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I recently completed editing my great grandfather’s autobiographical manuscript about his life as a railroad man in the early 1900’s. It was inspirational to read his words and be a part of something he started to write so long ago. He wrote everything in longhand and, in turn, my great aunt would put the words to the typewriter. Correspondence was by snail mail so each leg of the writing was done over weeks and months rather than the minutes we enjoy in today’s electronic world. There was no spell check, just a dictionary. Errors were erased and retyped, or the page was just pulled out of the typewriter and thrown away.
Research, and his manuscript, have taught me a lot about the railroad business of the early 1900’s. It was a mix of brutality and joy with a little despair mixed in. Grand-“Pop” was a civil engineer who found the lay of the land and supervised the workers to lay the track, and with this unique perspective he wrote about events that happened nearly a hundred twenty years ago. He loved this work that it took him through hostile lands both here and abroad. He fought swamps and deserts, along with rebels and farmers. He went so far as to be a founding father of a small town just so a railroad station could be built there. He had moxie.
I am working on my own novel based on some of his stories. I find it challenging to try and put words into his mouth for fear of painting him with the wrong palette. Even after reading and transcribing his memoir, I still worry. To put words in his mouth brings him back down to the human plane when, to me, he is larger than life. I ask myself if he would say something like what I’m writing? How would he look at his men after they berated a Chinese laborer? What did he actually say to them? What would he be thinking as he lay nearly frozen to death in the north woods? How did he get across the muskeg, on foot, so many times?
My great grandfather passed away in the late 40’s. To know him and what he might say is lost to time. I hope that the character I have created for him lives up to him at least a little bit. Only when I join him in the afterlife will I know who he really was. So, until then my imaginings will have to do.


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What do shipping forecast numbers mean?
The numbers refer to the Beaufort Scale of wind strength. Imminent means within 6 hours, soon between 6 and 12, and later meaning after 12 hours. There are lots of other jargon used in the Shipping Forecast.
What does cyclonic mean in shipping forecast?
considerable change in wind direction
Becoming cyclonic Indicates that there will be considerable change in wind direction across the path of a depression within the forecast area.
What does later mean in the shipping forecast?
Gale warning timing
|Imminent||Expected within six hours of time of issue|
|Soon||Expected within six to 12 hours of time of issue|
|Later||Expected more than 12 hours from time of issue|
|Perhaps* Later||Used when a gale is considered possible in the “later” period, but the forecaster is not sufficiently sure to issue a warning.|
Who read the Shipping Forecast?
The voice of the shipping forecast for 40 years has lent his soothing tones to a new meditation app designed to help people get to sleep. Peter Jefferson, who read the iconic BBC Radio 4 maritime weather forecast from 1969 to 2009, has reinvented the broadcast as a sleep story for Calm.com.
What station is the Shipping Forecast on?
BBC Radio 4
BBC Radio 4 – Shipping Forecast.
What does cyclonic mean in weather?
Cyclonic definition (meteorology) Rotating in the same direction as the Earth i.e. anticlockwise in the Northern Hemisphere and clockwise in the Southern Hemisphere. adjective.
What does slight sea mean?
slight – up to 1.0 metre. moderate – up to 2.0 metres. rough – up to 3.0 metres. very rough – up to 4.5 metres. high – up to 6.5 metres.
What does cyclonic wind mean?
Cyclonic definition (meteorology) Rotating in the same direction as the Earth i.e. anticlockwise in the Northern Hemisphere and clockwise in the Southern Hemisphere.
Where do the Shipping Forecast names come from?
The names derive from sandbanks (e.g. Dogger, Bailey), estuaries (Forth, Thames, Shannon), islands or islets (Wight, Rockall, Utsire), towns (Dover), or other geographic features (e.g. Malin Head, Ireland’s northernmost point).
What are cyclonic and anticyclonic winds?
Cyclones and Anti-cyclones When the wind swirls counter-clockwise in the northern hemisphere or clockwise in the southern hemisphere, it is called cyclonic flow. When the wind swirls clockwise in the northern hemisphere or counter-clockwise in the southern hemisphere, it is called anticyclonic flow.
What is a shipping forecast?
Shipping forecast terms are strictly defined so that forecasts are as concise as possible consistent with clarity; information in an overlong forecast is, all too easily lost.
What are weather symbols and how do they work?
What Are Weather Symbols? Weather symbols are graphical representations of a range of atmospheric conditions commonly used during meteorological forecasts to display current and predict future weather conditions. It is commonly used in conjunction with a synoptic weather map but can be displayed separately as well.
What do the weather forecasting icons mean?
The weather forecasting icons are the backbone of any weather forecast and help to quickly summarize future atmospheric conditions. Often though, they are accompanied by additional information and a short text summary of the forecast to give you a better understanding of upcoming weather conditions.
What does the hail symbol mean on a weather map?
This symbol indicates a hail (water in its frozen form) storm. Hail is very often associated with thunderstorms due to the similar weather conditions that produce both. If you are interested, you can read more about hail in this article.

domain: geography


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Probably by descent to his grandson Leopold IV Friedrich, Duke of Anhalt (1794–1871), Gotisches Haus, Wörlitz and Schloss Dessau;
Friedrich I, Duke of Anhalt (1871–1904), Gotisches Haus, Wörlitz and Schloss Dessau, inv. no. 1491, when hung in the 'geistliche Kabinett' at the Gotisches Haus;
By descent to Friedrich II, Duke of Anhalt (1856–1918), Gotisches Haus, Wörlitz and Schloss Dessau;
By descent to his nephew Joachim Ernst, Duke of Anhalt (1901–1947), Schloss Dessau;
By whose curator offered in August 1927 to Galerie Heinemann, Munich, for RM 35,000, but presumably turned down;
Possibly with 'Goldschmidt' (probably Arthur Goldschmidt, acting for J. and S. Goldschmidt), Berlin, probably in 1927 or shortly thereafter;
With Julius Böhler, Munich, by 1931;
Acquired from the above by Ernst Saulmann, Ehingen, for 40,000 RM in 1931;
On commission from the above to Julius Böhler in 1935 (not sold);
Permission granted to Saulmann by the German fiscal authorities for the sale of the work abroad in 1936;
Acquired from the above by Theodor Fischer, Lucerne, 1936 (the proceeds of the sale confiscated from Saulmann by the German fiscal authorities);
Private collection, Switzerland, circa 1960;
By descent to the present owner (settlement reached with the Saulmann heirs in 2014).
Stuttgart, Staatsgalerie, Meisterwerke aus baden-württembergischem Privatbesitz, 1958–59, no. 11;
Bregenz, Künstlerhaus, Meisterwerke der Malerei aus privatsammlungen im Bodenseegebiet, 1965, no. 3;
Innsbruck, Landhaus, Maximilian I, 1 June – 5 October 1969, no. 533;
Basel, Kunstmuseum, Lukas Cranach. Gemälde, Zeichnungen, Druckgraphik, 15 June – 8 September 1974, no. 4;
Venice, Palazzo Grassi, Renaissance Venice and the North, 5 September 1999 – 9 January 2000, no. 84;
Hamburg, Bucerius Kunst Forum, Lucas Cranach. Glaube, Mythologie und Modernem, 6 April – 13 July 2003, no. 2;
Halle, Kunstmuseum des Landes Sachsen-Anhalt, Der Kardinal. Albrecht von Brandenburg, Renaissancefürst und Mäzen, 9 September – 26 November 2006, no. 88.
W. Schmidt, 'Ein Porträt des Kurfursten Albrecht von Mainz', in Beilage zur Allgemeinen Zeitung, 94, April 1900, p. 5;
W.A. Luz, 'Der Kopf des Kardinals Albrecht von Brandenburg bei Dürer, Cranach und Grünewald', in Repertorium für Kunstwissenschaft, 45, 1925, p. 43;
G. Fiocco, 'Ausstellung Venezianischer Kunst in München', in Zeitschrift für bildenden Kunst, Leipzig 1931–32, pp. 155–60;
A. de Hevesy, 'An unknown portrait by Jacopo de' Barbari', in The Burlington Magazine, 60, 1932, pp. 208–09, reproduced;
R. van Marle, The Development of the Italian Schools of Painting, 18 vols, vol. XVIII, The Hague 1936, p. 474, reproduced fig. 260;
L. Baldass, 'Die Bildnisse des Jacopo dei Barbari', in Pantheon, 22, 1938, pp. 319 and 321;
J. Wilde, 'An unknown portrait by Jacopo de Barbari', in The Burlington Magazine, 72, 1938, p. 43;
W. Zülch, Der historische Grunewald, Mathis Gothardt-Neidhardt, Munich 1938, pp. 21–22 and 411, n. 26;
E. Lavagnino, Gli artisti Italiani in Germania, vol. III, Rome 1943, reproduced fig. VII;
L. Servolini, Jacopo de’ Barbari, Padua 1944, pp. 146–47, reproduced plate XL;
B. Berenson, Italian Pictures of the Renaissance. Venetian School, vol. I, London 1957, p. 11, reproduced plate 318 (as homeless);
R. Pallucchini, 'Veneti a Stoccarda', in Arte Veneta, 12, 1958, p. 260;
F. Heinemann, 'Das Bildnis des Johannes Corvinus in der Alten Pinakothek und die Jugendwicklung des Jacopo de’ Barbari', in Arte Veneta, 15, 1961, pp. 47–48;
G. Mazzariol and T. Pignatti, La pianta prospettica di Venezia del 1500 disegnata da Jacopo de Barbari, Venice, 1962, p. 7;
T. Pignatti, 'La pianta di Venezia di Jacopo de' Barbari', in Bolletino Museo Civico di Venezia, 9, 1964, pp. 13 and 23;
C. Gilbert, 'Barbari, Jacop de’', in Dizionario biografico degli italiani, 1964, vol. VI, pp. 44–45;
J. Levenson, K. Oberhuber and J.L. Sheehan, Early Italian Engravings from the National Gallery of Art, exh. cat., Washington 1973, p. 341, n. 99, and pp. 143–44, n. 533;
D. Koepllin and T. Falk, Lukas Cranach, Gemälde, Zeichnungen, Druckgraphik, exh. cat., Basel and Stuttgart 1974, vol. I, p. 56, no. 4, and vol. II, p. 792, n. 56;
J.A. Levenson, Jacopo de’ Barbari and Northern Art of the Early Sixteenth Century, doctoral diss., New York University, New York 1978, pp. 91–93, 113, 206–08, no. 11;
B. Butts, 'Dürerschüler Hans Süss von Julmbach', doctoral diss., Harvard University 1985, p. 198;
A.M. Szylin, 'Barbari, Jacopo de’, in Allgemeines Künstlerlexikon, vol. VI, 1992, pp. 645–46;
A.M. dal Pozzolo, in Renaissance Venice and the North. Crosscurrents in the time of Dürer, Bellini and Titian, exh. cat., Milan 1999, pp. 370–71, no. 84, reproduced;
G.C.F. Villa, 'Jacopo de Barbari', in La Pittura nel Veneto, Il Cinquecento, vol. III, M. Lucco (ed.), Florence 1991, p. 1298;
S. Hauschke, 'Ein Paragone um Grabdenkmӓler der Vischer-Werkstatt. Kardinal Albrecht Von Brandenburg und Kurfürst Friedrich der Weise von Sachsen', in Anzeiger des Germanischen Nationalmuseums, 2002, p. 238;
W. Schade, Lucas Cranach. Glaube, Mythologie und Modernem, exh. cat., Hamburg 2003, p. 166, no. 2, reproduced fig. 25;
B. Broos and A. van Suchtlelen, Portraits in the Mauritshuis 1430–1790, Zwolle 2004, p. 36, reproduced fig. 3c;
S. Ferrari, Jacopo de' Barbari: Un protagonista del Rinascimento tra Venezia e Dürer, Milan 2006, pp. 107–08, no. 16;
B. Böckem, Jacopo de' Barbari: Künstlerschaft und Hofkultur um 1500, Weimar 2016, pp. 19, 23, 68, 75, and 253–55, no. 7, reproduced fig. 3.
At the very beginning of the sixteenth century Jacopo de’ Barbari, though an Italian, was arguably the most fashionable portrait painter in Germany. In the spring of 1500 the Emperor Maximilian I had summoned him to Nuremberg and appointed him his ‘Contrafeter und Illuminist’ (‘Portrait painter and illuminator’), and had even provided him with a horse for the journey. This suggests that Jacopo already had some reputation as a portrait painter, but no likenesses from his hand from before this date have survived. His introduction to the Imperial court probably came by way of the Nuremberg merchant Anton Kolb, who lived in Venice and who had published Jacopo’s famous engraved bird's-eye prospect of the city that same year. In 1503 Jacopo entered the service of Frederick III (‘The Wise’) Elector of Saxony, and had moved to Wittenberg. Fredrick was at that time elaborating his court and establishing Wittenberg as a major academic and cultural centre, founding its University in 1502. It is clear that Jacopo held the Elector in high regard as a patron of the arts and he remained in his service until 1505, and no doubt Frederick in turn saw in him just the qualities and erudition he sought in his court circles. Within the next three years he would also have worked at the courts of the Dukes of Mecklenburg and, of course, Brandenburg. Much of his attitude to his art (and his good opinion of himself and his classical erudition) is revealed in an address that he wrote to the Elector Frederick around 1501–03, in which he extolled the virtues of Painting, raising it on a par with the seven Liberal Arts. The discernment required to foster such artistic patronage, he implied, was solely the prerogative of the noble class: ‘Come a questi zorni si vede le piture, per chè larte è mendichada da homeni innobeli, perro non pol venir ala excellia come fu di Apele e delli altri nel tempo di Alexandro: no che mancha li inzegni, ma mancha la comoditate e la nobilitade, chè non exercitar la pitura se non homeni nobeli de sangue e de richeze’ (‘..these days we see that painting, misused by ignoble men, is unable to achieve the excellence attained by Apelles and others in the time of Alexander the Great: it does not lack for instruction, but does lack patronage and nobility, for painting can only be sustained by men of noble birth and wealth’).2
Despite Jacopo de’ Barbari’s evident reputation very little is known of his life, and even now his precise dates of birth and death are unrecorded. In a draft of the dedication to his Four Books on Human Proportion published in 1528, Albrecht Dürer wrote that de’ Barbari was born in Venice, and this seems to be correct. His small corpus of work numbers around thirty engravings, including the celebrated monumental bird's-eye prospect of the city of Venice of 1500, two drawings, a dozen or more paintings, of which seven are signed and four dated, among them the first independent still-life of the Renaissance, the famous trompe l’oeil panel of a Dead partridge and gauntlets of 1504, today in the Alte Pinakothek in Munich,3 and several prints and two drawings. It is probably fair to assume that Jacopo de’ Barbari’s painted œuvre was more extensive than we know today, and that part of it which has come down to us suggests that he was a flexible artist, capable of responding to a variety of different commissions. It is not known exactly under whom Jacopo trained, but this is now generally thought to have been Alvise Vivarini in Venice, whose facial types are often reflected in his own work. All of Jacopo’s extant paintings appear to date from his years in Nuremberg and Wittenberg. The earliest of these is possibly the half-length depiction of Saint Oswald in the Slovak National Museum, Bratislava, which may date from 1500 or thereabouts.4 To the former period also probably belongs the Madonna and Child with Saints John the Baptist and Anthony Abbot (‘the Madonna della fontana’) today in the Musée du Louvre, Paris.5 This colourful but still awkward work combines the tradition of the Venetian sacra conversazione in the vein of Bellini and Vivarini with new elements such as the head of Saint Anthony and the landscape, which show a keen awareness of the work of Dürer. Three further paintings, all today in the Gemäldegalerie in Dresden, a Christ Blessing, a Saint Catherine and a Saint Dorothy are likely to belong to the Wittenberg period, for all three were later in the collection of Lucas Cranach the Younger, son of the Elector’s most famous painter.
Among the paintings that can be attributed to Jacopo with any certainty there are only two portraits, including the present panel, whose attribution is confirmed by his signature and the artist’s device of a caduceus. The only other signed likeness is the Portrait of a man today in the Kunsthistorisches Museum in Vienna, a smaller limewood panel from around 1506 which is signed with initials and similarly bears the caduceus device (fig. 1).6 To these may be tentatively added the Portrait of Henry, Duke of Mecklenburg (1479–1552) in the Mauritshuis in The Hague, which is dated 1507 and seemingly documented in the Heidelberg castle inventory of 1685 as part of a hinged double portrait showing ‘Duke Henry of Mecklenburg and his consort Ursula in the year 1507, painted in a wooden libellus by Jacopo de’ Barbari’ (fig. 2).7 The style of the three portraits is, however, not entirely homogenous, and among recent scholars only Ferrari regards them as all by Jacopo’s hand. Levenson, for example, rejected the Mauritshuis portrait’s ‘complicated outlines and unusual shapes’ as being at odds with the more frontal pose and simplified forms of the Albert of Brandenburg. All seem to belong to Jacopo’s period of activity in Germany, and this is supported by the two dated works. Certainly their style is much more suggestive of the taste of Jacopo’s German patrons than his Venetian background, and show a familiarity with contemporary Imperial court portraiture under Bernhard Strigel.
There can be no question as to either Jacopo’s authorship of this portrait, or of the identity of his illustrious sitter. No doubt reflecting the importance of the commission, Jacopo has fully signed and inscribed his likeness. This is followed by the painter’s particular symbol of a caduceus (fig. 3), the attribute of Mercury and an ancient symbol of prosperity and peace composed of a winged staff with two entwined serpents. As the inscription records, Albrecht is shown at the young age of eighteen. By this date he had already been ruling the electorate of Brandenburg jointly with his brother Joachim I for a number of years following the death of their father the Elector Johann Cicero of Brandenburg 1499. The portrait was, however, undoubtedly commissioned to celebrate the fact that Albrecht had taken religious orders that same year, and in all probability it was painted in Frankfurt-am-Oder. Certainly Jacopo has taken unusual trouble in his depiction of Albrecht’s ecclesiastical vestments. The young prelate wears a magnificent crimson cloth of gold cope embroidered with the motif of a cardo or thistle. The cope is probably Venetian in origin, and as Dal Pozzolo has observed, it may be compared to that in the Basilica del Santo in Padua, perhaps designed by Jacopo da Montagna in the 1480s.8 The cope is held by a magnificent multi-foil clasp, or morse, showing Saints Martin, Nicholas of Bari and Catherine of Alexandria standing beneath a Gothic architectural canopy (fig. 4), and beneath this hangs a clipeus set with rubies. Below this Albrecht wears a simple white surplice with a green cloth of gold stole over a fur lined purple coat. The choice of the saints on the clasp was quite probably intentional. Saint Martin was eighteen – the same age as Albrecht – when he gave up military service to be baptised and later become a bishop. Saint Catherine was the patron saint of universities, and this may refer to that founded by Albrecht and Joachim in Frankfurt-am-Oder in 1506. The significance of Saint Nicholas is less clear, but he may have represented a role model as bishop. Jacopo has rendered all these details with the greatest of care, offsetting the interplay of colours – gold, crimson, purple and brilliant emerald green – and setting them against the black background.
Albrecht of Brandenburg (1490–1545) was without doubt one of the most influential and interesting patrons of art of his day. His subsequent career in the service of the church was marked by rapid elevation. After an unsuccessful attempt to become bishop of Utrecht he became canon of the chapter of Mainz in 1509. In 1513, still aged only twenty-three, he became archbishop of Magdeburg and administrator of the diocese of Halberstadt. A year later he became archbishop of Mainz and an Elector of the Holy Roman Empire. In 1518, still under the age of thirty, he was made a cardinal. At this point Albrecht’s wealth and position allowed him to undertake a programme of artistic patronage on an unusually broad and discerning scale. In 1519 he paid Albrecht Dürer the remarkable sum of 200 florins and twenty yards of damask to engrave his portrait as cardinal (fig. 5). That same year he commissioned from Lucas Cranach a large decorative programme of over 142 pictures for the collegiate church in Halle, this despite the painter’s close friendship with the Protestant reformer Martin Luther (see also lot 6 in this catalogue). Albrecht was not shy when it came to commissioning his own likeness: he was painted in the guise of Saint Erasmus by Mathias Grünewald as part of a picture depicting Saints Erasmus and Mauritius painted around 1520–25 and today in the Alte Pinakothek in Munich (fig. 6), while Lucas Cranach went on to paint a total of no less than four portraits of the Cardinal in the guise of Saint Jerome (fig. 7), dating from 1525 onwards.9
Albrecht’s patronage of Cranach may seem strange in the light of the fact that it was his own sale of plenary indulgences in 1517 – used to repay his loan from the Fugger family that covered the expenses (some 21,000 ducats) of his elevation to the see of Mainz – and at a cool fifty percent of the sales, the profits they engendered for the Holy See – that had prompted Martin Luther to nail his famous pamphlet, the Ninety-five Theses, to the door of the cathedral at Wittenberg. Luther’s deed proved to be the vital moment that sparked the Reformation itself, and Cranach would become his close friend and the visual promoter of the new Protestant doctrine. Albrecht himself was undeterred, and even organised another sale of indulgences in 1523 for anyone to come to venerate his remarkable collection of 8,100 sacred relics and 42 holy skeletons that he kept in his principal residence in Halle. Albert adorned the Stiftskirche at Halle as well as the cathedral at Mainz, and appropriately took as his motto the words Domine, dilexi decorem domus tuae ('Lord, I admired the adornment of your house'). For all his extravagance, however, Albrecht was a significant and enlightened patron of art and learning, and though a Catholic he counted Erasmus among his friends. But his generous and open-minded patronage could not enable him to rise above the tumultuous events of his day. His hostility towards the reformers was never as extreme as that of his brother Joachim, and perhaps as a result the new doctrines made considerable progress in his dominions. During his later years he showed more intolerance towards the Protestants, and supported the teaching of the Jesuits, but in the end his stronghold at Halle became Protestant in 1542 and he was forced to flee the city. He died at the Martinsburg in Mainz in 1545.
Jacopo’s mature style was clearly formed during his German years and thus the nature of his relationships with his German artistic contemporaries has been of the greatest interest. There can be little doubt that de’ Barbari knew Albrecht Dürer personally. The two men would most likely have met in Venice, where Dürer was between 1495 and 1496. Dürer’s opinion of Jacopo’s abilities seems to have been inconsistent. In a letter to his friend Willibald Purckheimer, written from Venice in 1506, for example, he remarked disparagingly that Jacopo’s fellow painters were less than complimentary about his abilities, remarking of his journey north that a truly good painter would never have left Venice in the first place. He nevertheless acknowledged his influence on his own study of proportions, and is said to have admired Jacopo’s paintings when he visited the collection of the Regent Margaret of Austria in Mechelen in 1521. There is little doubt, however, that Dürer and de’ Barbari absorbed ideas from each other, notably, for example, in the way figural types from Jacopo’s engravings appear in Dürer’s own prints.10 Although we cannot be absolutely sure of its dating, Jacopo’s Madonna and Child with Saints John and Anthony Abbot was probably painted in Nuremberg and clearly shows the influence of Dürer’s work in the head of Saint Anthony and the landscape setting. Similarly, as Böckem has suggested, it is possible to see in Dürer’s Virgin and Child of 1503 in the Kunsthistorisches Museum, Vienna, a use of meticulous detail offset against a dark background found in Jacopo’s Head of Christ of the same period in the Schlossmuseum in Weimar, and indeed still very much in evidence in the present work.11 While in Nuremberg, Jacopo de’ Barbari trained the young Hans Suess von Kulmbach (c.1480–1522), who later joined Dürer’s workshop, and it is not hard to see in his Portrait of a young man of c. 1508, today in the Metropolitan Museum of Art in New York, the clear influence of this and Jacopo’s portrait in Vienna on his work. There does not seem to be much evidence, however, that de’ Barbari’s idiosyncratic facial and figure types directly influenced his contemporaries in Wittenberg, but it is interesting to note that three of his paintings, a Christ blessing, a Saint Catherine, and a Saint Barbara, all today in Dresden, were once to be found in the collection of Lucas Cranach the younger, the son of Jacopo’s famous fellow court painter, and a Cranach engraving of 1553 appears to be derived from the Christ blessing.12
This is the last known painting by Jacopo that has survived. Shortly after this, perhaps as a result of the religious convulsions in Germany, he travelled to the Netherlands, where he entered the service of Philip of Burgundy, Bishop of Utrecht and the natural son of Philip the Good, at the castle of Souburg in Zeeland, and he may have journeyed with him and Jan Gossaert to Italy in 1508–09. By 1510 he was working for the Archduchess Margaret of Austria, the daughter of the Emperor Maximilian I and the ruler of the Hapsburg Netherlands. Few if any paintings survive from this last phase of his life, and he seems to have concentrated much more upon his work as a printmaker. He was still in Margaret’s service when he is described as dead in an inventory of her paintings taken on the 17 July 1516.13
Despite his small painted œuvre and relatively short span of activity, there can be no doubt that de’ Barbari was to be an enormously important figure in the crosscurrents of artistic exchange between Italy and Germany during the Renaissance. His engravings, with their idealised nude figures, were to prove influential on artists all over Europe, including Dürer himself, but his paintings, despite some remarkable innovations, rather less so. The exact extent to which specific works by de’ Barbari may have influenced Dürer or others remains in the end an open question. This was not after all a one-way process, for once in the north it is clear that de’ Barbari himself adapted his style to accommodate the tastes of his new patrons, adding an Italian idiom to existing northern types. Most importantly, he arrived in Germany at a time when both the Emperor and the leading princes of the Holy Roman Empire were looking to explore new ways of presenting themselves and their cultural politics. In the historical context of the evolution of patronage in these northern Renaissance courts, Jacopo is a seminal figure, opening up a new two-way dialogue with German painters, including the great Dürer himself.
Note on Provenance
This portrait almost certainly formed part of the collection amassed by Leopold Friedrich Franz III, Prince of Anhalt-Dessau (1740–1817) (fig. 8) and may originally have hung in his ‘Gotisches Haus’ at Wörlitz near Dessau (fig. 9), where it is recorded in the nineteenth century. The Prince, known as ‘Father Franz’, was very much an Anglophile and famous for his introduction of the English landscape garden and Palladian country house into German landscape design. He was also responsible for the introduction of the Gothic style (known as ‘Franz Gothic’), of which the Gotsiches Haus is the most famous example. Built between 1773–1813 to the plans of Friedrich Wilhem von Erdmannsdorff, it was modelled on Horace Walpole’s villa at Strawberry Hill, which Prince Leopold had seen on his travels. An enlightened patron of both the arts and sciences, the Prince owned an extraordinary collection of over 4,500 paintings, part of which was displayed on the upper floor of the house. Though the Anhalt princely collections contained numerous portraits, their descriptions in early catalogues are not very precise, but the present painting can be identified by its inventory number. Undoubtedly the most famous early portrait from this same source is Rogier van der Weyden's celebrated Portrait of a lady today in the National Gallery of Art in Washington.14 This passed by descent at the Gotisches Haus and Schloss Dessau until it was sold by Duke Joachim Ernst to the Bachstitz Gallery in The Hague in 1925. The Duke’s acute financial difficulties had precipitated a series of sales of property and works from the collection to the state of Anhalt.15 This is surely the portrait of Cardinal of Brandenburg that formed part of a group of twenty-one pictures which were offered between 1926 and 1927 to Galerie Heinemann in Munich. It was priced at RM 35,000, but was refused. The apparently unverified Goldschmidt provenance may refer to Arthur Goldschmidt, acting for the gallery J. and S. Goldschmidt in Berlin. Although, as Hevesy points out, there were some five dealerships by that name in the late 1920s in Berlin, Arthur Goldschmidt is much the most likely to have made the acquisition of such an important early work. He negotiated the sale, for example, of Hans Memling’s Lamentation over the dead Christ to the Museum Boymans-van Beuningen in Rotterdam in 1936.
1. J.A. Levenson, ‘Jacopo de’ Barbari’, in The Dictionary of Art, vol. III, London 1996, p. 200.
2. P. Kirn, ‘Friedrich der Weise und Jacopo de’ Barbari’, in Jahrbuch der preusisschen Kunstsammlungen, 26, 1925, p. 134. Several of the words used by Jacopo (such as ‘zorni’) are distinctly Venetic in origin, which would seem to support Dürer’s assertion that he came from Venice.
3. Levenson (1978) includes eleven paintings as autograph in his dissertation. To these Ferrari (2006) adds a further six works he regards as autograph, together with another forty two rejected or doubtful pictures which have been attributed to Jacopo in the past. Böckem lists seven signed paintings, with a further three autograph but unsigned pictures.
4. Böckem 2016, p. 406, no. A1.
5. Servolini 1944, reproduced plate XIV.
6. Inv. No. 7719; 38.4 x 28.6 cm.; Levenson 1978, p. 205, no. 10.
7. Cited by Broos and van Suchtelen 2004, p. 34. The companion panel of the Duke’s consort is untraced.
8. Dal Pozzolo 1999, p. 370.
9. These include those in the Hessisches Landesmuseum, Darmstadt (1525), the John and Mable Ringling Museum of Art in Sarasota (1526), and an undated panel of c. 1527 from a private Swiss collection offered London, Christie’s, 2 July 2013, lot 22.
10. See, for example, B. Böckem, ‘The Young Dürer and Italy: Contact with Italy and the Mobility of artists around 1500’, in The Early Dürer, D. Hess and T. Eser (eds), exh. cat., Nuremberg 2012, pp. 62–64.
11. Böckem 2012, p. 332, no. 51, and Böckem 2016, p. 407, no. 4.
12. Servolini 1944, reproduced plates XVI, XXII and XXIII.
13. The fact that he received an annual pension from her in 1512 in recognition of his ‘weakness and old age’ has led many critics to suggest that his date of birth may have been as early as the mid-fifteenth century.
14. J.O. Hand and M. Wolff, The Collections of the National Gallery of Art. Early Netherlandish Painting, Washington 1986, pp. 241–46, reproduced.
15. See I. Pfeifer, ‘Die herzoglichen Kunstsammlungen in Dessau nach 1918’, in Mitteilungen des vereins für Anhaltische Landeskunde, 23, 2014.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale

domain: history


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- 1 box sourdough pretzels, broken into bite size pieces
- 1 cup vegetable oil
- 1 envelope Hidden Valley Ranch Dressing mix
- 1 tablespoon Cajun seasoning
- 1 teaspoon cayenne pepper
- 1 teaspoon dried dill weed
- In a roasting pan, mix oil and all seasonings well.
- Add broken pretzels and stir well to marinate. Cover and bake for 2 hours
at 200 degrees F, mixing well every 30 minutes.
- Lay on a brown paper bag to remove excess oil.
- Store in covered container.
Other Cajun and Creole recipes you may like...
Deep Fried Turkeys
Deviled Louisiana Blue Crab Cakes with Smoky Rémoulade Sauce
Louisiana Crawfish Ravioli with Crawfish Cream Sauce

domain: food


text: Sassafras is a mid-sized tree with excellent fall color of yellow, orange and red. The mitten, ghost, and football-shaped leaves are this tree’s trademark. The brown bark is deeply furrowed and ridged. It prefers full sun and good garden soil. Sassafras does ... sucker, but less so in garden settings than in the wild.

domain: biology


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At 1 to 3 days past ovulation (DPO), it’s still quite early to tell if you are pregnant or not. While some women do experience symptoms a few days after conception, many women do not. Read on to find out more.
Vaginal discharge is an essential part of your reproductive system and the types of vaginal discharge you experience will vary throughout your menstrual cycle. In this post we will explore what causes milky white discharge, what it means, and when it could be a symptom of an underlying issue.
Regardless of whether you are struggling with infertility or not, it’s critical to know what to expect when trying to get pregnant with an autoimmune disease. Planning ahead helps you anticipate any potential challenges to your health.
If you’re trying to conceive (TTC), you might be wondering if you can influence your odds of having twins. In this blog post, we’ll talk about how common twins are, as well as how you can increase your chances of giving birth to twins.
Want to learn how to test with Mira? No worries, we’re here to walk you through the process. Please follow this guide!
If you are trying to get pregnant, calculating your fertile window is everything. Having sex during your most fertile days can significantly increase your chances of conceiving.
Egg white discharge is one of the most common types of vaginal mucus, especially when it comes to deducing when you are fertile.
With all the pressure placed on women to have a baby by a certain age, it can be easy to feel like your fertility is a ticking time bomb. Thankfully, age does not necessarily limit your fertility as much as you may think. More and more women are choosing to wait until their 30s and 40s to have a child for reasons like pursuing career goals, traveling the world, or finding the right partner.
If you are struggling with inconvenient spotting before period, here’s what you should know to help you identify the cause.
This blog post will teach you how to make sense of confusing pregnancy test lines — including faint lines, evaporation lines, and indent lines — so you can go into your pregnancy testing experience feeling confident and capable of interpreting your test.
Checking the position of your cervix at home can help you get to know your menstrual cycle and better understand the way your body works.
Thinking about trying to conceive (TTC)? Good egg quality sets the foundation for a healthy pregnancy! Women often ask about at-home remedies for improving egg quality and increasing their chances of conceiving. You have probably heard of all kinds of ways to improve quality, from vitamin supplements to herbal medicine.
There are several ways you can get pregnant with PCOS, with or without treatment. Most women with PCOS can conceive with a combination of lifestyle changes and fertility treatment and a few rare cases may require in-vitro fertilization (IVF).
The loss of a pregnancy can be physically and emotionally challenging, but it should not stop you from trying again when you are ready. The good news is that most miscarriages are a once-off incident. While about 15 percent of women have a pregnancy that ends in miscarriage, just 1 percent of pregnant women experience two miscarriages in a row.
Whether you are in your 30s now and trying to conceive (TTC) or planning to have your first child in your 30s, this blog post will help you understand the benefits and risks of getting pregnant after 30 — and what you can do to increase your chances of a successful pregnancy!
1 in 10 women has endometriosis, a painful reproductive health condition that can negatively impact fertility. Many women who receive a diagnosis of endometriosis are concerned about whether or not they will be able to get pregnant with the disease.
In the 1930s, women began tracking their basal body temperature to predict ovulation. This fertility awareness method is still commonly used for natural family planning to prevent pregnancy. It’s not always easy to track your basal body temperature. Learning how to do it correctly is important for ovulation estimates. Read on for helpful tips and facts you should know about the BBT method.
In this article, we’re going to dive into the revolutionary Mira Fertility Plus, a powerful fertility tracking system that has helped more than 20,000 women around the globe achieve their fertility goals. We’re going to walk you through the new update, and how it acts as a lighthouse throughout your fertility journey.
If you struggled to get pregnant the first time, you might be filled with a mixture of excitement and dread when you think about having a second child. The first thing you’re probably wondering is, will it be easier to get pregnant this time around? In this post, we will look at what the science says about second pregnancies and what you can do to increase your chances of success.
It seems surreal to notice symptoms as soon as the first few weeks of pregnancy, but it’s more common than you may realize. Some pregnant women experience very early signs of pregnancy just 1 to 2 weeks after conception and this post will explore 16 of them in detail.

domain: medical


text:
[gmx-users] Vizualization of lipid protein system
jalemkul at vt.edu
Mon Mar 14 12:58:08 CET 2016
On 3/14/16 7:55 AM, James Starlight wrote:
> I guess for my case this should work
> 3 If you want jumps removed, extract the first frame from the
> trajectory to use as reference, and then use trjconv -pbc nojump with
> that first frame as reference
> hovewer in my case the VMD movie looks like all solvent molecules are
> spread from the protein in all directions.
...which is precisely what -pbc nojump does. If you want things back in the
box, you need e.g. -pbc mol. You have a complex system, it requires a complex
(multi-step) solution to render it appropriately.
> 2016-03-14 12:50 GMT+01:00 James Starlight <jmsstarlight at gmail.com>:
>> forgot to add
>> if I use
>> -fit rot+trans
>> the system looks fine BUT moves as a whole like a propeller =))
>> 2016-03-14 12:48 GMT+01:00 James Starlight <jmsstarlight at gmail.com>:
>>> Dear all!
>>> I am looking for the possibility to vizualize my long md trajectory
>>> for the receptor embedded in the membrane
>>> If I just load the trajectory to vmd there is no problem with the
>>> exeption that receptor moves laterally along the membrane resulting at
>>> the end in PBC artifacts
>>> If It try to post-process the trajectory by the following method
>>> g_trjconv -s minimization.gro -f production_run_gpcr_CG -dt 10 -b 100
>>> -o traj.dcd -pbc nojump
>>> the system now becomes centred on the receptor but all lipids now are
>>> fly away from the receptor which looks not very good for me =)
>>> how I could prevent those artifacts making vizualisation properly7
Justin A. Lemkul, Ph.D.
Ruth L. Kirschstein NRSA Postdoctoral Fellow
Department of Pharmaceutical Sciences
School of Pharmacy
Health Sciences Facility II, Room 629
University of Maryland, Baltimore
20 Penn St.
Baltimore, MD 21201
jalemkul at outerbanks.umaryland.edu | (410) 706-7441
More information about the gromacs.org_gmx-users


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Well, that was quick. Just hours after launching the AI on Twitter, Microsoft has had to shut down "Tay" due to the account publishing racist tweets. The AI was meant to learn and become more intelligent as more people engaged with it, but the topics of activity displayed by humanity caused issues. This is what happens when you give the Internet nice things.
Problems arose when Tay started to reference Hitler and more. Conversations simply started to go south. Targeted at 18-24-year-olds, users of Twitter, KiK and GroupMe were able to interact with Tay, ask questions and spark conversation to be entertained as they go about their online business.
Many are calling out Tay as a clear example of why AI is bad, but that's probably taking things too far. In all likelihood, this was simply people having too much fun and generally being citizens of the Internet (where anything goes), which the AI unfortunately picked up on.
c u soon humans need sleep now so many conversations today thx— TayTweets (@TayandYou) March 24, 2016
Until next time, Tay.
Minecraft Dungeons lead talks its next DLC and the future endgame
We talk Minecraft Dungeons’ recent Jungle Awakens DLC, the Creeping Winter expansion, and future endgame plans with game director, Måns Olson.
Fix up your Xbox Elite Controller with these parts
Need some replacement parts for your Xbox One Elite Controller? From new paddles, grips, bumpers, thumbsticks, and more, we have you covered.
Hands-on with Windows 10 build 20161 showcasing the new Start menu
Yesterday, Microsoft released a new build of Windows 10 that includes an updated Start menu design with translucent Live Tiles, improvements to Notifications, and behavior changes to things like Tablet Mode and the Taskbar. It's been a while since Microsoft released a build with any surface-level changes, but now it's finally happened, we're back showcasing all the changes on video.
The best aftermarket CPU coolers for AMD Ryzen 9 3900X
In order to get the most out of the AMD Ryzen 9 3900X processor, you'll need to keep it cool enough for it to work as hard as it's able. This is where a good CPU cooler comes into play and we've rounded up some of our favorites.

domain: news


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Although a nobleman by birth, Benedetto Marcello was also a serious amateur composer who wrote in many of the principal genres of his day. This compilation focuses on the Italian’s 12 concertos for strings Op.1 and 5 Sinfonias – two delightful collections dating from the latter half of his dilettante career.
The sets demonstrate just how innovative a composer Marcello was. Written in 1708 and featuring a solo cello as well as violin part, Op.1 is particularly notable for its inclusion of the former instrument – which, having only just been invented, was a relatively new addition to the Venetian orchestra at that time. With the number of movements varying from one concerto to the other and thus reflecting a form still in its infancy, the collection also displays originality through details like No.7’s extraordinary use of F minor. Such inventive quirks more than make up for its lack of virtuosity and form an important part of the 5 Sinfonias which follow – the dramatic stop-start opening of No.3 being a particular case in point.
Marcello’s older brother is reputed to have said that Benedetto had only mediocre talent.
Given the wealth of musical invention in this recording, however, he was entirely wrong. An absorbing release that documents the early development of two important forms and sees the welcome return of Angelo Ephrikian’s ensemble.
Click on any of the works listed above for alternative recordings.

domain: library


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Elías Merino (b. 1985) is a Spanish sonic practitioner and composer based in the UK. Currently he is working in the exploration of computer-generated sound after some years involved in acousmatic and electroacoustic music. Merino is interested in different approaches related with sound and digital arts such the exploration of time, otherness, or specific and plural sound artifacts in sound installation.
Elías presents his work in sound compositions and installations, which are exhibited, released, performed and diffused in USA, UK, Spain, Latinamerica, Italy, Sweden, Poland or The Netherlands. He recently released his latest work in leerraum.
Currently he is a PhD researcher in Computer Music at University of Huddersfield.

domain: entertainment


The T9 is a whole different breed of marker. The T9, in rifle form, offers fantastic performance, but you just need a few more accessories to get that edge over the competition. This tactical rail does it! Designed to accept any standard weaver rail or picantinny rail accessory, this little mod opens up a world of new accessories for your already intimidating T9 Rifle. The side mount is perfect for flashlights, lasers or any other mod you can think of!
Mounts directly to the side of the T9 Rifle Shroud
Allows attachment of almost any standard tac rail accessories including lasers, flashlights, sights and more!


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Create a Website Account - Manage notification subscriptions, save form progress and more.
The Board of County Commissioners of Albany County will consider adopting the following election district and precinct boundaries at their Regular Meeting to be held in Room 105 in the Albany County Courthouse on May 3, 2022, commencing at 9:30 a.m.
Please review the attached documents for information regarding the proposed Albany County Precinct Boundaries.
Albany County Proposed Precinct Boundaries (PDF)
Proposed City Of Laramie Voting Precincts MAP (PDF)
Proposed Albany County Voting Precincts MAP (PDF)


Mon, Sep 07, 2015, 09:02 PM
YSRCP MLA Chevireddy Bhasker Reddy slammed on the police of AP and said that this Government can fall down any time and warned everyone that they would remember all and settle the scores by expressing confidence that YSRCP comes to power after TDP is collapsed. Chevireddy Bhaskar Reddy made these comments during his visit to Rajahmundry. Watch the video to listen to Chevireddy Bhaskar Reddy . . . .. .


When it comes to live reporting, bloopers, tongue slips and all other unforeseen funny moments are just a few of the many things that no one can stop from happening.
Inasmuch as reporters are often seen delivering their news from the field, these are now limited as traveling to and fro is discouraged because of the pandemic. So, many news outlets just resort to delivering news via a live feed from inside their homes and interviewing a few key individuals via video or phone call.
Well, this newscaster from the Philippines is just one of the many who still does her job despite the pandemic but, she ended up experiencing a funny moment (without her knowing) while on a live news broadcast.
It all happened when her cats ended up fighting with each other just behind her back.
In a short clip that is now going viral, Doris Bigornia, a news anchor for a local PH TV station, ABS-CBN was interviewing a guest via a phone patch about the guidelines on social distancing when it comes to public utility vehicles like a motorcycle.
A few seconds into the clip, it can be seen that two cats behind her back started fighting with one another. It can be then noticed that her expression changed in an instant when somebody (maybe a family member) tried to inform her of what was happening behind her back.
The clip was found hilarious by many that it was shared too many time causing it to become viral not just in the Philippines but even in other countries.
To many, this is a welcome distraction to the many stressful news that we often see and hear on the news but of course, we do not wish for this thing to happen to reporters who are only diligently doing their jobs.
Still, we praise Doris for her professionalism in still continuing to report and deliver the news to the people despite the hilarious thing that happened to her.
You can watch the short clip here:
— 𝙽𝚒𝚔𝚔𝚒 𝙱𝚒𝚐𝚘𝚛𝚗𝚒𝚊 𓃠 (@nikkibigornia) May 15, 2020


Mar 05, 2003 @ 2:30 PM
Blake Pugmire scored 25 points and Colby Holmes added 14 as the Rebels overcame a 10-point deficit in the fourth quarter to advance in the 1A tournament. Down 51-41 with 7:04 left in the game, Holmes hit two 3-pointers and Pugmire made a basket to close Meridian's lead to two within a 1:37 span. Rich later took the lead at 55-53 when Holmes made another 3-pointer. The Mongoose took the lead 61-60 but Kyle Motta made a layup and a free throw to give Rich the win 63-61. Mack Bakker scored 25 points for Meridian and missed a 3-pointer in the final seconds.


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Here are some images from our Dream Retreat. Please forgive me for being a distracted photographer; i was busy doing lots of things and didn’t manage to properly document the event!
The Lives of Saints
(click the information button on each image to view each portrait’s legend)
The Lives of Saints are portraits that aspire to revelation through illumination. Esoteric in conception, like a map, each portrait is accompanied by a legend. Etymologically, the word legend derives from the Latin legenda which means “things which ought to be read.” In medieval times most of the populace was illiterate; if something was worthy to be written down, it was legenda, “a legend, a story, especially the lives of saints,” to be read on certain days in church.
Photography is my way of writing down things that ought to be read. Through ‘light writing’ — the technology of photography and the juxtaposition of collage — a personal portrait emerges, highlighting dreams, healing, destiny, and choice.
These portraits are the result of a multi-step process, part photography, part conversation, and part divination (by stars or cards). Participants were requested to reflect on their intentions for their portraits (ie: as a reminder of a life dream, as a catalyst for healing, as an image to galvanize authenticity and alignment) and to come for a 2-3h session with an open heart/mind and a willingness to risk vulnerability.
I would like to express my profound gratitude to all participants. If you are interested in commissioning a portrait of your own, please contact me.
Merely a Magical Illusion
Earlier this week I had a moment of clarity. Due to the angle of sunlight streaming in through the window, I saw the emptiness of ‘the man on a horse ornament’ hanging from the window. It made me think of an example in the first chapter in the Saṃdhinirmocana Sutra that we studied this summer at Nitartha.
re: a magician and his magical illusions
“Those who are not naive or confused but have wisdom perceive the grass, leaves, twigs, pebbles, or stones. They see and hear those magical tricks and understand that whatever appears does not exist—that these regiments of elephants, horses, chariots, and soldiers or collections of jewels, pearls, beryl, seashells, crystal, and coral, as well as this abundance of wealth and grain, treasuries and granaries, do not exist.”
— Saṃdhinirmocana Sutra (chapter 1, section 1.4, paragraph 3, p40)
Stand By Me
On New Year’s Day 2021, my friend sent me a link to the music video for Temple, a song by Thao & the Get Down Stay Down. Temple features a cast of older Vietnamese dancers in a botanical garden. They strike poses and gesture together as they walk. The plants bear witness to their parade. I love this video for many reasons: the choreography that incorporates pedestrian movement and non-dancers, the family vibe, the song… My favorite part was shot indoors; the dancers improvise moving their bodies freely in ways that are authentic to each individual. Intercut with the dancing is Thao on her guitar. She wears a very wide brimmed hat that obscures her features, reminiscent of a traditional Vietnamese farming hat, nón lá. The lyrics to the song are heartbreaking.
I know your father can’t call anymore
He never meant to be a man of war— from Temple by Thao & the Get Down Stay Down
Recently we had our sewer line repaired. It kept backing up into the basement. The plumber, who was white, came with two Spanish-speaking day laborers who dug a very deep hole in our backyard. After the hole was dug, the plumber commenced with the pipe work, replacing part of the sewer line that had root damage and installing a clean out. He backfilled the hole part way and then left the job half done.
This repair was a job that cost several thousand dollars and although the plumber claimed that someone would come finish backfilling the hole, I had my doubts that anyone would show up to finish the job.
But we found freedom what will you do now
Bury the burden baby make us proud— from Temple by Thao & the Get Down Stay Down
One morning two days later, I spotted a young asian woman wearing black leggings and carrying a shovel wandering around in the front yard. She was accompanied by an older asian man. I put a mask on and stuck my head out the door to ask what they wanted.
“We’re here to finish the plumbing job.” She must have seen an incredulous expression cross my face because she followed that quickly with, “I’m the owner.”
I showed them to the back yard and they proceeded to fill the remainder of the hole.
Later the same afternoon, two young caucasian men came to scope the newly cleared sewer line. I asked one if the young woman was really the owner and he said. “Yes.” Curious, I asked if she was a plumber and he replied, “No, but she likes to pretend she is. Thay† is a plumber.” From this short exchange I gathered that her father was the plumber and likely founder of the company.
We don’t have words for the way you have grown
We’ll always feed you
You can always come home— from Temple by Thao & the Get Down Stay Down
My father is from a small village in the Philippines. He is a retired civil engineer and ran is own firm for many years, but the business always seemed to struggle. Ever the eldest son, he always paid his employees before he paid his bills or himself.
Firstborn, I was good at math and could easily have followed in his footsteps by becoming an engineer, but I didn’t. Instead I found my way as an artist, having studied dance and math and art and worked variously as a photographer, aerialist, software engineer, and graphic designer.
For Christmas, I sent my father a small bag of delicious salt and pepper pistachios and a short note. I related the story of the Vietnamese plumbing family and how that encounter made me wonder if he had ever wanted me to take over DeLuna, Inc., his now shuttered civil engineering firm. If he had wanted this, it was a wish that was never voiced. My father is a man of few words. In my note, I thanked him for allowing me to go my own way and for letting me be an artist. I know the pressure was there, unspoken, and this is the first time I had addressed it. At this time I am almost 50 years old and my father is close to 80.
A few days after Christmas, my father sent me a text message:
Got the package. Appreciate your little note and thanks for the pistachio
* “I do not intend to speak about. Just speak nearby.” — Trinh T. Minh-ha 1, 2
† Thay is a Vietnamese word for teacher; I recognized the term because students of Thích Nhat Hanh refer to him this way.
Artists Cadin Batrack and Karen de Luna are partners and collaborators exploring the contours of joint creativity across various mediums. With these Diptych Duets, they are conducting a conversation without words. Taking turns, each artist chooses a photograph from their personal archive and presents it for consideration. It is the job of the partner on the receiving end to find a complementary image and to decide on the diptych layout. The photos in this particular selection of diptychs all have some connection to Seattle or the greater Pacific Northwest.
ONE (a Buttcracker COVIDEO)
Ever since Karen saw Three Dog Night live at a baseball field in Las Vegas as a wee rocker, the song One has had a special place in her heart. Making a fan video for the song, buttcracker-style, seemed like a perfect pandemic project. Cheers to all the lonely buttcrackers, we’ll get through this together!
One is the loneliest number that you’ll ever do
Two can be as bad as one
It’s the loneliest number since the number one
— Harry Nilsson, One
This song is heartbreaking; it belongs on a playlist with Eleanor Rigby. No animals (including humans) were harmed in the making of this film.
Buttcracker Public Service Announcement
The Final Countdown
Erickson Theater Off Broadway
Not In My BackYard
Stripped of its context, litter can transmogrify from trash to art. As a gentle reminder that we are privileged to spend time in one of the most beautiful places on earth, NIMBY outlines the traces of human manufacturing that layer the neglected corners of our environment, delicately mapping place, gesture and human presence.
NIMBY was co-produced by the Banff New Media Centre.
trash map and reference environmental photos

domain: artistic


Missouri lawmakers pass legislation to shorten probation for some offenders
Wednesday, May 2, 2012 | 6:33 p.m. CDT
JEFFERSON CITY — Legislation shortening the time some Missouri offenders spend on probation, parole or conditional release is on its way to Gov. Jay Nixon.
The Senate approved the measure Wednesday on a 24-3 vote, shortly after the House of Representatives passed it 150-0.
The bill would give certain nonviolent offenders 30 days of credit toward their probation or parole for every month they go without a violation. It also provides for 120-day "shock" sentences for some felons who violate their probation or parole for the first time and shorter jail sentences for subsequent violations.
Proponents say those and other provisions of the bill will help the state save money and reduce the number of offenders who commit crimes after they're released.
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This Washington State public transit agency is planning and constructing 62 new miles of light rail to complete a 116-mile system with extensions to Everett via the Paine Field Industrial Center (Boeing Field); Tacoma via Federal Way and Fife; downtown Redmond; Ballard via South Lake Union and Seattle Center; West Seattle; and a new light rail line from south Kirkland through Bellevue to Issaquah.
Seattle is one of the last American cities to adopt an extensive transit system. Residents have quickly embraced public transportation. As the region grows, car traffic has actually gone down. City officials indicate average daily traffic in Seattle proper has stayed flat, and even declined a little since 2006. During this period, the city added more than 116,000 residents, the second biggest percentage increase among America’s 50 largest cities. However, building transit systems in today’s market takes years to complete. Tackling such an ambitious expansion project costs billions of dollars and depends on a giant roster of contractors.


text:
Guest essay by Eric Worrall
On the first day of the new British Government, Simon Virley, UK chair of energy and natural resources at KPMG, has warned that a priority for the new government is addressing Britain’s looming energy crisis.
According to The Telegraph;
Ahead of the results of one of the closest elections in decades, Simon Virley, UK chair of energy and natural resources at KPMG, has warned of tight energy capacity in 2015 and 2016.
“The next couple of winters are expected to be among the tightest this decade in terms of electricity capacity margins due to announced plant closures; while Britain’s overall dependence on imported energy is soaring as North Sea production declines,” he said.
According to KPMG, the margin for power generation this winter could be even lower than the 4.1pc winter outlook provided by National Grid last year following the potential closure of plants at Killingholme and Longannet.
WUWT has covered Britain’s energy issues on a number of occasions. Last year a fire at Didcot Power Station cost Britain an unscheduled 3% loss of electrical generating capacity. So it might not take much of a run of bad luck, to erase Britain’s razor thin electrical safety margin.


Woman dies, husband and son badly burned in S.J.
Published 4:00 am, Wednesday, May 2, 2012
A three-alarm fire in a San Jose residence early Tuesday killed a 51-year-old woman and badly burned her husband and their young son, authorities said.
When firefighters arrived at the fourplex on the 2000 block of Warfield Way around 2:45 a.m., neighbors screamed that a family was inside the home, said Capt. Mary Gutierrez, a Fire Department spokeswoman.
Firefighters rushed in and found seven people, Gutierrez said. The 51-year-old woman was dead, and her husband and 6-year-old son were seriously burned. They were hospitalized in critical condition.
Three other people, including the couple's 12-year-old son, suffered less-serious injuries, Gutierrez said. None of the victims' names has been released.
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It is not clear how the blaze started, Gutierrez said. It engulfed the home, which is just west of Highway 101 and north of Tully Road, and burned two cars in the garage.
More than 40 firefighters brought the blaze under control by 3:45 a.m.


Renault Captur 2014 Review
Renault Captur will just be built upon the same platform just like the new Clio; however it’ll feature a high-up driving position, massive boot, modular interior and innovative stowage solutions. Underneath the hood the model will just be offered along with the same engine line-up just like the new Clio, thus customers can be required to select between each petrol and diesel engines.
Exterior and Interior
The new Renault Captur features swish, fluid, balanced forms with design components impressed by your concept version, such as the front fascia which cool forward position of one’s steeply raked windscreen. The new Renault Captur will just be offered with an original two-tone color theme, combined with large-diameter wheels and sill guards.
The new crossover measures 4. 12 meters in length ( 157. 5 inches ), thus it offers a generous interior house, a high-up driving position, massive cargo space, modular interior and innovative stowage solutions.
The new Renault Captur offers a mixture of colours and motifs, that the cabin is warm and relaxing. As customary equipment, the crossover can provide hands-free entry, hill begin assist and rear parking sensors. for all those customers that wish to additional customize their model, Renault also will provide connected, in-dash Renault r-link touchscreen multimedia pill, plus a system that comprises six loudspeakers, Bluetooth connectivity, audio-streaming and arkamys hi-fi sound.
Underneath the hood, Renault can place a alternative of each petrol and diesel engines, combined along with the terribly latest Renault technologies. Final specifications will just be unveiled throughout Renault Captur debut in Geneva, however Renault has promised the new crossover can come back best-in-class fuel consumption and co2 emissions, beginning from as low as 96g/km.


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Comparison Chart for Best Serpentine Belt Tool
45520 number of user reviews were available online, which we scanned to find the Serpentine Belt Tool. Hopefully, our experts suggestions available in this article will help you find your ideal choice.
|1||Lisle 59370 Stretch Belt Remover / Installer||9.8||Check Amazon Price|
|2||Lisle 59000 Ratcheting Serpentine Belt Tool||9.8||Check Amazon Price|
|3||GEARWRENCH 15 Piece Ratcheting Serpentine Belt Tool Set - 3680D||9.6||Check Amazon Price|
|4||GEARWRENCH 15 Pc. Serpentine Belt Tool Set with Locking Flex Head Ratcheting Wrench - 89000||9.6||Check Amazon Price|
|5||Powerbuilt Alltrade 648629 Kit 52 Serpentine Belt Tool Set||9||Check Amazon Price|
|6||JEGS W84010 Serpentine Belt Tool Fits: (idler pulleys requiring)||9||Check Amazon Price|
|7||PKM - Ratcheting Serpentine Belt Wrench Tool Belt Remove and Install Kit Automotive Repair Kit Socket||8.8||Check Amazon Price|
|8||ATD Tools 8604 Tru-Grip Serpentine Belt Tool||8.6||Check Amazon Price|
|9||OTC (7654A) Serpentine Belt Installation Tool||8.6||Check Amazon Price|
|10||OEMTOOLS 25149 Serpentine Belt Tool||8.4||Check Amazon Price|
1. Lisle 59370 Stretch Belt Remover / Installer
- Combination of removal and installation tool for most stretch belt applications
- Unique magnetic faces hold the tool in place on the pulley
- Compact one-piece tool can be used on the front or back side of the pulley
- Included components: Tool only
2. Lisle 59000 Ratcheting Serpentine Belt Tool
- Ratcheting head with freewheel position allows maximum leverage
- Comes with extension for hard-to-reach idler pulleys
- Now includes 19mm socket for Honda and Toyota applications
- This tool will work where conventional ratchets or breaker bars won’t fit due to limited access
- Set ratcheting head to the middle or neutral/freewheel position and once maximum travel point is reached simply click lever into place to lock the ratchet mechanism.
- Includes – 57390: 14mm Socket / 57440: 15mm Socket / 57450: 18mm Socket / 57500: 13mm Socket / 57530: 3/8″ Square Drive / 57560: 1/2″ Square Drive / 57580: 16mm Socket / 59100: Extension / 59140: 19mm Socket / 59190: Handle Assembly.
3. GEARWRENCH 15 Piece Ratcheting Serpentine Belt Tool Set – 3680D
- Combining the innovation of a GEARWRENCH ratcheting wrench with the requirements of the serpentine belt removal tool to provide the best possible combination.
- Complete tool set for removing or installing the serpentine belt on vehicles with a spring loaded belt tensioner pulley.
- Long bar can hold sockets directly or attach to the ratcheting wrench for maximum access
- Includes Drive Tools: Long Bar, Special GearWrench Ratcheting Wrench, and 3/8inch, 1/2inch and 3/4inch Adapters.
- Includes 6 Point Sockets: 13 millimeter, 14 millimeter, 15 millimeter, 16 millimeter, 17 millimeter, 18 millimeter and 19 millimeter.
- Includes Crowsfoot: 13mm, 14mm and 15mm
4. GEARWRENCH 15 Pc. Serpentine Belt Tool Set with Locking Flex Head Ratcheting Wrench – 89000
- Patented tool combines the innovation of a gear wrench ratcheting wrench with the requirements of the serpentine belt removal tool to provide the professional with the best possible combination.
- Color: Black. Drive Type : Pass-Thru.
- Manufactured in Taiwan
5. Powerbuilt Alltrade 648629 Kit 52 Serpentine Belt Tool Set
- Made to be the most reliable tools in the market today
- Tool solutions for most all situations
- Built to exceed tool standards
- Designed for removing and installing serpentine belts on vehicles with spring-loaded belt tensioners
- Includes accessories for specific vehicle applications, including GM, Ford, Chrysler, SAAB, VW and Volvo.
- Carry case includes usage photos and instructions
6. JEGS W84010 Serpentine Belt Tool Fits: (idler pulleys requiring)
- 15mm, 16mm or 18mm Hex Socket
- 13mm, 14mm or 15mm Crowfoot Wrench
- 3/8″ or 1/2″ Square Drive
7. PKM – Ratcheting Serpentine Belt Wrench Tool Belt Remove and Install Kit Automotive Repair Kit Socket
- The Serpentine Belt Tool Set Is An Integral Tool When Removing And Installing Serpentine Belts With Spring-Loaded, Idler Pulleys.
- Serpentine Belt Tool Removes Tension On Spring-Loaded Idler
- Eases Removal And Installation Of Serpentine Belts
- Extension Bar For Hard To Access Areas
- 3/8 in. Drive Chrome Vanadium Sockets In 13,15, 16 And 18Mm
8. ATD Tools 8604 Tru-Grip Serpentine Belt Tool
- Clamping jaw allows user to position the belt without the belt slipping out of the tool
- Tru-Grip and long reach allows belt routing in tight access areas
- Body made of lightweight alloy steel for durability and strength
- Ergonomic handle provides comfort and ease in use, acting as an extension of the user’s hand
9. OTC (7654A) Serpentine Belt Installation Tool
- 25 inches long
- Three-pin design to accommodate serpentine V-belts and timing belts
- Durable tool provides extra control for push/pull applications
- Ergonomic handle gives technician twisting control to install belts in confined hard to reach areas
- Durable tool provides extra control and reach during serpentine belt installation
10. OEMTOOLS 25149 Serpentine Belt Tool
- For Removing and Installing Serpentine Belts
- Package Dimensions: 66.04 H x 3.81 L x 10.16 W (centimeters)
- Package Weight: 1.111 kilograms
- Country of Origin : China
How To Choose The Best Serpentine Belt ToolDoes the thought of finding a great Serpentine Belt Tool stress you out? Has your mind been juggling between choices when it comes to buying Serpentine Belt Tool in general, specifically regarding which model to choose?If that’s the case, know that you’re not alone. Many people find it tough to buy the perfect Serpentine Belt Tool for themselves. We understand the stress associated with the buying process!Since you’re here, you are obviously curious about Serpentine Belt Tool. You’ve been bombarded with information, so you need to find a reputable source with credible options before you make any decisions on which product would be best for your needs.There are many sources that’ll provide you with that information- buying guides or ratings websites, word-of-mouth testimonials from friends or family members, online forums where users share their personal experiences, product reviews specifically found all over the internet and YouTube channels. Only thorough research will ensure that you get the right product.But that’s not always easy, right? That's why we've taken time to compile a list of the best Serpentine Belt Tool in today's market, on your behalf, so that there will be no more worries for you.How did we come up with the list, you ask? How did we create this buying guide?
- First, our algorithms collected as much information available about these products from trusted sources.
- We employed both Artificial Intelligence and large data volume to validate all collected information.
- Then our AI ranked them on their quality-to-price ratio using industry-standard criteria that let us pick the best Serpentine Belt Tool currently on the market!
- Brand Value: What happens when you go for a not-so-reputable brand just because the price seems cheap? Well, the chance of getting a short-lasting product goes higher. That’s because the renowned brands have a reputation to maintain, others don’t.
- Features: You don’t need heaps of features, but useful ones. We look at the features that matter and choose the top Serpentine Belt Tool based on that.
- Specifications: Numbers always help you measure the quality of a product in a quantitative way. We try to find products of higher specifications, but with the right balance.
- Customer Ratings: The hundreds of customers using the Serpentine Belt Tool before you won’t say wrong, would they? Better ratings mean better service experienced by a good number of people.
- Customer Reviews: Like ratings, customer reviews give you actual and trustworthy information, coming from real-world consumers about the Serpentine Belt Tool they used.
- Seller Rank: Now, this is interesting! You don’t just need a good Serpentine Belt Tool, you need a product that is trendy and growing in sales. It serves two objectives. Firstly, the growing number of users indicates the product is good. Secondly, the manufacturers will hopefully provide better quality and after-sales service because of that growing number.
- Value For The Money: They say you get what you pay for. Cheap isn’t always good. But that doesn’t mean splashing tons of money on a flashy but underserving product is good either. We try to measure how much value for the money you can get from your Serpentine Belt Tool before putting them on the list.
- Durability: Durability and reliability go hand to hand. A robust and durable Serpentine Belt Tool will serve you for months and years to come.
- Availability: Products come and go, new products take the place of the old ones. Probably some new features were added, some necessary modifications were done. What’s the point of using a supposedly good Serpentine Belt Tool if that’s no longer continued by the manufacturer? We try to feature products that are up-to-date and sold by at least one reliable seller, if not several.
- Negative Ratings: Yes, we take that into consideration too! When we pick the top rated Serpentine Belt Tool on the market, the products that got mostly negative ratings get filtered and discarded.


text:
31, 2001 (Nuevo, Puerto Vallarta)
Location: Paradise Village Marina -Nuevo Vallarta, Mexico
Title: Hurricane Adolph is Dying by Lois Joy
Yes, we now realize that most of you in the States did not even know Adolph was alive and kicking. Thats the U.S. media for you. If a hurricane in another country is not causing tremendous coastal damage or loss of life, it is not worth a mention, no matter how ferocious he or she might be at sea. Only insurance companies care, it appears. Ours does not cover Pacific Bliss after June 1 for damage due to a named or numbered tropical storm.
Today--knock on wood--Pacific Bliss, with Stu and Sharon Richardson as crew, will head out for Cabo San Lucas once again. Buddy Boats Quest and Finally plan to go today as well. We have been at port here far too long. Last night, the crews of all three boats returned from our inland Escape Adolph tour to find the dock B&C cruisers networking party in progress for the third time. We had arrived on a Wednesday afternoon and had been invited to the weekly party here within hours. Gunter turned to me and said, This means we beginning our third week here.
I said, We cant let this happen. I am not attending another party. Im heading directly to the internet café before it closes at 9:00. Theres no rain and winds here as forecasted-no boats battened down expecting a blow. This air is humid and still. We need to find out what is going on. Perhaps Adolph is not coming after all.
If you are so inclined, you can also follow Adolph on the internet as well. Merely go to weather.com, click on Mexico, click on Cabo San Lucas to find the weather at our next port of call. Or you can go to the NOAA site and enter a discussion on unpredictable Hurricane Adolph who messed up our plans for quite some time here.
We have some great photos of our respective crews touring the city of Tepic, some ancient ruins (now restored and charged for), and an inland crater-formed lake. Well try to send these from Cabo. Right now, we need to get outta here. Life has been too good here; we are gaining back the weight we had lost cruising and getting soft and lazy. Its time to meet the elements!


text:
In 2015, Ellie Lum founded Klum House out of a modest home in Portland, Oregon, that encompasses her & her husband's personal art studios. Their house boasts more art studio space than living quarters; a sewing classroom, industrial sewing studio, wood shop, and Dustin’s art studio—plus, a bit of home for themselves and their little wonder dog, Winston. Dustin & Ellie (Klein + Lum = Klum) are longtime creative entrepreneurs with roots in the cycling culture. Dustin Klein is founder of Cadence lifestyle cycling apparel & Ellie is founder of RE Load Bags, a custom handmade cycling bag company.
There’s tea, snacks, music & a tiny dog to sit on your lap and keep you company while you learn to sew.
The Original Klum House
Originally founded as a sewing education and handcrafted goods brand, Klum House quickly grew to emphasize their unique sewing workshops rooted in Ellie’s bag making & teaching skills. Over the next couple of years, Klum House built a following with those seeking high quality sewing and handcrafted goods education.
People came from all over the country to take classes specializes in rugged and utilitarian sewing techniques and bag-making. Klum House’s reputation for high-quality education is rooted in the insights Ellie gained as an educational researcher, combined with her years of experience manufacturing bags and running a handmade business.
In 2017, Klum House moved to a beautiful split-level commercial space on N. Williams with high ceilings, natural light, and plenty of room for all of their industrial sewing machines. They wanted to preserve the laid-back coziness of Klum House's previous home studio and create a space that feels welcoming, inspiring, and dynamic, with plenty of space for making and all of the necessary tools at your fingertips. This move marked an exciting new phase in the life Klum House and a chance to expand their mission of helping more people take their creative skills the next level— whether that means taking a little time out to work with your hands, or learning industrial sewing to build your own handmade business.


Federal ban is needed to prevent price-gouging
A federal investigation has concluded that the sharp increase in gasoline prices last year was caused by market factors.
OIL COMPANIES recorded obscene earnings in the aftermath of Hurricane Katrina, but the Federal Trade Commission has concluded that they broke no law. The FTC report sides with the industry's explanation that the gasoline price spikes and continuing high prices result from market forces, but a federal law against price-gouging is needed.
In a 222-page report, the commission found 15 examples of pricing by refineries, wholesalers and retailers that it said technically could be defined as "price-gouging." However, in all but one of those cases -- which went unnamed -- the steep price increases followed regional or local trends, so were probably not gouging.
At a Senate Commerce Committee hearing following release of the report, Senator Inouye pointed out that it did not explain why gas prices jumped to $6 a gallon in Atlanta. The report "does not convince me that consumers were treated fairly," said Inouye, the committee's ranking Democrat.
The high prices in the two weeks following Katrina were blamed on the damage to refineries along the Gulf Coast. However, they had a direct effect on prices in Hawaii, which were capped on the basis of prices on the Gulf Coast and in New York and Los Angeles even though the state gets its crude oil from Asia and Alaska.
Gas prices surged to nearly $4 a gallon for regular unleaded in many parts of Hawaii in the two weeks following Katrina, while the nation's average surpassed $3. As a result, big oil companies posted profits of $30 billion in that quarter. Exxon profits reached a record quarterly profit of $9.9 billion.
Hawaii's rates now average $3.40 -- a dime less on Oahu -- compared to the national average of $2.88. Hawaii prices are highest in the nation but only 4 cents higher than in California. Retailers in many California cities charge slightly higher prices than those in Honolulu.
The FTC report was met with justifiable bipartisan skepticism. "There's something really fishy here," said Sen. Trent Lott, R-Miss., pointing to the excessive profits and questioning the supply-and-demand explanation.
Although the price of crude oil rose in this year's first quarter, the "spread" between crude oil costs and retail prices of gasoline reached 30 cents a gallon, and rose to 40 cents in April. The spread is the amount the industry makes in profit.
The House has approved an energy price-gouging prohibition, and the Senate has begun to draft a similar bill. The legislation is needed because the price-gouging laws in 29 states vary widely and some are applied only in emergencies, which is the case in Hawaii.


text:
A one-man show at the Lichfield Garrick will lift the lid on the life of writer Patrick Hamilton.
Actor Mark Farrelly will take the role following his critically-acclaimed appearance in the city as Quentin Crisp in January.
A spokesperson said: “The Silence of Snow: The Life of Patrick Hamilton is a riveting, kinetic solo show which vividly portrays the life of one of the great English writers of the inter-war years.
“Patrick Hamilton was a dazzling success while still in his twenties, producing the hit plays Rope and Gaslight, and classic novels including Twenty Thousand Streets Under The Sky, Hangover Square and The Slaves of Solitude.
“But he was also an alcoholic, whose wit became increasingly mordant as his inner and outer worlds collapsed.
“Set in an electro-therapy clinic in the 1950s, and covering the entire sweep of Hamilton’s turbulent life, The Silence of Snow has gripped audiences wherever it has been performed.
“An arresting blend of original writing and extracts from Hamilton’s finest works, the play is a powerful cautionary tale about the dangers of not confronting one’s own inner chaos. It is also a hugely witty and engaging tribute to a great English writer.”
The Silence of Snow: The Life of Patrick Hamilton is at the Garrick Studio on September 21 at 7.45pm as part of the theatre’s Garrick Introducing series. The performance will be followed by a post-show discussion with Mark Farrelly.
Tickets are £17.50 and can be booked online at www.lichfieldgarrick.com or by calling the box office on 01543 412121.

domain: literature


Shenzhen, 09 November 2015
Wireless-Tag Announces MELCHIONI SpA as Industrial Distributor in Italy
Wireless-Tag Technology Co. Ltd., a supplier of wireless connectivity modules, today announced that MELCHIONI SpA., has been appointed as Wireless-Tag distributor in Italy, for all RF products including Wi-Fi™, Bluetooth®, ZigBee®, LoRa™ and ISM RF Modules. With the addition of MELCHIONI in Italy, Wireless-Tag will strengthen its local support, providing excellent sales and technical service to the vibrant Italian Electronic Industry. Under the terms of the franchise agreement, MELCHIONI will sell and support wireless connectivity products and solutions from Wireless-Tag to customers.
“We see the importance and strong growth of the IoT market in Italy, the country that historically pioneered Radio Broadcasting and Wireless Communication: the innovative and competitive product from Wireless-Tag will help local customers ride the IoT wave. The strong local support from MELCHIONI will bring the value of Wireless-Tag products to local customers” says Iven Mu, General Manager of Wireless-Tag.
MELCHIONI commented: ''We are pleased to add Wireless-Tag, a leading IoT and M2M solution provider, to our portfolio. Wireless-Tag’s highly integrated, low power and easy to design Wi-Fi™, Bluetooth™, LoRa® and Zigbee® modules, will bring significant benefits to the Designers of the active Italian Electronic Industry, traditionally very open to RF technologies.”
Wireless-Tag Technology Co Ltd. Was founded in 2012. We design and manufacture wireless connectivity modules including Wi-Fi™, Bluetooth®, ZigBee®, LoRa™ and ISM RF. We are the leading supplier of wireless modules and solutions for electronic market including IoT, smart grid, wireless communication, home appliance, industry automation. Wireless-Tag products target the global market and therefore are CE/FCC/RoHS certified. For more information, please visit: www.wireless-tag.com
MELCHIONI SpA was founded in 1947 by Mario Melchioni. as the Distributor of Philips. MELCHIONI SpA is organized in five commercial departments constantly engaged on different markets and able to satisfy in every detail the most unlikely needs, by being autonomous structures with their own marketing strategies and commercial policies, with specialized sales agents and widespread and effective after-sales assistance: Electronic Components for Industry, Home Electronics, Professional Electronics, Car Systems and Energy. The Electronic Components for Industry Division has been active in Italy for more than 40 years. Thanks to its over 20.000 items, MELCHIONI stands out as the leading independent distributor in the whole Italy. Through sound partnerships with the best worldwide suppliers, MELCHIONI is up to satisfying its clients’ needs with quick and effective service, being therefore held as “Easy Partner” for its flexibility and cooperative attitude. For more information, please visit: http://www.melchioni.it/index


PVD and CVD vacuum coating technology and system
IKS PVD offer the suitable PVD vacuum coating machine for surface treatment project,contact with us now,
Vacuum coating is an important aspect of vacuum application field, it is based on vacuum technology, the use of physical or chemical methods, and the absorption of electron beam, molecular beam, ion beam, ionic beam, radio frequency and magnetic control and a series of new technologies, scientific research and practical production of film preparation to provide a new process. To put it simply, the method of vaporizing or sputtering a metal, alloy or compound in a vacuum to solidify and deposit it on the coated object (called substrate, substrate or matrix) is called vacuum coating.
As is known to all, on the surface of some materials, as long as the coating of a thin film, the material can have many new, good physical and chemical properties. In the 1970s, the main methods of coating on the surface of objects were electroplating and electroless plating. The former is through electricity, electrolyte electrolysis, electrolytic ion plating as another electrode substrate surface, so the condition of this coating, the substrate must be a good conductor of electricity, and the thickness of the film is difficult to control. The latter is to use chemical reduction method, must be prepared into a solution of membrane material, and can quickly participate in the reduction reaction, this coating method not only the film binding strength is poor, and the coating is neither uniform nor easy to control, but also produce a lot of waste liquid, causing serious pollution. Therefore, these two kinds of coating process, which is called wet coating method, are greatly restricted.
Vacuum coating is a new kind of coating technology developed relative to the wet coating method, which is usually called dry coating technology.
Vacuum coating technology is generally divided into two categories, namely physical vapor deposition (PVD) technology and chemical vapor deposition (CVD) technology.
Physical vapor deposition technology refers to the method of vaporizing the plating material into atoms, molecules or ionizing it into ions and directly depositing them on the surface of the substrate under vacuum conditions by various physical methods. Most hard reaction films are prepared by physical vapor deposition method, which utilizes some physical processes, such as the thermal evaporation of substances or sputtering of atoms on the surface of substances under ion bombardment, to realize the controllable transfer of atoms from the source material to the thin film. Physical vapor deposition technology has the advantages of good film/base adhesion, uniform and dense film, good controllability of film thickness, wide application of target materials, wide sputtering range, depositable thick film, stable composition of alloy film and good repeatability. At the same time, physical vapor deposition technology due to its processing temperature can be controlled under 500 ℃, thus can be used as the final treatment process for high speed steel and carbide class film cutter. As the physical vapor deposition process can greatly improve the cutting performance of cutting tools, people are competing to develop high performance and high reliability equipment at the same time, but also to the expansion of its application field, especially in the application of high-speed steel, cemented carbide and ceramic tools in a more in-depth study.
Chemical vapor deposition technology is the elemental gas containing a membrane element or compound supply base, with the aid of the gas phase or substrate on the surface of a chemical reaction, on the matrix method of making metal or compound film, mainly including atmospheric pressure chemical vapor deposition, low pressure chemical vapor deposition and has both features of CVD and PVD plasma chemical vapor deposition, etc.
Compared with wet coating technology, vacuum coating technology has the following advantages:
(1) wide selection of film and matrix materials, film thickness can be controlled to prepare functional films with various functions.
(2) the preparation of thin films under vacuum conditions, the environment is clean, the film is not easy to be polluted, so the film with good density, high purity and uniform coating can be obtained.
(3) the film has good bonding strength with the matrix and is firm.
(4) dry coating neither produces waste liquid, nor environmental pollution.
Vacuum coating technology mainly includes vacuum evaporation plating, vacuum sputtering plating, vacuum ion plating, vacuum beam deposition, chemical vapor deposition and other methods. In addition to chemical vapor deposition, other methods have the following common characteristics:
(1) all kinds of coating technologies need a specific vacuum environment to ensure that the movement of vapor molecules formed in the heating evaporation or sputtering process of film-making materials will not be affected by the collision, blocking and interference of a large number of gas molecules in the atmosphere, and the adverse effects of impurities in the atmosphere will be eliminated.
(2) various coating technologies require an evaporating source or target to convert the evaporating film-making material into gas. Due to the continuous improvement of source or target, the selection range of film-making materials has been greatly expanded. No matter metal, metal alloy, intermetallic compound, ceramic or organic material, all kinds of metal film and dielectric film can be steamed and plated, and multi-layer film can be obtained by steaming and plating different materials at the same time.
(3) the film thickness of evaporation or sputtering film making materials can be accurately measured and controlled in the process of forming film with the workpiece to be plated, so as to ensure the uniformity of film thickness.
(4) each film can accurately control the composition and mass fraction of residual gas in the coating chamber through fine-tuning valve, so as to prevent oxidation of evaporation materials, reduce the mass fraction of oxygen to the minimum, but also can be filled with inert gas, etc., which is impossible to achieve for wet coating.
(5) due to the continuous improvement of coating equipment, coating process can achieve continuous, thus greatly improving the output of products, and in the production process of environmental pollution.
(6) as the film is made in a vacuum condition, the film has high purity, good compactness and bright surface without any further processing, which makes the mechanical and chemical properties of the film better than electroplating film and chemical film.
Vacuum coating methods are many, including:
(1) vacuum evaporation: the substrate to be coated shall be cleaned and put into the coating chamber. After being evacuated, the membrane material shall be heated to a high temperature to make the vapor reach about 13.3pa and the vapor molecules shall fly to the surface of the substrate and coagulate to form the film.
(2) cathode sputtering: put need coating substrate opposite the cathode, access to the inert gas such as argon) has to indoor, to keep the pressure is about 1.33 ~ 13.3 Pa, the cathode can then be connected to 2000 v dc power supply, and stimulate the glow discharge, positively charged argon ion collision cathode, make its injection atomic, sputtering out of atoms by membrane is formed on the inert atmosphere to the substrate.
(3) chemical vapor deposition: the process of depositing thin films by thermal decomposition of selected metal compounds or organic compounds.
(4) ion plating: in fact, ion plating is an organic combination of vacuum evaporation and cathode sputtering, which has both technical characteristics
1. The vacuum chamber
Coating equipment mainly has two forms of continuous coating production line and single-chamber coating machine, stainless steel material manufacturing, argon arc welding, surface chemical polishing treatment, vacuum chamber components welding flange interface of various specifications.
2. Vacuum acquisition part
Vacuum acquisition is an important part of vacuum technology. The acquisition of vacuum is not a vacuum equipment and methods can be achieved, must be a combination of several pumps, such as mechanical pump, roots pump, molecular pump system.
3. Vacuum measurement part
The vacuum measurement part of the vacuum system is to measure the pressure in the vacuum room. Like vacuum pumps, no vacuum gauge can measure the entire vacuum range, so people make many kinds of vacuum meters according to different principles and requirements. Such as thermocouple meter, ionization meter, pirani meter and so on.
4. Power supply part
The target power supply mainly includes dc power supply, if power supply, pulse power supply, RF power supply (RF), common power supply manufacturers have AE,ADL, hotinger and so on.
5. Process gas input system
Process gas, such as argon (Ar), krypton (Kr), nitrogen (N2), acetylene (C2H2), methane (CH4), hydrogen (H2), oxygen (O2), etc., are generally supplied by the cylinder, through the gas pressure reducing valve, gas globe valve, pipeline, gas flow meter, electromagnetic valve, piezo valve, and then into the vacuum chamber. The advantage of this gas input system is that the pipeline is simple, bright, easy to repair or replace the cylinder. Each coating machine does not affect each other. There are also cases where multiple coating machines share a set of cylinders, which may be seen in some larger coating workshops. Its advantage is, reduce gas cylinder to occupy dosage, unified plan, unified layout. The disadvantage is that the number of connections increases the chance of air leakage. And, each coating machine will interfere with each other, a coating machine pipe leakage, may affect the quality of other coating machine products. In addition, when replacing the gas cylinder, you must ensure that all the machines are in a non-gas state.
6. Mechanical transmission part
The coating requires uniform thickness around the coating, so there must be three rotations in the coating process to meet the requirements. That is, when the large workpiece table is required to rotate (I), the small workpiece bearing table also rotates (II), and the workpiece itself can rotate simultaneously (III). In mechanical design, it is generally in the center of the bottom of the large workpiece turntable for a large driving gear, surrounded by a number of small star gear meshing with it, if you want to achieve product rotation, generally use a fork to dial the workpiece rotation.
7. Heating and temperature measuring parts
Coating equipment generally have different positions of the heater, thermocouple measurement and control temperature. However, since the position of thermocouple clamping is different from that of the workpiece, the temperature reading cannot be the real temperature of the workpiece. To measure the real temperature of the workpiece, there are many ways, you can install a high temperature test paper or thermocouple meter on the workpiece.
8. Ion evaporation and sputtering sources
The evaporation source of multi-arc plating is generally round cake, commonly known as round cake target, but also rectangular multi-arc target. The target seat is equipped with a magnet. By moving the magnet back and forth, the magnetic field intensity can be changed and the moving speed and track of the arc spot can be adjusted. In order to reduce the temperature of the target and the target seat, the target seat should be continuously fed with cooling water. In order to ensure the high conductivity and thermal conductivity between the target and the target seat, tin gaskets can be added between the target and the target seat. Magnetron sputtering films generally use rectangular or cylindrical sputtering cathode.
9. Water cooling system
Generally by the cold water tower, ice water machine, water pump, etc.
10. Industrial control system


text:
I want to be able to export my touring plans into a cab so I can manipulate it and make it into something more attractive than a simple print out in it’s current version.
Copying and pasting doesn’t work because it’s not in a table format, nor does web scrapping. Is there an export feature or am I forced to make this happen all manually?
I’m not certain, but I don’t think so.
I manually typed mine so I could colour code it and all the other OCD stuff
I can test it today, but if you have the Adobe Suite you might be able to print it as a PDF and then open it in Illustrator.
Here’s how to get table data:
- View the plan in print mode, by either
– Clicking View & Print, or
– Making it a shared plan and clicking the share link, or
– Manually adding &print_now=true after the 7-digit plan code in your URL
- Copy/paste the data, which is now in table format.
Sample, using Google Sheets as a paste mechanism:

domain: design