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SWANSEA CITY are top ofDivision Three for the first time in three years after producing three more goals and another first class performance in an entertainment packed defeat of Boston last night.
Three sensational second half goals lifted the Swans to the summit for the first time since they collected the Third Division Championship at Rotherham in May 2000.
Lee Trundle, Kevin Nugent and Andy Robinson were all on target as Brian Flynn's side maintained their amazing 100 per cent record, kept a clean sheet and sent supporters home delirious.
And Swansea, who yesterday completed the signing of former West Ham defender Izzy Iriekpen on a three-month contract did most of it without Roberto Martinez, the midfielder limping off with what appeared to be a leg injury after just 25 minutes.
Swansea will now hope the influential Spaniard recovers in time for the Bank Holiday Monday trip to Oxford when they will hope to keep this incredible run going.
What a difference a year makes. Last September it was a nightmare on York Street that left Swansea at their lowest ebb.
A 1-0 defeat at Boston - the final nail in Nick Cusack's managerial coffin - gave the Swans their first ever taste of life at the very bottom of the football league, as bookmakers made them favourites for the drop.
But Flynn was ushered in and, after chiselling out an almost brand new squad over the course of six short months, Swansea proved the doom merchants wrong - just - and have come back with the biggest of bangs.
How remarkable that Swansea - now just 16-1 for the championship - should have shot to the top after squaring up to the same Lincolnshire opponents last night.
Two thrilling victories, two hat-tricks and eight goals from the first two outings against Bury and Cheltenham ensured expectation levels were at a maximum as fans crammed into the Vetch hoping for more of the same
The decision to drop James Thomas and bring in Nugent - impressive as a substitute in the opening games - paid off handsomely, the striker combing well with Trundle as well as claiming his first goal of the season.
Flynn had made one other change to the side - Stuart Jones coming in at centre half, allowing Lenny Johnrose to take up his customary position in midfield with Jon Coates missing.
The match got off to a high-tempo start, Swansea quickly finding top gear and putting the Pilgrims under considerable pressure.
In the first 20 minutes alone Flynn's men produced three fine efforts on goal. Trundle, the hat-trick hero at Whaddon Road last week, sent a free kick a couple of inches over the bar after Maylett had been chopped on the edge of the box.
Then Maylett, carving a furrow down the left forced a good save from Boston keeper Paul Bastock before Leon Britton saw an effort bound for the back of Bastock's net deflected for a corner.
The Swans suffered a minor setback on 26 minutes when Martinez was forced off after collapsing under a hefty challenge from midfielder Tom Bennett.
With Robinson having replaced the injured playmaker, Britton was the victim of another terrible tackle. Daryl Sutch was the villian, cutting Britton down as he made a turn, but the former Norwich man escaped with just a caution.
It was no surprise the game got more hot tempered after those two moments of Boston in discipline and it was mostly a gritty midfield battle for the remainder of the first half.
But after the break the Vetch erupted twice in seven minutes as the Swans made an excellent start to the second half.
Trundle claimed his fifth Swansea goal in spectacular fashion, curling a superb left foot effort past Bastock.
Swans number one Brian Murphy made a smart shave to prevent Stuart Douglas snatching an immediate equaliser before Nugent doubled the home advantage on 52 minutes. A Maylett effort stuck the boot of a defender and looped up for Nugent who, after aiming his initial header against the crossbar, found the net with his second attempt.
Boston's Neil Redfearn thumped a shot against the woodwork, but it was rampaging Swansea who looked favourites to score every time they broke forward.
Their best chance to extend their lead came in the 78th minute. Britton crossed into the box from Robinson's short corner and Bastock showed great reflexes to get his fingertips to Kris O'Leary's close range header.
Robinson completed another amazing Swansea win a minute later when he dinked the ball over Bastock after playing a neat one-two with the outstanding Trundle.
So the bandwagon rolls on to Oxford on Monday when Iriekpen - who had an unsuccessful trial period at the Kassam stadium this summer - is in line to make his debut.

domain: news


Would you look at that! Another album from Norwegian feel-gooders Kakkmaddafakka. It’s 2013, it’s summertime, and the album is called Six Months is a Long Time. Putting aside the notion that six months is not actually that long you can find solace in the fact that the newest catalogue from Kakkmaddafakka is fun and bubbly. Summertime music should be easy-going, uncomplicated, and pleasingly melodic. Needless to say, Six Months is a Long Time fulfills all your summer anticipation.
If it’s a single that is short, catchy and easy to repeat look to second track, “Someone New.” A light and groovy guitar is matched with poppy and clear vocals. Give the song a few listens and you are sure to sing along from then on. Try singing it with a friend and the ‘wooos’ will be fun to harmonize and make your own. For another easy and quick number seek-out track seven, “No Song.” The chorus is just bubbly enough to please and not enough to upset. It’s stubbornly balanced and a little angsty. Immediately following “No Song” comes “Female Dyslexia” and again the pop textures make for an easy toe-tapper and head-bopper. The lyrics pertaining to boozing and tom-foolery make it an appropriate anthem for summer shenanigans.
For something a little different from the other pop tracks, first turn the page to “Gangsta No More.” The reggae elements are great break among the otherwise poppy notion Six Months is a Long Time. Honestly, it is not the type of reggae that will not knock your socks off with a chill vibe but the off-beat is a great change of pace. Lastly, if sentimentality is your scene seek out track four, “Forever Alone.” Slow and steady, smooth and sweet, heartfelt and lonesome, it is a track to close your eyes to.
Overall, Kakkmaddafakka does not surprise with their new album. Instead, they provide a solid service to pop lovers everywhere who are tired of the bubblegum that plays on the radio. Pop is a generally easier medium but to do it right takes some skill. Six Months is a Long Time is arguably a decent try and you cannot discount a genuine effort.


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The 54-year-old resurfaced at a theater event in NYC on Monday, looking shabby chic.
Prior to "Amadeus," Tom starred as Pinto in "Animal House" and bared it all on stage in "Equus" -- the same play Daniel Radcliffe stripped off his Hogwarts uniform in last year.
Tom is a producer of the Tony award-winning Broadway musical, "Spring Awakening."
Rock Me Amadeus
3/11/2008 6:06 PM PDT BY TMZ STAFF
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Marin County is a good place for a plant-based diet. Here are few of our top plant-based meals.
4 Innovations in Food: Environmentally-Friendly, Healthy Ways of Eating You Wouldn't Believe Actually Exist
From the farm to your face, from the air to your plate, these are the new things in food.
If 2021 is to be known for anything, could it be known as the year where plant-based eating becomes the “new normal?”
Marin County is a good place to be vegan, and here are few of our top plant-based meals.
Be sure to check out newly opened Veggie Grill at the Town Center in Corte Madera. Blogger Kirstie A. Martinelli has your first-look.

domain: food


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Cygilant Endpoint Security: Detecting malware and critical threats
Cygilant, provider of Cybersecurity-as-a-Service to mid-sized organizations, launched Cygilant Endpoint Security, a new solution that will give companies greater visibility into suspicious activity taking place on network endpoints.
Cygilant Endpoint Security is an agent-based solution that collects real-time security data from a company’s critical assets, detects suspicious files, services and other activity – and then streams alerts to the 24×7 Cygilant Security Operations Center (SOC) for further investigation and action.
In today’s distributed and remote networks, it is no longer good enough to shield critical assets behind perimeter defenses. Attackers are more sophisticated and regularly craft exploits that mimic legitimate traffic and are designed to evade signature-based defenses. On top of that, endpoints are roaming from network to network or utilizing resources in cloud data centers that are not under direct corporate control.
To successfully defend an organization from malware and other critical threats, IT security analysts need increased visibility into what is happening at the various endpoints that connect to a company’s network.
With Cygilant’s Endpoint Security, which is included as a part of the company’s Managed Detection & Response (MDR) solution, companies can rest easy that malware or breach attempts originating from their workstations or servers can be detected and halted.
“Attacks on businesses of all size have become more sophisticated. Cybercriminals are using traffic that traditionally wouldn’t be blocked at the perimeter to gain access to network systems and data,” said Kevin Landt, vice president of product management at Cygilant.
“At the same time, with the recent and rapid growth of remote working due to the global pandemic, there is added urgency to better understand what is entering or leaving your network. The combination of Endpoint Security with our cybersecurity experts gives companies the visibility and protection they need.”
Cygilant Endpoint Security is a cost-effective solution that delivers the most critical features to customers in a way that’s designed to be user-friendly, scalable and reliable. Fully managed by Cygilant, Endpoint Security delivers customers significant time and cost savings when compared to deploying traditional endpoint protection products.
By combining Endpoint Security with network intrusion detection, event log monitoring and threat intelligence, companies can gain a single dashboard view of their entire cybersecurity posture.


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This quilt has been a long time coming. Back when my husband and I got married, my dearest friend from my high school days gifted us with a beautiful, bed-size quilt. So when she got married in New York City last summer, I knew it was my chance to return the favor and make her and her new husband a quilt.
My friend loves purple (this wall quilt was for her), so I looked around on Design Seeds for purple inspiration. I wound up using this color palette to inspire my fabric pull. My friend had mentioned her love of Anna Maria Horner's feathers, so I knew I wanted to use those in the quilt. When I discovered how long it took to make each feather, and knew that I needed to wind up with a queen-size quilt, I decided to revise my plan a bit. I made stacks of feathers, flying geese, and half-square triangles, and then began piecing improvisationally, adding blocks of fabric as I went along to fill space.
The results were admittedly chaotic---so much randomness!---but completely different than anything I've done before.
Since it was so large, and I'd already done so much piecing, I decided to use a purple sheet for a seamless backing. I was pleasantly surprised with how soft it was! Lindsay of Eileen Quilts quilted it for me and I bound it with one of Carolyn Friedlander's cross-hatch prints. I added a hand-embroidered label with the couple's wedding date, along with a new leather Salty Oat tag.
I gifted it to my friend the weekend before last (over a year after her wedding---oops!), while visiting my parents in New Hampshire. The timing worked out well, since the changing fall foliage provided the perfect backdrop for photos.

domain: design


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The Laurels of Hudsonville is very pleased that many surgeons and attending physicians follow their patients at our facility.
If your physician does not have admitting privileges, our Medical Director or other attending physician will be happy to oversee your care while you are staying with us. If you have any questions regarding your physician coverage, please don't hesitate to contact us at (616) 669-1520. We can assist you to ensure that you will have physician coverage.
The current list of attending physicians at The Laurels of Hudsonville includes, but is not limited to, the following:
Dr. Breitweiser graduated from Ohio University College of Osteopathic Medicine. He is board certified in Family Practice. Dr. Breitweiser is the Medical Director of Metro Health Physician Offices in Jenison, Michigan. He received the Governor's Award of Excellence in 2004 for Family Practice. Dr. Breitweiser is affiliated with the American Osteopathic Association, Michigan Association of Osteopathic Family Physicians, American College of Osteopathic Family Practitioners, and Kent Healthcare Physician Organization.

domain: medical


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Showing results for tags 'ribeye roast'.
I made this for Christmas dinner to feed a family of ten. I had just enough left over for lunch the next day, but I also cooked the bones down further to make a nice beef stock for soup later in the week. An annual end of the year tradition, I cook a standing rib roast for Christmas dinner. In addition to dry brining to help the meat retain moisture and add flavor, I also remove the bones (to use for the drip pan and to make beef stock from later) and tie it up with butcher string to make it round instead of oblong. The round cross section helps to ensure an even doneness throughout. The meat is slow cooked until rare and then seared over high heat to produce an awesome medium-rare prime rib. View the BBQ Guru CyberQ Cloud chart for this cook: https://sharemycook.com/Cook/Detail/25ea1c8a-b59c-42f7-a905-ddf351c3f9aa Horseradish Cream Sauce Recipe: https://youtu.be/-4jIrLsgiHk
I’ve got something good in the works! It’s been in my freezer since December ($5.99 per lb.) and I finally get to unwrap it. Notice the twine? This was already deboned so that’s to hold the bones on to the roast. Also notice the stupid pop-up do-hicky? Side view. Needs a little trimming. Nice! Marked for slicing. (1 – 1.5”, 1 – 2”, 3 - 1” and a small leftover 3/4” steak) The first cut is the sweetest. Oooh nice color! All sliced up and ready for tomorrow. The Waaaaiting is the Hardest Part!
Here's what I did for Christmas Day. Rubbed it in fresh rosemary and garlic along with other spices/herbs and slow roasted it until almost medium rare with a quick reverse sear at the end to get a final IT of medium rare. This is my first video cook on my new Big Joe. http://youtu.be/nwxZefHGEL8


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Minnesota Timberwolves out to fuel Andrew Wiggins' rise to stardom
Timberwolves players, coaches driven to turn phenom into two-way standout
* Tonight on ESPN: Wolves at Warriors (10:30 ET)
MINNEAPOLIS — It’s not Andrew Wiggins’ fault that he had the disadvantage of being drafted 29 spots higher than Jimmy Butler.
Butler’s story is the stuff of current NBA lore. Born and for a spell raised in the small Texas town of Tomball. Thrown out of the house at 13 by his single mother and sleeping on neighbors’ and friends’ sofas. Neglected by college recruiters, spinning a season at Tyler (Tex.) Community College into Buzz Williams’ first scholarship at Marquette. Drafted with the last pick of the first round in 2011, thrown scraps at the end of the Chicago Bulls’ bench …
Until he works and wills himself into a starter, the Kia Most Improved Player in 2015, a five-year, $95 million contract, three All-Star appearances, one of the league’s most complete two-way players and now the leader of a young and hungry Minnesota Timberwolves team.
Wiggins is one of the cornerstone talents of that team, and his backstory hardly could be more different from Butler’s.
The son of elite athletes — his father, Mitchell Wiggins, played six seasons in the NBA and his mother, Marita Payne, was a Canadian Olympic sprinter – the Wolves’ forward inherited a rare bundle of skills and capabilities. He was touted not just by his hometown but by an entire country, dubbed “Maple Jordan” as Canada’s latest, greatest hoops hope.
Butler spent a year in junior college just to earn a scholarship. Wiggins spent a year at NCAA powerhouse Kansas, eschewing his final three seasons to enter the NBA as the No. 1 overall pick in 2014. He was coveted enough, without having played a minute in the league, to be traded for an All-Star when LeBron James made his surprise return to Cleveland that summer and tabbed Kevin Love to be part of a new Big Three with himself and Kyrie Irving.
The kid is so talented. … That’s what I want him to understand – you’re one of the most talented players in the league. Don’t take any possessions off.”
Jimmy Butler, on teammate Andrew Wiggins
Thus, Wiggins joined a forlorn Minnesota organization 10 years into what has become a 13-year playoff drought. He cruised to the NBA’s Kia Rookie of the Year award on a team that won just 16 games that season. The Wolves upped that to 29 and 31 victories the next two seasons, Wiggins boosting his scoring average to 20.7 points per game and 23.6 ppg while often failing to bust a gut or break a sweat.
That, at least, was the reputation he developed, borne from his own admission in high school that he picked and chose the opponents and matchups against which he locked in. If only Wiggins played hard on both ends of the floor, they said. If only his motor revved high every night. If only he relied less on his talents and more on tenacity. If, if, if.
Time of essence for Wolves’ young star
Butler wants to change Wiggins’ ifs to whens. And the way Butler is wired, when means now.
“My job is to show him what it takes to win at both ends of the floor and how hard you have to play,” Butler said over the weekend, four victories into what has grown to the five-game winning streak as Wolves face the defending-champion Golden State Warriors tonight.
“The kid is so talented. Everything comes so easy for him. When he gets the mindset that, ‘no matter how talented I am, I have to bring it on every single possession,’ that’s when you’ve got to start talking how great can this kid be. That’s what I want him to understand – you’re one of the most talented players in the league. Don’t take any possessions off.”
Butler is a plow horse who always lets you see him sweat, who got where he is today by dint of hard work. Wiggins is a thoroughbred to whom things seemingly have come easy, no straining necessary beyond the drills, workouts and games asked of any player.
Neither characterization captures Butler or Wiggins in full, but both are close enough that the Wolves — and much of the NBA — are watching to see what how much of Butler rubs off on the younger man.
“I think I bring it every night,” Wiggins said casually, not at all defensively, about the criticism he hears most frequently. “This year, we’ve got a good team. So, if someone else is going, someone else is going. But I always bring my game.”
Actually, everything Wiggins has experienced or accrued so far has come from his potential. He was drafted for it, traded for it and most recently paid for it — a five-year, $148 million “max” contract extension that starts in 2018. Team owner Glen Taylor took some grief for wanting to meet with Wiggins face-to-face before signing the deal, to make sure the budding star keeps growing his game.
Now Taylor will notice Wiggins looking his way after hitting a tough shot or making a defensive stop, and smiling. Their contract is secure.
Wiggins quietly, confidently raising game
Wiggins’ on-court demeanor flows from his personality, a mostly quiet nature that can make him seem aloof. Close friends and teammates can draw him out when they catch him laughing, but that side rarely shows at Target Center or under the lights of the league’s 28 other venues.
“Wigs is just laid back off the court,” said scorer Jamal Crawford, another veteran player and influence newly added by Minnesota coach and basketball boss Tom Thibodeau. “He’s not one who craves attention. He just comes, does his job, goes home. He’s really, really quiet in that regard. But he brings it — he has no problem making the big play or taking the big shot. He’s not scared to fail, and that’s a sign of an up-and-coming great player.”
Said Wiggins: “There are a lot of personalities on the court. Some people look like they’re working hard but they’re not. Some people who are working hard don’t look like it.”
Butler trusts what he can see. As Minnesota’s undisputed leader and updated version of Kevin Garnett as the Wolves’ 24/7 jumper cables, he doesn’t believe a player can modulate his performance against Golden State one night, Dallas the next, without getting bit.
“Can’t have it,” Butler said, the home dressing room otherwise empty after Saturday’s victory over the Mavericks. “Everybody in this league is an NBA player. That’s where he has to grow. He’s a terrific kid, human being, basketball player. But you’ve got to have that killer instinct in this league. You’ve got to have it, man.
“It’s not certain matchups, it’s not against certain teams, it’s not taking things personal. You take it to every team, every matchup. Where you match up to kill and to help this team at all costs.”
I think he’s made a conscious effort to do more than just score. He’s rebounding, he’s playmaking, his defense has improved. And with the game on the line, he can make the play.”
Wolves coach Tom Thibodeau, on Wiggins
The more success the Wolves have, the more they crave. At 7-3, they’re off to their best start through 10 games since 2001-02. Should they beat the Warriors, they would have the franchise’s first six-game winning streak since late in the 2003-04 season – which also happens to be the last time Minnesota reached the playoffs.
Wiggins, at 22, has shown signs of making every game an occasion to which he rises. During the winning streak, he has scored 20 points or more three times. Already, he ranks third on the Wolves’ all-time list for scoring 20 or more with 143 such games, behind only Love (167) and Garnett (534).
His game-winning, glass-assisted 3-pointer as time expired at OKC last month, sprung by Karl-Anthony Towns’ dubious midcourt pick, might have been a fluke. But the work he put in against the Thunder five nights later was not; Wiggins startled his teammates and coaches by diving twice to the floor for loose balls, grunt work for a diva. Thibodeau and his staff preach and document “first to the floor!” but Wiggins only recently has become that guy.
“You see Wigs diving on the floor, you’re like, ‘Oh man!’ ” Crawford said. “Everybody kicked it to another gear and it changed the complexion of that game.”
Against the Mavericks Saturday, Wiggins scored 23 points but worked diligently at guarding both Harrison Barnes (17 points) and Wesley Matthews (five) in a defensive tandem with Butler. Twenty-four hours later in blowing out Charlotte, he finished with 20 points on 8-of-12 shooting and nailed three consecutive jump shots in the third quarter. But he drew praise for hustling back on defense to thwart a 2-on-1 Hornets break, the Wolves already leading by 20.
Defensive development next on to-do list
In Thibodeau’s and Butler’s world, Wiggins soon will match the former Bulls’ defensive intensity, finally making good on the predictions when he was drafted in 2014 that he’d be an instant defensive force. It has taken awhile, partly due to the culture of a losing operation, partly from what seemed intentional energy rationing by Wiggins.
“When he learns to use the angles and his athletic ability and his God-given length of his arms and his big hands,” Butler said, “he’s gonna be a helluva defender. Offense, he’s got it all. Now we’ve got to get him to think, ‘I’m gonna be as aggressive on defense as I am on offense.’ That’s when you’re talkin.’ ”
Said Thibodeau: “I see a progression. He’s learned a lot from all his experiences. He worked incredibly hard all summer. He spent a lot of time here, in and out, and stayed focused on basketball. I think he’s made a conscious effort to do more than just score. He’s rebounding, he’s playmaking, his defense has improved. And with the game on the line, he can make the play.”
Reflecting both Wiggins’ development and Minnesota’s makeover, the 6-foot-8 wing has a positive net rating for the first time in his career at 109.6/108.3. He is averaging 19.9 points, 4.6 rebounds and 1.4 assists, though he sometimes still needs to have his switch flipped.
“He still hasn’t even scratched the surface,” forward Taj Gibson said. “He can turn it on when he wants to turn it on. The [Oct. 30] game in Miami, I remember Jimmy telling him to just dunk the ball. And the very next play, he dunked it. And the play after that, he almost got poster-of-the-year for how high he jumped. He missed it on his own, that’s how crazy it was.”
Who does he play like? … He’s definitely one of those guys — I would go back to an early 2000’s, late ‘90s type of guy. I’m not sayin’ McGrady but those type of guys, where the game comes really easy to ‘em.”
Jamal Crawford, on Wiggins’ game
At times, a misunderstood star
Wiggins is said to spend much of his free time playing video games or hanging with his dog Cassie. He doesn’t pull back much of the curtain in interviews, perhaps as a way of tamping down requests. He’s cordial, business-like and maddening to the Wolves media types who sift through his responses in search of sizzle.
He defends the intensity of his defense since arriving in Minnesota, but without bristling. Questions about his tendency to fill the points column on score sheets, while sticking small numbers in the other columns, get deflected easily. Wiggins concurs when it’s pointed out that Thibodeau is the first coach he’s had for consecutive seasons since back in high school, but he offers only a shrug of a comment about it.
“My first year here, I kind of established in my mind where I would fit on the court,” Wiggins said. “The best areas for me on the court and recognizing how to get in those positions. Now I’m just here.”
“Sometimes Andrew is misjudged,” Thibodeau said. “He’s a quiet sort of guy, but he’s a very confident guy. It’s easy to look at Jimmy and say ‘He’s this, this and this.’ But you tend to forget where Jimmy was his first and second years, his third year, his fourth year. I think you can look at a lot of players in the league – a guy like Kawhi [Leonard], same thing. Every year they got a lot better but there were steps they had to take. And if you look at Andrew, every year he’s made a big step. And he’s still just 22 years old.”
Wiggins has been compared to some of the NBA’s brightest lights, at least as far as his potential. Tracy McGrady is frequently mentioned. One Wolves team member, a little embarrassed, suggested Julius Erving. Crawford has been grasping for the perfect answer.
“Who does he play like? I’ve been trying to figure it out, but I haven’t thought of one yet,” Crawford said. “But he’s definitely one of those guys – I would go back to an early 2000’s, late ‘90s type of guy. I’m not sayin’ McGrady but those type of guys, where the game comes really easy to ‘em. I’m thinking of a wing who can really create and make plays, and the game was so easy for him, and he did things so effortlessly.”
Doing difficult things effortlessly and making it appear so are two different things. That’s why the education of Andrew Wiggins continues, with Butler committed to barking until his protégé turns in reliably strong performances as a muzzle.
“You tell him over and over and over again,” Butler said, “until he gets tired of hearing it coming out of your damn mouth and he buys into it and he does it. That’s what I’m doing. We’re always smiling and joking around on the floor, because we love playing with one another. But at the end of the day, I think it’s my job to make sure everybody shows up, every single night.
“You hope he see where it takes this team, and how his level of play is going to [raise] everybody’s level of play, and how it’s contagious. That’s the next step we have to have.”
The views on this page do not necessarily reflect the views of the NBA, its clubs or Turner Broadcasting.

domain: sports


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With Hurricane Matthew in our rearview mirror, it’s easy to think life is getting back to “normal.” The reality is, the need in our community is greater than ever before and those who have never needed assistance in the past are now finding themselves in situations they in no way imagined.
My wife, Becky, and I have been involved with United Way of the Lowcountry for years and have served in many capacities with the organization because we believe in the mission. After the hurricane, we volunteered in the HELPLINE call center, helping answer the calls of our neighbors on the other end. In the weeks right after the hurricane, calls to the HELPLINE went up 1,000 percent.
We heard some of the struggles our neighbors are facing first hand and feel more inspired than ever to help raise the funds needed to meet United Way of the Lowcountry’s $2.5 million campaign goal, which funds 48 programs and 34 partner agencies. That amount was set long before the hurricane and doesn’t account for the rising needs in our community.
After the hurricane hit, United Way of the Lowcountry made a conscious decision to temporarily suspend the fundraising campaign to focus on recovery efforts and help our neighbors.
In the midst of it all, our board of directors recognized the increased needs in the community and the strain it was putting on partner agencies that provide emergency assistance. It unanimously voted to distribute $100,000 from an endowment fund to front-line partner agencies to help funnel more immediate resources to those in need.
Hurricane Matthew created the perfect storm, you could say, and now as we try to get back to “normal,” it’s certainly not business as usual.
You probably noticed the United Way thermometer signs you are used to seeing this time of year are just now going up throughout our community and the meter certainly isn’t as high as in the past.
While the campaign suspended, the need certainly didn’t and it is going to take all of us working together to help raise the funds needed in our community.
As the chairman of this year’s campaign, I would like to ask you to please consider giving to United Way of the Lowcountry this year. It truly is more important than ever and your gift will not only help with immediate needs, but will make a lasting impact for years to come. Thank you for your support.
Charles T. Francis

domain: sociology


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Lott says Miers is not best choice
WASHINGTON - Another Republican senator, Trent Lott of Mississippi, has joined a chorus of conservatives who are voicing reservations about President Bush's Supreme Court nominee, Harriet Miers.
Although qualified, Miers is ''clearly not the most qualified person for the job,'' Lott, said on MSNBC on Wednesday.
''I'm not satisfied with what I know. I'm not comfortable with the nomination, so we'll just have to work through the process in due time,'' he said.
Bush is facing opposition to the nomination of Miers, the White House counsel, from some in his Republican base. If confirmed, she would replace Justice Sandra Day O'Connor, who announced her retirement plans earlier this year and is often a critical swing vote on the high court. Many are disappointed that the president did not pick an experienced judge with a clear conservative record.
Sen. Sam Brownback, R-Kan., a conservative and possible 2008 presidential candidate, said a day earlier that he is not yet confident that Miers has a proven track record and that questions about her views on the Constitution need to be answered.
In addition, the conservative New Hampshire Union Leader newspaper said in an editorial Wednesday that Miers ''is no more or less qualified to sit on the Supreme Court than thousands of other attorneys with similar career highlights'' and that her nomination is an example of cronyism.
And conservative syndicated columnist George Will said, ''There is no evidence that she is among the leading lights of American jurisprudence, or that she possesses talents commensurate with the Supreme Court's tasks.''
Will also said Bush can't be trusted to make a sound pick because ''he has neither the inclination nor the ability to make sophisticated judgments about competing approaches to construing the Constitution.''
At the White House, spokesman Scott McClellan said Miers has earned the respect and admiration of the legal profession and will earn the same sentiment from the American people.
''She is someone who is deeply committed to our Constitution and our laws,'' he said, adding she is firmly committed to the same kind of judicial philosophy that the president believes in. That is a philosophy that is based on strictly interpreting our Constitution and our laws.
The 60-year-old Miers has served Bush in a variety of private, political and government roles. Most have been done in a way that does not shed much light on her judicial or political philosophy. She came to Washington with Bush in 2001 as staff secretary and became deputy chief of staff before becoming the top White House lawyer when Alberto Gonzales became attorney general.
On Wednesday, Miers continued her meetings with key lawmakers on Capitol Hill, including a one-hour meeting with Sen. Patrick Leahy, D-Vt., ranking member of the Senate Judiciary Committee.
After the exchange, Leahy said that remarkably little is known about Miers and that such a ''sparse record'' requires the White House to cooperate in releasing documents from her tenure there. He pointed out that the White House released 60,000 pages of information on John Roberts, recently confirmed at the nation's chief justice.
''The whole Senate needs to know more about the nominee. The American people have to know more about her,'' Leahy told reporters. ''No Supreme Court nomination should be conducted with winks or nods. It should be out in the open.''
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Gentile da FabrianoHis name was Gentile di Niccolò di Massio. His native Fabriano is a small industrial town in the Marches, about halfway between Perugia and Ancona, famous for the manufacture of paper. His date of birth is unknown, but he is likely to have reached an age of financial independence by 1390, when his father, a cloth merchant, took monastic vows. He is traditionally supposed to have been the pupil of Fabriano’s most famous painter Allegretto Nuzi, but (as Nuzi died in 1373/4) this seems most unlikely. Gentile is not securely documented until 1408, when he was probably already an established master of some repute, and his early career is obscure. An ‘early period’ in Lombardy has been postulated on the strength of a few attributed works (including a small devotional panel from a convent in Pavia and a drawing in the Louvre of Gian Galeazzo Visconti, Duke of Milan) and circumstantial evidence (such as the praise awarded to Gentile by the Milanese humanist Uberti Decembrio). It has been conjectured that Gentile arrived in Milan around 1395 in the entourage of Chiavello Chiavelli, feudal ruler (signore) of Fabriano and a condottiere in Visconti service. He may have left Milan in 1402, after Duke Gian Galeazzo suddenly died and Chiavelli switched his allegiance to Venice.
In 1408, Gentile (‘Maistro Zentil’) is recorded in Venice, where he enrolled in the Scuola di San Cristoforo dei Mercanti and established a workshop in the parish of Santa Sofia. He was commissioned by a Lucchese merchant, Francesco Amadi, to paint an altarpiece (now lost) for the church of Santa Maria dei Miracoli. In 1409 and 1411 the Great Council voted him funds to renew a fresco cycle in the Sala del Maggior Consiglio of the Doge’s Palace. He was paid the considerable salary of a ducat a day and granted the extraordinary privilege of wearing open, ‘ducal’ sleeves. The frescoes, showing the naval conflict between Pope Alexander III and Frederick Barbarossa and its resolution by the Doge of Venice, were completed by Gentile’s Veronese associate or follower Pisanello. They were probably the most celebrated works of art in Venice at the time. Restored as early as 1422 and renewed by the Bellini and Alvise Vivarini later in the fifteenth century, they were finally destroyed by fire in 1577. In 1411-12, Gentile purportedly led a team of painters that frescoed several rooms of the Palazzo Trinci in Foligno, midway between Fabriano and Perugia. From 1414 until 1419 he was in Brescia painting a chapel for Pandolfo III Malatesta, the new ruler. These frescoes were destroyed in the seventeenth century (a few fragments were discovered in the 1980s).
In March-April 1420, Gentile seems briefly to have visited his native Fabriano. He seems to have moved to Florence later in 1420, and he enrolled in the painters' guild in 1422. It was in Florence that he painted his two most famous surviving works. The Adoration of the Magi, commissioned by Palla Strozzi for his family chapel in the sacristy of the church of Santa Trinita, is signed and dated 1423. Now in the Uffizi, almost intact and still in its original frame, it is perhaps the greatest masterpiece of the International Gothic style. Two years later, in May 1425, Gentile completed a large polyptych for another influential Florentine family, the Quaratesi, whose chapel was in San Niccolò sopr’Arno. The polyptych is now dispersed, with the central panel in London and the remainder divided between the Uffizi, the Vatican and Washington.
In June-August 1425, Gentile was briefly in Siena, where he painted the so-called Madonna dei Banchetti (effaced in 1760) on the façade of the palazzo of the Notaries’ Guild in the Piazza del Campo. By 25 August 1425, he had arrived in Orvieto, where he painted a fresco (still partly extant) of the Madonna for the Cathedral. He died in Rome in autumn 1427 while working on a major fresco cycle (destroyed in 1647) in San Giovanni in Laterano. He was buried in the monastery of Santa Maria Nova in the Roman Forum.
Gentile’s is a refined, charming, elegant and courtly art. The brightly patterned surfaces and rhythmical line, lavish use of gold and floral decoration, and the attention to detail in the depiction of costumes, landscapes and animals is typical of the International Gothic style, which originated in the French and Burgundian courts and flourished throughout Europe during the first quarter of the fifteenth century. Though often portrayed as a conservative master, Gentile was able to combine traditional techniques with innovations in realistic representation. The predella scenes of the Adoration of the Magi are remarkable for their treatment of light and shadow, while the Quaratesi Altarpiece shows a monumentality of composition, solidity of form and broadness of handling that can only be explained by the influence of the young Masaccio, who was working in Florence at precisely the same time.
Florentine artists, including Fra Angelico and Paolo Uccello, were influenced in turn by Gentile. In Venice, Gentile’s artistic heirs were his pupil Jacopo Bellini and the painter and mosaicist Michele Giambono. In Siena, his brief visit appears to have left a strong impression on Sassetta and Giovanni di Paolo.
*Madonna, Saints and Donor. Wood, 131 x 113.
The Madonna is shown in a flowery meadow. Two tall lilies, symbolising her purity, grow in front of her golden throne. St Nicholas of Bari (identified by the three gold balls tucked into a fold of his cloak by his right hand) stands on the left. He introduces a diminutive merchant donor, kneeling in prayer. St Catherine of Alexandria (with martyr’s palm and gilded book) is on the right. In the oak tree on the left, small red seraphs play musical instruments (harp, psaltery, fiddles, tambourine, lute and organ). In the tree (possibly a laurel) on the right, seraphs play horns and bagpipes; one in the centre holds a miniature St Catherine's wheel. The original frame, which was inscribed with Gentile’s name, was lost during the Second World War. Critics are agreed that the picture is an early work; but, given the uncertainty about Gentile’s date of birth, datings have ranged from ‘about 1390-95’ to ‘about 1406-8’. It is said to have come from a church at Fabriano – either Santa Caterina in Castelvecchio or San Niccolò. It has been conjectured that the merchant donor could be Ambrogio di Bonaventura, who operated a thriving paper business at Fabriano and corresponded with Francesco di Marco Datini (the 'Merchant of Prato'). It is even conceivable that the donor is Gentile da Fabriano's own father, Niccolò di Giovanni, who had been a minor cloth merchant and lived near the church of Santa Caterina. By 1666 the picture was in the Leppardi collection at Osimo, and it was later at Matelica and Rome. Given to the Berlin Museum by King Frederick Wilhelm III in 1837.
Bologna. Pinacoteca Nazionale.
Two Apostles. Wood, each 23 x 8.
The saint in the green robe may be Bartholomew or Barnabas; that in red with a book may be Matthew. These two very small and very damaged vertical panels were discovered in the museum’s storeroom in 2004. They appear to be from the same series as two saints in the Berenson Collection at Settignano. The panels must originally have been set into the pilasters at the sides of an altarpiece – probably that painted by Gentile for the Sandei family chapel founded in 1406/8(?) in the Venetian church of Santa Sofia. They probably came from the eclectic collection of Urbano Savorgnan, bequeathed to the Instituto della Scienze at Bologna in 1776.
Brescia. Broletto (now the Prefettura).
Fresco fragments from the Malatesta Chapel.
Pandolfo III Malatesta, ruler of Brescia from 1404 to 1421, commissioned Gentile da Fabriano to decorate the Broletto’s chapel, which was dedicated to St George. Payments started in January 1414 and continued until 1419. The cycle was all but destroyed in the seventeenth century. A few surviving fragments were discovered in 1985. They comprise two small lunettes with city views and a fragment from a Resurrection showing soldiers sleeping.
Madonna and Child. Wood, 58 x 48.
The Child appears to be trying to wriggle out of the Virgin’s grasp, as though attracted by something below. (He may originally have been holding a goldfinch or acknowledging a donor.) The Virgin's halo is engraved with the Angelic Salutation ('Hail Mary, Full of Grace, the Lord is with Thee'). Damaged: cut down at the bottom and possibly also at the sides, and abraded (heavy repaint was removed in a restoration of 1980-81 and three large paint losses at the bottom have been filled with stippling). The panel may have come from the convent of Sant’Orsola at Ferrara, where there was once a nineteenth-century copy. Given to the Pinacoteca in 1975 by the lawyer Mario Baldi – grandson of the nineteenth-century collector Enea Vendeghini.
**Adoration of the Magi. Wood, 300 x 282.
In the left arch the Magi gaze at the star; in the centre arch they ride with their retinue towards the castellated town of Jerusalem; and in the right arch they approach the gate of Bethlehem. In the foreground, the Magi have dismounted to present their gifts; grooms restrain their horses; and a page removes the spurs from the last Magus as he waits his turn. Among the crowd of followers on the right are huntsmen with falcons, dogs and hunting leopards. Hovering above the Holy Family is the Star of Bethlehem – crafted by applying layers of tempera to a gold ground and scratching lines to represent rays of shooting light. The Virgin's and Joseph's haloes have pseudo-Arabic inscriptions, perhaps copied from Mamluk (Egyptian) brassware.
The picture was commissioned by Palla Strozzi, a banker and perhaps the richest man in Florence (owning more than fifty farms and more than thirty houses), for the sacristy of the church of Santa Trinita, which he had built as a private chapel for his family. Gentile was paid 150 gold florins for the picture. His name and the date, May 1423, are inscribed on the base. The face of the turbaned man behind the last Magus was engraved by Vasari as Gentile’s portrait. However, the young man has more recently been identified as Lorenzo Strozzi; Palla, his father, stands behind him holding a falcon, the family emblem. In the three Gothic gables of the splendid original frame are tiny roundels with Christ Blessing and the Angels and Virgin of the Annunciation. Old Testament prophets (Isaiah, Jeremiah, Moses, David, Ezekiel and Daniel) recline in the spandrels. The framing buttresses contain panels with painted flowers – crocuses, morning glories and chicory.
Of the predella scenes, the Nativity (a night scene) and the Flight into Egypt (in a panoramic landscape with hilltop castles and a walled town) are original, while the Presentation in the Temple is a copy painted in 1903 by Prof. Gaspare Diomede della Bruna, the original having been detached and taken to Paris in 1812. The altarpiece was taken from the church to the Accademia in 1786 and transferred to the Uffizi in 1919. The pure, brilliant colours – luminous blues and reds and pearly greys – and the exquisite detail of the garments can be better appreciated since dirt, discoloured varnish and old retouchings were removed in a 2003-4 restoration.
*Four Panels of Saints. Wood, each 194 x 57.
The saints are Mary Magdalene (with her usual jar of ointment), Nicholas of Bari (holding three gold balls in his right hand and with minutely painted scenes from the Passion on his cope), John the Baptist, and George (with silvering and gilding on his armour, gauntlets and sword and on the border of his violet cloak). The figures stand on a continuous elaborately tiled pavement. In the medallions of the gables: St Francis and St Dominic between the Angel and Virgin of the Annunciation. The four panels are from a polyptych commissioned by the Quaratesi family for the main altar of the church of San Niccolò sopr’Arno and completed in 1425. They remained in the church until 1879, when, detached and neglected, they were donated to the Uffizi by the Marquis Niccolò Quaratesi, a descendent of Gentile’s patron. The rest of the altarpiece had probably been removed by the late 1790s; the central panel of the Madonna and Child is in the British Royal Collection (on loan to the National Gallery), and the predella panels are divided between the Vatican Gallery and Washington.
Florence. San Niccolò sopr’Arno. Sacristy
Polyptych. Wood, 97 x 222.
Five panels, with pointed ogee tops, framed as a dossal. The centre panel represents the Virgin and Christ interceding with God the Father. Above the blue dome of heaven, the Virgin and Christ kneel with their hands raised in supplication, while God the Father, surrounded by seraphim, appears in full majesty. The panel to the left depicts the Raising of Lazarus. The naked Lazarus rises from his tomb in response to Christ's blessing. Mary Magdalene, his sister, kneels with her hands raised in gratitude or awe. A spectator on the right covers his nose because of the smell. On the far left is the full-length figure of St Louis of Toulouse. The saint wears a bishop's cope decorated with Angevin fleurs-de-lis over his brown Franciscan habit. The right-hand panel depicts St Julian with St Comas and St Damian. St Julian, an aristocratic youth, holds the sword with which he inadvertently killed his parents. Cosmas and Damian are dressed as contemporary doctors. On the far right is the full-length figure of St Bernard of Clairvaux. The saint, dressed in the white habit of the Cistercian Order he founded, stands in the wilderness. The small devil on a chain represents his defeat of the Cathar heresy.
There are no early references to the polyptych. Its original location is unknown, and it is uncertain whether it is complete or originally formed part of a larger structure. It would almost certainly have had architectural pinnacles and may have had a predella. The five panels were discovered in about 1862 in the sacristy of the church and ascribed by Crowe and Cavalcaselle to Gentile. They were damaged by fire in 1897 and subsequently badly restored. ‘Almost totally illegible’, they were hidden away for many years in the storerooms of the Pitti Palace. Restoration started in 1995 and was completed by 2006, when the polyptych was displayed at the Medici Palace and then included in the exhibition Gentile da Fabriano and the Other Renaissance at Fabriano. It has since been returned to the sacristy of the church.
Florence (Settignano). Villa I Tatti.
Head of Madonna. Wood, 25 x 19.
A small fragment cut from the middle of a painting of the Virgin and Child. The Virgin’s head, gracefully tilted in near profile, is similar to that in the Madonna of Humility at Pisa. The damaged head of the Child is visible in the bottom left corner. Purchased in Rome by Berenson early in the twentieth century.
St Peter; St Paul (or James). Two panels, 24 x 9.
Acquired by Berenson, from an unknown source, by 1907 (when they are listed as works of Stefano da Verona in his North Italian Painters). It seems that the two panels were sold by the Bologna Pinacoteca in the first half of the nineteenth century; two other (very damaged) panels from the same series are still there. An inscription on the back of the St Paul (or James) claims that the panels came from an altarpiece mentioned by Francesco Sansovino (1581) in a chapel dedicated to St Anthony Abbot in the Venetian church of Santa Sofia. The altarpiece was an elaborate polyptych, painted for a chapel founded by a Lucchese businessman, Francesco di Enrico Sandei, in 1406/8(?). It included depictions of Saints Anthony Abbot and Paul the Hermit. The altarpiece (or at least part of it) was probably moved to the nearby church of San Felice, where a painting of the two hermit saints by Gentile da Fabriano is recorded by Ridolfi (1648). A Head of St Paul the Hermit, formerly in the collection of the American art historian Charles Loeser and now in a private collection at San Francisco, is thought to be a surviving fragment of one of the main panels. The small vertical panels of saints would have decorated the pilasters at the sides.
Foligno. Palazzo Trinci. Hall of Liberal Arts and Planets.
The extensive series of frescoes on the second floor of the palazzo mainly date from the time of Ugolino III Trinci (ruler of Foligno from 1386 to 1415). Until quite recently, they had never been seriously connected with Gentile da Fabriano. Then, in 2001, records came to light of two receipts acknowledging payments from Ugolino to Gentile for paintings in the Sala degli Imperati, Camera delle Rose and the Loggia. The two receipts, dated August 1411 and January 1412, were for payments of 225 and 93 fiorini to Gentile and a team that included ‘Jacopo da Venezia’ (probably Jacopo Bellini) and artists from Bologna, Foligno and Padua. The records of the receipts were found among handwritten notes made in 1770-80 by a local scholar, Lodovico Coltellini. The significance of the discovery for the attribution of the fresco cycles is unclear. Even assuming Coltellini’s notes to be absolutely reliable, Gentile could have delegated or subcontracted most or all the work to the other artists named.
A case has been made for Gentile’s authorship of frescoes in the Hall of Liberal Arts and Planets (formerly called the Camera delle Rose from the heraldic flower pattern on the painted curtains). The paintings on the far ends of the side walls and the back wall depict allegorical female figures representing the Liberal Arts. Starting on the right wall (next to the fireplace), the subjects are: Grammar (a woman teaches a pupil the alphapet); Dialectics (a woman holds a snake, symbol of ingenuity and cunning); Music (a woman plays an organ and strikes bells with a stick); Geometry (a woman holds a pair of compasses and a section of a circle); Philosophy (ruined); Astronomy (a woman with an open book on her lap gestures towards an astrolabe); Rhetoric (a pupil stands before an elderly woman, who holds a book and rod); and Arithmetic (a woman teaches a pupil to count on his fingers). The paintings in the other half of the room depict symbols of the planets. They are badly damaged. The most intact are the Moon (riding in a white chariot drawn by white horses), Mercury (wearing winged sandals and carrying a message) and the Sun (riding in a red chariot drawn by red horses). Mars (an armoured warror), Jupiter (with arrows) and Saturn (with sickle) are fragmentary. Venus is lost. Medallions between the planets represent the ages of man.
The frescoes are charming, but it is debatable whether they are sufficiently close in style to Gentile’s known works to justify an attribution to him (or even to his ‘workshop’). Keith Christiansen (in his introductory essay to the catalogue of the 2006 exhibition Gentile da Fabriano and the Other Renaissance) doubts if Gentile’s involvement in the cycle of frescoes amounted to more than compositional drawings. All the frescoes in the palazzo were thoroughly restored in 1990-99.
London. National Gallery (on loan from the Royal Collection).
*Madonna and Child. Wood, 141 x 81.
The Child holds a daisy, symbol of his innocence. The sumptuous brocades, painted in red and green glazes over silver and gold, have darkened with age. The gable, with the foreshortened figure of God the Father and angels with scrolls, is original but in a modern frame. As first recognised in 1905 (by Herbert Horne), the picture was the centre panel of the polyptych painted for the high altar of the church of San Niccolò sopr’Arno, near the Porta San Miniato in Florence. Provision for the altarpiece was made by Bernardo di Castello Quaratesi in his will of 16 February 1422. An inscription on the frame (now lost) stated that it was completed in May 1425. It was seen in situ by Vasari, who described it as Gentile’s best work. The altarpiece must have been at least partially dismantled by the late eighteenth century. The centre panel of the Madonna and Child was probably acquired in Italy in the 1790s by the young English amateur painter and collector William Young Ottley. It was purchased by Prince Albert from Warner Ottley (William's younger brother) in 1846 for just £200. Four lateral panels are in the Uffizi; four predella panels are in the Vatican Gallery; and another predella panel is in Washington.
Los Angeles. J. Paul Getty Museum.
*Coronation of the Virgin. Wood, 85 x 62.
Christ simultaneously crowns the Virgin with his left hand and blesses her with his right hand. The dove of the Holy Spirit hovers overhead. The angels, three on each side, hold scrolls with musical notation and extracts from the fifth book of Revelation. The front of a processional standard, which was probably painted for the church of San Francesco at Fabriano in 1420. The back, representing St Francis receiving the Stigmata, is in the Fondazione Magnani-Rocca at Mamiano (near Parma). The Coronation, already separated from its companion, was bought by the Reverend John Sanford in Florence in 1836 for £20 from the engraver Giovanni Battista Nocchi. Later in the collection of Henri Heugel in Paris, it was acquired by Getty in 1977. There is a copy, made by Antonio da Fabriano in 1452, at Vienna (Akademia der Bildenden Künste).
*Nativity. Wood, 66 x 38.
The Virgin is depicted as the Madonna of Humility, seated on the ground. Joseph slumbers on the left, an ox and ass are in a stable on the right, and the shepherds are on a hilltop in the left distance. The inscriptions in gold Gothic letters along the hem of the Virgin's mantle give the opening words of several Marian hymns: Salve Regina, Ave Maris Stella, Ave Maria and Mater Digna Dei. From 1895 to 1966 the panel belonged to the Sorgo family of Dubrovnik. It was acquired by the Getty Museum in 1977. Christiansen (1982) ascribed both the design and the execution to an assistant. But Andrea De Marchi (1992) and other recent writers have considered the panel an autograph work. It is debated whether it was painted towards the end of Gentile's Brescian period (around 1419) or following his arrival in Florence in 1420. A Florentine origin is supported by evidence that the gold leaf conforms to Florentine guild specifications (see the article by Douglas Maclennan and Laura LLewellyn in the December 2019 Burlington Magazine).
Mamiano (near Parma). Fondazione Magnani-Rocca.
*St Francis receiving the Stigmata. Wood, 87 x 64.
The winged seraph, taking the form of the crucified Christ, appears in a golden sky to inflict the five wounds (stigmata) on the saint's hands, side and feet. Brother Leo shields his eyes from the radiance. The little church of Santa Maria degli Angeli, built by St Francis on the slopes of La Verna, is shown on the right. The panel was originally one side of a processional standard mounted on a pole. The other side, representing the Coronation of the Virgin, is now in the Getty Museum at Los Angeles. The standard is said to have been painted for the church of San Francesco at Fabriano, and probably dates from 1420 when Gentile is documented as having visited his home town in March-April. In 1834 the two sides, already sawn apart, were in the Episcopal Seminary in Fabriano. By 1858 the St Francis had passed into the possession of the Fornari family in the town, who kept it until 1923. It was acquired by Luigi Magnani in 1978.
*Valle Romita Polyptych.
The polyptych is from the small Franciscan monastery of Santa Maria di Valdisasso at Valle Romita, near Fabriano. It was probably commissioned for the high altar by Chiavello Chiavelli, the lord of Fabriano, who bought the church and hermitage from the Benedictine nuns in December 1405, rebuilt them, and provided for his own burial in the choir in his will of June 1412.
The centre panel (178 x 79) represents the Coronation of the Virgin. Christ places a golden crown on the Virgin's head. No throne is seen and they seem to float on the gold leaf background. The dove of the Holy Spirit flutters between them. God the Father, crowned and wearing priestly robes, appears in majesty above them in the midst of seraphim, and extends his protective arms over them. An orchestra of eight angels, kneeling on the dome of heaven, play musical instruments (gittern, harp, tambourine, lira da braccio, portable organ, cythara, psaltery and lute). The panel is signed, centre bottom, in gold letters between the sun and moon in the starry sky. It entered the Brera when the monastery was suppressed in 1810, together with four side panels (117 x 40) showing St Jerome (holding a model of the church), St Francis (touching the stigma on the side), St Dominic (with lily and book) and Mary Magdalene (whose jar of ointment is not painted but engraved on the gold ground). The flowery meadow beneath the saints' feet is described in naturalistic detail.
Four smaller panels (60 x 40), showing the Death of St Peter Martyr, St John the Baptist in the Desert, St Francis receiving the Stigmata, and St Thomas Aquinas in His Study, were purchased in 1901. These were once believed to have formed the predella. They are now framed above the side panels as a second tier, but – as three of the scenes do not relate to saints in the side panels – it is conceivable that they came from a different altarpiece.
The polyptych was reassembled – without the missing upper central panel – at the beginning of the twentieth century. The present imitation Gothic frame was made only in the mid-1920s.
The polyptych was once considered one of Gentile’s earliest works and dated around 1400 or even earlier. But the history of the Valle Romita monastery and recent critical opinion favour a dating around 1405-12. It was possibly painted in Venice.
Crucifixion with the Virgin and St John. Wood, 60 x 41.
This panel came to light only in 1991, when it was auctioned in London with an attribution to the studio of Ugolino di Nerio. Reattributed to Gentile da Fabriano, it was acquired by the Brera as the pinnacle of the Valla Romita Polyptych. However, the decoration on the haloes is very different from those in the polyptych, and it has since been suggested that it could be from another altarpiece (and be somewhat later in date).
New Haven. Yale University Art Gallery.
Madonna. Wood, 91 x 63.
The Virgin supports the Child who stands on tiptoe on a balustrade. Red and white roses (symbolising her purity) and pomegranates (symbolising the Resurrection and eternal life) entwine around the open stonework at the sides of the throne. On the window casement, lower left, are remains of a signature. The head and robe of the Virgin have been damaged by early overcleaning, and the panel has been cut down (particularly at the bottom). It may date from Gentile’s Florentine Period (early or mid-1420s). Acquired before 1860 by James J. Jarves, a wealthy American collector living in Florence, who sold his vast collection to Yale University in 1871.
New York. Metropolitan Museum.
Madonna Enthroned with Angels. Wood, 92 x 56.
Partly ruined; half of the Virgin’s face has disappeared and the gold ground is almost entirely lost. The best-preserved parts are the flowery meadow in the foreground and the two small angels with harps sitting at the sides of the throne. At the bottom of the picture, five other small angels sing from a scroll inscribed (in abbreviated Latin) with words from an Easter antiphon (‘Queen of Heaven, rejoice, alleluia, because he whom thou was found worthy to bear, alleluia, has risen, as he said’). The panel may have been flanked originally by figures of standing saints. It appears to be a comparatively early work, quite close in style to the Madonna in Perugia. It came from a Florentine dealer (Georges Brauer), but might have been painted in Venice. It was bought by Theodore M. Davis, the New York lawyer and archaeologist, for $1,600 in 1900 and bequeathed to the Metropolitan Museum in 1915.
New York. Frick Collection.
*Madonna with SS. Lawrence and Julian. Wood, 91 x 47.
A bird flutters from the end of the string held by the Child. St Lawrence, wearing an ornately brocaded deacon's dalmatic, kneels on the left; his gridiron is visible behind his back. St Julian the Hospitaller, on the right, is represented as a young nobleman. The inscription on the Virgin's halo is in a pseudo-Arabic script. On the original (though repainted) frame are the remains of Gentile’s signature and the names of the two kneeling saints. The picture was acquired by the Duc de Broglie, probably in Florence, in 1846, and stayed in his family’s possession until 1966, when it was acquired by the Frick. It is close in style to the Adoration of the Magi in the Uffizi, and was probably painted in Florence in the early or mid-1420s. The emblem of thistles on the frame, which is also found on the Adoration, suggests that the Strozzi family may have been the patron.
Orvieto. Cathedral (north aisle).
*Madonna and Child. Fresco.
Apart from fragments in Brescia and the Vatican, this is Gentile’s only surviving fresco. Documents published in 1989 have established its exact date: it was painted between 25 August 1425, when Gentile arrived in Orvieto, and 16 October 1425, when the Opera del Duomo and the city council decided to pay the artist eighteen gold florins for the work. In 1568, when the interior of the cathedral was being decorated in stucco, about a quarter of the fresco was destroyed on the left, and a figure of St Catherine was added in oil by Giovanni Battista Ragazzini da Ravenna on the right. (It may have escaped total destruction at this time because of its popularity as a votive image.) The St Catherine was removed in 1985 when the fresco was cleaned, and the hovering transparent angel was discovered underneath it.
*Presentation in the Temple. Wood, 26 x 61.
In the centre, Christ’s parents offer two doves at the hexagonal Gothic temple; the High Priest Simeon holds the Child, with the Prophetess Anna behind a pillar. In the piazza outside, two elegant young women stand watching on the left, while a cripple and an elderly woman beg for alms on the right. The right-hand panel of the predella beneath the Adoration of the Magi, painted in 1423 for the Strozzi chapel in the church of Santa Trinita in Florence. The rest of the altarpiece is in the Uffizi. The Presentation was detached from the predella and taken to Paris in 1812. It has been substituted by a copy (executed in Paris by Della Bruna). Exceptionally well preserved and free of restoration.
Portrait of Gian Galeazzo Visconti. Parchment, 14 x 12.
Gian Galeazzo Visconti (1351-1402) was ruler of Milan from 1385 (when he overthrew his uncle Bernabò) and the city's first Duke from 1395 (when he bribed Wenceslaus IV of Bohemia to raise the city to a duchy). It is possible that Gentile da Fabriano entered his service in the 1390s as a young artist, but the evidence for this is circumstantial and inconclusive. The small portrait – delicately executed in metalpoint on vellum and now rather faint – shows the sitter bust-length and almost in profile. It was bought by the museum in 1856 from the MIlanese dealer and collector Giuseppe Vallardi. Many of the drawings acquired by the Louvre from Vallardi are by Pisanello or his workshop, and the attribution of the Visconti portrait has oscillated between Gentile and Pisanello. (The drawing is included as a work of Gentile in Andrea De Marchi's 1992 monograph on the painter and it featured in the 2006 exhibition held at Fabriano, but the museum has retained an attribution to Pisanello.)
Pavia. Pinacoteca Malaspina.
Madonna and Child with St Francis and St Clare. Wood, 57 x 42.
No throne is visible and the Virgin appears to be hovering in space. Clouds and rays of light are engraved in the gold beneath her feet. Figures of the Angel and Virgin of the Annunciation are engraved in the upper corners. The names of St Francis (holding a cross) and St Clare (with arms crossed in prayer) are inscribed above their heads. This small panel – presumably intended for private devotion rather than as an altarpiece – came from the convent of Santa Chiara la Reale (now dell’Annunziata) at Pavia. The presence of two Franciscan saints suggests that it was made for the convent, which was founded in 1380 by Bianca di Savoia (the mother of Duke Gian Galeazzo Visconti), who left the sisters an endowment of 40,000 gold florins and was buried in the church. The convent was closed in 1782 and the panel came to the museum in 1892. The attribution has sometimes been doubted; Christiansen (1982) ascribed the panel to Gentile’s workshop, but De Marchi (1992) regards it as a very early work of Gentile himself, dating from the 1390s. The panel, which is quite well preserved, was cleaned in 2006.
Perugia. Galleria Nazionale.
*Madonna. Wood, 97 x 59.
The Child holds a pomegranate, which can symbolise eternal life (because of its abundance of seeds), death (because of its blood-red colour) and kingship (because of its resemblance to an orb topped by a crown). The Virgin sits on a curious low throne, decorated with trefoil arches and quatrefoil roundels and entwined with foliage (perhaps a rose with unopened buds, symbol of virginity). Below the Virgin and Child, seven angels (only their heads now intact) hold a scroll with words and musical notation from the Regina Coeli (a Marian antiphon sung at Easter). Six more angels – two crowning the Virgin and four presenting her with lilies – are delicately engraved on the gold background. (They are only visible when seen in person or photographed in raking light.)
This damaged painting is from the sacristy of the convent of San Domenico at Perugia, where Vasari mentions a ‘very fine panel’ by Gentile. It is one of his earlier works, probably painted either before his departure for Venice or during his stay there. (The large stained-glass window in the apse of San Domenico was made in 1406, which could also be the approximate date of Gentile’s Madonna.) The patron could have been a member of the Graziani family, which lived in the San Pietro district close to San Domenico and regularly left legacies to the church. Bartolommeo degli Acerbi, the prior of San Domenico from 1386 and patron of other works of art for the church, has also been suggested as a possible client.
The panel was given to the Galleria in 1863. It has been trimmed at the top and sides. The unpainted areas in the upper corners indicate that it was originally set into a trefoil frame as the central part of a triptch or polyptych. It has been tentatively suggested that the same altarpiece could have included six small pilaster panels of full-length apostles, which were until recently in a private Swedish collection. (Four of these were sold at Sotheby’s, New York, in January 2009 and the other two (which had been on loan to the Getty Museum in Los Angeles) were sold at the same auction house in January 2012.) Restored in 1994.
Pisa. Museo Nazionale.
*Madonna of Humility. Wood, 60 x 45.
The Virgin, seated on a cushion of tooled gold with her arms crossed on her breast, adores the Child lying on a precious gold cloth across her knees. The gold cloth is of Islamic design and has a curious inscription in Kufic characters running round the edge. The background is a floral-patterned curtain, rendered using a red glaze over gold leaf. The little panel is well preserved and still in its original frame. It is painted on the back with imitation polychrome marbles, and was evidently intended as the centre panel of a portable altarpiece (there are traces of hinges at the sides). It probably dates from Gentile’s Florentine period (early to mid-1420s). It has been conjectured that it was painted for Alemanno Adimari (d. 1422), the Florentine Archbishop of Pisa, whose tomb (in Santa Maria Nova in Rome) was frescoed by Gentile. Transferred to the museum in 1893 from the Pia Casa della Misericordia at Pisa, where it was seen by Cavalcaselle in 1866.
Rome. Vatican Pinacoteca.
*Stories of St Nicholas. Four predella panels; three 36 sq.; one 30 x 62.
The predella belonged to the Quaratesi Altarpiece, painted in 1425 for the church of San Niccolò sopr’Arno in Florence. Another predella panel is in Washington; the centre panel is in London; and four side panels are still in Florence. The four Vatican panels probably entered the Library in the 1840s or 1850s, and were transferred to the Pinacoteca in 1909. Although their connection with the Quaratesi Altarpiece was recognised in 1906 (by Sirén), the attribution to Gentile himself was sometimes doubted before 1973 because they were so heavily overpainted. Cleaning revealed the quality of the panels, which had been damaged by scouring in an early attempt at restoration.
Three of the four panels illustrate stories found in the thirteenth-century Golden Legend. The first panel depicts the Birth of St Nicholas. The baby is shown standing upright in his washbasin immediately after his birth, much to the amazement of his mother and the two midwives. The panel of St Nicholas giving Golden Balls to Three Maidens illustrates the best known of the stories. The gift was for marriage dowries to prevent the girls falling into prostitution. A golden ball is being thrown through a window into a room, in which one girl undresses her father (removing his shoes and hose), another removes her head-covering and the third undresses herself. The story is said to be the basis of the use of three gold balls as the pawnbroker's sign. The longer panel, which came from the centre of the predella, depicts St Nicholas saving a Ship at Sea. The saint appears in a vision to the crew, who are throwing their cargo over the side of the storm-tossed vessel. In the bottom left corner, a mermaid swims in the clear blue-green water. The fourth panel depicts St Nicholas reviving Three Boys. This miracle is excluded from the Golden Legend, but is widely found in late medieval wall paintings, stained glass and illuminated manuscripts. A wicked innkeeper robbed and murdered three clerks (theological students) and pickled their remains in brine. St Nicholas, who happened to be staying at the inn, restored them to life by the sign of the cross.
Head of David (?). Fresco fragment, 59 x 47.
This fragment was given to Pope Benedict XIV (1740-58) by the clergy of the Congregation of the Theatines, and was thought to represent the head of Charlemagne. It is said to have come from San Giovanni Laterno, where Gentile had a commission to decorate the walls above the arcade of the nave with frescoes of the Life of St John the Baptist, with Prophets in the niches. The frescoes were finished after Gentile’s death by Pisanello in 1431-32. Just twenty years after their completion, they were described as so damaged by damp that they could hardly be seen. They were finally destroyed in 1647 when Borromini remodelled the church.
Annunciation. Wood, 41 x 48.
Outside the Virgin's chamber, in the upper left corner of the painting, God the Father appears in the midst of a host of seraphim. Rays of golden light emanating from God pass through a round window and impress the shape of the window tracery on the Virgin's abdomen. First recorded in 1800 in the collection of the lawyer Agostino Mariotti, this little devotional panel came to the Vatican in 1820. It was kept in storage for many years and rarely seen. The attribution to Gentile da Fabriano, as a work of his Florentine period, was made in 1940 by Roberto Longhi, who appears to have been one of the first art historians to study the picture. The attribution has been disputed. The panel was omitted from Berenson’s 1968 Lists and Christiansen (1982) described it ‘as a work of low quality, which cannot be reconciled with any of [Gentile’s] autograph paintings’. It has been suggested, more recently, that it was executed by an assistant working in Gentile’s workshop. Another version, identical in composition, was formerly in the collection of Barbara Piasecka Johnson at Princeton.
Tulsa. Philbrook Museum of Art.
Madonna and Child with Two Angels. Wood, 59 x 43.
This small altarpiece may have been painted by Gentile’s Venetian or Brescian workshop from his design. Before its acquisition by Kress, it was in a private collection at Belluno. At Tulsa since 1953.
Velletri (39 km from Rome). Museo Capitolare.
Virgin and Child with Two Angels. Wood, 110 x 65.
Terribly damaged: the paint surface has been completely lost in a large triangular area at the bottom centre, probably as a result of candle burns. Presumably a late work, dating from Gentile’s years in Rome (1426-27). It was originally in the ancient church of SS. Cosma e Damiano in the Roman Forum, and was transferred to the little church of Sant’Apollonia at Velletri in 1633. Taken to the Duomo in 1913, and thence to the museum.
Vienna. Kunsthistorisches Museum.
Stoning of Stephen. Wood, 17 x 27.
St Stephen, a deacon appointed by the Apostles to look after the distribution of alms, was stoned for blasphemy while he saw a vision of Christ at God's right hand (Acts: 7, 54-59). The saint's celestial vision is merely engraved on the gold ground and is barely visible in reproductions. This small, heavily repainted panel is presumably from the predella of an altarpiece. A late work, dated either to Gentile's Florentine period or to his last years in Rome. Given to the museum by Karl and Rosalie Goldschmidt in 1903.
Washington. National Gallery.
*Madonna. Wood, 96 x 57.
The Virgin is magnificently dressed in a mulberry-red robe, over a tunic with sleeves embroidered in gold with a pomegranate pattern. The Child appears to gesture with his right hand at the word mater inscribed on her collar. (He may originally have been offering his mother a flower, cleaned away by a restorer.) With his other hand, he holds a butterfly or moth by a string – an allusion to the Resurrection. The Latin inscription along the gold hem of the Virgin's robe is from Luke 1: 28 ('Hail Mary, full of grace, the Lord is with thee, blessed'). As in the Madonna at Perugia, angels are engraved into the gold background (but are very difficult to see). This well-preserved panel is usually thought to date from Gentile’s Florentine period (about 1420-25). It is first recorded (already with an attribution to Gentile) in the London collection of Sir Alexander Barker. Barker, who inherited a fortune from his father's fashionable bootmaking business on Ludgate Hill, was a distinguished Victorian collector of fifteenth-century Italian art and probably acquired the panel on a visit to Florence. His collection was sold at Christie's in 1874. After passing through collections in Paris (E. J. Sartoris) and New York (Henry Goldman), the panel was one of twenty-four paintings acquired by Samuel H. Kress from Duveen in 1937.
*Cripples at the Tomb of St Nicholas. Wood, 36 sq.
From the predella of the Quaratesi Altarpiece; the other four predella panels are in the Vatican. It shows the interior of the Romanesque basilica of San Nicola at Bari with the tomb of St Nicholas. The saint’s relics were reputed to exude a substance – an oil spray sometimes called 'manna' or else a fragrant 'myrrh' – with miraculous healing powers. Below the mosaic of Christ in Majesty in the apse are five scenes from St Nicholas’s legend – the same scenes that appear in the predella. By around 1800 the Washington panel was in the hands of Tommaso Puccini of Pistoia, Director of the Uffizi. It later passed into the collection of Marchese Alessandro Tucca of Lucca (possibly through the dowry of Puccini’s niece who married into the Tucca family). In 1928 it was on the art market in Rome and was identified as the missing panel from the predella. Bought by Kress in 1937.

domain: history


n this weeks episode we talk all things Salt Lake FanX 2021. James is now a professional wrestler, Lilly and J will be doing their own short-form podcast, Johnny developed con amnesia, and Sheena kicked ass as Cruella. We may also mention a few cosplayers and friends in this one….we missed you all.
New episode now available! This time we talk about Salt Lake FanX, Shang-chi, and Black Widow!! Listen here: https://anchor.fm/geek-parenting/embed/episodes/Bump-of-Chris-Evans-e17d99
In this episode we welcome back James, and talk all things Loki Series and Marvel!
(Denver — June 28) — Today, the Colorado education nonprofit Pop Culture Classroom (PCC) announced its 2021 finalists and winners for the Excellence in Graphic Literature Awards Book of the Year and Mosaic Award: • Displacement by Kiku Hughs is the 2021 EGL Award’s Book of the Year • The Magic Fish by Trung Le Nguyen is the 2021 […]
In this episode we really just went all over the place talking about all the nerdy things happening, things we’re looking forward to, and plans for the future! Seriously though it’s all over the place.
In this week’s episode Sheena, Johnny, and Sarah talk all things Marvel TV! There are spoilers for WandaVision and The Falcon & Winter Soldier. Enjoy!
Local Students Create Comic for Colorado Pride Arvada High School Students Commemorate 52nd Anniversary of Stonewall Riots (Denver, CO) — Pop Culture Classroom, a Colorado-based pop culture-focused education and community group, today released a new student-written comic that tells the story of the 1969 Stonewall Riots and their important implications for people in the LGBTQ+ community. […]
In this week’s episode of Geek Parenting Podcast, we spend some time catching up on all things nerdy and parenting! Listen Here or on your favorite Podcast App!
Welcome back! After an extended COVID-19 related hiatus GPP is back and ready to bring you all the nerdy parenting tips, hints, stories and news! This week we had a chance to interview Matt and Tajshen from Pop Culture Classroom, the non-profit behind our favorite convention, Denver FanExpo! (Formerly Denver Pop Culture Con). Listen here […]


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Over Troubled Waters, a documentary about the Sacramento-San Joaquin Delta, has been selected as a finalist in the 2013 11th Annual Wild & Scenic Film Festival to be held this weekend, January 11 – 13 in Nevada City, California. “We are pleased and honored to have been selected for the Wild & Scenic Festival, dedicated to premiere environmental films,” said Ms. Barrigan-Parrilla, “The increased exposure from the Film Festival will help in the fight for levee protections, common sense planning, and improved water quality and quantity for the Delta.”
Wild & Scenic Film Festival is considered one of the nation’s premiere environmental and adventure film festival’s, this year’s films combine stellar filmmaking, beautiful cinematography and first-rate storytelling to inform, inspire and ignite solutions and possibilities to restore the earth and human communities while creating a positive future for the next generation. Festival-goers can expect to see Award winning films about nature, community activism, adventure, conservation, water, energy and climate change, wildlife, environmental justice, agriculture, Native American and indigenous cultures.
In this visually rich documentary, Ed Begley Jr. narrates the story of how the people of the Delta are fighting to protect the region they love and to encourage saner, sustainable water policies for all the people of California. “This is our chance to tell the real Delta story,” said Barbara Barrigan-Parrilla, Executive Director of Restore the Delta, which produced the documentary. “This film reveals how powerful forces are using fear of flooding and earthquakes to make a case for transforming a unique, beautiful, productive region into a permanent way station for water going somewhere else. They are trying to force on the public a massive, multi-billion dollar water transfer project that Californians will be paying for decades and that will not restore the Delta. Over Troubled Waters is a good fit for the Festival as it is the centerpiece of a public education effort to stop the building of these peripheral tunnels.”
For more information about SYRCL’s Wild & Scenic Film Festival, please visit http://www.wildandscenicfilmfestival.org

domain: geography


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We rented a weekend at Bakkelund Bed & Breakfast and loved it. Bakkelund is a former farm in a secluded location on a hill with a panoramic view of the island. From here you can see the Baltic Sea on two sides of the island. The place is ideal for exploring the island all around. Mönsklint is within sight, footbridges are only a few minutes away.
The former agricultural buildings were appropriately converted. The rooms are in one building. Each room has its own terrace with a wonderful view over the fields and meadows of the island of Mön.
The rooms at Bakkelund Bed & Breakfast
The rooms are all designed in different colors. Sleeps very well in the beds. There is a loft bed for each child. On request and for a small surcharge, a cot can be placed in the room. The bathroom is very big. You can get a hair dryer or bring one yourself.
Breakfast is served in a separate house by the operating couple. There is a small buffet with everything you bring in the morning to experience the island of Mön strengthened.
There is a lot on offer for children. There is a small playground with a swing, rabbits and chickens that you can feed with dandelions.
So if you want to experience the island of Mön on a weekend or on a short trip, the Bakkelund B&B is in good hands.
Bakkelund Bed and Breakfast was our first stop for a weekend getaway. It was a cozy place that offered many amenities. We liked Bakkelund Bed and Breakfast because the rooms were always clean and the family that owns it always greeted us with a friendly smile. From the spacious parking to the delicious food in the restaurant, we enjoyed every moment at Bakkelund Bed and Breakfast.Booking.com

domain: travel


text:
The Cambrian is the first geological period of the Phanerozoic eon, lasting from 542 ± 0.3 million years ago to 488.3 ± 1.7 million years ago ; it is succeeded by the Ordovician. Its subdivisions, and indeed its base, are somewhat in flux. The period was established by Adam Sedgwick, who named it after Cambria, the classical name for Wales, where Britain's Cambrian rocks are best exposed.
The Cambrian is unique in its unusually high proportion of lagerstatte. These are sites of exceptional preservation, where 'soft' parts of organisms are preserved as well as their more resistant shells. This means that, paradoxically, our understanding of the Cambrian biota surpasses that of later periods.
The Cambrian period marked a profound change in life on Earth. Before the Cambrian, life was on the whole small and simple. Complex organisms became gradually more common in the millions of years immediately preceding the Cambrian, but it wasn't until this period that mineralised - hence readily fossilised - organisms became common. This diversification of lifeforms was relatively rapid, and is termed the Cambrian explosion. This explosion produced the first representatives of most modern phyla, but on the whole, most Cambrian animals look alien to today's eyes, falling in the evolutionary stems of modern groups. While life prospered in the oceans, the land was barren - with nothing more than a microbial 'crud' gracing the soils. Apart from tentative evidence suggesting that some animals floundered around on land, most of the continents resembled deserts spanning from horizon to horizon. Shallow seas flanked the margins of several continents, which had resulted from the relatively recent breakup of the preceding supercontinent Pannotia. The seas were relatively warm, and polar ice was absent.

domain: biology


Free, wild, powerful, and beautiful. It all characterizes Mustang. High-quality floodlight. It has power up to 700 W and light output up to 103 320 lm to lighten territories, sports fields, airports, seaports, railways infrastructure, industrial plants, and parking areas. Tool-less opening ensures quick and easy installation and maintenance. A wide range of optics, drivers, connectors allows adapting luminaires to specific project needs.


In the nearest autumn, the CHEVrolet official dealers of the Restyled version of the Malibu sedan, which is officially presented in the markets of most countries of the world, will begin. Among the first to purchase a novelty will receive motorists living in the United States of America.
Chevrolet Malibu New will cost Americans not less than 22 thousand 965 dollars, of which eight hundred and twenty -five dollars are a fee for car delivery services to the buyer. The novelty, the price of which, compared with the predecessor, added one hundred and sixty dollars, is equipped with a modernized gasoline engine with a volume of two and a half liters, developing one hundred and ninety-six horsepower power and two hundred and fifty-three Newton-meters of maximum torque. Power plant with a stop fuel saving system&Start is aggregated by six -band automatic transmission. In the city mode, the sedan spends a little more than ten liters of fuel, and 6 on the highway.7 liters.
As part of the change of model year, the Chevrolet Cruze received an updated two-liter gasoline engine, which now develops two hundred and fifty-nine horsepower and four hundred new meters of maximum torque. In addition, the concern engineers made changes to the suspension settings, equipped the vehicle with an enhanced brake mechanism and optimized the steering.
Restyled Chevrolet Malibu varies with the previous modification of the sedan with a more aggressive design of the front part of the body and the mass use of chromium in the decoration of parts. In the cabin of the new items of Chevrolet there are modernized front and rear seats, a new front panel with a pair of leaving cup holders and niches for small things.


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How to keep your dog cool this summer
Maintain your cool
It’s hard to stay cool with the sun beating down your brow or muzzle. Keep your pets cool by making sure they have a shady place to stay anytime they are outside. Most important, is to keep your dog well-watered. Make sure that your beloved pet has access to fresh, clean, and cool water at all times. If it’s extra hot, consider stocking your pet’s water bowl with ice cubes. He’ll be living the high life and staying cool all summer long thanks to you.
No Parking, Please
Never leave your pet in a parked car. It doesn’t matter if you’re getting milk or just picking up a prescription. As with babies, leaving an animal in the car is extremely dangerous and even fatal. Leaving a living creature in a metal box with lots of windows results in something called the greenhouse effect, which will make the inside of your car much hotter than it is outside. To keep your pet safe, either shop at a pet friendly store or leave them at home!
While it’s not always convenient or safe to bring your dog to the beach (especially since we live in Arizona), it’s sometimes nice to cool down in other ways. You can let your dog into the pool if he’s a skilled swimmer, just remember to rinse off any salt or chlorine water. No pool? How about a nice romp in a clean kiddie pool around noon.
Get a trim
A good haircut usually solves life’s problems, and it can definitely help your pet keep cool this summer. At the very least, keeping your cat or dog brushed, well-groomed, and free of any excess fur will do wonders for his or her summer.
While exercise is important for both pets and their caretakers, it’s usually best when kept to the early hours of the morning and later in the night. This keeps your pets healthy as well as cool. Never force your pet to go for a walk in the heat, especially on asphalt where he can burn his paws, and always make sure to provide plenty of water before, during, and after a run.

domain: pet


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We had to try and make this just to see what it tasted like. Both Danielle and I are HCLF (high carb low fat) in our dietary decisions, haha didn’t that sound all professional… well we believe our diet or what we eat is a lifestyle, but we choose to eat as healthy as possible 90% of the time….
That saying…. the carrot bacon is high on the salt and fat intake, so its not something we would do all the time. Its a great treat. We give this recipe an 8 out of 10! Let us know what you think?


text:
Germany: Flash PMI picks up in June
June 23, 2015
Markit’s composite Purchasing Managers’ Index (PMI) in June rose from May’s five-month-low of 52.6 to 54.0. As a result, the composite PMI—the result of a survey of over 1,000 manufacturing and service businesses based in Germany—moved further above the 50-threshold, where it has been since April 2013.
June’s improvement came on the back of higher output at both service providers and manufacturers. According to Markit, private sector output growth strengthened in June. Conversely, new orders grew at a slower pace, mainly due to softer growth at service providers. While payrolls continued to rise in June, the pace of job creation softened slightly. Input costs rose for a fourth consecutive month and output prices also continued to rise, albeit at a slower rate than in the previous month.
Markit commented on the result, stating that, “the latest flash PMI readings paint a mixed picture of the health of Germany’s private sector economy. While companies reported that output rose at a stronger rate than in May, the latest increases in new business and employment were only slight and suggest that activity growth may slow again in coming months. Moreover, the survey data for the second quarter signal it is unlikely GDP growth has picked up since the first quarter.”


text: Bioanalytical analysis of toxicokinetic and pharmacokinetic samples is an integral part of small molecule drugs development and liquid chromatography-tandem mass spectrometry (LC-MS/MS) has been the technique of choice. One important consideration is the matrix effect, in which ionization of the analytes of interest is affected by the presence of co-eluting interfering components present in the sample matrix. Hemolysis, which results in additional endogenous components being released from the lysed red blood cells, may cause additional matrix interferences. The effects of the degree of hemolysis on the accuracy and precision of the method and the reported sample concentrations from hemolyzed study samples have drawn increasing attention in recent years, especially in cases where the sample concentrations are critical for pharmacokinetic calculation. Currently, there is no established procedure to objectively assess the risk of reporting potentially inaccurate bioanalytical results from hemolyzed study samples. In this work, we evaluated the effect of different degrees of hemolysis on the internal standard peak area, accuracy, and precision of the analyses of BMS-906024 and its metabolite, BMS-911557, in human plasma by LC-MS/MS. In addition, we proposed the strategy of using the peak area of the stable isotope-labeled internal standard (SIL-IS) from the LC-MS/MS measurement as the surrogate marker for risk assessment. Samples with peak areas outside of the pre-defined acceptance criteria, e.g., less than 50% or more than 150% of the average IS response in study samples, plasma standards, and QC samples when SIL-IS is used, are flagged out for further investigation.

domain: literature