Euridice, an opera by Jacopo Peri, with additional music by Giulio Caccini is the oldest surviving opera, first performed in Florence on this date in 1600 at the Palazzo Pitti with Peri himself singing the role of Orfeo. An earlier opera by Peri, Dafne (1597), is now lost. The libretto by Ottavio Rinuccini is based on books X and XI of Ovid's Metamorphoses which recount the story of the legendary musician Orpheus and his wife Euridice. Because Europe's actual oldest opera is lost, this date is the best we can do for dating the genesis of modern opera. Euridice was created for the marriage of Henry IV of France and Maria de Medici.
At the premiere, many of the roles were filled by members of Caccini's entourage, including his daughter Francesca Caccini. Peri composed all of the music for the first production, but owing to the integral involvement of Caccini and his performers, some of Peri's music was finally replaced by that of Caccini. When Caccini discovered that Peri intended to publish the opera with the added Caccini pieces, he rushed to finish his own version of Euridice using the same libretto, and managed to have his published before Peri's. In his preface, Peri notes that all of the music was completed by the date of the first performance earning his efforts the designation Prima Euridice.
In creating the music for Euridice, Peri envisioned a vocal style that is half sung and half spoken. For less dramatic parts he created vocal lines close to the style of spoken language set over a sustained accompaniment. For impassioned scenes he explored stronger and more rapid melodies with steadily changing harmonies. Peri's critics have observed that within the score of Euridice, he created no musically remarkable examples of either. However, he did use ranges and widths of register, as well as frequency and power of cadences, to distinguish different characters and dramatic moods. The voice and accompaniment are carefully paced to emphasize the tension and release in the text. Rhythmic and melodic inflections in the vocal lines closely, almost scientifically, imitate dramatic speech. In addition, impassioned exclamations are set with unprepared dissonances and unexpected movements in the bass. This extract may serve to show the style of the piece. It is pleasant enough, but not remarkable musically.
Euridice has its detractors, but there is general agreement that Peri established sound principles for operatic composition. Classic opera, henceforth, tells a story that exploits the interplay between aria and recitative, and uses a mix of solo, ensemble and choral singing. Peri's Euridice tells the story of the musician Orpheus and his wife Euridice based on classic Greek legend, but with allowances for artistic license. According to the legend (which is actually retold in a number of ancient texts in Latin), Orpheus was a great musician who journeyed to the underworld to plead with the gods to revive his wife Euridice after she had been fatally injured.
The opera opens with a simple melody by a singer representing the Tragic Muse, La Tragedia, and a short ritornello. Shepherds nearby and the Tragic Muse sing a conversation in recitatives and choruses, Daphne enters to notify everyone that Euridice has been fatally bitten by a serpent.
All of the nymphs and shepherds gather to celebrate the wedding of Orfeo and Euridice.
Orfeo is content after his wedding but is soon interrupted by Dafne. She brings the terrible news that Euridice has been bitten by a venomous snake and has died. Orfeo then vows to rescue her from the underworld.
Arcetro recounts that while Orfeo lay weeping, Venus, goddess of love, carries him off in her chariot.
This opens with Orpheus pleading with Venere, Plutone, Prosperina, Caronte, and Radamanto in the underworld for the return of his beloved wife Euridice. Nearly the entire scene is carried in recitative. When the act closes, Orpheus is back with Tirsi and the other shepherds.
Venus and Orfeo arrive at the gates of the underworld. Venus suggests that through his legendary voice he might persuade Pluto to return Euridice to life. Orfeo succeeds and is allowed to leave with his bride.
Orfeo and Euridice return from the underworld and rejoice.
If you know the story of Orpheus and Eurydice you will know that the ending of the opera does not coincide with the Greek legend. In the original, Hades allows Orpheus to take Eurydice back but she is still a "shade" until she reaches the sunlight and gains human form again, and Orpheus must not look back until she is in the sunlight. Because she does not have a body, when she walks behind Orpheus she does not make any sound, and Orpheus, fearing he has been tricked by Hades looks back just before he reaches the surface to check she is there, and she is taken back to the Underworld. Lesson #1 people – HAVE FAITH.
Today's recipe is for a version of pasta in brodo from the cookery book Opera (first published 1570) from Bartolomeo Scappi, who was active from 1536 to 1570 – the period of this opera. I chose it, partly because it is contemporary Italian, partly because I am a fan of pasta in brodo, and partly because of the coincidence of names ("opera" in the book's title means "works" or "actions"). Note that the soup can be made with broth or milk and that the seasonings include sugar and cinnamon. By all means boil up a crane or hare to make your broth.
Work two pounds of flour, three eggs and warm water into a dough, kneading it on a table for a quarter of an hour. Roll it out thin with a rolling pin and let the sheet of dough dry a little. Trim away the irregular parts, the fringes, with a cutting wheel. When it has dried, though not too much because it will break up, sprinkle it with flour through a sieve so it will not stick. Then take the rolling pin and, beginning at one end, wrap the whole sheet loosely on to the pin, draw the pin out and cut the rolled-up dough crosswise with a broad, thin knife. When they are cut, flatten them. Let them dry out a little and, when they are dry, shake off the excess flour through a sieve. Make a soup of them with a fat meat broth, or milk and butter. When they are cooked, serve them hot with cheese, sugar and cinnamon. If you want to make lasagnas of them, cut the dough lengthwise on the pin, and likewise divide it lengthwise in two, and cut that into little squares. Cook them in the broth of a hare, a crane or some other meat, or in milk. Serve them hot with cheese, sugar and cinnamon.
Today is the birthday (1454) of Amerigo Vespucci, a contemporary of Christopher Columbus who also explored the New World by ship, and first demonstrated in about 1502 that Brazil and the West Indies did not represent Asia's eastern outskirts as initially conjectured from Columbus' voyages, but instead constituted an entirely separate landmass hitherto unknown to people of the Old World. Because of his exploration and cartography, the continent he explored (actually 2 continents) was named for him. The Latin version of Amerigo is Americus (masculine). The Latin feminine is America. Why continents are feminine in Romance languages is just one of the mysteries of linguistics you will have to sort out on your own. My pet peeve is more basic. As a native Argentino, I am as American as any Chilean, Bolivian, Mexican, or Canadian, and I resent citizens of the United States of America commandeering "American" and "America" for their nation only when they ought to apply to all peoples and nations of both continents. I doubt Vespucci would have approved. In many languages there are words for citizens of the U.S. that do not confuse the country with the continents. Estadounidense is used in most South American Spanish dialects, for example. English ought to be able to come up with something.
Vespucci was born and raised in Florence, the third son of Ser Nastagio (Anastasio) Vespucci, a Florentine notary, and Lisabetta Mini. His paternal grandfather also bore the name Amerigo Vespucci. Vespucci was educated by his uncle, Fra Giorgio Antonio Vespucci, a Dominican friar of the monastery of San Marco in Florence. While his elder brothers were sent to the University of Pisa to pursue scholarly careers, Amerigo Vespucci embraced a mercantile life, and was hired as a clerk by the Florentine commercial house of Medici, headed by Lorenzo de' Medici. Vespucci acquired the favor and protection of Lorenzo di Pierfrancesco de' Medici who became the head of the business after the elder Lorenzo's death in 1492. In March 1492, the Medici dispatched the 38-year-old Vespucci and Donato Niccolini as confidential agents to look into the Medici branch office in Cádiz, whose managers and dealings were under suspicion.
In April 1495, by the intrigues of Bishop Juan Rodríguez de Fonseca, the Crown of Castile broke their monopoly deal with Christopher Columbus and began handing out licenses to other navigators for the West Indies. Just around this time (1495–96), Vespucci was engaged as the executor of Giannotto Berardi, an Italian merchant who had recently died in Seville. Vespucci organized the fulfillment of Berardi's outstanding contract with the Castilian crown to provide twelve vessels for the Indies. After these were delivered, Vespucci continued as a provision contractor for Indies expeditions, and is known to have secured beef supplies for at least one (if not two) of Columbus' voyages.
At the invitation of king Manuel I of Portugal, Vespucci participated as observer in several voyages that explored the east coast of South America between 1499 and 1502. On the first of these voyages he was aboard the ship that discovered that South America extended much further south than previously thought. The expeditions became widely known in Europe after two accounts attributed to Vespucci were published between 1502 and 1504. In 1507, Martin Waldseemüller produced a world map on which he named the new continent America after Vespucci. In an accompanying book, Waldseemüller published one of the Vespucci accounts, which led to criticism that Vespucci was trying to upset Christopher Columbus' glory. However, the rediscovery in the 18th century of other letters by Vespucci has led to the view that the early published accounts, notably the Soderini Letter, could be fabrications, not by Vespucci, but by others.
In 1508, the position of chief of navigation of Spain (piloto mayor de Indias) was created for Vespucci, with the responsibility of planning navigation for voyages to the Indies. Two letters attributed to Vespucci were published during his lifetime. Mundus Novus (New World) was a Latin translation of a lost Italian letter sent from Lisbon to Lorenzo di Pierfrancesco de' Medici. It describes a voyage to South America in 1501–1502. Mundus Novus was published in late 1502 or early 1503 and soon reprinted and distributed in numerous European countries. Lettera di Amerigo Vespucci delle isole nuovamente trovate in quattro suoi viaggi (Letter of Amerigo Vespucci concerning the isles newly discovered on his four voyages), also known as Lettera al Soderini or just Lettera, was a letter in Italian addressed to Piero Soderini. Printed in 1504 or 1505, it claimed to be an account of four voyages to the Americas made by Vespucci between 1497 and 1504. A Latin translation was published by Martin Waldseemüller in 1507 in Cosmographiae Introductio, a book on cosmography and geography, as Quattuor Americi Vespucij navigationes (Four Voyages of Amerigo Vespucci).
Vespucci's real historical importance may well rest more in his letters than in his discoveries. From these letters, the European public learned about the newly discovered continents of the Americas for the first time within a few years of their publication. There is ongoing debate concerning the actual authorship of the letters and their veracity. It is possible that the first and fourth voyages are fabricated, but the second and third are certain.
A letter published in 1504 purports to be an account by Vespucci, written to Soderini, of a lengthy visit to the New World, leaving Spain in May 1497 and returning in October 1498. However, some modern scholars have doubted that this voyage took place, and consider this letter a forgery. Whoever did write the letter makes several observations of native customs, including use of hammocks and sweat lodges.
About 1499–1500, Vespucci joined an expedition in the service of Spain, with Alonso de Ojeda (or Hojeda) as the fleet commander. The intention was to sail around the southern end of the African mainland into the Indian Ocean. After hitting land at the coast of what is now Guyana, the two seem to have separated. Vespucci sailed southward, discovering the mouth of the Amazon River and reaching 6°S before turning around and seeing Trinidad and the Orinoco River, and returning to Spain by way of Hispaniola. The letter, to Lorenzo di Pierfrancesco de' Medici, claims that Vespucci determined his longitude celestially on August 23, 1499, while on this voyage. However, that claim may be fraudulent.
The last certain voyage of Vespucci was led by Gonçalo Coelho in 1501–1502 in the service of Portugal. Departing from Lisbon, the fleet sailed first to Cape Verde where they met two of Pedro Álvares Cabral's ships returning from India. In a letter from Cape Verde, Vespucci says that he hopes to visit the same lands that Álvares Cabral had explored, suggesting that the intention is to sail west to Asia, as on the 1499–1500 voyage. On reaching the coast of Brazil, they sailed south along the coast of South America to Rio de Janeiro's bay. If his own account is to be believed, he reached the latitude of Patagonia before turning back, although this also seems doubtful, since his account does not mention the broad estuary of the Río de la Plata, which he must have seen if he had sailed that far south. Portuguese maps of South America, created after the voyage of Coelho and Vespucci, do not show any land south of present-day Cananéia at 25° S, so this may represent the southernmost extent of their voyages.
After the first half of the expedition, Vespucci mapped Alpha and Beta Centauri, as well as the constellation Crux, the Southern Cross, and the Coalsack Nebula. Although these stars had been known to the ancient Greeks, gradual precession had lowered them below the European horizon so that they had been forgotten. On his return to Lisbon, Vespucci wrote in a letter that the land masses they explored were much larger than anticipated and different from the Asia described by Ptolemy or Marco Polo and therefore, must be a New World, that is, a previously unknown fourth continent, after Europe, Asia, and Africa.
Vespucci's fourth voyage was another expedition for the Portuguese crown down the eastern coast of Brazil, that set out in May 1503 and returned to Portugal in June 1504. Like his alleged first voyage, Vespucci's last voyage in 1503–1504 is also disputed to have taken place. The only source of information for the last voyage is the Letter to Soderini, but as several modern scholars dispute Vespucci's authorship of the letter to Soderini, it is also sometimes doubted whether Vespucci undertook this trip. However, Portuguese documents do confirm a voyage to Brazil was undertaken in 1503–04 by the captain Gonçalo Coelho, very likely the same captain of the 1501 mapping expedition (Vespucci's third voyage), and so it is quite possible that Vespucci went on board this one as well. However, it is not independently confirmed Vespucci was aboard and there are some difficulties in the reported dates and details.
The letters caused controversy after Vespucci's death, especially among the supporters of Columbus who believed Columbus' priority for the discovery of America was being undermined, and seriously damaged Vespucci's reputation. Not long after his return to Spain, Vespucci became a Spanish citizen. On March 22, 1508 he was made the pilot major of Spain by Ferdinand II of Aragon in honor of his discoveries. Vespucci also ran a school for navigators in the Spanish House of Trade, based in Seville. He died on February 22, 1512 at his home in Seville.
The first recipe to be used for pasta is unusual in that it uses both rosewater and sugar. The second is a fairly standard recipe for pasta in brodo although you may have trouble making a broth from hare or crane. The recipe for making the noodles shows that nothing much has changed in 500 years.
Work two pounds of flour, three eggs and warm water into a dough, kneading it on a table for a quarter of an hour. Roll it out thin with a rolling pin and let the sheet of dough dry a little. Trim away the irregular parts, the fringes, with a rolling wheel. When it has dried, though not too much because it would break up, sprinkle it with flour through a sieve so it will not stick. Then take the rolling pin and, beginning at one end, wrap the whole sheet loosely on it. Remove the rolling pin and cut the rolled-up dough crosswise with a broad, thin knife. When they are cut open them [the noodles] out. Let them dry out a little and, when they are dry, filter off the excess flour through a sieve. Make up a soup of them with a fat meat broth, or milk and butter. When they are cooked, serve them hot with cheese, sugar and cinnamon. If you want to make lasagna of them, cut the dough lengthwise on the pin, and likewise divide it lengthwise in two, and cut that into little squares. Cook them in the broth of a hare, a crane or some other meat, or in milk. Serve them hot with cheese, sugar and cinnamon.


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Golf themed wedding favors are a great way to celebrate the love of your life and the love of the game. Because sports and fitness plays such an important role in our lives, it is no surprise that unique wedding favor ideas with sports themes are becoming increasingly popular. There are golf party favors to fit any budget or theme. Your passion for golf will keep you on course with a few of your favorite things.
You have planned a truly unforgettable day, including all of your favorite things. The perfect finishing touch is the wedding golf favors. Bottle openers, wine glasses, identification charms, ornaments, matchbooks, key chains, keepsake boxes, and luggage tags all can be personalized to reflect your interest in golf.
Looking for golf themed wedding favors that will show off your love of the game?
What better way to display your golf wedding favor than on the green. It's amazing what presentation can do. Real grass planted in clear containers instantly creates interest and draws you in for a closer look. It certainly made us take a second look.
We love this wedding favor display snapped by photographers, Lin & Jirsa. It stands to reason that wedding photographers get to see the best of the best. This simple box tied with an elegant ribbon is a perfect example.
Golf theme to a tee.
Having a ball with golf themed wedding favors. The packaging makes this favor a hole in one. Easy to grab on the way out, golf fanatics will enjoy this practically par-fect gift.
Make every tee off memorable for guests who share a passion for the sport. Tie on a personalized golf tee to make your favor a big hit.
The golf theme inspires every detail of this tablescape from the flag to the green turf runner. The yellow tulips help soften the overall look and add a splash of color.
This martini glass filled with tees defines celebratory golf in a way that still feels modern. The ribbon wrapped stem gives a festive touch.
Glass cylinders are the clear choice to display a few of your favorite things. Choose containers of various shapes and sizes to add interest. A fun and functional wedding favor display that is all about golf. Sophisticated, yes. Complicated, no.
Create a golf themed candy buffet at your wedding reception. Coordinate candy by color, type, and personalize some with the golf theme. Use containers that fit the formality of the occasion. For example, the picture shown here has a more casual look, but can easily be made more formal with more sofisticated glass containers of different heights and sizes. Provide containers or bags for take home convenience. Guests of all ages will enjoy serving themselves to their favorites.
When the cake and the game you love team up, they deliver golf themed wedding favors your guests will love. What could be sweeter?
This cake design certainly depicts the groom's interest in golf. We love how the cake table is personalized with green turf, tees, and of course golf balls.
Treat your thirsty guests to a cool, refreshing drink. Water bottles personalized with your names, wedding date, or any cool design will surely hit the spot.
Greeting guests with favors at the table is a fun idea. Both of these favor ideas are proof that packaging matters and the power of personalization is undeniable.
Wedding favors and golf balls are a perfect pairing. Add your names, date, and meaningful picture or emblem to make it your own. Every swing of the club will commemorate your big day.
Create a grand focal point.
We're pretty sure guests will go home talking about this golf bag centerpiece. People love fresh ideas that they have not seen before. This one certainly checks all the boxes. Creative and unique, all thanks to a golf bag idea from Creative Cuisine Catering. However, if you prefer something a little more subtle, consider one of these smaller floral displays that complements the theme on a smaller scale.
We love this idea for a sit down dinner. Tee up your golf themed wedding favors and place right onto the dinner plate.
Attaching a personal thank you note to your golf wedding favors is a novel idea. The smallest of details can make something as simple as a golf tee very special.
This golf favor display aced the theme and kept the gift practical. If you want to personalize, do it on the favor tucked inside.
Impress your guests who love golf and the spirits. A classic wine lover favorite is a bottle stopper topped with a beautifully cut acrylic golf ball. Other great wine favor ideas include golf themed wine bottle wrappers and glass coasters. If wine is not your preference, consider beer koozies or shot glasses. Any of these wedding golf favors is cause for celebration.
It's extraordinary just what can be conjured up with color. Treat your guests to delicious, personalized candy favors. Everyone loves Hershey kisses, so smack on a golf motif for a sweet idea. If a chocolate bar is more appealing, design a personalized candy wrapper to make your guests smile. Made of the finest chocolate, these sporty confections will be the perfect touch to your perfect day. As an alternative to chocolate, you may consider personalized mint tins or jars of honey appropriately dressed with the golf theme. Tastefully done, golf themed wedding favors are a wonderful way to say thank you.
Grass and golf go hand in hand. Create golf inspired favors using brilliant green grass. Whether you use real or artificial grass, the results are stunning. The pop of green is perfect for displaying your golf themed wedding favors.
Display your golf themed wedding favors creatively. Frame pictures of the bride and groom taken at the golf course. Arrange on the favor table for an inexpensive personal touch. Add golf tee wedding favors or other golf related accessories to complete the golf theme. Your wedding guests will appreciate the time and effort that you put into keeping your favors on the green.
Good sportsmanship and team playing learned from golf will serve you well to avoid the sand traps or water hazards ahead as you settle into married life.
A clear or green bag is always an option for unusual shapes and sizes. Creative packaging never goes unnoticed. Make your take home favor distinctive with fun, affordable favor bags.


The fact Joe Beef has been voted Canada's best restaurant isn't going to come as a surprise to enthusiasts of the nation's food scene. But many will be shocked that the iconic restaurant's hometown, Montreal, trails Calgary in the number of entries placed in the 2013 Vacay.ca Top 50 Restaurants in Canada Guide.
Montreal ranks third in the nation with seven entries on the list that was determined by a mix of votes from 34 judges and the Canadian public, who submitted more than 8,000 entries that covered more than 425 restaurants in the nation. Toronto led all cities with 10 entries while Calgary — once thought of as a culinary desert — landed eight restaurants on the Top 50 list. Connie DeSousa, the co-owner of fifth-ranked CHARCUT, Calgary's leading entrant, was recognized as Canada's Best Female Chef while year-old Model Milk landed at No. 7.
David McMillan, co-owner of Joe Beef, was thrilled with the recognition as the nation's No. 1 restaurant. Joe Beef has been a force in Montreal's restaurant scene both as a destination for culinary travellers and as an influencer of other establishments in the city. McMillan and business partner Frédéric Morin published a best-selling cookbook in 2012 that further boosted their reputation. "The Art of Living According to Joe Beef: A Cookbook of Sorts" won the renowned Piglet award for best cookbook last year and was shortlisted for a James Beard prize.
"This is amazing and I am honoured," McMillan said when he found out about the win in a telephone interview that took place during a taping of the rankings.
In the Vacay.ca poll, Joe Beef led all restaurants in voting from the judges — who include some of the nation's finest chefs such as Rouge's Paul Rogalski, Raymonds' Jeremy Charles and Terry Pichor of Sonora Resort — and placed seventh in votes from the public. Votes from the judging academy make up 75% of the Top 50 results, with the public votes accounting for the rest of the total.
Diner Jo-Ann Samo praised McMillan and Morin's enterprise in Montreal's Little Burgundy neighbourhood when she submitted her vote. "I must admit the Joe Beef experience is unlike any other that you will encounter. It is a cavalcade of outstanding dishes, each a conquest of amazingly glorious, gluttonous and eccentric recipes. Servers were knowledgeable, friendly and welcoming. It''s a celebration that needs to be on everyone''s 2013 bucket list," said Samo, a finalist for the Vacay.ca Foodie of the Year Contest that gives one public voter a luxury getaway and dinner at the Top 50 restaurant of his or her choice.
Vacay.ca judge Dustin Gilman, who runs the Montreal Food Guy website, credited Joe Beef for its inventiveness and consistency. "I can't remember if I've ever had anything Dave and Fred made that I didn't like. There's a reason why a reservation at Joe Beef is one of the hardest to make in the city," Gilman said.
Joe Beef leaped over Vij's, last year's winner of the inaugural Top 50 Restaurants in Canada list, and Langdon Hall to claim top spot.
Another big honour went to the Mono Cliffs Inn, which stormed past Langdon Hall and Atelier in the final weeks to win the People's Choice Award. Run by transplanted Australian Carol Hall, the historic property in Mono, Ontario — an hour's drive northwest of Toronto — drew hundreds of emails from customers who showed effusive praise for the hospitality and cuisine they discovered in this out-of-the-way favourite in rural Canada.
The strong showing in the rankings gives Calgary a significant boost and also shows the growing economic trend happening across the country. Chefs who worked around the world are moving back to Calgary or relocating there for the opportunities presented by one of the nation's wealthiest and fastest-growing urban centres.
In 1999, actor Dylan McDermott ridiculed restaurants in Calgary and vicinity for serving "ketchup for tomato sauce." It was a damning statement that played into the stereotypes other Canadians had about the prairie city. The Vacay.ca ranking makes it clear that Calgary has propelled to the upper echelons of fine dining in the country.
Click here to see the complete list of the 2013 Vacay.ca Top 50 Restaurants in Canada Guide.


Making the decision to end one's marriage is often a difficult one for most New York couples. When the decision is finally made, people usually want to move on as quickly as possible to begin their new life on their own terms, which means they want to untangle their assets and finalize their child custody arrangements as soon as possible. This can be possible with the help of experienced divorce attorneys, such as those at the Law Offices of Kristene M Demo-Vazquez PC.
While it may seem tempting to rush through discussions and finalize divorce settlements just to end the process, the reality is that these decisions carry significant weight for the long-term that many people do not realize. For example, a once stay-at-home mother may struggle to suddenly find employment upon divorce, meaning she may need temporary or long-term spousal and child support. Similarly, as mentioned last week, knowing the date on which assets will be valued can better ensure that property division is carried out more equitably.
Not only are most people unfamiliar with family law, they are also not in favor of having to negotiate or meet their soon-to-be ex-spouse frequently. Lawyers at our firm can help with that Since our practice is focused on key areas such as property division and child custody and visitation, we have gained valuable knowledge in these areas and provide our clients with our undivided attention. Additionally, we advocate for all possible solutions for our clients whether it be trial or the pre-trial settlement stage, thereby distancing individuals from their soon-to-be ex-spouses. This can minimize tension and lead to favorable outcomes.
In order to achieve the best solution for our clients, we take the time to understand their needs and what they expect from their divorce. For more on how we proceed with their cases, visit our page.


text:
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Title: {title}

Author: {author}

Genre: {genre}

Date Added: {date}

Sypnosis

			A brief desciption of the book's general plot will be show here.
			Note that the chapter link will take you to the general skeleton of the
			chapter page with no data displayed.

Chapters:

        Chapter 1

redpajama_set_name: RedPajamaGithub


text:
Drosera cuneifolia ist eine fleischfressende Pflanze aus der Gattung Sonnentau (Drosera). Sie wurde 1781 zum ersten Mal beschrieben.

Beschreibung
Drosera cuneifolia ist eine mehrjährige, krautige Pflanze, die eine bodenständige Rosette bildet. Ihr Wurzelsystem besteht aus ein bis zwei langen Pfahlwurzeln. Die Blattrosette erreicht einen Durchmesser von 6 bis 8 cm. Sie besitzt spatelförmige Fangblätter mit einer Breite von bis zu 1,5 cm, die an der Unterseite des Stängels leicht behaart sind – an der Oberseite nicht. Ebenso sind an der Blattunterseite meist drei Blattadern gut erkennbar. Die Randtentakel sind durchgängig etwa gleich lang.

Am Ende des Frühjahres werden die etwa 15 cm langen Blütenstängel gebildet, sie tragen sechs bis zwanzig pinkfarbene Blüten. Die knapp 1 cm langen Kronblätter (Petalen) sind etwa gleich breit wie lang. Die Narbe der Blüte ist ungeteilt.

Blütezeit am Naturstandort ist November bis Januar.

Die Chromosomenzahl beträgt 2n = 32.

Verbreitung
Zu finden ist diese Pflanzenart in der westlichen Kap-Region Südafrikas in der Gegend von Kapstadt (Capensis).

Literatur
 Anna Amelia Obermeyer: Droseraceae. In: The Flora of Southern Africa. Band 13: Cruciferae, Capparaceae, Resedaceae, Moringaceae, Droseraceae, Roridulaceae, Podosfemaceae, Hydrostachyaceae. Botanical Research Institute – Department of Agricultural Technical Services – Republic of South Africa, Pretoria 1970, S. 187–201.
 Robert Gibson: Drosera cuneifolia and D. admirabilis: Two rosetted sundews from The Cape Province, South Africa. In: Carnivorous Plant Newsletter. Bd. 31, Nr. 4, 2002, , S. 100–107.

Einzelnachweise

Weblinks

 Vollständiges Datenblatt auf www.fleischfressendepflanzen.de

Sonnentaugewächse
Fleischfressende Pflanze
Droseraceae

redpajama_set_name: RedPajamaWikipedia


Sean Szymkowski March 19, 2019 Comment Now!
The Swedish supercar maker announced Tuesday that all 125 cars have been sold to buyers for around $3 million. The supercar will be homologated for roads around the world, which means that, yes, we will see at least one in the United States. Koenigsegg shared that buyers will have two choices of Jesko: one specified for track use and another for top speed. The former was shown in Geneva, while the top speed model goes by the codename "Jesko 300," with reference to an estimated top speed of 300 mph. Buyers can only pick one path, so they best choose wisely.
Koenigsegg will build more Jeskos than any model they've built before. Soon, an "entry-level" supercar will take that honor as CEO Christian von Koenigsegg said he wants to build hundreds of the forthcoming car, not dozens. Production of the Jesko will start at the end of 2020 with one car built per week.
The show-stopping engineering is all around the Agera-replacing supercar. Powering the speedy Swede is a 5.0-liter twin-turbo V-8 engine that, when running E85, makes 1,600 hp. Regular gasoline drops the power figure to only 1,280 hp. (Eds note: Sarcasm intended.) A 9-speed automatic transmission that the company calls its Light Speed Transmission handles shifting duties and can shift into the best gear for acceleration nearly instantly. There's no need for the transmission to drop through fifth gear, for example, if the driver wants to shift from sixth to fourth.
Buyers that opt for the track-spec model will be treated to more than 3,000 pounds of downforce through numerous aerodynamic elements that adorn the car's body.
For those wiping their tears on a blank check, there may still be a way to secure a Jesko. Koenigsegg said a "small number" of build slots were sold to dealers for potential clients that could not attend the Geneva motor show. If you're one of those people, quit reading and dial the local Koenigsegg dealer.


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Włodzimierz Wlaźlak joins Management Board of Lidl Polska
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Lidl Polska has changed the composition of the Management Board. Włodzimierz Wlaźlak, who has been working for Lidl for 17 years, has joined the Management Board of Lidl Polska. Włodzimierz Wlaźlak will be responsible for the structures of the company's sales divisions.
Włodzimierz Wlaźlak becomes member of Management Board of Lidl Polska
Włodzimierz Wlaźlak, who has been working for Lidl for 17 years, has joined the Management Board of Lidl Polska. Together with Maciej Tylkowski and Janusz Włodarzczyk, he will manage the structures of the company's sales divisions.
Włodzimierz Wlaźlak is a graduate of the Faculty of Management at the University of Łódź and the Justus Liebig University in Giessen (Justus-Liebig Universitat Giessen).
Lidl employs approximately 20,000 people in Poland. In the financial year 2018/2019, Lidl's net turnover in Poland amounted to over PLN 18bn.
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Tag Archives: Low Countries
Masterpieces from Buckingham Palace
Posted on September 3, 2021 by Hazel Stainer
Of the 8000 paintings in the Royal Collection, 65 of the best have been selected for the latest exhibition at the Queen's Gallery, Buckingham Palace. Many of these masterpieces have hung in the palace since George III (1738-1820) acquired the building in 1762. When George IV (1762-1830) came to the throne, he commissioned leading architect John Nash (1752-1835) to build a Picture Gallery, one of the state rooms in the palace, where these paintings have hung ever since. Unfortunately, they are displayed in two rows where it is difficult to see them all. Whilst the Picture Gallery is undergoing essential work, the public have the opportunity to view each of the chosen paintings at eye-level, where they can be examined and appreciated in detail.
The exhibition is divided into three sections, which look at paintings from different countries, such as the Netherlands, Flanders and Italy. Many were acquired by George IV, who had a good eye for art, but others have been in the collection since the reigns of Charles I (1600-49) and Charles II (1630-85). The paintings in the first gallery were all created in the Low Countries (Belgium and the Netherlands) between 1630 and 1680. This was the heydey of the Dutch Golden Age, during which the Dutch Republic controlled much of the area now belonging to the present Kingdom of the Netherlands.
Paintings from the Dutch Golden Age are modest in scale and tend to depict scenes of everyday life. Artists usually worked alone in a studio, painting from memory rather than on-site or en plein air. The colours are vibrant, which is one of several identifying features of the style. With delicate, almost invisible brushstrokes, Dutch artists produced true-to-life paintings that often contained a comic element. George IV appreciated the artworks for the latter quality and purchased all but two on display for his London residence at Carlton House while he was still the Prince of Wales.
A Lady at the Virginal with a Gentleman (c1660) is one of two paintings in this section of the exhibition not purchased by George IV. Instead, his father, George III, bought it in 1762 to hang in the King's Closet at Windsor Castle. Nicknamed The Music Lesson, it was painted by Johannes Vermeer (1632-75) in the early 1660s, although the King believed it was by Frans van Mieris the Elder (1635-81) due to a misreading of the signature. The true identity of the artist did not come to light until 1866.
Only 34 paintings by Vermeer survive, and they are difficult to date, although some art historians estimate he produced A Lady at the Virginal with a Gentleman between 1662 and 1664. Vermeer paints in a grid-like manner, full of vertical and horizontal lines, which draw the eye to the back of the room where the scene takes place. A young woman stands at a virginal with her back to the viewer while her music teacher stands to the side with his right arm resting atop the instrument.
Vermeer has cropped many of the elements in the painting, suggesting the room is much larger than what is visible. In the mirror on the back wall, which reflects the lady's face, Vermeer has also included a glimpse of an artist's easel, suggesting he is in the same room. Yet, it is more likely that Vermeer produced the artwork in his studio.
On the lid of the virginal, an inscription reads MUSICA LETITIAE CO[ME]S / MEDICINA DOLOR[IS], meaning "Music is a companion in pleasure and a balm in sorrow." Art historians debate the meaning of this phrase, suggesting it relates to the two figures in the painting. Perhaps there is forbidden love between the two characters, breaching the teacher-student relationship. Yet, another element in the scene questions the type of love hinted at by the inscription. The framed painting hanging on the wall behind the tutor is an impression of Roman Charity (Cimon and Pero) by Dirck Van Baburen (1595-1624). The scene depicts the story of the imprisoned Cimon, who was breastfed by his daughter Pero to keep him alive. Whilst this is meant to symbolise the ideal of Christian charity, it also hints at a complicated relationship.
Most likely purchased for its comedic value, The Listening Housewife by Nicolaes Maes (1634-93) entered the Royal Collection in 1811. During the 1650s, Maes produced several paintings of domestic scenes with moralising themes, of which this is one. The young housewife, identified by the keys in her hand, engages with the viewer with a direct gaze and a conspiratorial finger to her lips. This gesture draws attention to the scene at the foot of the staircase, on which the housewife is eavesdropping. Two lovers are kissing, having abandoned their chores, but will soon be caught by a man approaching with a lantern. The playful smile on the housewife's lips indicates she is not upset by the scene, but the older man may react quite differently when he discovers the couple.
Paintings of indoor domestic scenes tended to be quite dark due to the nature of Dutch buildings. Windows let in very little light, and the wooden interiors and furnishings created many shadows. Maes' paintings are an example of this, as are works by Gerrit Dou (1613-75), a former pupil of Rembrandt. In The Grocer's Shop (1672), Dou contrasts the darkness of the interior with the daylight outside, coming through an arched window. This creates the illusion that the viewer is observing the scene outside the building. Yet, the window is likely an element of Dou's imagination.
The scene in the room is typical of a general store selling eggs, dairy products, bread and meat products. The style of dress is slightly different from the early paintings by Dou, suggesting the fashions from France had begun to influence the Dutch Republic. This is also evident in the sculpted relief of children playing with a goat on the window sill, which resembles the work of French artists.
Not all paintings from the Dutch Golden Age depicted interior, everyday life scenes. Christ and St Mary Magdalen at the Tomb (1638) by Rembrandt van Rijn (1606-69) is an interpretation of a traditional religious scene recorded in the Gospel of St John (20:11-18). The Bible passage records the moment Mary Magdalen visits the tomb of the crucified Christ, only to find it empty. A man, who she mistakes for a gardener, asks her why she is crying, and she appeals to him for information about the missing body. This is the scene Rembrandt depicts, shortly before the moment Mary realises the gardener is her Lord, Jesus Christ.
Similar to other artworks of the era, the painting is quite dark, particularly around the tomb. Rembrandt's use of light in the background, which contrasts with the deep colours in the foreground, is symbolic. The darkness represents death and grief, whereas the opalescent dawn sky hints at hope and life. Jesus' body is angled towards the background, suggesting he wishes to move on and embrace his post-resurrection role in the world.
At first glance, Two Sportsmen Outside an Inn (1651) by Paulus Potter (1625-54) may appear to be a typical everyday life scene, but George IV probably purchased it for its comedic value. Two professional hunters are being served beer from a small, remote inn. A barefoot young boy tends to one of the men's horses while the other horse urinates on the ground. Whilst the horse's action is natural, it is unusual for an artist to capture such a moment.
Paintings from the Dutch Golden Age typically depicted colourfully dressed, wealthy men and women. Poverty was rarely seen in Dutch paintings, yet Potter emphasised the impoverished state of the innkeeper, child, and drunken man sitting on a bench. Art historians liken the subject matter to a story told by Ovid about the Roman gods Jupiter and Mercury, who visit the elderly peasant couple, Philemon and Baucis. There is a stark contrast between the rich and the poor, both in the style of dress and attitude. During the 17th, 18th and 19th century, some viewers may have found this contrast amusing.
The artwork in the second gallery also come from the Low Countries, but they belong to more prestigious branches of art. All the paintings are significantly larger than those in the first gallery and depict narratives, religious subjects, landscapes and commissioned portraits. Three of the best artists of the 17th century dominate the walls: Rubens, Van Dyck and Rembrandt.
Those fortunate enough to be visiting the exhibition at 12 pm or 3 pm have the pleasure of listening to a short talk about Milkmaids with cattle in a landscape, 'The Farm at Laken' by Sir Peter Paul Rubens (1577-18).
Peter Paul Rubens was perhaps the most accomplished and influential artist of the 17th century. He was born in Siegen, Germany but spent much of his early life in Antwerp, where he established himself as a painter. Rubens subsequently travelled all over Europe as a court artist and diplomat for Philip IV of Spain (1605-65) and Charles I of England (1600-49).
Rubens was a very versatile artist. In the exhibition are three of his landscapes, two portraits, and the Assumption of the Virgin. He was very well-known for his large scale history paintings, depicting scenes from mythology and religion. His landscapes are less known, which he painted towards the end of his life. These were produced for fun rather than for patrons and stayed in Rubens' personal collection or within the possession of friends and family.
The Farm at Laken is one of Rubens' earliest landscape paintings and was acquired by George IV in 1821 for 1500 guineas (just under £100,000 today) and has remained in the Royal Collection ever since. It is a panoramic landscape where the details in the foreground are very clear and viewers also have a view of the horizon on the left-hand side of the painting. Rubens' used subtle changes in colour to differentiate between the different levels of the landscape. In the foreground, he used brown tones, which become greener in the middle ground before transforming to blue in the background. He also uses a picturesque line of trees to lead the eye from one place to another.
Rubens produced this painting during the Autumn. This is evident through the subtle use of orange in the trees to indicate the changing colours of the leaves. The fields also have an autumnal glow, but the most obvious indication of the season is the activities of the people in the foreground. It is the time of the harvest, and some farmworkers are digging up vegetables, such as the cauliflowers and onions seen in a wheelbarrow and the basket carried by a woman. The well-fed cows are being milked, which along with the produce suggests the farm has had a successful, fertile year.
Some art historians believe there are elements in the landscape that relate specifically to Rubens' life. He painted the scene between 1617 and 1618, almost ten years after the signing of the Treaty of Antwerp. The treaty declared a truce between the Habsburg rulers of the Southern Netherlands (where modern-day Belgium is today) and Spain, and the Dutch Republic. The two sides had been at war for 41 years, the majority of Rubens' life, but the 1609 peace treaty resulted in twelve years of peace. The abundance of this Flemish landscape may represent this time of peace. The figures and animals may also personify the allegories of Peace and Plenty. The woman carrying the basket represents Plenty, and the flock of doves in the centre represent Peace.
The title of the painting, The Farm at Laken, refers to the church in the background between the trees. Art historians believe this is an impression of the Our Lady at Laken church, demolished during the late 19th-century. The church was associated with the rulers of the Southern Netherlands, Archduke Albert VII (1559-1621) and Isabella Clara Eugenia (1566-1663), who made a pilgrimage to the site every year. So, the farm did not just thrive under the peaceful watch of its rulers, but it also had religious connotations. Religion was extremely important to people living in Flanders and the Netherlands, but Our Lady at Laken held even more value because it contained a relic associated with fertility. Many women visited the church every year in the belief it would help them conceive a child.
Similar to other landscapes by Rubens, such as A View of Het Steen in the Early Morning and The Rainbow Landscape that were recently on display at the Wallace Collection in London, the painting grew during the making. The majority of Rubens' landscapes were painted on wooden panels (ironically, the other two landscapes in the exhibition are on canvas), which allowed him to produce finer details and disguise his brushstrokes. Rubens began this painting on a much smaller panel, which he later expanded by adding extra panels to the top (13 cm), left (7 cm) and right hand (15 cm) sides. Some art historians suggest this is because he could not contain the abundance of the landscape on such as small panel (72.9 x 103.9 cm).
Christ Healing the Paralysed Man (1619) is, admittedly, not one of Anthony van Dyck's (1599-1641) greatest works, but he was only 20 years old. At the time, Van Dyck was a student under Rubens, and the painting was likely designed by the elder artist. Sketches of figures similar to those in this painting exist in Rubens' hand. The religious theme is more synonymous with Italian painters of the 16th century, but many Netherlandish and Flemish artists practised by copying these styles.
Van Dyck, with Rubens' help, depicted the scene in Matthew 9:2-8, where Jesus healed a paralysed man. Some men brought the man to Jesus, who said, "Take heart, son; your sins are forgiven." Although this evoked outrage amongst the Pharisees, the man got up and walked home. The man in question is likely the poorly dressed, older looking figure on the left. He is thanking Christ for healing him – a scene not mentioned in the Gospel of Matthew.
Art historians have identified the young man near the open doorway as the recently called James, the Apostle that became the Patron Saint of pilgrims. All the characters seem to be heading towards the door as though about to start a journey or pilgrimage. The world outside appears bright and positive, which contrasts with the darkness of the interior. The darkness symbolises the sins of the man, and the light colours his salvation.
Visitors will recognise Rembrandt's Portrait of Agatha Bas (1611-1658) 'Lady with a Fan' from the promotion materials and advertisements for the exhibition. It is considered one of the most beautiful portraits in the Royal Collection. The 29-year-old woman was married to the wool merchant Nicolaas van Bambeeck (1596-1661), whose portrait hangs in the Musée Royal des Beaux-Arts in Brussels. The couple were not particularly famous, but Rembrandt knew them personally. After their marriage, the Van Bambeeck's lived with Nicolaas' mother, diagonally opposite Rembrandt on Sint Anthoniesbreestraat in Amsterdam.
Agatha wears a black gown over a pink silk dress. The gold flower patterns, pearls and fashionable fan reveal she was of a wealthy standing in Dutch society. Rembrandt expertly painted the white lace around her collar and sleeves, making the painting feel three-dimensional, almost as though the viewer could reach out and touch the material. Rembrandt also engages with the viewer by adding an ebony frame upon which Agatha's hand rests, giving the illusion that she could climb through the frame into the gallery.
Lord Yarmouth (1777-1842) bought the Portrait of Agatha Bas at an auction for King George IV. Yarmouth was an art collector as well as a politician, so understood what to look for in a painting. The sitter's beauty combined with Rembrandt's delicate brush strokes and detail makes the portrait particularly striking. Not only is the artwork pleasing to look at, but it is also the work of one of the most well-known artists of all time.
Almost out of place next to Rubens, Rembrandt, and Van Dyck is A Kermis on St George's Day (1649) by David Teniers the Younger (1610-90). Teniers was a versatile Flemish Baroque painter whose work greatly appealed to George IV. This painting is the most expensive work by Teniers in the Royal Collection, costing the King 1500 guineas in 1819; the same price as Rubens' Farm at Laken.
A Kermis is a summer fair held in towns and villages in the Netherlands, often organised by the parish church. Teniers painted several Kermis scenes, but instead of capturing fairs for posterity, he filled it with examples of vices for comedic effect. In this painting, lust, wrath, drunkenness, and general boorishness are abundant throughout the crowds. They are all in high spirits, leading to careless folly. George IV was a wild partygoer, and he may have recognised himself in many of these characters.
The third and final room of the exhibition displays paintings created in Italy between 1510 and 1740. During this period, art styles changed and developed, as did the themes. Ideal female figures contrast with sober male portraits, and large landscapes depict a range of views and weathers. The choice of colour also differs from artist to artist. Some use chiaroscuro to emphasise particular sections of the painting, and others stand out with bright, attractive colours. Whilst most of the previous paintings were purchased by George IV, many of the ones from Italy entered the Royal Collection much earlier.
In 1660, the States of Holland and West Friesland presented Charles II with Pallas Athene (c.1531-8) by the Italian prodigy Parmigianino (1503-40). Also known as Francesco Mazzola, he gained the nickname Parmigianino, meaning "the little one from Parma", due to his youth. Parmigianino began painting as a child, and by the age of 18, had already completed several commissions.
Pallas Athene was the Greek goddess of wisdom and a skilled warrior. Most artists depicted her wearing some form of armour, and Parmigianino followed suit by including a golden breastplate. The green gown covering Athene's shoulders, combined with her long, curly hair, emphasise her femininity. Athene's appearance, particularly her long neck, was inspired by classical statues, descriptions by the Italian poet Petrarch (1304-74), and Mannerist ideals of beauty.
In contrast to the beautiful Athene is Artemisia Gentileschi's (1593-1652) Self-Portrait as the Allegory of Painting (La Pittura), purchased by Charles I. Unlike the bright colours in Parmigianino's work, Gentileschi used dark, earthy tones, showing the viewer an alternative interpretation of beauty. According to Iconologia by Italian iconographer Cesare Ripa (1555-1622), Painting is personified as "a beautiful woman, with full black hair, dishevelled, and twisted in various ways, with arched eyebrows that show imaginative thought". Gentileschi captured the essence of this description, but as a woman, she did not intend to present herself (for it is also a self-portrait) as a man's ideal beautiful woman.
Artemisia Gentileschi came to London at the request of Charles I, suggesting he respected her as a painter despite her gender. Successful female painters were unheard of during the 17th century, but Gentileschi was very much in demand. Naturally, collectors were attracted by her unusual status as a female artist, but she also had outstanding artistic abilities.
Titian's (1488-1576) portrait of Jacopo Sannazaro (1458-1530) is an example of the sober-style paintings of men from the 16th and 17th century, a stark contrast from those depicting women. Painted early in his career (c.1514-18), Titian used a restricted colour range, making the sitter look like a sensible, respected member of society.
Jacopo Sannazaro was an Italian poet best known for his humanist classic Arcadia, a poem that influenced the likes of William Shakespeare (1564-1616) and John Milton (1608-74). Sannazaro claimed to come from a noble family, and this portrait reflects that. He sits with an air of importance, demanding respect from his viewers. In his right hand, he holds a book with one finger marking his place. Some art historians suggest it is a Bible, thus emphasising Sannazaro's piety.
Claude Lorrain's (1604-82) Harbour Scene at Sunset (1643) is one of several landscapes in the latter part of the exhibition. It was first recorded at Buckingham Palace in 1785 but may have been purchased earlier by Frederick, Prince of Wales (1707-57), the father of George III. The scene depicts the harbour at the Arco degli Argentari in Rome at sunset. The low sun creates a path of sunlight across the sea, providing enough light for the workers to unload goods from the ships.
The ancient Roman arch, yellow sky, and the "wine-dark sea" create an idyllic landscape, suggesting peacefulness, warmth and harmony. Yet, "Arco degli Argentari" means Arch of the Money-Changers and was located in a squalid corner of Rome. Lorrain used artistic licence to create an idealised version of the harbour. He did not aim to capture an accurate scene; instead, he worked to his strengths: his command of perspective and use of colour and tone.
In 1762, George III acquired The Bacino di San Marco on Ascension Day by Canaletto (1697-1768), which is a complete contrast to the landscape by Lorrain. Canaletto's precise drawing and painting style create a perfect depiction of the Bucintoro, the state barge of the doge of Venice, returning to the city on Ascension Day. The annual ceremony celebrated the Sposalizio del Mar (the Wedding of the Sea), which symbolised Venice's reliance on the sea. Several boats accompanied the Bucintoro, as seen in Canaletto's painting.
Canaletto's skill at architectural drawing is evident in his paintings because the buildings are precise and finely detailed. From a distance, the artwork looks like a photograph, but up close, the individual brush strokes are visible. He used the same technique for the ripples on the water and the boats. Although the canvas is fairly large (76.8 x 125.4 cm), the details are minute, suggesting Canaletto used a very fine paintbrush to painstakingly draw each line and flourish.
On display are four more paintings by Canaletto, which George III acquired in the same year. On a grander scale, these depict views of Venice away from the water's edge. As a result, they lack the fine details seen in the water in The Bacino di San Marco on Ascension Day, but they are still impressive pieces of art. It is easy to see why the King liked Canaletto's work, and visitors spend longer looking at the details in the landscape than they do in some of the other paintings in the gallery. In total, the Royal Academy owns over 238 paintings and drawings by Canaletto, making it one of the largest and most important art collections in the world.
Whilst the exhibition Masterpieces from Buckingham Palace evolved from an opportune moment – the Picture Gallery undergoing essential work – the curators have thought carefully about what paintings to display and where. Rather than placing them in chronological order, they are divided into three groups, which helps visitors compare artworks of similar styles. The exhibition provides details about each painting and encourages visitors to question what makes them so important that Britain's previous kings wanted them in their collection. There is no right or wrong answer. The appreciation of art is a subjective topic, and what appeals to one person may not to another. The aim of the exhibition is not to educate but to provide visitors with the opportunity to think and reflect.
Masterpieces from Buckingham Palace is on display at the Queen's Gallery, Buckingham Palace, until Sunday 13th February 2022. Tickets cost £16.00 per adult but discounted tickets are available for over 60s, children and students. Get your ticket stamped, and you can return as many times as you wish throughout the year.
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Posted in art, Exhibition | Tagged Agatha Bas, anchor, art, Artemisia Gentileschi, Belgium, Breaker, buckingham palace, canaletto, charles I, Charles II, Claude Lorrain, David Teniers the Younger, Dutch Golden Age, George III, George IV, Gerrit Dou, Google Podcasts, Italy, Johannes Vermeer, ko-fi, landscape, Low Countries, Masterpieces, Netherlands, Nicolaes Maes, paintings, patreon, Paulus Potter, Peter Paul Rubens, Pocket Casts, portrait, queen's gallery, rembrandt, royal collection, rubens, spotify, The Farm at Laken, Titian, Van Dyck | 3 Comments


Seeing the bigger picture and making forecasts for the future. With the Internet of Things (IoT) and Big Data Analytics, this is no longer a vision for the distant future. Use of this type of data analysis has been propelled by process digitization and the development of innovative, data-driven business and service models. These include, for example, the prediction of maintenance requirements for production plants and more reliable seasonal planning. The huge amounts of data processed for applications are no longer provided solely by software but are also obtained from devices or things. Big Data is complemented by the Internet of Things.
What does Big Data Analytics mean?
Big Data Analytics is the real-time analysis of large amounts of data of various types to uncover patterns, correlations and other value-added information.
Microphone-equipped production equipment allows operations to be performed by analyzing sound features. This allows anomalies to be detected and predictions to be made about maintenance requirements and failures - regardless of the system manufacturer.
Big Data Analytics enables comprehensive smartification in many differend areas. From a business point of view, planning processes, for example, can be designed more efficiently to enable more reliable seasonal planning. The Internet of Things makes the "Smart City" concept feasible, with such elements as networked parking spaces, offering private individuals the ability to search for a free parking space - and so benefit from digitalization.
Telematics integrated into vehicles makes various data available digitally enabling a more efficitent, transparent and safe fleet of vehicles, by early detection of anomalies, for example in routes or vehicle maintenance.
Use historical data to forecast the development of energy prices in regulated markets or enrich the order management for retailers with branch-specific target figures taking a range of factors, such as holiday periods or social media trends, into account.
Advanced Analytics enables the targeted analysis of large amounts of data (big data) for the targeted and efficient control of technical systems and assets. Targeted analyses on the basis of collected data make it possible to forecast energy consumption and supply as well as the condition of your installations.
Which skills are important for success in using Big Data & IoT?
For existing traditional IT as well as for various data sources such as sensors and machines.
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Eggplant, once established can withstand a greater drought than most vegetables. They are heat loving plants, but even heat loving plants require some water.
You will notice blossom drop and diminished yields when the daytime temperatures remain above 95 degrees for any extended period of time. The fruit may also develop sun-scald if exposed to excessive sunlight.
When night time temperatures are below 50 F they will not set fruit, however, they will set fruit in temperatures over 100 F. [with diminished yields] so long as they have moisture and nutrients.
Adequate moisture for eggplant is substantially lower than it is for other vegetables, in fact it should not be over watered as it is susceptible to root rot. Under normal conditions water sufficiently to moisten the soil to a depth of about 6 inches.
The critical period for moisture would be during fruit set and fruit development - excessive water at this time can hinder fruit development.
6 inches of Water ideal, but NOT 100% essential - they can do just fine with slightly less water under drought conditions.
Some varieties of eggplants fare better under drought conditions than others. Some have genetic traits acquired via breeding or natural selection that make them more successful in dry hot conditions.
Ping Tung Eggplant is a drought resistant heirloom from Taiwan. The Fruits are long and purplish, about 2 inches in diameter and up to a foot and half long. Like many of the longer eggplant varieties it does well in dry hot conditions.
Listada de Gandia eggplant produces a 5 inch long Violet fruit with irregular white streaks, and grows very well under drought conditions. A similar drought tolerant variety is Rosa Bianca, a Sicilian Heirloom that reaches 4 to 6 inches in diameter and 5 to 7 inches in length.
Round Mauve - This is an early variety that will yield before the full force of summer heat bears down and is drought tolerant.
Diamond Eggplants are a Russian variety that are sometimes suggested as a drought resistant or tolerant variety. While it is true they are drought tolerant - they are not very heat tolerant and produce best in cooler ares and even higher elevations.
Florida High Bush, Pandora Striped Rose and Round Mauve are a few other eggplant cultivars that are drought tolerant.
In addition to selecting the best varieties, suitable to your unique predicament, there are a number of fairly easy tactics to help eggplant prosper in droughts.
4. It is believed - although not proven beyond the shadow of a doubt that adding aspirin to the water when planting will enhance their ability to cope with drought as well as disease resistance. "The basic premise is that salicylic acid (the original active ingredient in aspirin) triggers plants to activate their version of an immune system, leading to an improved ability to fight off disease and fend off stresses like drought or cold."  .
5. Dusting the roots with Mychorizae is another well advised option when planting. Mychorizae are a naturally occurring beneficial fungi that attach themselves to plant roots creating a symbiotic relationship.


The fiery, comet-like passions of early years flash brightly across adolescence, rarely penetrating as brightly into older age. But, persevering even through the longest and strangest trips, the echoes of that devotion can be felt till the end. Available and poignant still to those who care, the embers of love and art remain tangible and accessible.
Dan Russell: the artist manager and advocate, concert promoter, producer, creative collaborator, video and film music supervisor; has helped launch a thousand ships (well, maybe just a few hundred!) throughout his lengthy resume. As the critical aide-de-camp to dozens of aspiring artists and proven superheroes, it seems he's always been in demand through a voluminous 35-year professional career. Is it because he sensed the needs of his 'client' and 'the project' with such zeal and focus that his friendship and trust inevitably elevated what could have been a mere business liaison? Russell's reputation in music circles is one of a man willing to stand unwavering in the gap.
That commitment led to decades of work with the Call and it's lead singer Michael Been, Mark Heard, U2, Black Rebel Motorcycle Club, Sam Phillips, Andy Pratt, Bruce Cockburn, Switchfoot, Robin Lane, The Vigilantes of Love, Ramona Silver, Rachel Taylor, The Violet Burning and more. In 1998 Russell co- founded Soulfest, the first New England social justice music festival which has become an annual event attended by many thousands.
But, the desire to return to that earlier role, writing and performing his own work, never abandoned Russell. The 'echoes' kept dragging him back until finally, Russell deemed one important collaboration or promised business commitment to be the last one. Then, with official duties forestalled, the guitars came out of their cases and studio time was booked to record a series of his personal songs, the cryings of his own heart.
The completion and release of this album leads to a desire to take the songs to the people – in clubs, coffeehouses, music stores, Starbucks, Tuesday nights in front of three patrons to turning heads at festivals in front of thousands. As he said, "It's a sacred adventure, a journey." Dan Russell has launched his own ship now; he's prepared to go wherever it takes him.


text:
package raptor.pref;

/*******************************************************************************

 * All rights reserved. This program and the accompanying materials
 * are made available under the terms of the Eclipse Public License v1.0
 * which accompanies this distribution, and is available at
 * http://www.eclipse.org/legal/epl-v10.html
 *
 * Contributors:
 * IBM Corporation - initial API and implementation
 *******************************************************************************/

import org.eclipse.core.runtime.Assert;
import org.eclipse.jface.preference.FieldEditor;
import org.eclipse.jface.resource.JFaceResources;
import org.eclipse.swt.SWT;
import org.eclipse.swt.custom.StyledText;
import org.eclipse.swt.events.DisposeEvent;
import org.eclipse.swt.events.DisposeListener;
import org.eclipse.swt.events.FocusAdapter;
import org.eclipse.swt.events.FocusEvent;
import org.eclipse.swt.events.KeyAdapter;
import org.eclipse.swt.events.KeyEvent;
import org.eclipse.swt.graphics.GC;
import org.eclipse.swt.graphics.Point;
import org.eclipse.swt.layout.GridData;
import org.eclipse.swt.widgets.Composite;

/**
 * A field editor for a string type preference.
 *

 * This class may be used as is, or subclassed as required.
 *

 */
public class TextFieldEditor extends FieldEditor {

	/**
	 * Text limit constant (value -1) indicating unlimited text
	 * limit and width.
	 */
	public static int UNLIMITED = -1;

	/**
	 * Validation strategy constant (value 1) indicating that the
	 * editor should perform validation only when the text widget loses focus.
	 *
	 * @see #setValidateStrategy
	 */
	public static final int VALIDATE_ON_FOCUS_LOST = 1;

	/**
	 * Validation strategy constant (value 0) indicating that the
	 * editor should perform validation after every key stroke.
	 *
	 * @see #setValidateStrategy
	 */
	public static final int VALIDATE_ON_KEY_STROKE = 0;

	/**
	 * Indicates whether the empty string is legal; true by
	 * default.
	 */
	private boolean emptyStringAllowed = true;

	/**
	 * The error message, or null if none.
	 */
	private String errorMessage;

	/**
	 * Cached valid state.
	 */
	private boolean isValid;

	/**
	 * Old text value.
	 */
	private String oldValue;

	/**
	 * The text field, or null if none.
	 */
	StyledText textField;

	/**
	 * Text limit of text field in characters; initially unlimited.
	 */
	private int textLimit = UNLIMITED;

	/**
	 * The validation strategy; VALIDATE_ON_KEY_STROKE by default.
	 */
	private int validateStrategy = VALIDATE_ON_KEY_STROKE;

	/**
	 * Width of text field in characters; initially unlimited.
	 */
	private int widthInChars = UNLIMITED;

	/**
	 * Creates a string field editor of unlimited width. Use the method
	 * setTextLimit to limit the text.
	 *
	 * @param name
	 *            the name of the preference this field editor works on
	 * @param labelText
	 *            the label text of the field editor
	 * @param parent
	 *            the parent of the field editor's control
	 */
	public TextFieldEditor(String name, String labelText, Composite parent) {
		this(name, labelText, UNLIMITED, parent);
	}

	/**
	 * Creates a string field editor. Use the method setTextLimit
	 * to limit the text.
	 *
	 * @param name
	 *            the name of the preference this field editor works on
	 * @param labelText
	 *            the label text of the field editor
	 * @param width
	 *            the width of the text input field in characters, or
	 *            UNLIMITED for no limit
	 * @param parent
	 *            the parent of the field editor's control
	 */
	public TextFieldEditor(String name, String labelText, int width,
			Composite parent) {
		this(name, labelText, width, VALIDATE_ON_KEY_STROKE, parent);
	}

	/**
	 * Creates a string field editor. Use the method setTextLimit
	 * to limit the text.
	 *
	 * @param name
	 *            the name of the preference this field editor works on
	 * @param labelText
	 *            the label text of the field editor
	 * @param width
	 *            the width of the text input field in characters, or
	 *            UNLIMITED for no limit
	 * @param strategy
	 *            either VALIDATE_ON_KEY_STROKE to perform on the
	 *            fly checking (the default), or
	 *            VALIDATE_ON_FOCUS_LOST to perform validation only
	 *            after the text has been typed in
	 * @param parent
	 *            the parent of the field editor's control
	 * @since 2.0
	 */
	public TextFieldEditor(String name, String labelText, int width,
			int strategy, Composite parent) {
		init(name, labelText);
		widthInChars = width;
		setValidateStrategy(strategy);
		isValid = false;
		errorMessage = JFaceResources
				.getString("StringFieldEditor.errorMessage");//$NON-NLS-1$
		createControl(parent);
	}

	/**
	 * Creates a new string field editor
	 */
	protected TextFieldEditor() {
	}

	/**
	 * Returns the error message that will be displayed when and if an error
	 * occurs.
	 *
	 * @return the error message, or null if none
	 */
	public String getErrorMessage() {
		return errorMessage;
	}

	/*
	 * (non-Javadoc) Method declared on FieldEditor.
	 */
	@Override
	public int getNumberOfControls() {
		return 2;
	}

	/**
	 * Returns the field editor's value.
	 *
	 * @return the current value
	 */
	public String getStringValue() {
		if (textField != null) {
			return textField.getText();
		}

		return getPreferenceStore().getString(getPreferenceName());
	}

	/**
	 * Returns this field editor's text control.
	 *

	 * The control is created if it does not yet exist
	 *

	 *
	 * @param parent
	 *            the parent
	 * @return the text control
	 */
	public StyledText getTextControl(Composite parent) {
		if (textField == null) {
			textField = new StyledText(parent, SWT.MULTI | SWT.BORDER
					| SWT.V_SCROLL | SWT.H_SCROLL);
			textField.setFont(parent.getFont());
			textField.setLayoutData(new GridData(SWT.FILL, SWT.FILL, true,
					true, 1, 4));
			switch (validateStrategy) {
			case VALIDATE_ON_KEY_STROKE:
				textField.addKeyListener(new KeyAdapter() {

					/*
					 * (non-Javadoc)
					 *
					 * @see
					 * org.eclipse.swt.events.KeyAdapter#keyReleased(org.eclipse
					 * .swt.events.KeyEvent)
					 */
					@Override
					public void keyReleased(KeyEvent e) {
						valueChanged();
					}
				});

				break;
			case VALIDATE_ON_FOCUS_LOST:
				textField.addKeyListener(new KeyAdapter() {
					@Override
					public void keyPressed(KeyEvent e) {
						clearErrorMessage();
					}
				});
				textField.addFocusListener(new FocusAdapter() {
					@Override
					public void focusGained(FocusEvent e) {
						refreshValidState();
					}

					@Override
					public void focusLost(FocusEvent e) {
						valueChanged();
						clearErrorMessage();
					}
				});
				break;
			default:
				Assert.isTrue(false, "Unknown validate strategy");//$NON-NLS-1$
			}
			textField.addDisposeListener(new DisposeListener() {
				public void widgetDisposed(DisposeEvent event) {
					textField = null;
				}
			});
			if (textLimit > 0) {// Only set limits above 0 - see SWT spec
				textField.setTextLimit(textLimit);
			}
		} else {
			checkParent(textField, parent);
		}
		return textField;
	}

	/**
	 * Returns whether an empty string is a valid value.
	 *
	 * @return true if an empty string is a valid value, and
	 *         false if an empty string is invalid
	 * @see #setEmptyStringAllowed
	 */
	public boolean isEmptyStringAllowed() {
		return emptyStringAllowed;
	}

	/*
	 * (non-Javadoc) Method declared on FieldEditor.
	 */
	@Override
	public boolean isValid() {
		return isValid;
	}

	/**
	 * Sets whether the empty string is a valid value or not.
	 *
	 * @param b
	 *            true if the empty string is allowed, and
	 *            false if it is considered invalid
	 */
	public void setEmptyStringAllowed(boolean b) {
		emptyStringAllowed = b;
	}

	/*
	 * @see FieldEditor.setEnabled(boolean,Composite).
	 */
	@Override
	public void setEnabled(boolean enabled, Composite parent) {
		super.setEnabled(enabled, parent);
		getTextControl(parent).setEnabled(enabled);
	}

	/**
	 * Sets the error message that will be displayed when and if an error
	 * occurs.
	 *
	 * @param message
	 *            the error message
	 */
	public void setErrorMessage(String message) {
		errorMessage = message;
	}

	/*
	 * (non-Javadoc) Method declared on FieldEditor.
	 */
	@Override
	public void setFocus() {
		if (textField != null) {
			textField.setFocus();
		}
	}

	/**
	 * Sets this field editor's value.
	 *
	 * @param value
	 *            the new value, or null meaning the empty string
	 */
	public void setStringValue(String value) {
		if (textField != null) {
			if (value == null) {
				value = "";//$NON-NLS-1$
			}
			oldValue = textField.getText();
			if (!oldValue.equals(value)) {
				textField.setText(value);
				valueChanged();
			}
		}
	}

	/**
	 * Sets this text field's text limit.
	 *
	 * @param limit
	 *            the limit on the number of character in the text input field,
	 *            or UNLIMITED for no limit
	 */
	public void setTextLimit(int limit) {
		textLimit = limit;
		if (textField != null) {
			textField.setTextLimit(limit);
		}
	}

	/**
	 * Sets the strategy for validating the text.
	 *

	 * Calling this method has no effect after createPartControl is
	 * called. Thus this method is really only useful for subclasses to call in
	 * their constructor. However, it has public visibility for backward
	 * compatibility.
	 *

	 *
	 * @param value
	 *            either VALIDATE_ON_KEY_STROKE to perform on the
	 *            fly checking (the default), or
	 *            VALIDATE_ON_FOCUS_LOST to perform validation only
	 *            after the text has been typed in
	 */
	public void setValidateStrategy(int value) {
		Assert.isTrue(value == VALIDATE_ON_FOCUS_LOST
				|| value == VALIDATE_ON_KEY_STROKE);
		validateStrategy = value;
	}

	/**
	 * Shows the error message set via setErrorMessage.
	 */
	public void showErrorMessage() {
		showErrorMessage(errorMessage);
	}

	/*
	 * (non-Javadoc) Method declared on FieldEditor.
	 */
	@Override
	protected void adjustForNumColumns(int numColumns) {
		GridData gd = (GridData) textField.getLayoutData();
		gd.horizontalSpan = numColumns - 1;
		// We only grab excess space if we have to
		// If another field editor has more columns then
		// we assume it is setting the width.
		gd.grabExcessHorizontalSpace = gd.horizontalSpan == 1;
	}

	/**
	 * Checks whether the text input field contains a valid value or not.
	 *
	 * @return true if the field value is valid, and
	 *         false if invalid
	 */
	protected boolean checkState() {
		boolean result = false;
		if (emptyStringAllowed) {
			result = true;
		}

		if (textField == null) {
			return false;
		}

		String txt = textField.getText();

		result = txt.trim().length() > 0 || emptyStringAllowed;

		// call hook for subclasses
		result = result && doCheckState();

		if (result) {
			clearErrorMessage();
		} else {
			showErrorMessage(errorMessage);
		}

		return result;
	}

	/**
	 * Hook for subclasses to do specific state checks.
	 *

	 * The default implementation of this framework method does nothing and
	 * returns true. Subclasses should override this method to
	 * specific state checks.
	 *

	 *
	 * @return true if the field value is valid, and
	 *         false if invalid
	 */
	protected boolean doCheckState() {
		return true;
	}

	/**
	 * Fills this field editor's basic controls into the given parent.
	 *

	 * The string field implementation of this FieldEditor
	 * framework method contributes the text field. Subclasses may override but
	 * must call super.doFillIntoGrid.
	 *

	 */
	@Override
	protected void doFillIntoGrid(Composite parent, int numColumns) {
		getLabelControl(parent);

		textField = getTextControl(parent);
		GridData gd = new GridData();
		gd.horizontalSpan = numColumns - 1;
		if (widthInChars != UNLIMITED) {
			GC gc = new GC(textField);
			try {
				Point extent = gc.textExtent("X");//$NON-NLS-1$
				gd.widthHint = widthInChars * extent.x;
			} finally {
				gc.dispose();
			}
		} else {
			gd.horizontalAlignment = GridData.FILL;
			gd.grabExcessHorizontalSpace = true;
		}
		gd.grabExcessHorizontalSpace = true;
		gd.grabExcessVerticalSpace = true;
		textField.setLayoutData(gd);
	}

	/*
	 * (non-Javadoc) Method declared on FieldEditor.
	 */
	@Override
	protected void doLoad() {
		if (textField != null) {
			String value = getPreferenceStore().getString(getPreferenceName());
			textField.setText(value);
			oldValue = value;
		}
	}

	/*
	 * (non-Javadoc) Method declared on FieldEditor.
	 */
	@Override
	protected void doLoadDefault() {
		if (textField != null) {
			String value = getPreferenceStore().getDefaultString(
					getPreferenceName());
			textField.setText(value);
		}
		valueChanged();
	}

	/*
	 * (non-Javadoc) Method declared on FieldEditor.
	 */
	@Override
	protected void doStore() {
		getPreferenceStore().setValue(getPreferenceName(), textField.getText());
	}

	/**
	 * Returns this field editor's text control.
	 *
	 * @return the text control, or null if no text field is
	 *         created yet
	 */
	protected StyledText getTextControl() {
		return textField;
	}

	/*
	 * (non-Javadoc) Method declared on FieldEditor.
	 */
	@Override
	protected void refreshValidState() {
		isValid = checkState();
	}

	/**
	 * Informs this field editor's listener, if it has one, about a change to
	 * the value (VALUE property) provided that the old and new
	 * values are different.
	 *

	 * This hook is not called when the text is initialized (or reset
	 * to the default value) from the preference store.
	 *

	 */
	protected void valueChanged() {
		setPresentsDefaultValue(false);
		boolean oldState = isValid;
		refreshValidState();

		if (isValid != oldState) {
			fireStateChanged(IS_VALID, oldState, isValid);
		}

		String newValue = textField.getText();
		if (!newValue.equals(oldValue)) {
			fireValueChanged(VALUE, oldValue, newValue);
			oldValue = newValue;
		}
	}
}


Saudi Arabia's declared "readiness" to send ground troops into Syria to fight the Islamic State (IS) is seen by Damascus as a frustrated Saudi move to prop up Syrian rebels in the face of the recent sweeping victories of the Syrian army, analysts say.
Syria's nearly five years of conflict has been largely blamed on international intervention in the course of actions on ground. Such intervention has made the crisis more complicated with international powers supporting each party of the conflict to achieve gains in this strategic Middle Eastern country.
Saudi Arabia has emerged as a supporter of Islamist insurgents, like the Islam Army, which is operating in several Syrian areas, including the vicinity of the capital Damascus.
The kingdom has also been the loudest voice demanding the downfall of the administrative of President Bashar al-Assad, mainly due to its desire to bring in a Sunni-led system in Syria and curb the Iranian sway, represented with the strong alliance between the Assad regime and the Iranians as well as Hezbollah.
Curbing the Iranian sway in the region has always been the main drive of Saudi Arabia in its anti-Assad stance, analysts say.
Observers in Damascus say that the Saudis and other regional powers have always placed their bets on dealing a defeat to the Syrian government, by providing a big deal of support to the insurgents seeking Assad's ouster.
Until recently, the control map of the Syrian army was shrinking in favor of the numerous insurgent groups, including the IS group and the al-Qaida-linked Nusra Front.
However, as Hezbollah started showing up in the battles on ground and the Russian warplanes began making their way in the Syrian skies, the situation has started tilting back in favor of the government.
Not only that, but the rebels' fragmented nature, lack of central leadership, and conflict of purposes and sway, was also a reason behind the quick falling in the face of the Syrian army, which, despite of the long and exhausting conflict, is still coherent behind its leadership, with the key support of Hezbollah and other pro-government fighters.
After the Russian Air Force intervened against the insurgent groups in Syria late last September, the Syrian Military General Command declared the beginning of a wide-scale offensive on several key fronts in Syria.
The offensives have recently started reaping fruits, with the army units retaking key areas in the north and south, cutting key rebel supply lines from border areas.
In the northern provinces of Aleppo and Damascus, close to Turkey, the military forces backed by Russia and Hezbollah have wrested control over key towns, cutting most of the rebel supply lines from the Turkish territories, whose government is also accused by Damascus of supporting the rebels in Syria.
The Aleppo battles deprived the Turkey-backed rebels of key routes from Turkey. The IS has also lost two thirds of its control over border areas between Syria and Turkey since last year due to the military campaign, according to the pan-Arab al-Mayadeen TV.
The fresh military progress has apparently raised the ire of Saudi Arabia and Turkey alike, both have had allies on ground in Syria that suffered sweeping blows by the Syrian army.
On Friday, a Saudi military spokesman said the kingdom is ready to send ground troops to fight the IS in Syria if the U.S.-led coalition agrees.
Brigadier General Ahmed Asiri told Dubai-based TV channel Al-Arabiya that the country will commit ground troops to the conflict for the first time if its coalition partners agree during an upcoming meeting in Brussels.
Saudi Arabia has taken part in the coalition's airstrikes since the U.S. began the air assault on the IS group in September 2014.
The Syrian government regards any move into the country without its consent an aggression, particularly that Syria sees any Saudi intervention is aimed not at fighting the IS, but to render support to its militants on ground.
The Saudi declaration came just hours after the suspension of the first round of planned talks between representatives of the Syrian government and opposition groups in Geneva last week.
Observers in Damascus said the Saudi-backed opposition withdrew from the talks, in an apparent anger at the military progress by the Syrian army on ground.
Riad Hijab, coordinator of the Saudi-backed High Negotiations Committee opposition group, said his group will not return to Geneva until a change happens on the ground in Syria, which explains the Saudi remarks.
On Sunday, pan-Arab al-Mayadeen TV said the Syrian army became 13 km away from Turkish border, pushing through rebel-held towns to reach the ultimate goal of the border's closure.
Issa also pointed out to a unison between Riyadh and Ankara about the intention to militarily intervene in Syria, especially with the Turkish dismay with the progress of the Syrian army, particularly in Aleppo, where most of the Turkey-backed rebels are located.
"I think if the Saudis and Turks got the guts to take this move, the region would be heading toward a third World War," she told Xinhua in an interview.
For his part, Ali al-Ahmad, an advisor to Syrian Information Minister Omran al-Zoubi, told Xinhua that the recent Saudi declaration further complicates the Syrian political landscape, noting that Riyadh is trying to convince Ankara to also intervene with ground troops into Syria.
"Any ground intervention in Syria without the consent of the Syrian government is an aggression that should be countered, which will be the duty of all of the Syrian people. And the aggressors will return to their countries in wooden boxes," al-Moallem warned.
"I think there is something being cooked under a U.S. supervision between Turkey and Saudi Arabia," he said.
"Whether Saudis or Turkish, all those who will practice aggression on Syria will be sent back in wooden coffins," he said.
The minister said the Saudi desire to enter Syria came after their frustration with the defeats dealt against the Saudi-backed militants in key Syrian areas recently.
"After the victories of the Syrian army and its allies, the conspirators against Syria have become desperate with the failure of their tools on ground, so they decided to enter personally," he remarked.


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