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Hi I am Lynne, a UK quilter who blogs at Lily's Quilts. In this tutorial, I am going to show you how to make a quick, easy and fun Christmas bunting. If you do make bunting, Christmas or otherwise, from this tutorial, I would love you to come and show me the pics in my Lily's Quilts Flickr group.
One charm pack and 1 1/2″ yds fabric for backing and binding. If you made the Union Jack Shabby Chic Wall Hanging, you will have charms left over to make this bunting. If however, you did not, you will need to cut two extra 5″ squares from your binding and backing fabric to make the 44 squares needed. You will cut these at step 2 of the instructions.
1. Sew together 30 background charms into pairs and then sew those pairs of charms into one long strip.
2. Take a strip of wadding roughly 12″ deep and 75″ long. If you need to join two pieces end to end – butt up the two edges and run a wide zig zag across the seam. Make a strip of backing roughly 12″ deep and 75″ long – you can do this by joining two 13″ WOF strips of backing fabric and trimming to size. You can cut your extra two 5″ squares from the ends of this strip of fabric.
3. Baste as preferred to make one long skinny quilt sandwich. Take a small bite. Ooh silly me, this is a fabric recipe not a food recipe. Do not take a bite.
4. Mark zig zag lines along the quilt sandwich as shown in this picture. I am using washable felt tip pens – these lines will disappear into the bunting binding so go wild and pick the clashiest colour you can find. Go on. Live a little. I chose green. The safe choice for Christmas bunting. I'm British. We don't do wild so much.
5. Sew a long stitch basting line (on the machine) 1/8″ of an inch from the top and the border of each triangle to hold the three layers together until binding.
6. Print out or draw out the letters HAPY CRISTM or the letters you need for whatever else you want your bunting to say. I opened a Word document, chose the font Adamsky Outline SF, enlarged the letters to 400 and printed the sheets out. For a more informal look, mix up upper case and lower case letters or perhaps choose letters from different fonts. Hold your printed letters up against the triangles to check that they are big enough but do not come too close to the edge of the triangles or the edges will get lost in the binding.
7. Trace the letters IN REVERSE onto a fusible webbing. Hold up to the window or place on a lightbox if you cannot see the letters clearly enough. For those of you with advanced spelling abilities, you may calculate which letters you need to trace more than once. For the rest of us, you need to trace A, P, H and S twice. (Can you see I ran out of space and had to cut one of my "S"s in half?!
8. Cut out the letters roughly and fuse to the back of 14 green charm squares. Cut along the lines.
9. Fuse the letters to the bunting fabric, aligning them within the triangle shapes made on the fabric with your zig zag markings. The bottom of the letter should be toward the pointy part of the triangle. For a more informal look, place the letters at slight angles rather than dead straight. I like dead straight for Christmas. Perhaps for a children's party bunting, I'd like a bit of wonk though.
10. Sew around the letters in the stitch of your choice. I have used a straight stitch about 1/8″ inside the shape of the letters. If you do not have sufficient contrast between your letters and background fabric, you might wish to sew this line in a thick satin stitch to provide a clear edge to the letters.
11. Cut along the zig zag lines to makes lots of triangles like this one.
12. Cut 7 1″ WOF strips of binding fabric. Cut each strip in half so that each is 22″ long or thereabouts. Bind the two points side of the triangle. First sew the binding strips to the first edge of the front of the triangles stopping 1/4″ short of the point and doing a few reverse stitches for strength.
13. Fold the binding strip up aligning it with the edge of the triangle as shown in the picture and then back down again.
14. Sew along the second side of the triangle once again attaching the fabric with a 1/4″ seam.
15. Fold the bunting to the back and pin from the wrong side of the bunting and then sew down. Since my bunting hangs against a wall, I cheat here and do not fold the binding under and hand stitch as I normally would with a quilt but machine sew it down from the right side. OK the back isn't the prettiest thing you've ever seen but I won't be seeing it when it's hung up on the wall. If your bunting will be hanging so that you can see the back or if it is a gift or being made for sale, you may prefer to fold the bunting under and hand stitch it down as with a regular quilting binding.
16. Trim the hanging ends of binding from the tops of the triangles.
17. Now cut four 1 1/2″ WOF strips of the fabric you have chosen to go along the top of the bunting which I will call the hanging ribbon. Sew into a long strip using diagonal joins as you would do if you were making a quilt binding.
18. Press in half along the length and then fold in the sides and press again to make one long double-folded strip.
19. Pin the bunting triangles into hanging ribbon starting about 15″ along from the end of the ribbon and leaving roughly 1″ spaces between the triangles. Sew along the top side of the hanging ribbon as close to the edge as you dare, aiming to go through both layers of hanging ribbon as well as through the triangles
VOILA – one Fa La La charm pack Christmas bunting. Take it outside in the summer sunshine, hang from some gates, take a photo and pack it away into the Christmas decorations box for a few months.
Then, in December, go into the attic, get down the Christmas decorations box, pull out your Christmas bunting, don your gay apparel and deck the halls with boughs of holly.
One Fa La La La La Christmas bunting decoration.
Lynne Goldsworthy
{Lily's Quilts}


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This course is a study of the musical concepts of melody, rhythm, harmony, and form as applied to the principles and techniques of writing and arranging for the rhythm section (drums, bass, guitar, keyboards, basic percussion). Students also study lead-lines for solo instruments, two horns (trumpet plus alto or tenor saxophone), and/or voice. Students focus on the conceptual process of combining individual components to create a musically satisfying arrangement. Students explore of the use and integration of MIDI technology and sequencing as they relate to rhythm section and lead-line writing. Students also study various contemporary musical styles and the musical concepts that comprise them, including writing from the "bottom up" (groove-driven) and "top down" (working with a melody in a lead instrument or voice). Students complete writing assignments that incorporate combinations of acoustic, electronic, and MIDI instruments.
In this course, students study the properties of the trumpet, alto saxophone, tenor saxophone, trombone, and baritone saxophone. Students also explore the writing and arranging processes of standard and spread voicings, as well as approach techniques, melodic embellishment, and guide tone backgrounds. Students apply the writing processes to soli and background writing for two-, three-, four-, and five-part combinations of these instruments. It is recommended that CW-171 be taken by CWPR majors prior to enrolling in AR-112.
Five- and six-part writing for instruments. Application of voicings in seconds, thirds, and fourths. Upper-structure triads, clusters, and other nonmechanical voicings derived from chord scales. Extensive score analysis.
A comprehensive study of the evolution of jazz arranging and composition from the 1920s to the present. Score analysis of representative works by Fletcher Henderson, Duke Ellington, Gil Evans, Thad Jones, and others. Extensive listening. Written arrangements not required.
This course analyzes orchestration for wind, string, and percussion groups as used at the secondary school level. Students explore principles of score layout and arranging for concert band and high school orchestra. Students apply this principles to the scores they create for instrumental ensembles at the secondary school level.
This course analyzes arranging for high school vocal groups. Students explore principles of part-writing for various combinations of voices, as well as writing piano accompaniments. Students apply these principles to their own arranging projects.
This course explores principles of writing and arranging for high school jazz ensembles with standard and mixed instrumentation. Students examine range problems and rhythm section parts. They also give special consideration to creating arrangements for high school musicians. Students examine and analyze existing published scores. Students apply the concepts of the course to their own arranging projects.
Development of individual writing creativity. Emphasis on the building of confidence in writing clear, memorable lead lines based on standard song forms. Discussions on the relationship of speech patterns to melody. Individual conferences with the instructor when necessary. Written projects required.
The arranging of original tunes combining both traditional jazz techniques and contemporary compositional concepts. Analysis of taped examples.
Methodology of big band arranging. Analysis of scores by classic and contemporary big band arrangers. Library assignments and class discussion. Written arrangements and score analysis projects required.
Jazz arranging techniques for the rhythm section and various small-group instrumental combinations of up to three horns (melodic voices). Emphasis on developing complete rhythm section sound (with or without winds) and advanced voicing techniques (including interval-based voicings, linear approach techniques, and constant structure).
Extended applications of standard big band scoring techniques. Analysis of devices found in the compositions of major jazz writers.

subset: commoncrawl


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Frank Pasquale
Frank is Professor of Law at the University of Maryland. His research agenda focuses on challenges posed to information law by rapidly changing technology, particularly in the health care, internet, and finance industries.
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Cooksongold Returns Policy At Cookson Gold, we are committed to selling high-quality products that we hope you enjoy using and working with, but we also know that for one reason or another there may be a time where you will need to return or exchange something that you have bought from us. What we recommend you to do initially when receiving your goods is to check them carefully before using them.
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Undergraduate Degrees, Majors and Concentrations
ELIT3020 - Sem In Lit: Selected Poets
Summer 2019
This course enables students to study the lives and works of important poets from a literary critical point of view, examining the historical evolution of poetry and poetic forms, the distinctive features of poetry, the unique qualities of individual poets, the historical and cultural contexts of their writing, and strategies for reading and interpreting poetry. The course will include examples of epic, narrative, and lyric poetry and may include the study of important poets in translation (such as Sappho, Dante, Mallarme, or Rilke).
Prerequisites: Any ELIT course and 75 credits
3 Credits
Schedule Book for All Active and Available Future Terms, Course starting with ELIT3020
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WASHINGTON - Outgoing US Secretary of State Hillary Clinton sidestepped questions about whether she would run for president in 2016 in a CBS television interview done jointly with President Barack Obama, her rival in the 2008 race.
Clinton, 65, denied there were any political tea leaves to read in the unusual joint interview for the CBS show "60 Minutes," and acknowledged that she still has "some lingering effects" from a recent concussion and blood clot that she said doctors expect to disappear over time.
US Senator John Kerry (D-MA) and Secretary of State Hillary Clinton arrive prior to Kerry's confirmation hearing to succeed Clinton, before the Senate Foreign Relations Committee on Capitol Hill in Washington, Jan 24, 2013. [Photo/Agencies]
"The president and I care deeply about what's going to happen for our country in the future. And I don't think, you know, either he or I can make predictions about what's going to happen tomorrow, or the next year," Clinton said, according to a transcript of the interview, which was taped at the White House on Friday and aired on Sunday.
Obama beat Clinton in a bitter Democratic primary campaign to run for president in 2008. He surprised many by choosing her as his secretary of state, a job she said she initially turned down.
Clinton traveled to a record 112 countries as secretary of state. She has said she wants to take a break from public life, but has not said she will retire.
Democratic Senator John Kerry, who unsuccessfully ran for president in 2004, is expected to be confirmed as Obama's new secretary of state as early as this week.
After Obama heaped praise on Clinton's diplomatic achievements, he chided the show's host, Steve Kroft, who asked about "the date of expiration on this endorsement" of Clinton.
"You guys in the press are incorrigible. I was literally inaugurated four days ago. And you're talking about elections four years from now," Obama said.
'Lingering effects' from fall
Clinton has been in the public eye for 34 years, since her husband, former President Bill Clinton, was governor of Arkansas.
Her cautious answer about her future on Sunday was less definitive than one she gave in an ABC interview in December, when she said in reference to another bid for the presidency: "I've said I really don't believe that that's something I will do again."
Many Democrats hope that Clinton will run in 2016. Vice President Joe Biden's name has also been frequently mentioned among Democrats. He has said he has not decided whether to run.
Clinton also addressed a recent health issue: a concussion and blood clot that sent her to the hospital.
"The doctors tell me that that will all recede. And so thankfully I'm, you know, looking forward to being at full speed," she said.
She said she had since been wearing glasses instead of contact lenses because of "lingering effects" from the concussion "that are decreasing, and will disappear."
Clinton returned from a European tour on Dec 7 suffering from a stomach virus. On Dec 15, the State Department announced she had become dehydrated, fainted and suffered a concussion.
During a check-up afterwards, she was diagnosed with the blood clot, hospitalized and treated with blood thinners.


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Newsroom's Olivia Munn Hopes New Girl Character Doesn't Come Between Nick and Jess
Dec 4, 2012 1:33 PM EST
Olivia Munn is going from The Newsroom to New Girl. The former Attack of the Show! host will pop up on the Fox comedy Tuesday as a new love interest for Nick (Jake Johnson). But fans of Jess (Zooey Deschanel) and Nick shouldn't worry: Even Munn wants… Read more


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Quotes I Like*
There's always a lot to be thankful for if you take time to look for it. For example, I am sitting here thinking how nice it is that wrinkles don't hurt.
*Your mileage may vary. Some quotes are puns, or require historical or technical literacy to appreciate. If you miss the humor, please re-read the Internet and then try again.
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Dr. George's Science Web is 100% kid-safe, pro-Christian and pro-Free Software. Read more about DGSW here.
The kitchen is well-lit through the many dusty windows on the north and west walls. Below the windows are countertops; drawers and cabinet doors cover the panels below. An old water pump beside a rusted bucket guards the west counter, its spigot pointing toward a sink. A gas heater is flanked by two doors on the south wall; a third door is in the east wall. An old wood-burning stove stands in the northeast corner.
Wait here until morning and hope nothing happens...
Search the cabinets and drawers under the sink.
Try to pump water into the sink.
Pass through the east door into the dining room.
Pass through the door to the left of the heater.


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Arnhem1618Paper PadsbySpeedball
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Golden Heavy Body Artist Acrylics are known for their exceptionally smooth, thick, buttery consistency, and for their excellent permanency and lightfastness. These paints have the ability to "stand up" and retain brush strokes or palette knife marks on the canvas.
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hydrated iron oxide
α-FeO3+(OH) or Fe2O3 × MnO2
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Chestnut Brown, Euchrome, Jacaranta Brown, Mars Brown, Raw Brown, Sicilian Brown. Cyprus Umber, Turkey Brown, and Turkey Umber are the best quality umbers.
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On a note related to the story above, a tweet from Friday by Obsidian's Chris Avellone asks about interest in a Kickstarter project, pointing to their blog as where to register interest. Apparently this was quite high, as a follow-up tweet says they needed to reconfigure their blog to handle 1000 hits per second following the query (thanks Develop). Word is:
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THE WORLD THIS WEEK - Friday, 27th of August - Part 2
Issued on: Modified:
This friday in One Week in The World : AQIM and the release of the two Spanish hostages; will US economy (real estate, increasing of unemployment) have impacts on the midterms? Unease at the quai d'Orsay with Sarkozy & the diplomatic corps. Finally Nadja Benaissa, the german pop star accused of infecting a former partner with the virus has been given a two-year suspended prison sentence.
On the set:
- Alison Smale, Directrice de la rédaction, International Herald Tribune
- Célestine Bohlen, Freelance journalist
- Philip Turle, Journalist, RFI
- Edward Cody, Paris correspondent, Washington Post
Programme prepared by Mounia Ben Aïssa


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Hairstyle Magazine Subscriptions
The bi-monthly Perfect Hair publication has separate sections devoted to different hair colors, textures, and lengths. Full-color photos display what each new haircut would look like from a myriad of angles. Perfect Hair is an invaluable resource for individuals trying to visualize what a hairstyle will look like before they get it cut.
Hype Hair bills itself as the #1 hair magazine for women of color. Since its inception in 1992, the publication has covered the most flattering hairstyles and biggest beauty trends. The publication also reviews the best new products to try.
Several of our other fashion magazines, such as Allure and InStyle, have special sections devoted to hairstyles. If you want to know how celebrities are getting their hair cut and styled, you'll enjoy a subscription to one of those magazines.
Whether you work at a salon or are looking for suggestions on the best cuts and styles for your hair, you'll enjoy a subscription to one of our hairstyle magazines. Check out the current deals and discounts available on our website. You're sure to find a magazine that you'll love!


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Prophet Daniel
Pinnacle from the high altarpiece from Santa Croce, Florence; companion panels are in the Gemäldegalerie, Staatliche Museen zu Berlin-Preussischer Kulturbesitz (cat. no. 1635 A-E); the National Gallery, London (1188, 1189, 3376-3378, 3473, 4191); the Los Angeles County Museum of Art (49.17.40); and the Metropolitan Museum of Art, New York (1975.1.7)
Prophet Daniel
Pinnacle from the high altarpiece from Santa Croce, Florence; companion panels are in the Gemäldegalerie, Staatliche Museen zu Berlin-Preussischer Kulturbesitz (cat. no. 1635 A-E); the National Gallery, London (1188, 1189, 3376-3378, 3473, 4191); the Los Angeles County Museum of Art (49.17.40); and the Metropolitan Museum of Art, New York (1975.1.7)
Ugolino di Nerio, Italian (active Siena and Florence), documented 1317 - 1327
Made in Florence, Italy, Europe
c. 1325Medium:
Tempera and tooled gold on panelDimensions:
21 1/4 x 12 3/16 inches (54 x 31 cm)Curatorial Department:
European Painting
* Gallery 310, European Art 1100-1500, third floorAccession Number:
Cat. 89Credit Line:
John G. Johnson Collection, 1917
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Pinnacles, or upper sections of large altarpieces, often show Old Testament prophets, whom later Christian writers interpreted as foretelling Christ's coming. This was part of the pinnacle of the high altarpiece of the church of Santa Croce in Florence. The Latin inscription on the scroll is derived from Daniel 2:45 and translates, "stone was cut out of the mountain without hands."
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Italian Paintings 1250-1450
The three-quarter-length figure of the young prophet Daniel, attired in a loose red robe over a green garment, wears a white pyramidal hat. Looking down to the left, he holds a scroll inscribed with a passage taken from the book of his prophecies in which he interprets a dream of Nebuchadnezzar, king of Babylon, as a vision of the coming of a Messianic age. Christian writers would later understand this as a divination of the birth of Christ.
The painting was a pinnacle panel of the Santa Croce altarpiece, which was taken to England, probably by William Young Ottley, in the last decade of the eighteenth century. After the sale of Ottley's collection in 1847, the various panels were dispersed and some lost. Those that have been located are in collections in London, Berlin, Los Angeles, and New York, as well as Philadelphia (see Reconstruction (from Bomford et al. 1989) of Ugolino di Nerio's Santa Croce altarpiece, showing the surviving fragments: Companion panels A-V). A drawing executed for the French art writer Jean-Baptiste Séroux d'Agincourt (see Vatican City, Biblioteca Apostolica Vaticana, Vat. lat. 9847, folios 91 verso-92 recto) the decade before its purchase by Ottley shows that the altarpiece was already in poor condition. The drawing, found by Henri Loyrette in the Biblioteca Apostolica Vaticana in 1978, seems to reproduce the altarpiece's original appearance faithfully. Dillian Gordon's technical researches of 1984 (see Reconstruction (from Bomford et al. 1989) of Ugolino di Nerio's Santa Croce altarpiece, showing the surviving fragments: Companion panels A-V)1 confirmed the basic accuracy of Séroux d'Agincourt's drawing, although earlier reconstructions made by Davies (1951), Gertrude Coor (1955), and Davies (1961) before the discovery of the drawing had been essentially correct. Loyrette (1978) and Christa Gardner von Teuffel (1979) also made proposals based on the drawing. In addition, three engravings of saints in the altarpiece were made by Giovanni Antonio Baccanelli in the seventeenth century.2
In Séroux d'Agincourt's drawing the prophet Daniel is not identified, but a figure in a pose similar to that of the Johnson Collection's Daniel is shown in the pinnacle on the far right. Loyrette rejected the association between the two, however, because the figure in the drawing is bearded and without a cap. But an X-radiograph of Daniel (see X-radiograph of Philadelphia Museum of Art, John G. Johnson Collection cat. 89, showing the original triangular addition and repair to the split secured by nails near the top of the panel) showed that it was executed on the same piece of vertically grained poplar as Saints Matthias and Elizabeth of Hungary(?) (see Berlin, Staatliche Museen Preussischer Kulturbesitz, Gemäldegalerie, cat. 1635D) in Berlin and, therefore, definitely belonged to the altarpiece, since each of its vertical units was composed of a single plank of wood (see Drawing showing the construction of a vertical unit of the Santa Croce altarpiece (from Bomford et al. 1989)).
The main altar of Santa Croce was under the patronage of the Alamanni family until at least 1439.3 According to Vincenzo Borghini (1552-80, Lorenzoni ed. 1912, pp. 102-4), Ugolino's altarpiece bore their arms, which consisted of liste azzure on a campo bianco, or blue strips on a white field. The arms no longer exist, however, and are not visible in the drawing made for Séroux d'Agincourt.
The date of the altarpiece is uncertain, but it is often placed at about 1325 based on its relationship to Ugolino's now-lost painting once on the high altar of Santa Maria Novella, which is known to have been commissioned by Fra Barone Sassetti, who died in 1324. From an obituary in the church's necrology, it is often assumed that that altarpiece was in place before Sassetti's death, and records of payments for oil lamps to illuminate paintings in the church indicate that it may have been installed as early as 1323.4 A seventeenth-century chronicler of the convent gave the date as 1320.
There is no record of whether Ugolino painted the Santa Croce altarpiece before or after the one in Santa Maria Novella. A memorandum related to a loan he made to a fellow resident of Siena, dated May 21, 1325,5 is often cited as evidence that Ugolino had returned to Siena by this point and therefore that the Florentine altarpieces were finished. The document, however, is ambiguous; it says only that the painter-or someone on his behalf-made the loan, which means that Ugolino could well have still been in Florence.
The two polyptychs are thought to have been similar in type because of their common location on the high altars of recently built mendicant churches of comparable architecture. If any part of the Santa Maria Novella altarpiece survives, it may be the pinnacle panel depicting the prophet Isaiah in Dublin (see Dublin, National Gallery of Ireland, cat. 1112),6 as well as the Saint Peter and Saint Francis in the Misericordia of San Casciano Val di Pesa.7 While this is only conjecture, its similarity to the pinnacle panels of the Santa Croce altarpiece suggests that it came from an analogous structure. The Isaiah in Dublin would be precedent in date, because the gold is incised, not punched, and the manner more decidedly Duccesque than Ugolino's later work.
Ugolino's Daniel relates very closely to the pinnacle in an altarpiece in the Pinacoteca Nazionale in Siena (see Siena, Pinacoteca Nazionale, no. 47) created in Duccio's workshop. It bears many similarities to the Santa Croce polyptych both in structure, such as the pairing of the prophets in the second tier, and in details, such as the resemblance between the figures of Daniel.8 Also very close to the Johnson Daniel is the Daniel in the pinnacle in Ugolino di Nerio's early polyptych in Williamstown (see Williamstown, Massachusetts, Sterling and Francine Clark Art Institute, no. 1962.148).9 In all three images, the prophet wears the same folded triangular cap, which was not the traditional manner of depicting the young Daniel. For example, he wears no hat in Duccio's Maestà for Santa Maria Novella.10 However, Duccio did paint the prophet with a hat on the tympanum of the tabernacle in the National Gallery in London, executed around 1310-15, possibly for Cardinal Niccolò da Prato.11 The inscription on the scroll in the latter is the same as in Ugolino's Daniel. In time the hat would become common in trecento Sienese images of the prophet.12 For example, the Vertine Master used it in the pinnacle of Daniel from a lateral panel of his altarpiece in Volterra.13 Carl Brandon Strehlke, from Italian paintings, 1250-1450, in the John G. Johnson Collection and the Philadelphia Museum of Art, 2004, pp. 430-436.
Notes:1. Martin Davies. The Early Italian Schools: Before 1400. Revised by Dillian Gordon. National Gallery Catalogues. London, 1988; David Bomford, Jill Dunkerton, Dillian Gordon, and Ashok Roy, with contributions by Jill Kirby. Art in the Making: Italian Painting before 1400. London, 1989. Exhibition, London, National Gallery, November 29, 1989-February 28, 1990, pp. 98-123.
2. Christa Gardner von Teuffel. "The Buttressed Altarpiece: A Forgotten Aspect of Tuscan Fourteenth-Century Altarpiece Design." Jahrbuch der Berliner Museen (West Berlin), n.s., vol. 21 (1979), pp. 21-65, figs. 24-25.
3. Martin Davies. National Gallery Catalogues: The Earlier Italian Schools. London, 1951, p. 410; Marcia B. Hall. Renovation and Counter Reformation: Vasari and Duke Cosimo in Sta. Maria Novella and Sta. Croce, 1565-1577. Oxford, 1979, p. 154.
4. For the history of the Santa Maria Novella altarpiece, see Joanna Cannon. "Simone Martini, the Dominicans, and the Early Sienese Polyptych." Journal of the Warburg and Courtauld Institutes (London), vol. 45 (1982), pp. 87-91.
5. James H. Stubblebine. Duccio di Buoninsegna and His School. 2 vols. Princeton, 1979, pp. 211-12.
6. See Gordon in Davies and Gordon 1988, p. 115 n. 45. Stubblebine (1979, pp. 181-82) attributed this to the Brolio Master.
7. Stubblebine 1979, figs. 417-18. See Aldo Galli in Alessandro Bagnoli, ed. Duccio: alle origini della pittura. Cinisello Balsamo (Milan), 2003. Exhibition, Siena, Santa Maria della Scala, Museo dell'Opera del Duomo, October 4, 2003-January 11, 2004, pp. 354-55.
8. Stubblebine 1979, pp. 67-68.
9. Stubblebine (1979, pp. 182-83) denies the attribution to Ugolino di Nerio and calls the artist the Clark Polyptych Master, saying that it was painted between 1325 and 1330.
10. See the detail in Stubblebine 1979, fig. 20. Also see Cannon 1982, p. 77 and n. 62.
11. No. 566; Stubblebine 1979, figs. 128, 130.
12. Sometimes a Magus is depicted wearing a similar hat, as in the now-lost panel of the Adoration by a Duccesque follower called the Seminary Madonna Master (Stubblebine 1979, fig. 345).
13. Pinacoteca e Museo Civico di Palazzo Minucci Solaini, no. 15; Stubblebine 1979, fig. 290; Franco Lessi. Volterra: la Pinacoteca e il Museo Civico di Palazzo Minucci Solaini. Milan, 1986, color repro. p. 13. Stubblebine incorrectly identified the prophet as David.
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 (text). Florence, 1967, pp. 139-40;
Guglielmo Della Valle. Lettere senesi di un socio dell'Accademia di Fossano sopra le belle arti. vol. 2. Venice, 1785. Reprint, Bologna, 1876, p. 200;
Gustav Friedrich Waagen. Kunstwerke und Künstler in England und Paris. vol. 1. Berlin, 1837, pp. 393-95;
Gustav Friedrich Waagen. Works of Art and Artists in England. English translation by Hannibal Evans Lloyd. Introduction to reprint by R. W. Lightbown. vol. 2. London, 1838. Reprint, London, 1970, pp. 121-23;
Gustav Friedrich Waagen. Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss., &c. vol. 2. London, 1854, pp. 461-62;
George Scharf, Jr., in Manchester, Museum of Ornamental Art. Catalogue of the Art Treasures of the United Kingdom Collected at Manchester in 1857. Exhibition, 1857, p. 15;
London, Royal Academy of Arts. Exhibition of Works by the Old Masters, and by Deceased Masters of the British School. . . . Exhibition, Winter 1878, p. 35, diagram p. 34;
Langton Douglas in J. A. Crowe and G. B. Cavalcaselle. A History of Painting in Italy: Umbria, Florence, and Siena from the Second to the Sixteenth Century. Vol. 3 edited by Langton Douglas. London, 1908, p. 23 n.;
Vincenzo Borghini. Carteggio artistico inedito. Edited by A. Lorenzoni. Vol. 1. Florence, 1912;
Bernhard Berenson. Catalogue of a Collection of Paintings and Some Art Objects. Vol. 1, Italian Paintings. Philadelphia, 1913, pp. 51-52, repro. p. 287;
Bernhard Berenson. "Ugolino Lorenzetti." Art in America (New York), vol. 6, no. 1 (December 1917), p. 33;
Bernhard Berenson. Essays in the Study of Sienese Painting. New York, 1918, p. 20;
Francis Mason Perkins. "Some Sienese Paintings in American Collections." Art in America (New York), vol. 8, no. 5 (August 1920), p. 205 n. 7;
Raimond van Marle. The Development of the Italian Schools of Painting. vol. 2. The Hague, 1924, pp. 104-5;
Curt H. Weigelt. Die sienesische Malerei des vierzehnten Jahrhunderts. Florence, 1930, p. 73 n. 33;
"Handbook of the Display Collection of the Art of the Middle Ages." The Pennsylvania Museum Bulletin (Philadelphia), vol. 26, no. 140 (March 1931), p. 41;
Fiske Kimball. "The Display Collection of the Art of the Middle Ages." The Pennsylvania Museum Bulletin (Philadelphia), vol. 26, no. 141 (April 1931), pp. 23;
Bernhard Berenson. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Oxford, 1932, p. 583;
George Harold Edgell. A History of Sienese Painting. New York, 1932, p. 62;
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. 501;
John G. Johnson Collection: Catalogue of Paintings. Foreword by Henri Marceau. Philadelphia, 1941, p. 17;
Cesare Brandi. Duccio. Florence, 1951, p. 153;
Martin Davies. National Gallery Catalogues: The Earlier Italian Schools. London, 1951, p. 412;
Pietro Toesca. Il trecento. Storia dell'arte italiana, 2. Turin, 1951, p. 519 n. 46;
Gertrude Coor. "Contributions to the Study of Ugolino di Nerio's Art." The Art Bulletin (New York), vol. 38, no. 3 (September 1955), p. 154;
Enzo Carli. Sienese Painting. London, 1956, p. 25, fig. 8;
Martin Davies. National Gallery Catalogues: The Earlier Italian Schools. 2nd rev. ed. London, 1961, pp. 535-36;
John Pope-Hennessy in Williamstown, Mass., Sterling and Francine Clark Art Institute. Heptaptych: Ugolino da Siena. Exhibition, September 1962. Catalogue by John Pope-Hennessy, p. 9;
[Barbara Sweeny]. John G. Johnson Collection: Catalogue of Italian Paintings. Foreword by Henri Marceau. Philadelphia, 1966, pp. 77-78, repro. p. 85;
Bernhard Berenson. Italian Pictures of the Renaissance: A List of the Principal Artists and Their Works with an Index of Places. Central Italian and North Italian Schools. 3 vols. Rev. and enlarged ed. London, 1968, p. 438 (Ugolino);
Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, 1972, p. 207;
Henri Loyrette. "Une source pour la reconstruction du polyptyque d'Ugolino da Siena à Santa Croce." Paragone-arte (Florence), vol. 29, no. 343 (September 1978), p. 23 n. 43;
Christa Gardner von Teuffel. "The Buttressed Altarpiece: A Forgotten Aspect of Tuscan Fourteenth- Century Altarpiece Design." Jahrbuch der Berliner Museen (West Berlin), n.s., vol. 21 (1979), p. 48 n. 69;
James H. Stubblebine. Duccio di Buoninsegna and His School. 2 vols. Princeton, 1979, pp. 67, 120, 164-66, fig. 406;
Dillian Gordon and Anthony Reeve. "Three Newly Acquired Panels from the Altarpiece for Santa Croce by Ugolino di Nerio." National Gallery Technical Bulletin (London), vol. 8 (1984), pp. 36-52, fig. 4 (reconstruction);
Henk W. van Os. Sienese Altarpieces, 1215-1460: Form, Content, Function. Vol. 1, 1215-1344. Contribution by Kees van der Ploeg, "On Architectural and Liturgical Aspects of Siena Cathedral in the Middle Ages." Groningen, 1984, p. 65, fig. 77;
Giovanna Ragionieri 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, pp. 135-36 n. 3;
Miklós Boskovits. Gemäldegalerie Berlin: Katalog der Gemälde: Frühe italienische Malerei. Translated and edited by Erich Schleier. Berlin, 1988, p. 171;
Martin Davies. The Early Italian Schools: Before 1400. Revised by Dillian Gordon. National Gallery Catalogues. London, 1988, pp. 110-12, 115 n. 32;
David Bomford, Jill Dunkerton, Dillian Gordon, and Ashok Roy, with contributions by Jill Kirby. Art in the Making: Italian Painting before 1400. London, 1989. Exhibition, London, National Gallery, November 29, 1989-February 28, 1990, pp. 100, 111, fig. 60 (reconstruction);
Philadelphia Museum of Art. Paintings from Europe and the Americas in the Philadelphia Museum of Art: A Concise Catalogue. Philadelphia, 1994, repro. p. 236;
Aldo Galli in Alessandro Bagnoli, ed. Duccio: alle origini della pittura. Cinisello Balsamo (Milan), 2003. Exhibition, Siena, Santa Maria della Scala, Museo dell'Opera del Duomo, October 4, 2003-January 11, 2004, p. 348
Companion panels for Philadelphia Museum of Art, John G. Johnson Collection cat. 89
A. Isaiah, London, National Gallery, no. 3376.
B. David, London, National Gallery, no. 6485.
C. Moses, London, National Gallery, no. 6484.
D. Daniel, Philadelphia Museum of Art, John G. Johnson Collection cat. 89.
E. Saints Matthew and James Minor, Berlin, Staatliche Museen, cat. 1635E.
F. Saints Bartholomew and Andrew, London, National Gallery, no. 3473.
G. Saint James Major and Philip, Berlin, Staatliche Museen, cat. 1635C.
H. Saints Simon and Thaddeus, London, National Gallery, no. 3377.
I. Saints Matthias and Elizabeth of Hungary(?), Berlin, Staatliche Museen, cat. 1635D.
J. Saint John the Baptist, Berlin, Staatliche Museen, cat. 1635.
K. Saint Paul, Berlin, Staatliche Museen, cat. 1635.
L. Ten Angels, Los Angeles County Museum of Art, no. 49.17.40.
M. Saint Peter, Berlin, Staatliche Museen, cat. 1635.
N. Two Angels, London, National Gallery, no. 3378.
O. Two Angels, London, National Gallery, no. 6486.
P. Last Supper, New York, The Metropolitan Museum of Art, Robert Lehman Collection, no. 1975.1.7.
Q. Betrayal, London, National Gallery, no. 1188.
R. Flagellation, Berlin, Staatliche Museen, cat. 1635A.
S. Way to Calvary, London, National Gallery, no. 1189.
T. Deposition, London, National Gallery, no. 3375.
U. Entombment, Berlin, Staatliche Museen, cat. 1635B.
V. Resurrection, London, National Gallery, no. 4191.
* 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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FastTrac® TechVenture™ (Session 2 of 8)
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1 6-oz. can tomato paste
½ cup white vinegar
½ cup light corn syrup
¼ cup water
1 tablespoon sugar
1 teaspoon salt
½ teaspoon onion powder
¼ teaspoon garlic powder
Dash of Worcestershire Sauce
u Combine all ingredients in a medium saucepan over medium heat. Whisk until smooth. When mixture comes to a boil, reduce heat and simmer, uncovered for 20 minutes, stirring often.
May Vokaty
Recently, my husband and I took a little vacation to Puerto Rico. Getting away to a tropical island for a little R&R was a most welcome treat.
Puerto Ricans are friendly, charming and very proud of their beautiful island, and rightly so. Majestic beaches, beautiful weather, the ancient rain forest, El Yunque are just a few of the reasons to fall in love with Puerto Rico.
Sauce Ingredients
1 tablespoon olive oil
½ cup finely chopped sweet onion
½ cup finely chopped red bell pepper
1 teaspoon Sazon seasoning
3 tablespoons tomato paste
1 ½ to 2 cups stock, (chicken, vegetable or fish)
½ pound large shrimp, peeled and deveined
5 oz. lump crabmeat
4 tablespoons finely chopped cilantro
Sauce Directions
u Heat a 10-inch skillet over high heat until hot. Add the oil and sauté the onions and pepper for 2 to 3 minutes or until softened.
4 to 6 red lettuce leaves, stems removed, but left as whole as possible
½ cup crumbled queso fresca (crumble the cheese, then measure)
1 fresh tomato, chopped into ½" pieces
4 ounces guava paste, chopped into 1/4" pieces
4 ounces hearts of palm, chopped into ½" pieces
1 orange, cut into segments
¼ cup mango puree
1 clove garlic, put through the garlic press
3 tablespoons cilantro, finely chopped
1½ teaspoons freshly squeezed lemon juice
½ cup canola oil
salt and freshly ground pepper to taste
u Whisk the first four ingredients in a small bowl until combined. Slowly whisk in the oil, whisking until an emulsion forms. This dressing will be thick. Taste and adjust salt and pepper.
Laura Caskey
For The Lancaster News
On Friday, May 4, students of McDonald Elementary School were treated to a morning of music, food and learning.
The school hosted its first Cultural Diversity Day. English for Speakers of Other Languages (ESOL) teacher Veronica Raffin and the diversity committee – Shandra Hall, LaDonna Smith, Regina Hagwood, Lauren Taylor, Chelle Chambers, Donna Roberts, Dana Kirk and Tracy Thompson – hosted the event to promote the appreciation of diversity in Lancaster County.
Mental Health America of Lancaster County
It could be a rape, bullying, poverty, neglect or even a hurricane or mass tragedy. Whatever the cause, a traumatic event has a devastating impact on physical, emotional and mental well-being. Communities can be traumatized, as well.
Jan Tacy
Indian Land Action Council Litter Committee Co-Chair
For a second year, the Indian Land community participated in the Great American Clean Up on April 28-29.
More than 200 volunteers and several Adopt-a-Highway groups gave up their Saturday morning or Sunday afternoon to walk the roads of Indian Land, picking up litter.
by Janet Tharpe/Just a Pinch Recipe Club
Copyright © 2019
The Lancaster News is your source for local news, sports, events, and information in Lancaster County and Lancaster, South Carolina, and the surrounding area..


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Landlord-tenant law governs the rental of commercial and residential property. It is composed primarily of state statutory and common law. A number of states have based their statutory law on either the Uniform Residential Landlord And Tenant Act (URLTA) or the Model Residential Landlord-Tenant Code. Federal statutory law may be a factor in times of national/regional emergencies and in preventing forms of discrimination.
The landlord tenant relationship arises by reason of agreement, between the landlord and tenant. A tenancy is created when an owner of an estate in land grants another the right to exclusive possession of the land. This agreement is called a lease, and the relationship may be referred to as lessor-lessee or landlord-tenant.
A lease outlines the responsibilities of both the tenant and the landlord. While some landlords consent to verbal leases, get a written lease if at all possible. A basic lease details all rental terms and dates, including:
Property address
Names of all tenants and the landlord
Amount of monthly rent
Amount of security deposit
Late payment penalties
Length of lease
Notice to renew the lease or vacate the property
Notice for the landlord to enter the property
Pet policy
Repair policy
Decorating policy
A lease is usually valid for one year, although another length of time could be specified. Shorter leases usually mean higher rent. Month-to-month leases are good for one month and, unless specified by either party, are automatically renewed each month. Make sure you understand everything that is outlined in the lease. If there is anything you don't agree with or understand, it should be changed or removed from the lease. All changes should be initialed by both parties. Once the lease is signed, it becomes a legally binding document. Remember to keep a copy for your records
There are four types of leasehold interests: (i) the terms for years (ii) the periodic tenancy (iii) the tenancy at will (iv) tenancy at sufferance.
The term for years is created by express agreement, subject to the Statute of Frauds. To qualify as a term for years, the lease must be for a fixed or computable period of time. A fixed period of time means the term has specific beginning and ending calendar dates. The interest of the landlord is described as a reversion, and the interest of the tenant is described as a term for years.
The duration of a term for years is a fixed or computable period of time in units of one year, or multiples of divisions thereof. The term may be one month, six months, one year, five years, or longer.
The term for years is terminated by expiration of the specified period of time set forth in the lease. The term of year may also be terminated by the happening of a specific contingency, surrender of the unexpired term, by release, and under certain other circumstances.
A periodic tenancy is most commonly created by express agreement, written or oral. A periodic tenancy also arises when: a landlord gives possession to a talent for an unspecified period of time coupled with an agreement that rent will be paid periodically, i.e., weekly, monthly or annually. A tenant remains in possession with the consent of the landlord after termination of a prior tenancy and makes periodic payments of rent; or a tenant takes possession under a void lease and makes periodic rent payments.
The periodic tenancy is an indefinite tenancy which continues for successive like periods until it is terminated by proper notice given by either the landlord or the tenant.
Absent a "notice to terminate" provision in a lease, the notice required to given to terminate a periodic tenancy is determined by the period itself. Where the period is less than one year, the requires notice is one full period;
When someone originally enters into possession rightfully and after the end of the tenancy retains possession wrongfully, a tenancy at sufferance is created.
The tenancy continues until the landlord makes demand for possession or elects to treat the tenancy as a new consensual tenancy.
There is no true leasehold; and therefore, there is no tenancy to terminate. The continued possession may not be defended against any reasonable action by the owner in fee to remove the wrongful holdover tenant. As an alternative to dispossession, the landlord may elect tot consider the holdover tenant as holding under a new tenancy for an additional period of time and may charge a higher rent.
The landlord has a duty to place the tenant in possession of the premises at the beginning of the term.
The landlord is under a duty to disclose to the tenant all latent defects existing on the property at the time of leasing.
Landlord's have a duty to maintain, repair and keep reasonably safe the common areas of a multi-unit building.
In general, entryways, hallways, passageways, lobbies, stairs, elevators, approaches, yards, basements, porches and all other portions of the premises maintained for the benefit of and use by the tenants.
A substantial majority of jurisdictions have abandoned the doctrine of caveat emptor with respect to residential leases and adopted the principle that there is an implied warranty by the landlord that the leased premises are, or will be put, in a condition suitable for residential purposes.
The implied warranty cover all defects located in the demised premises and in the common areas such as stairs, hallways and yards. The implied warranty also covers defective facilities which are necessary to the tenant's use and enjoyment of his apartment, but which remain in the exclusive control of the landlord. The type of facility covered under the implied warranty should include any facility which, if defective, would constitute a threat to the health or safety of the tenant. Thus, heating systems, plumbing systems, electrical systems, light, ventilation, dangerous common areas and vermin infestation would all be covered by the implied warranty of habitability.
Where a defect exists at the inception of the lease, the landlord will be liable for all defective conditions which he had actual or constructive notice of. After the transfer of possession to the tenant, the tenant has the exclusive right to possession of the demised premises. The landlord has no right to enter the demised premises and therefore has no duty to inspect the premise. The landlord's liability for defective conditions in the demised premises arising after the transfer of possession is limited to those defects of which he has actual notice. This imposes a duty on the tenant to inform the landlord of any defect in the demised premises.
Where the landlord has notice of the defect from other source, such as formal notification of a housing code violation by public authorities, the tenant has no duty to give the landlord a second warning.
Where the tenant makes reasonable attempt to give notice of defect to the landlord, bit us unable to contact him, the notice requirement is deemed to be satisfied.
Remedies of the Tenant for Breach of Implied Warranty of Habitability
In order to terminate the lease the breach for failure to repair must be a substantial one. Once the right to terminate has been established, the tenant must give the landlord notice of termination in order for it to be effective. The tenant remains liable under the lease until such time as the lease is terminated. Once the termination is effective the tenant must vacate the premises.
Rescission is a discharge if all unperformed duties and undoing of those duties which parties have performed under the terms of the contract. In order to rescind, the tenant must establish that the landlord has substantially failed to perform under the terms of the lease agreement. The landlord's breach of the implied warranty should be sufficient nonperformance to give the tenant the right rescind. The tenant must give the landlords notice of rescission and offer to restore to the landlord all benefits he has received under the lease. The tenant is entitled to a return of an amount equal to the difference between the contract rent and the value of the premises during the term of the breach. The tenant is also permitted to recover prepaid rent and security deposits.
A number of states have statutes which permit the tenant, after notice of the defect to the landlord and the landlord's failure to repair, to repair the defect condition and deduct the cost thereof from the contract rent due and payable to the landlord. Many of these statues restrict with respect to the purposes for which such expenditures may be made and are restricted in the amount which can be expended and deducted to a specific amount or an amount based upon a set formula.
If the tenant wishes to remain in possession, specific performance of the implied warranty of habitability is one remedy the tenant may pursue. Before the tenant is entitled to specific performance, the tenant's remedy at law, damages must be shown to be inadequate.
Courts have agreed that the landlord's breach of the implied warranty of habitability entitles the tenant to an abatement of rent for the duration of the breach
Tenant is entitled to recover his incidental and consequential damages, including property damage and related economic losses arising out of landlord breach of implied warranty of habitability.
Rent is a normal incident of the landlord-tenant relationship. The tenant's obligation to pay rent is a contingent one which becomes absolute upon the tenant's use and enjoyment of the demised premises for a specified rental period. When rent becomes due and payable under the terms of the lease, it is generally considered to be merely a debt of the tenant owed to the landlord.
The lease generally contains a provision which specifies the amount of rent to be paid and the time and manner of the payment. Absent a provision for rent in the lease, a number of states have enacted statutes provide that the possession and use of the property gives rise to an obligation to pay the reasonable value of the possession and use of premises. The standard applied in determining reasonable value is the fair market rental value of the demised premises.
Subsequent agreement by the landlord and tenant to increase or decrease the reserved rent must be supported by new consideration.
Absent a lease provision specifying the time of payment of the rent, the rent does not become due and payable until the end of the period covered by the rent.
Place and Manner The lease will usually contain a provision which specifies the place at which the rent is to be paid. Absence such a provision, the general rule is that rent is to be paid at the leased property. The landlord is ordinarily required to go to the premises and demand payment before he is entitled to terminate the lease for non-payment of rent.
Absent a lease or statutory provision to the contrary, the general rule is that the tenant's breach of the covenant to pay rent does not entitle the landlord to terminate the lease. It is common practice for the landlord to reserve a right of entry which can exercise upon breach of any of the lease covenants by the tenant. Some states contain statues which permit a summary action for possession by the landlord in the event of failure to pay rent.


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Alzheimer disease is a chronic, slowly progressive, gradual in onset, irreversible condition that destroys brain nerve cells and other structures in the central nervous system. People with Alzheimer disease slowly develop dementia —a loss of memory and intellectual and social skills that result in confusion, disorientation, and the inability to think, reason, and understand. The decline in cognition and memory results in activities of daily living to be performed with increasing difficulty.
People with Alzheimer disease (and other dementias) have symptoms that can change from day to day. There seem to be occasional times when improvement may be noticed, but over time the disease progressively worsens. The most common symptoms is memory loss.
It has been estimated that over 4 million Americans have Alzheimer disease and the total healthcare costs are estimated to be over $100 billion in the US alone. The number of patients with Alzheimer disease is expected to triple during the next 20 years as the baby boomer generation ages with an associated rise in the economic burden.
Scientists know that Alzheimer disease is caused by damage to brain nerve cells, as well as a loss of certain chemicals that facilitate communication between nerve cells. What is still not clearly understood is why this damage occurs.
Brain autopsies of Alzheimer patients show 2 characteristic brain abnormalities:
- Neurofibrillary tangles —These are found inside nerve cells in the hippocampus and temporal and frontal lobes of the brain. A type of protein called tau is found within these tangles.
- Neuritic plaques —Located outside the nerve cells, the plaques are surrounded by dying neurons (nerve cells) and contain a sticky protein called beta amyloid. The presence of the plaque seems to be linked to reduction of an important chemical called acetylcholine. Acetylcholine helps neurons relay messages in the brain and is essential for memory and learning.
Revision Information
- Reviewer: EBSCO Medical Review Board Rimas Lukas, MD
- Review Date: 09/2018 -
- Update Date: 09/17/2014 -


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Firewood Supplies in Fareham - Hampshire
Looking for quality fire wood suppliers in Fareham
Fire wood supplies are ideal for: Wood burning stoves, Multi fuel stoves, Open fires, Chimineas, Pizza ovens.
Kiln dried logs or seasoned logs?
Kiln dried logs are always the best quality firewood supply for your requirements in Fareham. Kiln dried logs mean they have been dried to moisture content of less than 20%.
Seasoned logs are cheaper but they have more moisture, hence why they will crackle more on your fire. Kiln dried logs will provide better and more consistent heat in a wood burning stove and keep your chimney clearer.
A cheap moisture meter is very easy to use to test the quality of your logs.
Log in bulk bags or handy packs of firewood logs?
Bulk bags of firewood can save a lot of money. You will still have the choice of seasoned wood or kiln dried wood.
We still recommend a moisture meter for seasoned logs, depending upon how aged and how they have been stored the moisture levels can vary a great deal. It is often best to keep seasoned logs a few months yourself before using.
Handy packs of logs like you see at supermarkets can offer really good value. The other advantage is that you can try different types of logs to see what burns best on your particular burner.
Buying tips for firewood logs?
If buying by weight then seasoned logs can have a lot of moisture and you maybe paying for the water content.
Is a builders bag a ton of logs? Builders or also called dumpy bags are for building materials, dense items like rockery and wood would not add to a ton.
Finding the best wood for your wood burning stove. People are surprised how different logs burn and how quick v's the amount of heat that is given out. If heat is a major requirement rather then good kiln dried logs will burn longer and throw out more heat. But check those moisture levels as these can vary greatly.
Never burn wet firewood
Wet firewood will cause more soot and tar in your chimney. Even seasoned fire wood logs should be kept under cover and with a good air flow to dry them out further before using.
What is FSC?
FSC stands for Forest Stewardship Council and means that wood is from a forest that is well managed for renewables. Trees actually consume a lot of CO2 when growing so that is good too.
We like Amazon for log supplies, especially when trying out different qualities before deciding to buy in bulk, plus customer reviews are always very useful


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Customised Wristbands
Single Colour Wristband - Black - QUEEN BEE
High quality silicone wristband customised with your choice of text, which can be any name, phrase or slogan of your choosing. Your personalisation can be on one or both sides of the band. Up to 20 characters personalisation on each side.


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Free Online Action Games & More from AddictingGames.com! If youÂ're craving playable action games, youÂ've come to the right place. AddictingGames.com is the largest source of the best online games, including free online action games as well as action games for children. There is a ton of fun to choose from! When you find your favorites, embed them! AddictingGames.com makes it easy to add games like Park My Car and 4 Wheel Madness to your Blog, MySpace or Facebook page, and beyond so you can play on your own website or webpage! Just copy and paste the codes we make available here. And check back often! We keep the list updated with the latest and greatest playable action games on the web! With thousands of games to choose from, AddictingGames.com is the best place for free online action games as well as action games for children. Are you ready to play? ItÂ's game time!
Total AG Ratings: 17
Copyright © 2018 Defy Media, LLC; all rights reserved.
Third-party trademarks are used solely for distributing the games indexed herein and no license or other affiliation is implied.


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Round House
Mentioned, but not yet designated, in the National Register of Historic Places under "Mid-Twentieth-Century Modern Residences in Connecticut, 1930-1979." This Multiple Property Documentation Form (MPDF) is a document that provides information for class of historic sites that may still be nominated individually. Though this document makes the argument for listing of the Round House, it will not be eligible until 2017.
Built by Richard Foster in 1967-68 as a residence for himself and his family.
Richard T. Foster, a New York City-based architect who worked with Mies van der Rohe and Philip Johnson on many high profile projects, designed the Round House for his family. Aside from its well known architect, the structure's shape sets it apart from any other structure; it is a glass, steel, wood and concrete cylinder mounted twelve feet above the ground on top of a concrete base. The house rotates 360 degrees on its base. Given that its entire circumference is clad in glass, the rotation affords all inside perpetual and ever changing views of the bucolic countryside setting in which the house is sited. The site forms a natural amphitheater, with a large pond on the north west side, and a 400 acre natural preserve to the north and northeast, the views are stunning.
The house, as built in 1967-68, aside from interior updating in 2005, stands today as it was originally designed and built. Accessed from Olmstead Hill Road, down a long narrow drive, it is located on a sloping 3.83 acre lot in Wilton, Connecticut. Surrounded by meadow and pond in the front and wooded nature preserve in the north and east, the home is provided a private, expansive view from its 360 degree vantage point.
Approaching from the drive, one first encounters a 576 square foot garage/gatehouse (rectilinear) to the west. This structure serves both as the pool house and gatehouse for the home. Further west, in front of the structure is located a 600 square foot in-ground pool.
Located at the end of the drive, just past the gatehouse, is a six foot retaining wall and fence which serves as a privacy shield for the rotating home. Rising above that wall, one sees the first glimpse of the 2,997 square foot Foster structure. It rests on a round concrete, but shingle clad, 12 foot diameter base.
From the drive, visitors walk down a set of stairs, across a circular cobblestone terrace, spanning the width of the structure above. The curved wooden front door, leads the visitor into a small vestibule and a wood and metal spiral staircase leading up to the main floor. The base of the structure is the immobile component of Foster's design, and serves as the center for the axis from which the house spins.
The 12 foot diameter base houses a non-structural hollow column that runs up the center of the base and through the structure to the attic.The column shields the home's waste pipes and electrical and cable wires.
The original plan included nine rooms, but the 2004 Owner, Michael Von Oehsen, had the space reconfigured to seven rooms: the rotunda/foyer serves as the first concentric circle surrounding the base's circle, then the next and largest concentric circle of the 72 foot diameter home includes the home's primary wedged-shaped living spaces: kitchen, living room, dining room, master bedroom with a walk-in closet and bathroom, office and a second bedroom with bathroom.
Foster design of the exterior has floor-to-ceiling panels of glass with occasional sliding glass doors that lead to a 1245 square foot porch that fully wraps around the structure.
Built with concrete, steel and glass, the house is clad on its roof, underside, and on the exterior of its base and gatehouse in cedar shingles. The exterior metal, on the railings and window mullions, is pre-rusted steel.
The house is nearly 3000 square feet, laid out inside a cylinder that sits cantilevered over a twelve foot high base. The 72 foot diameter, 500,000 pound structure revolves around its base, using its concrete base as its axis. The base houses a three-ton ball bearing system. The shoebox sized set of controls are powered by a 1½ horsepower motor. Three movements are possible: forward, backward and stop. Round House's rate of rotation can be adjusted, from nine inches to five feet per hour, rendering a possible range of five to twenty six rotations per day. Remarkably, the house is known to rotate smoothly so that those inside note the movement only by the passing scenery outside. At highest speed, the house can complete one rotation in only forty-eight minutes.
Foster's design planned for equal distribution of weight throughout its cantilevered structure. His design transfers both live and dead loads, through a complex design of steel rings, columns and bearings to the the concrete core below. When weight is loaded more heavily in one area in the house, because of Foster's system, a counter balance reaction does not occur in another portion of the house.
The house was well noted during and just after its construction; Architectural Record, the New York Times and Interior Design all ran pieces on the home in the late 1960s. The American Institute of Steel Construction gave one of its twelve annual awards to the home's design. The Round House has remained a private residence from its inception.
Modernist architecture in 1960s and 1970s Connecticut exemplified the movement's trend towards a more sculptural effect. Richard Foster's Round House in Wilton is unusual in shape and style; the floating, rotating cantilevered disk composed of steel, glass, concrete and wood follows the movement's choice of materials while creating new forms of expression that employs emerging mid century modern technology.
Richard Foster lived in this house until his death in 2002.
Valedictorian of his Architectural class at Pratt Institute in 1950, Modernist Architect Richard T. Foster (1919 - 2002) was founder of Richard Foster Associates in New York City and Greenwich, CT. He worked with Philip Johnson and Mies van der Rohe on multiple projects; his career was enormously prolific. Included in his accomplishments are the New York State Theater at Lincoln Center (1964), the New York World Fair Pavilion (1964/65), Meyer Hall of Physics, Kline Geology Laboratory and Kline Biology Tower at Yale (1965/1966), Kreeger Museum in Washington D.C. (1967), Bobst Library at New York University (1972), Tisch Hall at Stern School of Business, New York University (1972), Hagop Kevorkian Center at New York University (1973), Eastman Dental Center at the University of Rochester (1978) and the Hatch Interdenominational Chapel at the Mt. Sinai Medical Center.
In 1968, Foster's Round House was the first and only round, fully rotating residence in the world. Sometimes compared to a space ship, the Round House is best understood as part of the group of modern homes built in and around New Canaan following the precedent of the Harvard Five.
_____, "122 Olmstead Hill Road, Wilton, CT 06897," Online Database for Wilton, CT, Vision Appraisal Technology, http://data.visionappraisal.com/WiltonCT/findpid.asp?iTable=pid&pid=4069, as viewed 2.2.2011.
_____, "360 degree living: architect Richard Foster designs a house in Connecticut which can make a complete revolution every 48 minutes". 1968. Interior Design. 39:102-105.
_____, "Beautiful detailing enhances a very special house," 1969. Architectural Record, New York: McGraw-Hill Publications, 145, 6:177-180.
Field, Carolyn Rundle, "Rooms with a View," Townvibe, July/August 2010, Morris Media Group, Wilton, CT.
_____, "Connecticut's Modern Homes Part of First-Ever Statewide Listing to National Register of Historic Places; Raises awareness for nation's underappreciated, but vastly influential mid-century architecture," PreservationNation.org, Washington, DC, http://www.preservationnation.org/about-us/press-center/press-releases/2..., as viewed 2.2.2011.
_____, "Mid-Twentieth Century Modern Residences in Connecticut, 1930-1979," National Register of Historic Places Multiple Property Documentation Form, National Register of Historic Places, United States Department of the Interior, National Park Service, http://docs.google.com/viewer?a=v&q=cache:y3HbAf056ioJ:www.preservationn..., as viewed 2.2.2011.
_____, "Richard Foster Associates: About the Company," Emporis Corporation, Frankfurt, Germany,
http://www.emporis.com/application/?nav=company&lng=3&id=100499, as viewed 2.2.2011.
_____, "Round House," Realty Guild, New Canaan, CT, http://www.youtube.com/watch?v=tspXb1NdAMI, as viewed 2.2.2011.
Depicted item: Round House, source: Realty Guild, New Canaan, CT


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Undergraduate Degrees, Majors and Concentrations
ELIT3070 - Sem In Lit: Classic Novels
Summer 2019
This course enables English majors to engage in detailed literary study of select nineteenth century novels. Primarily a reading course for English Literature and English Education majors, students will read a number of British, American, French and Russian novels. Close attention will be paid to historical context in order to analyze the economic, social, political and philosophical concerns of novels produced during the early, middle and late years of the Industrial Revolution. A variety of rhetorical and literary critical approaches will be used by students to examine the novels. Special attention will be paid to social and economic conditions created by the Industrial Revolution in Britain and the United States. Students will compile annotated bibliographies, make oral presentations, write short papers defining critical problems, and write one 15 page scholarly essay as a result of their research.
Prerequisite: Any ELIT course and 75 total credits.
3 Credits
Schedule Book for All Active and Available Future Terms, Course starting with ELIT3070
No Courses Found


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The Savi 700 Series is changing the way productivity-focused office professionals communicate. With multi-device connectivity, you can now manage PC, mobile, and desk phone calls with the most intelligent wireless headset system on the market.
The Savi 700 also delivers a 350-foot range so you can take calls all around the office, plus premium sound quality with wideband audio, noise cancellation and Digital Signal Processing (DSP).
The Savi 745 features a deluxe charging cradle for unlimited talk time. Includes cradle and battery.
Boost office productivity with these innovative features!
Superior call management — with three-way connectivity that lets you easily switch and mix audio between PC, mobile and desk phone calls. The Savi 745 also automatically routes mobile audio to whichever service you pick up – headset or mobile phone and easily transfers audio between headset and mobile phone to take calls on-the-road.
Multiple wearing style options — The Savi 700 Series offers you multiple wearing style options: Savi W710 over-the-head monaural, Savi W720 over-the-head binaural, Savi W730 over-the-ear monaural, and Savi W740 convertible/ 745 convertible + Deluxe Charging Cradle Kit both with three wearing styles (over-the-head, over-the-ear, and behind-the-neck).
Premium sound quality — featuring wideband audio, noise-cancellation and DSP.
Optimized for Unified Communications — The Savi 700 Series works with all leading UC platforms and softphones. The Savi 700-M Series is Certified for Skype for Business – for a seamless UC experience.
Ample talk time — Up to 7 hours (W740), Unlimited (W745 with Deluxe Charging Cradle Kit), Up to 6 hours (W730), Up to 9 hours (W710, W720)
UC presence — automatically is updated when you're on a PC, mobile or desk phone call.
Conference in capability — with up to three additional headsets, plus guests can continue through multiple calls.
Advanced Dect wireless security— Using the latest standards in DECT wireless security, Savi 700 series headsets keep conversations safe and secure. With eight discreet security measures, including a 64-bit encryption, confidential information remains private.See DECT Security Infographic! (pdf)
Also Consider...


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Expert Podiatrists in Seaton, Illinois
In order for you to be healthy and happy, you need to make sure your feet are well taken care of. After all, they are an important part of standing and walking throughout the day. When you have any type of pain or misalignment in them, it can really diminish the quality of your entire day and even lower your quality of life.
Fortunately for you, you can depend on our podiatrists in Seaton Illinois, to provide the very best services possible no matter what form of condition you may well be experiencing. From the moment you first contact our offices, we will treat you with dignity and respect. In your first visit, we will offer a complete evaluation of your respective current foot health.
It is important to remember that you have to have both of the feet in proper order for max comfort and health. As a result, your physician may choose to look at both feet to ensure that usually the one not bothering you is now healthy. Also, when you find yourself having treatment done on one of the feet, it can change how you employ the other foot.
For your treatment or surgical sessions to be effective at a practice, you must have the medical and alignment of both feet monitored and corrected as needed. You will end up surprised by significantly better you feel with time. Don't you should be totally free of pain?
Our Podiatrists in Seaton, Illinois Are The Best Around
Our podiatry services are available to patients with numerous types of conditions so that we can help as many people as we possibly can. Among the conditions we work with at our office are ankle pain, bunions, diabetic feet, foot pain, heel pain & hammertoes.
Many of our patients have been identified as having Type II diabetes and require regular monitoring to make sure that their feet are okay After a while, those with this issue will quickly lose sensation with their feet. This will cause small sores to visit unnoticed. Along with not feeling the anguish, a person will have an even more hard time healing the region due to complications connected with diabetes. The combination of troubles can bring about major problems, with gangrene being amongst the worse.
However, the diabetic patients we have now are seen regularly therefore we look carefully to ensure that foot health is maintained. We also provide guidance for picking shoes and other lifestyle modifications that will reduce the risk of trouble for the diabetic foot. When a cut or another injury occurs, we shall make everything medically possible to make certain that our patients can keep their extremities.
Of course, we can provide the best podiatrist in Seaton, Illinois services to other types of patients as well. When you are interested in your foot health insurance and your main care physician has suggested you can see a professional for treatment or medicine, we are going to gladly help you. Even if you have not consulted with your doctor, you can make a scheduled visit directly with the offices. This will likely expedite your services and have the feet healed faster!
Podiatric Services
Do you possess pain inside your heel or some other component of your foot? Have you considered your ankles? Do you know that podiatric and surgery services include therapy for your ankles along with your toes and feet? This is because of the interconnected relationship these parts of the body have together and also the close proximity.
Hammertoes are incredibly painful and will only worsen over time unless you have medical care. The severity of your position will be utilized to determine the most effective course of action inside your treatment solution. You can depend on our experts to make certain your hammertoes are corrected as quickly as possible and with the least quantity of additional pain.
Our company is also capable of assisting patients who may have bunions and difficulties with the arches of their feet and a vast range of other foot ankle problems. Are you aware that having an arch that is certainly either too pronounced or too flat can cause troubles in your body that include back pain? The reason being your legs are certainly not positioned correctly. The hips sit incorrectly as a result and offer an improper foundation for the remainder of your spine.
Podiatric Procedures
If you would like to feel comfortable and happy, you have to take better care of your feet. Call and request an appointment to become a patient today. Trust our podiatrists in Seaton, Illinois in addition to their highly recommended podiatrist services to get you feeling fantastic and back on your feet!


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