixion.5 Similarly, the Sacrifice of Isaac and Christ on the Mount of Olives share elements of a testing of faith, overcome by a complete trust in God's will.
Bacci has cited a drawing by Ligozzi of Christ and an angel in relation to this painting.6 In addition, Christ's slumped pose in the Oberlin picture recalls that of the aged saint in Ligozzi's St. Jerome Supported by an Angel, dated 1593.7 A small painting on copper by Ligozzi of The Dead Christ Adored by an Angel is particularly close to the present picture compositionally and stylistically.8
Crafted in a style typical of decorative items produced for European courts around 1600, the wood altarpiece that surrounds the painting is stained dark brown to resemble ebony, and is decorated with lapis lazuli columns, applied metal and enamel decorations, and inlays of metal, glass, and semiprecious stones.9 Although to date no similar altarpiece that can be firmly attributed to Ligozzi or his workshop has been found, there are clear stylistic parallels with Ligozzi's designs made for the Opificio delle Pietre Dure (founded in 1588), the Grand Ducal workshop that specialized in intricate mosaics and inlays of semiprecious stones. Works produced by the Opificio focus on natural motifs such as vines or foliage in their decoration, reflecting Ligozzi's work as a scientific draftsman for Cosimo I de'Medici. In the Oberlin piece, this naturalistic tendency is demonstrated in the pietre dure inlay in the lower register, surrounding the Sacrifice of Isaac plaque; and especially in the exuberant painted decoration on the carrying case for the altarpiece.
The painted decorations on the carrying case are generally accepted as by Ligozzi.10 The closed doors of the case are dominated by a painted oval containing the letters IHS (the Greek abbreviation for the name of Jesus), with a cross above and the sacred heart, pierced by the three nails of the Passion, below. This "plaque" is encircled by a garland of roses, tulips, lilies, and other flowers, an extension of the contemporary devotional practice of draping images with floral wreaths on feast and holy days; the painted garland bestows honor on the name of Jesus contained within.11 At the top of the doors, two winged putto heads flank the dove of the Holy Spirit. The bottom portion of the front of the case is filled with intricately scrolled acanthus and stylized floral motifs. A drawing of A Frieze of Cupids, Satyrs, and Monsters with Acanthus Tendrils, recently and convincingly attributed to Ligozzi, features foliated scrollwork and putto heads analogous to these elements in the Oberlin piece.12 Ligozzi's meticulous plant studies should also be cited in this context.13
Although it is not known for whom this portable altarpiece was created, the "IHS" monogram on the carrying case, which was also the popular monogram of the Jesuit order, suggests that the recipient may have been connected with that order. This idea is supported by both the iconography and the function of the altarpiece. The teachings of the Jesuit order strongly emphasized the veneration of images, especially if these devotions were also directed towards an intense, personal identification with Christ's Passion and suffering. Both the general theme of Christ's suffering, represented in Ligozzi's altarpiece by Christ on the Mount of Olives and its antitype, The Sacrifice of Isaac, and the inherent function of a portable altarpiece as an aid for private devotion, exactly coincide with the devotional priorities of the Jesuit order.
M. E. Wieseman
A prolific painter, draftsman, miniaturist, printmaker, and designer of decorative objects, Jacopo Ligozzi was the son of the Veronese painter Giovanni Ermanno Ligozzi (act. 1572-88; d. before 1605). Other members of the Ligozzi family were active as painters and designers of armor, tapestry, and embroidery. Around 1576 Jacopo went to Florence and entered the service of the Tuscan Grand Duke Francesco I de'Medici. Impressed by his detailed draftsmanship and abilities as a miniaturist, the Grand Duke employed Ligozzi primarily as a scientific draftsman between 1577 and 1591. Ligozzi joined the Accademia del Disegno in 1578, and in 1584 contributed to the decoration of several rooms in the Uffizi gallery. He became court painter to Francesco I in 1587, a position that made the most of his extraordinary versatility and immense productivity. He produced drawings of plants and animals, costume studies, and allegorical and religious scenes, as well as designs for glass objects, works in pietre dure, and festival and pageant decorations. Many of these highly finished drawings were intended as independent works of art. In the 1590s Ligozzi became more active as a painter; he produced altarpieces and frescoes for churches in Florence, Pisa, Bibbiena, and other cities, in addition to smaller private works. Between 1593, when he visited Verona and Mantua, and 1602, Ligozzi received several commissions from the Gonzaga court.
Jacopo Ligozzi's paintings were especially influential in transmitting the richer and more vibrantly colored Veronese style to Florentine painters active around 1600. Among Ligozzi's pupils was his son, Francesco (d. 1641).
General References
Bacci, Mina, and Anna Forlani Tempesti. Mostra di disegni di Jacopo Ligozzi. Exh. cat., Gabinetto Disegni e Stampe degli Uffizi, Florence, 1961.
Bacci, Mina. "Jacopo Ligozzi e la sua posizione nella pittura fiorentina." Proporzioni 4 (1963), pp. 46-84.
Collection Bauer, Vienna
With F. Kleinberger & Co., New York, from whom purchased in 1958
New York, The Metropolitan Museum of Art and Columbia University, 1969. Florentine Baroque Art from American Collections. 16 April - 15 June. Cat. no. 3.
Bacci, Mina. "Jacopo Ligozzi e la sua posizione nella pittura fiorentina." Proporzioni 4 (1963), p. 84.
Bacci, Mina. "A Portable Altar by Ligozzi." Allen Memorial Art Museum Bulletin 20, no. 2 (1962-63), pp. 47-55.
Stechow, Wolfgang. Catalogue of European and American Paintings and Sculpture in the Allen Memorial Art Museum, Oberlin College. Oberlin, 1967, pp. 99-100, fig. 43.
Askew, Pamela. "The Angelic Consolation of St. Francis of Assisi in Post-Tridentine Italian Painting." Journal of the Warburg and Courtauld Institutes 32 (1969), p. 293, n. 55.
Nissman, Joan. In Florentine Baroque Art from American Collections. Exh. cat., The Metropolitan Museum of Art and Columbia University, New York, 1969, pp. 20-21, cat. no. 3.
Spear, Richard E. "Baroque Paintings from Ligozzi to Hogarth." Apollo 103, no. 168 (February 1976), p. 106.
González-Palacios, Alvar. Il Tempio del Gusto: Le Arti decorative in Italia fra classicismi e barocco. Milan, 1986, vol. 1, p. 65, n. 5; vol. 2, pp. 105-6, figs. 173-74.
Bacci, Mina. In Il Seicento fiorentino: Arte a Firenze da Ferdinando I a Cosimo III. Vol. 3. Exh. cat., Palazzo Strozzi, Florence, 1986-87, p. 105.
McCluer, Kate. "A Terracotta Relief of the Agony in the Garden by Massimiliano Soldani Benzi." Metropolitan Museum Journal 22 (1987), pp. 102-3.
Viatte, Françoise. Inventaire général des dessins italiens III: Dessins toscans XVIe-XVIIIe siècles. Vol. 3, 1560-1640. Paris, 1988, under no. 244.
González-Palacios, Alvar. In Splendori di pietre dure: L'Arte di corte nella Firenze dei granduchi. Edited by Annamaria Giusti. Exh. cat., Sala Bianca di Palazzo Pitti (Opificio delle Pietre Dure), Florence, 1988-89, p. 144.
Hagenmann, Marion. "Ein altarförmiges Weihwasserbecken mit Steinschnitten aus dem Besitz des Lothar Franz von Schönborn." Anzieger des Germanischen Nationalmuseums 1989 (Nuremberg, 1990), pp. 200-201.
Conigliello, Lucilla. In Jacopo Ligozzi: Le Vedute del Sacro Monte della Verna. I dipinti di Poppi e Bibbiena. Exh. cat., Castello dei conti Guidi, Poppi, 1992, pp. 34, 211.
Jaffé, Michael. The Devonshire Collection of Italian Drawings: Tuscan and Umbrian Schools. London, 1994, pp. 29, 65.
Chappell, Miles L. In The Dictionary of Art. Edited by Jane Turner. Vol. 19. London and New York, 1996, p. 374, ill.
Technical Data
The painting is in excellent condition. The copper panel has been covered with a thin white or light grey ground. Modeling, highlighting, and shading of forms have been done wet-in-wet; glazes have been used in shadowing on the drapery and the rocks at upper and lower left. There is some cupping of the paint in the lower right, and scattered pinpoint losses, most prevalent along the right edge.
The tabernacle is constructed of numerous pieces of wood, glued or doweled together. All surfaces have been stained a dark brown. Inlays include glass, gilded or lacquered metal, coral, lapis lazuli, mother-of-pearl, agate, and other semiprecious stones; agate and red glass inlays are backed with gold leaf. The central image is flanked by two columns with gilt metal capitals and bases, and shafts alternating strips of lapis lazuli and metal. Small enamel ornaments with fresh-water pearls surround the painting at regular intervals; several holes attest to missing ornaments. Two lead or silver putti with gilded wings and wreaths top the broken pediment. The wreath held by the putto on the proper left has been replaced.
The tabernacle is generally in good condition. There are minor losses to the inlay, and some of the existing inlay has cracked and been reglued. Some of the missing lapis on the proper left column has been filled with wood and inpainted. The large ornament (possibly a cross?)14 originally placed on the pedestal directly above the painting is also missing. There has been some insect damage to the wood, some cracking, and a few minor losses.
Carrying Case
The case is constructed of wood, joined with mortise and tenon or dovetail joins; two brass handles are affixed to the sides of the case. On the front, back, and sides of the case, mordant gilt and painted designs have been applied over a layer of black paint. A stencil was probably used for the continuous pattern of interlaced ribbons and foliage along the top and sides of the case. Gold leaf was used in the frame and decorative elements of the illusionistic lapis plaque on the front. The case is lined with red velvet, which has become slightly worn. Several horizontal splits or open joins in the central panels of the doors of the case have been filled with strips of wood and inpainted.
1. Tabernacle of wood, with metal (part gilded), enamel appliqués with pearls, and inlays of glass, coral, lapis lazuli, mother-of-pearl, agate, and other semiprecious stones; carrying case of wood with brass handles, lined with red velvet.
2. Tabernacle: 21 3/4 x 13 1/2 x 3 7/8 in. (55 x 34 x 8.4 cm) (H x W x D); case: 26 11/16 x 16 1/2 x 5 1/2 in. (67.8 x 41.8 x 14 cm) (H x W x D).
3. Mina Bacci, "A Portable Altar by Ligozzi," Allen Memorial Art Museum Bulletin 20 (1962-63), p. 47 n. 1, reporting her search in the papers of the Guardaroba Medicea, in the Archivo di Stato, Florence.
4. Marion Hagenmann, "Ein altarförmiges Weihwasserbecken mit Steinschnitten aus dem Besitz des Lothar Franz von Schönborn," Anzieger des Germanischen Nationalmuseums 1989 (Nuremberg, 1990), p. 201 n. 29.
5. For discussions of the extended system of typological correspondences between Old and New Testament scenes developed by Peter Paul Rubens for the ceiling of the Jesuit Church in Antwerp--including the pairing of the Sacrifice of Isaac with the Crucifixion--see John Rupert Martin, The Ceiling Paintings for the Jesuit Church in Antwerp(Corpus Rubenianum Ludwig Burchard, part 1 [London, 1968]); and Julius S. Held, The Oil Sketches of Peter Paul Rubens, vol. 1 (Princeton, 1980), pp. 33-38.
6. Berlin, Kupferstichkabinett, inv. 15515; see Mina Bacci, "A Portable Altar by Ligozzi," Allen Memorial Art Museum Bulletin 20 (1962-63), p. 55. Compare also drawings by the artist of the same subject in Hamburg (Kunsthalle, inv. 21.236) and Paris (Musée du Louvre, Cabinet des Dessins, inv. 5026). On the latter drawing (pen and brown ink, brown wash, with gold highlights, 33.7 x 44.8 cm), see Françoise Viatte, Inventaire général des dessins italiens III: Dessins toscans XVIe-XVIIIe siècles, vol. 3, 1560-1640(Paris, 1988), no. 244.
7. Oil on canvas, 35 x 23.5 cm, Florence, Convent of San Giovannino degli Scolopi; see Il Seicento fiorentino: Arte a Firenze da Ferdinando I a Cosimo III, vol. 1 (exh. cat., Palazzo Strozzi, Florence, 1997), pp. 93-95, no. 1.8.
8. Oil on copper, 24 x 19 cm, sale London (Sotheby's), 8 March 1972, lot 28.
9. Examples of similar works, each on the same small scale as the Oberlin piece, and thus also intended for private devotions, include a tabernacle with a font for holy water, made for Lothar Franz von Schönborn in the first third of the seventeenth century (Graf von Schönborn-Wiesentheid, Kunstsammlungen); see Marion Hagenmann, "Ein altarförmiges Weihwasserbecken mit Steinschnitten aus dem Besitz des Lothar Franz von Schönborn," Anzieger des Germanischen Nationalmuseums 1989[Nuremberg, 1990], esp. pp. 200-201); an elaborately decorated ebony altarpiece housing a relief by Annibale Fontana of The Flagellation of Christ, probably made in southern Germany about 1590 (London, Victoria and Albert Museum, inv. C.2464-1910); and an ebony altarpiece decorated with silver and pietre dure, housing a painting of the Adoration of the Magi on amethyst (Rome, Palazzo Pallavicini; see A. González-Palacios, in Splendori di pietre sure: L'Arte di corte nella Firenze dei granduchi [exh. cat., Sala Bianca di Palazzo Pitti (Opificio delle Pietre Dure), Florence, 1989], pp. 144-45, no. 29).
10. Confirmed by (among others) Detlef Heikamp, in correspondence dated 1962 (in the museum files).
11. On the development of this iconography during the Counter-Reformation, see David Freedberg, "The Origins and Rise of the Flemish Madonnas in Flower Garlands: Decoration and Devotion," Münchener Jahrbuch der bildenden Kunst 32 (1981), pp. 115-50.
12. Collection of the duke of Devonshire, Chatsworth; see Michael Jaffé, The Devonshire Collection of Italian Drawings: Tuscan and Umbrian Schools(London, 1994), pp. 29, 65, where the connection with the Oberlin piece is made. I am grateful to Richard Spear for drawing my attention to this reference.
13. For examples, see Mina Bacci and Anna Forlani Tempesti, Mostra di disegni di Jacopo Ligozzi(exh. cat., Gabinetto Disegni e Stampe degli Uffizi, Florence, 1961); and Lucia Tongiorgi Tomasi and Sara Feri, I ritratti di piante di Jacopo Ligozzi (Pisa, 1993).
14. When the piece was acquired by the museum, this pedestal was surmounted by a cross set with artificial rubies; the cross was not original to the piece and was subsequently removed.


text:
Jonelle Weaver
- Yield
- Makes 6 (main course) servings
- Active Time
- 2 1/4 hr
- Total Time
- 2 1/4 hr
- 1/2 lb shallots, quartered lengthwise
- 1 lb plum tomatoes, quartered lengthwise and seeded
- 11 tablespoons olive oil (about 3/4 cup)
- 1 1/2 (3/4-lb) sugar pumpkins or butternut squash, cut into 3/4-inch wedges and seeded
- 1 1/2 cups water
- 1 cup dry white wine
- 1/2 lb fresh or frozen edamame (soybeans in the pod; 1 1/2 cups) or 2/3 cup fresh or frozen shelled lima beans
- 3 large eggplants
- 3/4 lb fresh chanterelle or shiitake mushrooms, trimmed (discard stems from shiitakes)
- 1 tablespoon minced garlic
- 1 1/2 teaspoons minced fresh rosemary
- 1 tablespoon balsamic vinegar
- Roast shallots, tomatoes, and pumpkin:
- Preheat oven to 400°F.
- Toss shallots and tomatoes with 3 tablespoons oil in a large roasting pan and season with salt. Roast until tomatoes are tender but not falling apart, about 25 minutes. Transfer tomatoes only to a large bowl.
- Add pumpkins with salt to taste to shallots, tossing to coat with oil in pan. Roast until pumpkins are just tender, about 30 minutes, then add vegetables to tomatoes.
- Reduce oven temperature to 200°F.
- Straddle roasting pan across 2 burners. Add water and 1/2 cup wine and deglaze by boiling over moderately high heat, stirring and scraping up any brown bits. Reserve liquid.
- Cook soybeans while vegetables roast:
- Cook soybeans in boiling salted water until just tender, about 1 minute (3 minutes for lima beans), then drain. When cool enough to handle, shell soybeans, discarding pods.
- Prepare eggplant:
- Cut 2 (2-inch-thick) crosswise slices, or "steaks," from thickest part of each eggplant and season generously with salt and pepper. (Reserve remaining eggplant for another use.) Brown 3 eggplant steaks in 3 tablespoons oil in a 12-inch nonstick skillet over moderate heat, about 5 minutes on each side.
- Add 1/4 cup wine to skillet and simmer, covered, turning once, until eggplant is very tender and wine is absorbed, about 5 minutes total. Transfer to a small roasting pan. (If wine is absorbed before eggplant is tender, add water, a few tablespoons at a time, and continue cooking until tender.) Repeat with remaining 3 eggplant steaks. Keep eggplant warm, uncovered, in oven.
- Make ragout:
- Heat remaining 2 tablespoons oil in skillet over moderately high heat until hot but not smoking, then sauté mushrooms with garlic, rosemary, and salt to taste, stirring, until golden and any liquid mushrooms give off is evaporated. Stir in reserved deglazing liquid and simmer until mushrooms are tender, about 10 minutes. Add roasted vegetables and soybeans and cook, stirring, until heated through. Stir in vinegar.
- Serve eggplant steaks topped with vegetable ragout.
Cooks' notes:
•Shallots, tomatoes, and pumpkins can be roasted 3 hours ahead. Transfer to a bowl and keep, covered, at room temperature.
•Roasting pan may be deglazed 3 hours ahead. Transfer liquid to a bowl and chill, covered.
• Eggplant steaks can be cooked 3 hours ahead. Transfer to a baking pan and chill, covered. Reheat in a 200°F oven while preparing ragout.
•Roasting pan may be deglazed 3 hours ahead. Transfer liquid to a bowl and chill, covered.
• Eggplant steaks can be cooked 3 hours ahead. Transfer to a baking pan and chill, covered. Reheat in a 200°F oven while preparing ragout.
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Nutritional Info
- Calories494
- Carbohydrates47 g(16%)
- Fat30 g(46%)
- Protein11 g(22%)
- Saturated Fat4 g(19%)
- Sodium31 mg(1%)
- Polyunsaturated Fat3 g
- Fiber17 g(68%)
- Monounsaturated Fat20 g