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Javier Ramírez mostró los beneficios de Spring Framework de código abierto para desarrollo de aplicaciones en la plataforma Java
Foto: @falconantonio
Javier Ramírez mostró los beneficios de Spring Framework de código abierto para desarrollo de aplicaciones en la plataforma Java
Foto: @falconantonio
John Swinney, Cabinet Secretary for Finance, Constitution and Economy, Scottish Government appeared before the Finance Committee to give evidence on the Scotland’s Fiscal Framework. 02 March 2016. Pic - Andrew Cowan/Scottish Parliament
www.parino.it/antique-painting-oil-canvas-landscape-knigh...
COD: 6394
Antique Italian painting of the 19th century. Work oil on canvas depicting particular "landscape with castle and knight" of excellent painter's hand. Framework signed lower left Amalia Barabino (see photo). Wooden frame not coeval sculpted and re-gilded with some signs of wear. Paintings, for collectors and antique dealers. It has a small color drop at the bottom center, canvas in good state of conservation. Sight size: H 38.5 cm x W 53 cm.
Measure: H 51 x W 64 x D 5 cm
#antiques #antiquities #decor #decoration #painting #art #framework #oiloncanvas #landscape
Most raised-bed garden books use a 4'x4' model. The slope and general arrangement of my backyard wouldn't really allow for that. I mean, it is possible, but not ideal. Boja, being the visual genius that she is, suggested a 2'x8' arrangement. As is usually the case with all of her spoken statements, she was completely right.
I decided on a place to lay the frame down and beat up the area with a mattock.
The frame is plain pine wood from Home Depot. It was difficult to find wood that was actually dry and not split or warped. I couldn't believe how heavy the wood was there. It must have seriously been cut the day before.
I would have preferred Trex or even treated wood, but I couldn't find it in the sizes I wanted. Both were too expensive anyway. Most people think that treated wood can leach chemicals into the soil, but I saw a couple of studies online that showed that this effect is negligible and not a problem at all. The sawdust is a problem during cutting, however. It might also be a bad idea to use treated wood as a cutting board. I also wouldn't use it for a crib. Homemade toothbrushes with the stuff ... yeah, they are also bad. Anyway, if I could find the sizes I wanted, I would make future beds with treated wood - it lasts much longer.
What you see here came from two 10' pieces of ~1.5"x~11.5" wood. We had two 2' pieces cut off of each big plank at Home Depot.
We drilled some holes in the sides and put big screws in there. Making sure the holes and everything lined up while dealing with these very unwieldy boards made me want to try and break them with my head. I highly recommend drinking heavily before assembly. The whole process will take just as long, but at least you will have a good time. Also, being angry and violent while drunk is somewhat acceptable.
After it was all put together, Boja and I took our frame "out back" and put it down in the area I had prepared. I made sure the box was at least somewhat level and filled in the gaps underneath the frame.
When that part was done, I stood around and posed and smiled very smugly. I really should have a stockpile of trophies for moments like those.
When the prospect of anyone besides Boja noticing how magnificent everything looked dwindled, I brought down the giant, redolent bags of soil. I don't remember how many bags we had. Maybe 16 cubic feet? Anyway, I dumped that all in, watered it, and let it sit for a couple of days before planting anything.
Yay!
Javier Ramírez mostró los beneficios de Spring Framework de código abierto para desarrollo de aplicaciones en la plataforma Java
Foto: @falconantonio
ITU Workshop on Telecommunication Service Quality
Regulatory Frameworks and Experience-Driven Networking
26 November 2018, Geneva, Switzerland
©ITU/D.Woldu
The Australian Flexible Framework team will no longer be sharing offices with the Teaching and Learning team at TAFE and are moving into head office in the city.
Otra forma de representar visualmente a Scrum.
Esta vez, en Medellín durante un curso oficial de la Scrum Alliance, by Kleer.
Bronze (on now-lost wicker framework)
Early Iron Age, ca. late 8th-1st half 7th c. BCE
From Slovenia; Šmarjeta area?
One example of this type of helmet is known from Italy, in the Marche, but their distribution is concentrated in the area of modern Slovenia, in the Dolenjska region.
Photographed on display in the National Museum of Slovenia, Ljubljana
www.flickr.com/photos/paulo_direitinho/
www.flickr.com/groups/my_e-p1-minoltainthewww/
www.flickr.com/groups/my_e-p1-a_picture_a_story/
ep1direitinho.olhares.com/
500px.com/E-P1_direitinho
paulodireitinho.wix.com/e-p1direitinho
andyarthur.org/central-leatherstocking/chenango-county-2/...
Berry Hill Firetower on Friday Apr 5, 2013.
Copyright (c)2013 Andy Arthur. Creative Commons License.
The Australian Flexible Framework team will no longer be sharing offices with the Teaching and Learning team at TAFE and are moving into head office in the city.
The Dome
A vertical section of the dome of the Main Reading Room would show an exact half circle, with a diameter of 100 feet. The dome is of stucco, and applied to a framework of iron and steel, filled in with terra cotta. Although it appears to rest upon the deep upper entablature, it really springs immediately from the eight arches resting upon the great piers. The entablature, as will be seen on close inspection, bears no part in the construction. It is projected so far forward from the dome that one may easily walk between the two.
The entablature is about seven feet high, with a richly molded architecture and a heavy projecting corners. The ground of the frieze is gilt, with a relief ornament in white of eagles standing upon hemispheres and holding in their beaks a heavy garland of laurel. Over the north, south, east, and west arches are two female figures, the work of Philip Martiny, represented as seated upon the architrave molding and supporting a heavy cartouche—another instance of the emphasis that the architect has so often placed upon the four main axes of the building.
The Stucco Ornamentation
The dome is so simply planned that a description of its main features may be given in a very brief space. The surface is filled with a system of square coffers. The ornamentation of the body of the dome is in arabesque. The eight ribs that mark off the dome into compartments or reach divided into two by a band of gilded ornament representing a guilloche. The coffers diminish in size from 4½ feet square at the bottom to 2½ feet at the top. The total number of coffers is 320—or 40 in each compartment, and in each horizontal row, and eight in each vertical row. The ground of the coffers is blue, sky blue, as if one were really looking out into the open air—and therefore the color traditionally used in coffer in. To give sparkle and brilliancy, many shades and kinds of blue are used, the darker and heavier at the bottom, and the lighter and area are toward the top. The transition is so gradual and natural that the eye does not perceive any definite change, but only a generally increased vividness. The border moldings of the coffers are cream-colored—old ivory is the usual term—strongly touched with gold, and in the center of each is a great gold rosette.
Although the purpose of the dome arabesque is primarily to give an agreeable impression of light and shade, the individual figures of which it is composed are nearly as interesting a subject of study is the general effect of the whole. The variety of the figures is almost bewildering—lions’ heads, seahorses, dolphins, urns, cartouche’s, griffons, shells, storks, caryatids, tridents, eagles, cherubs, half figures, genii—altogether something like forty-five principal designs, interwoven with very many smaller but no less beautiful pieces of ornament. They all are adapted from Renaissance models of the best and purest period and are combined with the utmost spirit and harmony in an arabesque whose every portion has equal artistic value. No single figure catches the eye; broad horizontal and vertical bands of decoration, gradually diminishing as they approached the top, and circle and ascend the dome, each with its “note” of arrangement and design, but all cunningly united to form an indisputable whole, everywhere balanced and restrained.
Edwin Howland Blashfield’s Paintings
The position of Edwin Howland Blashfield’s decorations in the collar and lantern of the dome is the noblest and most inspiring in the Library. They are literally and obviously the crowning glory of the building and put the final touch on the whole decorative scheme of the interior. The visitor will see how, without them, not a painting in the building would seem to remain solidly and easily in its place, for they occupy not only the highest but the exact central point of the Library, to which, in a sense, every other is nearly relative.
Blashfield was almost certainly drawn to select some subject as he has here chosen: the Evolution of Civilization, the records of which it is the function of a great library to gather and preserve.
The ceiling of the lantern is sky and air, against which, as a background, floats the beautiful female figure representing Human Understanding, lifting her veil and looking upward from Finite Intellectual Achievement (typified in the circle of figures and the collar) to that which is beyond; in a word, Intellectual Progress looking upward and forward. She is attended by two cherubs; one holds the book of wisdom and knowledge, the other seems, by his gesture, to be encouraging those needs to persist in their struggle toward perfection.
The decoration of the collar consists of a ring of twelve seated figures, male and female, ranged against a wall of mosaic patterning. They are of colossal size, measuring, as they sit, about ten feet in height. They represent the twelve countries, or epics, which have contributed most to the development of present-day civilization in this country. Beside each is a tablet, decorated with palms, on which is inscribed the name of the country typified, and below this, on a continuous banderole or streamer, is the name of some cheese or typical contribution of that country to the sum of human excellence. The figures follow one another in chronological order, beginning, appropriately enough, at the east, the East being the cradle of civilization. List is as follows: Egypt, typifying Written Records; Judea, Religion; Greece, Philosophy; Rome, Administration; Islam, Physics; The Middle Ages, Modern Languages; Italy, the Fine Arts; Germany, the Art of Printing; Spain, Discovery; England, Literature; France, Emancipation; and America, Science.
Each figure is winged, as representing an ideal, but the wings, which overlapped regularly throughout, serve mainly to unite the composition in the continuous whole and in no case have been allowed to hamper the artist in his effort to make each figure the picture of a living, breathing man or woman. Four of the twelve figures, it will be observed, stand out more conspicuously than the rest because of the lighter tone of their drapery: Egypt, Rome, Italy, and England. They occupy respectively the East, South, West, and North points in the decoration and furnish another instance of the stress that has been laid, throughout the Library, upon the four cardinal points of the compass that governed the axial lines of the building and that, in turn, have been enriched and dignified in the final decorative scheme of the interior. Each of these axial figures is painted in a more rigid attitude than those beside it informs, as will be noticed, the center of a triad, or group of three, each of flanking figures leaning more or less obviously toward it. It should be noted that there was no intention on the part of the painter to magnify the importance of before figures thus represented over any of the others. The emphasis of color is solely for decorative purposes. The arrangement being chronological, Blashfield was unable to exercise much control over the order in which each figure should occur and still retain his original selection of countries.
Egypt is represented by a male figure clad in the loincloth and with lappets so familiar in the ancient monuments. The idea of Written Records is brought up by the tablet he supports with his left hand, which is inscribed in hieroglyphics the cartouche or personal seal of Mena, the first recorded Egyptian king, and by the case of books at his feet, which is filled with manuscript roles of papyrus, the Egyptian paper. Besides the idea of Writing and Recording, Blashfield brings out the fact that the Egyptians were among the first doctrine of the immortality of the soul. The figure holds in the right hand the Tau, or cross with a ring head, the emblem of life both in this world and beyond; and on the tablet behind his feet is the winged ball, the more familiar symbol of the same idea.
Judea is shown as a woman lifting her hands in an ecstatic prayer to Jehovah. The over garment that she wears falls partly away and discloses the ephod, which was investment borne by the high priests, ornamented with a jeweled breastplate and with shoulder clasps set in gold, which were engraved the names of the Twelve Tribes of Israel. On the face of the stone pillars set beside her is inscribed, in Hebrew characters, the injunction, as found in Leviticus 19:18: “Thou shalt love thy neighbor as thyself”—a sentence selected as being perhaps the noblest single text contributed by the Jewish religion to the system of modern morality. In her lap is a scroll containing, presumably, a portion of the Scriptures; and that her feet is a censer, typical of the Hebrew ritualism.
The figure of Greece is distinctively suggestive, so far as attitude drapery are concerned, one of the beautiful little Tanagra figures of terra cotta—so called from the ancient Greek town in which the first discovered—which are so familiar to students of Greek art. A bronze lamp is set beside her, and in her lap is a scroll—the emblems of wisdom. Her head is crowned with a diadem, perhaps a reference to the City of the Violet Crown, Athens, the Mother of Philosophy.
Rome, the second axial figure, where’s the armor of a centurion, or captain in a legion. A lion’s skin, the mark of a standard-bearer, is thrown over him, the head covering the top of his casque. The whole conception is that of the just but inexorable administration of Rome founded upon the power of its arms. One foot is planted upon the lower drum of a marble column, signifying stability. His right arm rests upon the fasces, or bundle of rods, the typical emblem of Roman power and rule. In his right hand, he holds the baton of command.
Islam is an Arab, standing for the Moorish race, which introduced into Europe not only an improved science of physics—as here used by Blashfield in its older and less restricted sense—but of mathematics and astronomy also. His foot rests upon a glass retort, and he is turning over the leaves of a book of mathematical calculations.
The term Middle Ages, represented by the female figure that comes next in the decoration, is usually understood to mean the epic beginning with the dissolution of the Western Roman Empire in 455 and ending with the discovery of America in 1492. No single country is here indicated, for Europe was throughout that. In a state of flux, so to say, during which the principal modern languages were finally involved from the Latin and Teutonic tongues. But it was an epic notable for many other things, also. The figure typifying the epic is distinguished by an expression at once graven passionate, and has a sword, casque, and cuirass, emblematic of the great institution of Chivalry; a model of a cathedral, standing for Gothic architecture, which was brought to its greatest perfection in these thousand years; and a papal tiara and the keys of St. Peter, signifying medieval devotion and the power of the church.
The next figure, Italy—the Italy of the Renaissance—is shown with symbols of four of the Fine Arts that she represents: Painting, Sculpture, Architecture, and Music. She holds a pallet in her left hand and with the brush in her right seems to lay another stroke of color on her canvas. To her left is a statuette after Michelangelo’s celebrated David, in Florence. At her feet is a Renaissance capital; and leaning against the wall of violin, at once the typical musical instrument and one the Italians excelled in manufacturing.
Germany is the printer, turning from his press—a hand press, accurately copied from early models—to examine the proof sheet he has just pulled. His right foot is placed upon a pile of sheets already corrected, and a roller for inking lies convenient to his hand.
Spain is the sixteenth-century Spanish adventurer. He wears a steel morion on his head and is clad in a leathern jerkin. Holding the tiller of the ship in his right hand, he seems to be watching for land to appear in the seat. Behind him is a globe of the earth, and that his feet a model of a caravel, the sort of ship in which Columbus sailed on his voyages, is introduced.
England wears the ruff and full sleeves of the time of Elizabeth—the era when English literature, both poetry and prose, was at its peak. She is crowned with laurel—the reward of literature—and bears in her lap an open book of Shakespeare’s plays, the right-hand page with a for simile of the title page of the first edition of A Midsummer Night’s Dream, dated 1600.
France, standing for emancipation and the great revolutionary upheaval of the 18th century, is dressed in a characteristic garb of the First Republic: a jacket with lapels, a tricolor scarf, and a liberty cap with a tricolor cockade. She sits on a cannon and carries a drum, a bugle, and a sword—emblems of her military crusade on behalf of liberty. In her left hand, she displays a scroll bearing the words Les Droits de l’Homme, the famous Declaration of the Rights of Man adopted by the French Assembly in 1789.
The twelfth and last figure, bringing us once more round to the east, is that of America—represented as an engineer, in the garb of the machine shop, sitting lost in thought over a problem of mechanics he has encountered. He leans his chin upon the palm of one hand, while the other holds the scientific book that he has been consulting. In front of him as an electric dynamo, recalling the part that the United States has taken in the advancement of electrical science.
On the base of the dynamo Blashfield has signed his work in an inscription that recalls also the name of the artist who assisted him and laying it upon the plaster: “These decorations were designed and executed by Edwin Howland Blashfield, assisted by Arthur Reginald Willet, A.D. MDCCCLXXXXVI.”
The visitor will perhaps have been a little perplexed by the familiar appearance of some of the faces in Blashfield’s decoration. It is an interesting fact that in several cases Blashfield has introduced a resemblance, more or less distinct, to the features of some real person to give greater variety and, above all, greater vitality to his figures. The persons chosen were selected because the character of their features seemed to him peculiarly suited to the type that he wished to represent. In the case of Abraham Lincoln—the figure of America—and of General Casey—Germany—the choice was fitting for other reasons. Among the female figures, the Middle Ages is Mrs. De Navarro (Mary Anderson), and England, Ellen Terry. The faces of Italy and Spain are from sketches made from Amy Rose, a young sculptor in New York, and William Bailey Faxon, the painter, respectively. France suggests the features of the artist’s wife. Throughout, however, it must be remembered that, to use Blashfield’s own words, “no portraiture has been attempted, but only characterization.”
Hay and wooden framework acts as a skeleton for clay idol making. This was shot at Kumartuli (in Kolkata), West Bengal, This is the centre of the clay idol-makers of West Bengal. It is home and workshop to more than one hundred and fifty families of clay model-makers.
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The Australian Flexible Framework team will no longer be sharing offices with the Teaching and Learning team at TAFE and are moving into head office in the city.
after a long time taking pictures and maybe edit some in photoshop (1%) i get bored of seeing them on the screen only.
i started get some prints and do individual frames in wood.
it is a great pleasure to work with wood instead of bits and bites...
The third in a series of three publicity brochures for a Building Contractors skilled around the architectural restore. My idea was to draw these buildings in two scene : the first from outside and the second in internal section.
Third brochure : antique masonry construction building (civil apartments).
These works beared me as young man a good amount of money (as says my friend Pete : “attention to detail makes money“
First scene : outside.
Coloured and black indian ink on Fabriano paper
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