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My homemade casserole! I love whipping it together when I'm feeling lazy. It's really easy and very good.
recipe:
3/4 bag egg noodles {12 oz.)
2 cans cream of mushroom soup
1 can chedder soup
1 can mushrooms
1 can asparagus tips
1 1/2 cup shredded cheddar
1/8 cup dehydrated onion
1/2 small can of corn(5oz.)
bread crumbs
salt and pepper to taste
You can use a can of tuna if you'd like as well.
Cook the noodles according to directions then throw all the rest together except the bread crumbs. Put in a baking dish and throw some shredded cheddar on top with bread crumbs. Then bake at 350 for 30 minutes. Enjoy!
~Scott
At Boboli Gardens for a morning look around the gardens in Florence. It was a very hot morning in Florence. A bit dehydrating!
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
The Knight's Garden (Giardino del Cavaliere). Leading to the Porcelain Museum. Was also some nice views from up here!
This garden takes it's name from the rampart known as the 'Bastion of Cavaliere Malatesa' (Malatesta the Knight) which was designed by Michelangelo in 1529.
The Torre del Gallo is a historical building located in Florence, Italy, located at Pian de' Giullari, in the hills of Arcetri, on top of a ridge overlooking the city where there is a magnificent panorama.
In ancient times it was part of a genuinely fortified castle on the hill, strategically close to Florence. According to some historians, it belonged to the family Galli (or Gallo), who were of very ancient origin. An emblem written in Gothic calligraphy still remains in stone near a plaque located on one of the walls of the courtyard. Taking advantage of their position, the family demanded a toll from people coming down towards Florence from Impruneta. The fortress was partially demolished in 1280 due to the conflict between the Guelphs and Ghibellines. Further damage was inflicted in 1364 following the devastation of raids by the condottiero John Hawkwood, who ravaged the hills of Arcetri with "iron and fire".
The villa, which is dominated by the tall tower, has a large hall with an octagonal vaulting, and an entry with graffiti, perhaps from the Renaissance. The court attributed to Brunelleschi is surrounded by Corinthian columns and arches on three sides, while the second neo-gothic courtyard is decorated with many coats of arms belonging to the owners of the villa and ones Bardini added.
The marble terrace is inspired by the Renaissance Venetian style of Jacopo Sansovino, who adorned the park and some ruins with a monumental fountain.
The great hall on the south side of the park, near the Villa La Gallina, was the laboratory-warehouse Bardini. Left unoccupied, it has now been restored and converted into residences.
Here you can see branching structure and shape of leaves. Leaves are curled this way on both live plants and dehydrated ones. It forms a texture, resembling sparse knitted pattern.
Made with Romanesco zucchini (but of course any zucchini will work), thinly sliced, tossed with a tsp or 2 of olive oil and sprinkled with dill and basil and a little sea salt. Dehydrated for about 5-6 hours on low heat. Super yummy, crispy and full-flavored.
At Boboli Gardens for a morning look around the gardens in Florence. It was a very hot morning in Florence. A bit dehydrating!
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
First proper view of the Florence skyline from Boboli Gardens.
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Here you can see branching structure and shape of leaves. Leaves are curled this way on both live plants and dehydrated ones. It forms a texture, resembling sparse knitted pattern.
Battling blistering heat, dehydration and fatigue, 30 members of the Carolina Brotherhood recently rode 463 miles in five days to honor their comrades who have made the ultimate sacrifice.
The Carolina Brotherhood is a cycling group comprised entirely of firefighters, police officers, and emergency personnel from across North and South Carolina. Their mission is to provide emotional and financial support for the families of those who lost their lives in the line of duty from the Carolinas. Their desire is to build awareness and appreciation of the sacrifice each of those extraordinary individuals have made, and to honor their memory.
At Boboli Gardens for a morning look around the gardens in Florence. It was a very hot morning in Florence. A bit dehydrating!
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
I was more interested in the skyline from Boboli Gardens than the actual gardens! It was so amazing to look at! This was our last morning in Florence, for in the afternoon we would get our coach to Volterra (including a stop off at a winery).
Kaffeehaus view.
The Palace of Justice or Palagiustizia of Florence , is located in Viale Guidoni , in the district of Novoli (west part of the city).
The building, designed in the seventies of the twentieth century , in line with the architecture of the period, and started to build in 2000 , in the original projects should have been fully operational in the spring of 2006 , but the construction has continued, not due the problems caused by the inadequate construction techniques employed or by the obsolescence of the project itself, but only due to lack of funding by the Ministry of Infrastructures [ without source ] , which forced initially to contract only the first part of the work and proceed to a second call for tenders once the necessary funds have been found. In the fall of 2008 , even though most of the facilities had been completed, the construction site was still open and the transfer of the offices was being planned.
With the beginning of January 2012 the new Palagiustizia became operational with the definitive transfer of the Justice of Peace, which was followed by the Public Prosecutor's Office and the office of the GIP (Judge of Preliminary Investigations). On January 23, 2012 the structure was inaugurated by the Minister of Justice Paola Severino and the Mayor of Florence Matteo Renzi : the main local authorities were present. By July 2012 the transfer of all the Florentine judicial offices (Court, Court of Appeal, Public Prosecutor's Office) was completed, with the exception of the Juvenile Court, which by law must have a separate seat from that of the ordinary court.
During a public ceremony, held on June 12, 2015, the Palace of Justice in Florence was named after the Florentine jurist and politician Piero Calamandrei , one of the Constituent Fathers of the Italian Republic.
It is a colossal complex built in the ex-Fiat area , intended to bring together all the judicial offices scattered throughout the city, freeing many buildings in the historic center (nine locations) that may have other destinations.
Designed by the architect Leonardo Ricci (who has since disappeared), it is 240 meters long and 146 meters wide, with a 72-meter tower, one of the highest in the city. The building area occupied is about 800,000 square meters. This is the second largest Italian court of justice after the one in Turin .
In this new judicial citadel will be allocated the archived plans, over which you will find the classrooms for discussion, which will be joined by two classrooms and the maxi-classroom placed on the mezzanine floor. The last floors are for the offices of magistrates and prosecutors . Several thousand people work there among judges , lawyers , clerks and clerks .
The VirtualTourist travel site in 2011 put it in fifth place among the ten worst buildings in the world. In 2016 the art critic Vittorio Sgarbi called it "a place of sordid ugliness".
Suffering from dehydration after walking all day I was taken in by this gorgeous family. The correct treatment for dehydration is not Chang (rice beer), but I survived.
Battling blistering heat, dehydration and fatigue, 30 members of the Carolina Brotherhood recently rode 463 miles in five days to honor their comrades who have made the ultimate sacrifice.
The Carolina Brotherhood is a cycling group comprised entirely of firefighters, police officers, and emergency personnel from across North and South Carolina. Their mission is to provide emotional and financial support for the families of those who lost their lives in the line of duty from the Carolinas. Their desire is to build awareness and appreciation of the sacrifice each of those extraordinary individuals have made, and to honor their memory.
At Boboli Gardens for a morning look around the gardens in Florence. It was a very hot morning in Florence. A bit dehydrating!
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
I was more interested in the skyline from Boboli Gardens than the actual gardens! It was so amazing to look at! This was our last morning in Florence, for in the afternoon we would get our coach to Volterra (including a stop off at a winery).
Kaffeehaus view.
Basilica di Santo Spirito
The Basilica di Santo Spirito ("Basilica of the Holy Spirit") is a church in Florence, Italy. Usually referred to simply as Santo Spirito, it is located in the Oltrarno quarter, facing the square with the same name. The interior of the building - internal length 97 meters - is one of the preeminent examples of Renaissance architecture.
Filippo Brunelleschi began designs for the new building as early as 1428. The first pillars to the building were delivered in 1446, ten days before his death. After his death, the works were carried on by his followers Antonio Manetti, Giovanni da Gaiole, and Salvi d'Andrea; the latter was also responsible for the construction of the cupola.
Unlike S. Lorenzo, where Brunelleschi’s ideas were thwarted, here, his ideas were carried through with some degree of fidelity, at least in the ground plan and up to the level of the arcades. The Latin cross plan is so designed to maximize the legibility of the grid. The contrast between nave and transept that caused such difficulty at S. Lorenzo was here also avoided. The side chapels, in the form of niches all the same size (forty in all), run along the entire perimeter of the space.
Brunelleschi's facade was never built and left blank. In 1489, a columned vestibule and octagonal sacristy, designed by Simone del Pollaiolo, known as Il Cronaca, and Giuliano da Sangallo respectively, were built to the left of the building. A door was opened up in a chapel to make the connection to the church.
A Baroque baldachin with polychrome marbles was added by Giovanni Battista Caccini and Gherardo Silvani over the high altar, in 1601. The church remained undecorated until the 18th century, when the walls were plastered. The inner façade is by Salvi d'Andrea, and has still the original glass window with the Pentecost designed by Pietro Perugino. The bell tower (1503) was designed by Baccio d'Agnolo.
The exterior of the building was restored in 1977-78.
Children are weighed to establish their de-worming dosage, Shinile Woreda, Ethiopia, Oct. 13, 2010.
U.S. Air Force photo by Staff Sgt. Kat McDowell
Nursing students from the Arts Medical College of Dire Dawa, Ethiopia, with help from the U.S. Army 418th Civil Function Specialty Team, Combined Joint Task Force – Horn of Africa, distributed medications to more than 900 children in seven remote villages during the second phase of a Medical Civic Action Program (MEDCAP) to improve health conditions in the Shinile Woreda (district), south of Djibouti Oct. 19.
Medications distributed were tailored to the results of parasitological testing of samples collected from children in the area during the first phase of the Shinile MEDCAP. Children were treated for Schistosoma mansoni and hookworms, parasitic worms that cause dysentery, dehydration, anemia and skin lesions.
“Part of the sustainability piece of these missions is the collaboration between our medical and nursing experts and the students,” said U.S. Army Maj. Brad Franklin, an FSP nurse practitioner. “Sharing experiences with the students helps guide the next generation of healthcare professionals in Ethiopia.”
Franklin said the participating students would graduate in a year’s time. The MEDCAP provided them practical field experience to better prepare them for future responsibilities, including how to treat patients with limited supplies and capabilities in rural situations.
“Most cases we’ve only read about and haven’t seen,” said Kadar Mohammed, one of the four nursing students involve. “Things like elephantiaisis and gout, we only hear about in class. This experience will help us better care for the people that need it most.”
In the third phase of the mission, more samples will be collected from children in Shinile Woreda and tested for parasites. Data from all phases of the MEDCAP will be provided to the Ethiopian Ministry of Health to augment their knowledge base and awareness of health issues in Shinile.
“The upshot is that healthier populations are more stable populations,” said Staff Sgt. Douglas Rueff, 418th CA combat medic.
“If the government can show it can provide basic services for the people, the people will feel more connected to the government and feel less sympathetic to extremist groups that come through the area. This helps the long-term view,” he said.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
Official Twitter Feed: www.twitter.com/usarmyafrica
At Boboli Gardens for a morning look around the gardens in Florence. It was a very hot morning in Florence. A bit dehydrating!
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
I was more interested in the skyline from Boboli Gardens than the actual gardens! It was so amazing to look at! This was our last morning in Florence, for in the afternoon we would get our coach to Volterra (including a stop off at a winery).
Kaffeehaus view:
Basilica di Santo Spirito
The Basilica di Santo Spirito ("Basilica of the Holy Spirit") is a church in Florence, Italy. Usually referred to simply as Santo Spirito, it is located in the Oltrarno quarter, facing the square with the same name. The interior of the building - internal length 97 meters - is one of the preeminent examples of Renaissance architecture.
Filippo Brunelleschi began designs for the new building as early as 1428. The first pillars to the building were delivered in 1446, ten days before his death. After his death, the works were carried on by his followers Antonio Manetti, Giovanni da Gaiole, and Salvi d'Andrea; the latter was also responsible for the construction of the cupola.
Unlike S. Lorenzo, where Brunelleschi’s ideas were thwarted, here, his ideas were carried through with some degree of fidelity, at least in the ground plan and up to the level of the arcades. The Latin cross plan is so designed to maximize the legibility of the grid. The contrast between nave and transept that caused such difficulty at S. Lorenzo was here also avoided. The side chapels, in the form of niches all the same size (forty in all), run along the entire perimeter of the space.
Brunelleschi's facade was never built and left blank. In 1489, a columned vestibule and octagonal sacristy, designed by Simone del Pollaiolo, known as Il Cronaca, and Giuliano da Sangallo respectively, were built to the left of the building. A door was opened up in a chapel to make the connection to the church.
A Baroque baldachin with polychrome marbles was added by Giovanni Battista Caccini and Gherardo Silvani over the high altar, in 1601. The church remained undecorated until the 18th century, when the walls were plastered. The inner façade is by Salvi d'Andrea, and has still the original glass window with the Pentecost designed by Pietro Perugino. The bell tower (1503) was designed by Baccio d'Agnolo.
The exterior of the building was restored in 1977-78.
At Boboli Gardens for a morning look around the gardens in Florence. It was a very hot morning in Florence. A bit dehydrating!
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
I was more interested in the skyline from Boboli Gardens than the actual gardens! It was so amazing to look at! This was our last morning in Florence, for in the afternoon we would get our coach to Volterra (including a stop off at a winery).
The view near the Kaffeehaus.
Basilica di San Lorenzo e le Cappelle Medicee
The Basilica di San Lorenzo (Basilica of St Lawrence) is one of the largest churches of Florence, Italy, situated at the centre of the city’s main market district, and the burial place of all the principal members of the Medici family from Cosimo il Vecchio to Cosimo III. It is one of several churches that claim to be the oldest in Florence; when it was consecrated in 393[1] it stood outside the city walls. For three hundred years it was the city's cathedral before the official seat of the bishop was transferred to Santa Reparata. San Lorenzo was also the parish church of the Medici family. In 1419, Giovanni di Bicci de' Medici offered to finance a new church to replace the 11th-century Romanesque rebuilding. Filippo Brunelleschi, the leading Renaissance architect of the first half of the 15th century, was commissioned to design it, but the building, with alterations, was not completed until after his death. The church is part of a larger monastic complex that contains other important architectural and artistic works: the Old Sacristy by Brunelleschi, with interior decoration and sculpture by Donatello; the Laurentian Library by Michelangelo; the New Sacristy based on Michelangelo's designs; and the Medici Chapels by Matteo Nigetti.
Though considered a milestone in the development of Renaissance architecture, S. Lorenzo has a complicated building history. Even though it was at least partially built under the direction of Filippo Brunelleschi, it is not purely of his design. The project was begun around 1419, but lack of funding slowed the construction and forced changes to the original design. By the early 1440s, only the sacristy (now called the Old Sacristy) had been worked on as it was being paid for by the Medici. In 1442, the Medici stepped in to take over financial responsibility of the church as well. Brunelleschi died in 1446, however, and the job was handed either to Antonio Manetti or to Michelozzo; scholars are not certain. Though the building was “completed” in 1459 in time for a visit to Florence by Pius II, the chapels along the right-hand aisles were still being built in the 1480s and 1490s.
By the time the building was done, many aspects of its layout, not to mention detailing, no longer corresponded to the original plan. The principal difference is that Brunelleschi had envisioned the chapels along the side aisles to be deeper, and to be much like the chapels in the transept, the only part of the building that is known to have been designed by Brunelleschi.
We shall see if our new book on fermented vegetables is taking us down a good road. We were making our usual sweet potato and carrot juice pulp crackers and noticed they were a little dry. We tried adding kimchi juice for moisture and lactic acid goodness. They are dehydrating now so we will know tomorrow if this experiment is worth repeating.
Dehydrated Zucchini Chips, Batch #2 - Salty Celery. Tasty!
Recipes: www.easyvegan.info/2012/07/23/dehydrated-zucchini-chips/
Dehydrated Vegetables in glass jars: Chard, Kale, Tomatoes, Bergamot (for tea).
I will use the reconstituted leafy vegetables in complex dishes, such as in a frittata, or in a soup. Dried tomatoes are valuable in many dishes. The bergamot is for simple tea....
Hungry and dehydrated, Thomas was unwavering by the fact that he had to overcome to win his soon-to-be bride.
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