The Project Gutenberg EBook of A Book of Distinctive Interiors, by Various This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: A Book of Distinctive Interiors Author: Various Editor: William A. Vollmer Release Date: January 30, 2018 [EBook #56467] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK A BOOK OF DISTINCTIVE INTERIORS *** Produced by Chris Curnow, Christopher Wright and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
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EDITED BY
WILLIAM A. VOLLMER
NEW YORK
McBRIDE, NAST & COMPANY
1912
Copyright, 1910, 1911, 1912, by
McBRIDE, NAST & COMPANY
Published November, 1912
| PAGE | |
| Planning the Living-room By A. Raymond Ellis |
5 |
| Designing the Dining-room By A. Raymond Ellis |
47 |
| Decorating and Furnishing the Bedroom By Margaret Greenleaf |
69 |
| The Problem of the Bathroom By A. Raymond Ellis |
87 |
| The Proper Treatment for the Nursery By Sarah Leyburn Coe |
99 |
| Characteristic Halls and Stairway Types | 108 |
| Planning the Kitchen By James Earle Miller |
116 |
After the method of modern planning, the living-room is treated
as the principal room in the house. I do not mean to say that
this room should be overdone, or given undue prominence to the
exclusion of the other rooms, but it is essential that this room be
treated differently from the old-fashioned way we formerly treated
our living-rooms, then generally a front and back parlor. These two
[6]
[7]rooms have now been superseded by one large room, as our mode
of living and entertaining makes it more desirable than the two small,
stuffy rooms, then used only occasionally. To-day we plan to give
pleasure and comfort to the family, rather than the occasional guest.
There are probably two or three dozen ways that the living-room can be planned and decorated and at the same time be comfortable and attractive. I have chosen to illustrate this with a type of living-room that adapts itself to almost any house and offers the greatest amount of free space when the room is properly furnished. The room is 15 ft. × 29 ft. 6 in., with a ceiling height of 9 feet, these dimensions giving a well-proportioned room. The fireplace is in[8] the center of the west wall, flanked on each side by two French doors which open out on a piazza. At each end of the room are two windows, balancing one another. On the east wall a wide opening with French doors permits access to the main hall. The most prominent feature of the room is the fireplace, which is accentuated and made a natural center. This is an important consideration when planning a natural grouping of the family or its guests.
The treatment of the room is Colonial. A low wainscot, 2 ft. 6 in. high, comprising a base, panel, and cap, is carried around the room. The ceiling is beamed with four substantial beams and a half beam to form a cornice around the room at the junction of the wall and ceiling. Over the heads of the doors and windows there is a wide wooden frieze with a cap which ties them, one might say, to the bottom of the cornice, and makes them more completely an integral part of the woodwork. The window stools form a part of the wainscot cap.
The finish of the room is white wood, given four coats of lead and oil paint, with a fifth coat of white enamel, rubbed down, and a sixth and final finishing coat of enamel of an ivory shade that dries out with a very dull satin-like luster that is very durable and not easily marred. Above the wainscot the walls are covered with a heavy background paper having a body color almost of a putty shade, enlivened in certain lights with a pinkish caste. This is accented by the panels, between the windows and doors, of a delicately hued fabric with a foliated striped design. A flat molding covers the edge of the fabric and forms the panel. In order to balance these and add character to the room, the draperies at the windows and doors are of soft blue velour, without which the scheme would be lifeless and flat. The facing of the fireplace is of Sienna marble surmounted with a simple mantel, consisting merely of a heavy classical architrave, with a shelf above and a large plate glass mirror over it. One must not lose sight of the fact that the colors of this room, while light and delicate, are[10] all very rich and warm, due to the predominating ivory color of the woodwork, enlivened and strengthened by the richer and heavier color used in the panels and curtains.
The ceiling is sand-finished and tinted to match the walls. The floor is of quartered oak, filled and given two coats of a finish which produces a durable even surface with a dull luster that is not so slippery as a waxed floor. The disposition of the rugs over this floor is a matter of personal taste and the amount one can afford for rugs. The rugs should be Oriental and of light uniform coloring. The plans show probably the most economical way of covering the floor—using one large rug as a center and filling with smaller rugs. One large rug might be obtained that would extend from the piano to the pier glass, but it would have to be an odd shape or specially made. Two large rugs might be used, one in each end of the room, with a small rug to fill in before the fireplace. The approximate positions and proper design for the various pieces of furniture used in the room are indicated.
In order to obtain the real benefit of the fireplace, it is necessary to have a broad comfortable sofa or an upholstered mahogany seat in front of it. In back of this should be a small mahogany table on which an ornamental lamp may stand. On each side of the table can be drawn up large comfortable chairs. This arrangement permits the light of the lamp to fall in the correct position for anyone wishing to read in the chairs or on the seat in front of the fireplace. At one side of the fireplace a large wing-chair would be well placed. The bookcases would, of course, be unnecessary if there were a library in the house, but where the living-room is to answer the general purposes of the family, the book-shelves would be found very useful, and could be movable or built in as part of the finish. Between the northern windows a fine position is obtained for the piano, on the right of which is a good place for a davenport.
The disposition of the minor pieces of furniture need not be mentioned, except the fact that a pier glass at the opposite end of the[12] room, between the two southern windows is a very decorative treatment, and that the corner at the left affords a place for a tea table or a Colonial pie-crust table.
In addition the electric lights are provided with switches, and in the baseboard around the room are two plugs for attaching portable table lamps. There must also be a bell registering its signal on an annunciator in the kitchen,—one ring for a maid—two rings for tea, or as the housewife may arrange.
The cost of the furniture used in this room, covered in cotton, made from the architect's drawings, would be as follows: 18th century sofa, rolled ends, $90; and it requires 3-1/6 yards of 50-inch goods to cover it. Low-boy with drawers, $90—size 2 ft. 6 in. × 4[13] ft. 6 in. Tip-top tea table, 38 in. in diameter, $60. Martha Washington wing-chair, $54, in cotton; requires 5 yards of 50-inch goods to cover. Martha Washington armchair, $40, in cotton; requires 2 yards of 50-inch goods to cover. The crown ladder-back side chairs would cost about $35 each in cotton, and the armchair to match, $40.
The beamed ceiling, door and window casings, mantel and wainscot in the room would cost about $450. If the wainscot were omitted about $75 would be saved—the mantel and marble facing cost about $100 separately.
A. Raymond Ellis[14]
We have a habit, generally, of making the dining-room either English or Colonial in style, I suppose for the reason that we have so many good types of furniture in these two styles that their use makes it easier to obtain an attractive dining-room. The room[48] of Flemish character is probably more unusual and I have, therefore, chosen to offer a design in this style.
The room is 15 × 16 feet in size, opening from a broad hall from which it is shut off with glass doors. The morning sun, a very essential feature in any dining-room, is obtained through the eastern window and through the southern windows in the summer, while the after-glow of the summer sunset comes through the west window, thus insuring a pleasant dining-room at all times. There is nothing so cheerless as a breakfast-room which is cut off from the sun in the winter, by being isolated in the north or northeastern part of the house; it continually exerts a depressing influence on the family at meals.
The dining-room is adjoined by the serving-room, which connects with the kitchen, affording a quick and direct line of service.
It is suggested that the room be wainscoted in oak to a height of seven feet, with rectangular panels formed by very flat rails and stiles, without any panel moldings. A wide plate-rail forms the cap of the wainscot, affording a place to put bits of china and old pieces of pewter or copper. Above the wainscot the plaster is sand-finished, as is also the ceiling, and at the intersection of the ceiling and side walls a cornice is carried around the room. On the north side is a large fireplace, which is a necessity on a rainy day to make breakfast cheerful and the room comfortable. It is built of light gray Caen stone, which has almost the appearance of limestone. It is imported in blocks and is soft enough to be worked into a variety of shapes. The hearth has a curb border, raised an inch or two above the level of the stone hearth in order to retain the ashes better. A heavy carved casing is carried around the stonework of the fireplace, surmounted by a carved shelf supported on heavy brackets.
French doors are an essential feature in the dining-room because[52] they permit it to be shut off from the hall and kept warm, and they prevent interruptions during the dinner hour. As they are of glass, they afford a view into the hall—a very attractive feature, which does away with that feeling of oppressiveness experienced sometimes from being shut up in a room with solid doors of wood. The floor is of oak, filled and given two coats of a finish which has a dull luster and enough elasticity to make it durable. The floor should be of a shade that is not too light or so dark that it readily shows the dust.
Opposite the fireplace is a position for the sideboard and there is wall space enough for a china-cupboard although I should prefer to omit this cumbersome piece of furniture, which everybody shuns with the admonition of childhood still ringing in his ears, "mustn't touch." Near the door to the serving-room is the proper place for the serving-table, and there remains plenty of wall space for chairs. By referring to the plan the position of these pieces of furniture will be made more clear.
The decoration of this room is a simple problem. On the floor there should be a rich-colored rug with deep reds in it, strong enough to afford a foundation for the dark sturdy Flemish furniture and the dark finish of the wainscot. Above the wainscot, the sand-finished ceiling and side walls should be sized and painted with three coats of oil paint of a dull golden shade which reflects a warm glow over the room when lighted. The rough texture of the sand-finish is well adapted for such use as this. Of course a frieze of foliated tapestry paper, or real tapestry, could be used with good effect, or even an oil-painted frieze representing a scene from medieval history is permissible. It is safe to say that all of these schemes would be good, though, of course, there would be a great difference in their cost. The radiator under the east window should be painted to match the color of the wainscot. To obtain the correct shade for this wainscot, the wood should go through several processes of staining. The first coat is a deep penetrating stain of burnt Sienna hue to form a mellowing base, similar to the warm colors the old masters used in their paint[54]ings. This makes a warm color to reflect through the succeeding coats of darker stain, each coat of which should be rubbed into the wood and any superfluous stain rubbed off, exposing each time the high lights of the wood's grain. The final coat should be a thin coat of wax or a flat-drying oil paint to give the wood a dull luster.
The furniture should be of the Flemish type, preferably a shade lighter or a shade darker than that of the finish of the woodwork, in order to give contrast. The dining-room table should be a modern extension table with heavy, turned legs, which would of course be repeated in the sideboard, serving-table and chairs. This type of furniture depends entirely for its beauty upon its plain sturdy lines and simple turnings. The chairs should have leather seats and backs, studded with copper nails. The brasses of the fireplace should be of odd design, and the electric lights and fixtures should be of old brass to add a touch of color to the dark wood finish.
It seems hardly necessary to mention that the lights of this room should be governed by an electric switch, and an electric bell on the table should ring a buzzer in the serving-room.
In the serving-room there is a counter shelf two feet eight inches[55] high on each side wall, over which there are glazed cases with sliding doors to contain the china. Under the window there is a sink for the washing of fine china, glass, and silver, which should not go into the kitchen with the heavier dishes. Under the counter are cupboards and drawers and at one end a plate-warmer and a small refrigerator, in order that one may obtain a bite to eat late at night without having to go through the kitchen to the kitchen pantry—which is sometimes awkward if there is no servant's dining-room and the maid is entertaining.
The finish of the room would cost approximately $575 in selected white oak. The mantel alone is worth $80 and the wainscot about $300. The furniture for the room, made from detail drawings, would cost about $450 in oak and leather.
A. Raymond Ellis
In the bedroom the individuality of the occupant is more in evidence than in any other room of the house, as such rooms or suites are complete in themselves and need not necessarily be considered relatively. Where the house has the marked characteristics of any period the architectural detail of the wood trim in the bedrooms as well as that in the other apartments will, of course, express[70] this and must in a measure influence the furnishings, but even under these conditions more latitude is permissible in the chambers than in the living-rooms.
A room in which no period idea is dominant may be made very charming, and the individual taste of the occupant may influence the entire scheme of decoration. A very dainty and attractive room is shown in the illustration on page 69.
The floral paper used on the side wall here is beautiful in color and design, and the crown of this has a cut out extension of flowers and leaves that is applied directly to the ceiling proper. The furniture of ivory enamel finish has been painted with clusters of the same flowers as those shown in the wall paper. Much of the green of the foliage in this design is repeated in the two-tone rug upon the[71] floor. The curtains and bedspread are made of ivory white linen taffeta and bordered with four-inch bands of cretonne showing the same floral design as the side walls.
Much of the comfort as well as the attractiveness of a bedroom depends upon the arrangement of the furniture it holds. The space for the bed is usually indicated by the architect in the first drafting of the plans, and should be adhered to unless the room is unusually large. However, the other furniture may be arranged and rearranged until the right position is found for each piece.
Where a couch is included this may be placed near the window with the bookshelves conveniently at hand, or it may be set directly across the foot of the bed. The reading- or work-tables and easy-chairs should find their permanent place, as their proper grouping adds much to the livableness of any room.
The English idea of placing a dressing-table directly in front of a window is not especially favored here as we are loath to sacrifice so much of direct sun and air as the closed window would necessitate, although by such an arrangement we secure a good overhead light.
The placing of the lighting fixtures should also be given some careful study. Side or drop lights should be near the dressing-mirror, and a convenient stand or drop light, well shaded, should be placed near the head of the bed. And a well-arranged table light for reading and sewing is of great convenience in a large bedroom which is used at all as a sitting-room. However small the room,[73] the light must be well arranged for the dressing-table. A central light for a bedroom is a very objectionable feature.
Light and crisp colors are more acceptable in the decorative scheme of the bedroom than any other room of the house. Where plain walls and figured cretonnes or chintzes are used in combination the latter should appear generously, that is, not only in valanced curtains at windows, but as slip covers, or cushion covers for chairs, window-seat, or lounge.
The old-time idea of a blue, a pink, a green, and a yellow room is falling into disuse, although any one of these colors may be brought out prominently in the scheme of the room, or, as is even more usual, all may be combined in either wall covering or drapery material. The dominant color should appear again in the plain or two-tone floor covering.
Plain and embroidered muslins for window draperies and covers[74] for dressing-tables are effective and dainty, and by having two sets for a room it may be kept always delightfully fresh and clean, as these muslins launder well. A small coin-dot of color on a very sheer, though not fine, white ground can be purchased from 25 to 35 cents a yard and gives a dainty charm to a room in which it is freely used that few other fabrics at the same cost will supply.
Where the decorative scheme must be very inexpensively carried out, a floral paper on an ivory ground can be purchased for 25 cents a roll of eight yards. In these cheaper papers one finds a better selection in yellow and old rose than in other colors; greens, too, are usually soft and attractive. If plain colored over-draperies are desired for the windows these may be made from cheese-cloth which has been dyed to the desired shade, matching the color of the flower in the wall paper. It is not a difficult matter for the amateur to do.
There are now made some very attractive cotton crepes showing a variety of floral and other patterns. Some of these are beautiful in color and good in design, and, with plain tinted walls, a room in[75] which the curtains and slip covers for cushions and pillows are made from this fabric is very attractive.
Old furniture may be revamped and given a fresh coat of ivory white enamel, and a central rug or a number of small rugs made after the old-fashioned rag carpet in one or two colors makes a satisfactory floor covering for use in such rooms. If the woodwork can be painted ivory white the scheme is more successful, as this is an important factor in the completed whole. In fact for bedrooms there is no better finish than the ivory white enamel. It is easy to apply and durable, and harmonizes with almost any scheme of furnishing one may desire to bring out in the room.
Attractive little shades for electric lights or candles may be made from bits of silk or even tissue paper, and, used in a room in which old rose predominates, the effect is charming, as the light showing through the rose color is very soft and pleasing.
Margaret Greenleaf
Only a few years ago, sanitary conveniences, which were very crude when compared with those of to-day, were considered luxuries; to-day they are necessities, demanded for our physical comfort and welfare. The old-fashioned Saturday tubbing was a much dreaded and messy event; but with sanitary house plumbing, bathing became a pleasure and a valuable adjunct to good health. It is, therefore, interesting to note the treatments of the present bathroom.
The average house to-day contains at least two bathrooms, the simplest equipment being a water-closet, lavatory, and tub, the two latter fixtures supplied with hot and cold water supply pipes. From these three fixtures of the simplest kind, installed in a room not smaller than 5 ft. 6 in. × 6 ft. 6 in., we may enlarge the scheme to contain a shower-bath, with floor receptor to catch the water, a sitz or foot-bath, double lavatories, if for the owner's bath, with marble or porcelain pier slabs for toilet articles. These fixtures may be simple in pattern, of enameled iron or of porcelain or marble, in a room having tile or marble floors and wainscot. There are, happily, inexpensive fixtures of good quality that are just as efficient as the most expensive ones, and the plainer the lines of the fixtures the more beautiful they will appear in the finished bath; heavy ornamentation in color or molded design should be avoided—it is not so easily kept clean, nor is it so beautiful.
In many houses having but one servant, a separate bath is provided for her use, and in a house costing $8,000 it is customary to provide a private bath connecting with the owner's chamber, as well[88] as a general bath for the family and guests, and a servants' bath in the attic. The importance the bath and sanitary plumbing have attained is shown by the fact that seven or eight per cent of the cost of a house is taken for plumbing, and in houses costing from $8,000 to $15,000, three bathrooms are installed.
The model servants' bath should have a floor of small hexagonal white, unglazed tile with hard plastered walls, above a sanitary base, painted with four coats of moisture-resisting paint and equipped with a five-foot enameled iron tub, quiet syphon-jet closet, with oak seat and tank, and a plain pattern enameled iron lavatory. A medicine closet should be built in the wall over it, having a mirror set in the door. The fixtures cannot be properly set in an area less than 5 ft. 6 in. × 6 ft. 6 in., and 5 ft. 6 in. × 7 ft. 6 in. would be much better.
The owner's bath is largely a matter of personal taste and cost. Usually this has a floor of 2 in. white, unglazed hexagonal tile, with a 4 × 6 in. white glazed tile for walls, with cap and sanitary base, marble thresholds and plinth blocks. The height of the wainscot is optional; but 4 ft. 6 in. is usual, with the walls and ceilings above it oil painted. The room should not be smaller than 8 ft. × 10 ft. and may open from the owner's chamber or dressing-room. Its equip[89]ment usually comprises two lavatories of vitreous china, placed at least six inches apart, unless a double lavatory is used in one slab, over which may be a medicine closet built into the wall with mirror door set in; the bathroom door should have a full-length mirror. In the illustration that appears on page 95 is shown a silent syphon-jet closet with low-down tank finished in mahogany. The "low-down combinations," as they are called, are made in oak, cherry, mahogany, and white enamel. The tub should be at least 5 ft. long, of enameled iron or porcelain, finished on both sides if enameled, and supported on porcelain block feet, with standing waste and mixing cocks. The tub must be set far enough from the wall to permit cleaning.
Every fitting or exposed pipe in the bathroom should be nickel-plated.
The shower may be installed over the tub, as in one of the
illustrations, or made a separate fixture with a floor receptor to drain
off the water. It may be inclosed with a cotton duck curtain, which
is more agreeable to the body than rubber or marble slabs. The
[90]
[91]merits of each fixture and its equipment I shall leave to the reader,
because these things he can readily determine for himself; but the
arrangements and number of fixtures required must be considered—the
quality is a matter of price. The general bathroom of a house
should be similar to the owner's—in some cases it is divided into two
compartments, as shown in one plan, with the water-closet by itself—permitting
independent use.
In homes costing from $15,000 up, the number of bathrooms is in proportion to the number of occupants. Every room may have a connecting bath with tile floor and wainscot, completely equipped—in such a case the visit of a guest is not fraught with hasty skirmishes to the nearest bath, perhaps only to retreat, and wait and listen for an opportunity to use it.
Plumbing fixtures are made in many materials; the most popular of these, on account of durability and cost, is cast iron with an enamel glaze fused on the iron. This ware will stand hard usage, is not easily fractured, does not craze, and therefore holds its color. The[92] vitreous china ware is, I think, more appropriate for bathrooms finished in tile, because the materials, being similar, are in harmony, while the enameled iron is not quite as heavy or substantial looking when used with tile. Vitreous china is potter's clay, properly fired, with a vitreous glaze baked on; porcelain is similar and their cost is about the same, except that this increases rapidly with the larger pieces; because fewer perfect fixtures are obtained. Fixtures cut from solid marble block are the most expensive and their relative merit with their relation to cost is a question for the owner to determine.
There is little difference between the enameled iron, vitreous china and porcelain or marble as far as the retention of heat is concerned, or the feeling from bodily contact. There are in every kiln some fixtures that are not quite perfect; they are called "seconds," and catalogued as "Class B" goods, with a lower price.
The weight of massive plumbing in a frame dwelling is considerable and will cause a settlement of the floors unless carefully supported.
The fashions in tubs are many. The usual shape is square at the[93] foot and round at the head-at the foot are the waste and supply pipes which are made in several combinations. The double bath cock, which gives hot or cold water or a mixture of both, is advisable for tubs-the small cup between the faucets is a ring tray and can be replaced with a soap dish if desired. Most shower-baths have a shampoo attachment or body spray that can be used instead of the overhead shower, so that the head and hair are kept dry if desired, and if a shower is not to be installed this can be provided in the tub.
A tub incased in tile is a perfectly sanitary treatment, and in some cases the tub has been sunk into the floor a foot and then incased to avoid the high step necessary to get into the tub. The plunge—sunk in the floor—is an unusual treatment that permits more freedom of movement than the tub; but the tile, when wet, is slippery, and I should expect one might carelessly slip in with fatal results. Roman tubs are alike at each end—with fixtures in the middle of one side of the rim. Solid porcelain tubs rest on the floor, set into the tile. The ideal position for the tub, if there is available room, is with the foot against a wall and ample room on either side to get in or out[94] of it. Tubs are made in lengths ranging from 4 ft. to 6 feet, and about 30 inches in width over rims.
The lavatory is an important fixture that is made in a great many varieties. The old-fashioned bowl is obsolete—the oval has taken its place, though probably the best is the kidney-shaped bowl, as it permits a free and natural movement of the arms in raising water to lave the face. The bowl should be at least 14 × 17 inches, in a slab 22 × 32, with a space surrounding the bowl countersunk a little to [96] form a border that tends to confine the splashed water. All the fixtures manufactured by responsible concerns are equipped with nickel-plated faucets, wastes, traps, and supplies that are very satisfactory; but quite often the plumber who installs the work buys the fixtures without the selected trimmings and substitutes a cheaper pattern. Some tubs and lavatories are sold in "A" and "B" qualities, and it will be to your advantage to select the fixtures with your architect, who knows the grades and fittings.
A particularly pleasing treatment is the bath opening from the[98] owner's chamber, and separated from it by glass partition. This arrangement is good where outside light cannot be afforded or obtained, and a curtain effectively screens it.
Bath-room accessories should be arranged with care and consist of the following devices: Plate glass shelves supported on nickel-plated brackets are the best; towel-racks; toothbrush holders; clothes-brush hangers; clothes hooks; soap dishes; and soiled towel baskets. Hardware is usually of nickel-plated tubing screwed into the tile. The accompanying photographs and plans will illustrate the subject further and are self-explanatory.
A. Raymond Ellis
Furnishings for the modern child's room, like everything else that belongs to that important personage, are as complete in the smallest detail as skill and ingenuity can make them, and every feature of a well-appointed bedroom may be duplicated in miniature for the youngsters.
The wall-papers and draperies especially designed for nurseries and children's rooms are in a way more distinctively juvenile than the actual pieces of furniture, and are a most important consideration in fitting out such apartments. If one does not care to go to the expense of furnishing a nursery completely, paper and curtains that will leave no doubt as to the identity of the room may be had at small cost, and from this simple touch the scheme of decorations and the furniture, to say nothing of the cost, may be indefinitely extended.
Strictly hygienic parents who scout the idea of wall-paper as being unhealthy and will have nothing but painted walls in a bedroom are confronted by a bare expanse that may be sanitary, but is neither attractive nor interesting for the child. With walls treated in this way a decorative frieze may be used with good effect. The friezes, which come in panels varying in depth from fourteen to nineteen and one-half inches, are printed in gay colors on backgrounds of blue-gray, ivory-white, drab, and other neutral tones that can be matched exactly in the color of the walls. The designs include processions of Noah's ark inhabitants, farmyard animals, chickens and[100] ducks, Normandy peasants going to market, toy villages with stiff little soldiers and prim-looking trees, hunting scenes, and a row of Dutch kiddies indulging in a mad race across the paper.
If wall-paper is used it also matches the background of the frieze, the paper being either in a solid color or with a figure so inconspicuous that it gives the impression of a single tone.
One of the new papers for children's rooms is a reproduction of the quaint Kate Greenaway figures that are quite as fascinating to little people in these days as they were years ago. The background is a pale yellow and the figures are printed in rather delicate colors, each group representing one of the calendar months. The effect is particularly dainty and the designs are diverting for the children without becoming tiresome from too great contrast in color. Another paper that shows groups quite as charming is printed from designs by Boutet de Monvel, the famous French illustrator of child life.
A new idea, and one that is proving popular, is a decided departure from the conventional wall-paper, with its figures at regularly repeated intervals. This consists in first putting on the walls a paper of solid color to be used as a background for single figures or groups that are cut from friezes and pasted on to suit one's individual taste. The figures, of course, must be quite large, in order to be effective, and in some favorite groups cut from a frieze showing little Dutch girls and yellow chicks the latter are even larger than life. For nurseries, when the children are very small, the figures are often arranged in a frieze just above the foot-board, so that they come on a line with the child's eye, and are therefore vastly more entertaining than when placed at the infinite distance of the top of the wall.
 A number of other colors and patterns may be had as well as the gay printed borders that come two strips to a width of the material. When figured wallpaper is used, draperies of solid color with the printed border are[101] rather more satisfactory, as one set of children or animals tumbling over the walls, and another set chasing across the draperies, create a bewildering impression that is anything but restful and quieting for the small occupant. The borders are particularly attractive for curtains made of plain scrim or some soft white material, and are stitched on in strips or cut out and put on in silhouette.
Floor coverings especially suitable for children's rooms are to be found in the more or less recently revived rag carpet rugs, either plain or with figured borders. Almost any of these rugs with their decorative strips showing queerly constructed landscapes are suitable, but most appropriate is one that has a solemn procession of geese across either end, or another that is ornamented with a family of black and white bunnies lined up against a red brick wall. They come in various sizes, from the small hearthrug up to the one that is large enough for the center of an average size room.
A new rug for nurseries that is rather more practical than pretty is woven in the same way as the rag rugs, but instead of cotton materials, strips of oilcloth are used, rolled so that the glossy side is[102] uppermost. The idea was first employed in making small rugs for bathrooms, as they are waterproof and easy to keep clean, but they are quite as serviceable and sanitary for children's rooms, and are cleaned by wiping off with a damp cloth. They are made in different sizes, and in a mixed design, like the ordinary rag rug, or with white centers and borders of solid color.
In the way of furniture, chairs and beds are to be had in a much greater variety than the other pieces, and the miniature Morris chair is no doubt the most attractive piece of furniture that is made for the little folks. It comes in almost as many different styles and prices as the grown-up variety, and may be had in light or dark wood, with cushions of velour or leather or figured cotton material, and is a perfect reproduction of the large chair. Little sets consisting of table and two chairs, one straight, the other with arms, are decorated with juvenile figures in color, and may be had for prices that are quite reasonable. They are especially useful when no attempt can be made at arranging a regulation nursery. One of the most serviceable of these sets is of dark wood with leather seat chairs and a table of good size, the top of which is hinged and may be raised disclosing a receptacle for toys or books.
Small willow and wicker tables and chairs are made in attractive shapes, many of them copies of the larger pieces, and are used either in the natural color or stained to harmonize with the color scheme of the room. Less substantial than the pieces made of solid wood, they are rather more practical for older children than for small ones who are no respecters of furniture, and, while designed for use all the year round, they are particularly suitable for summer rooms or to be carried outdoors.
In spite of the fact that the little white bed is always associated with the child's room in story and song, to say nothing of the popular imagination, there are various kinds of brass and wooden beds made in small sizes that are thoroughly in keeping with one's idea of a typical nursery. The white enamel beds, which may be had as plain or as elaborate as one desires, are always dainty, and have the advantage of harmonizing perfectly with furniture and hangings of almost every description. Brass beds have the same characteristic, but they are much more expensive than those of iron, and seem to[103] require rather more elaborate surroundings. The newest brass beds for children are quite low, only about half as high as the ordinary bed, which is a distinct advantage, as it is much easier for the child to climb into, and less dangerous in case he falls out.
A recently designed wooden bed of attractive appearance shows severely plain lines in the head and foot boards, and in the sides long narrow panels are cut out, through which the covering of the box spring is seen. This bed is made only to order, and is intended for elaborately decorated rooms in which a definite color scheme is carried out. It may be had in any desired width and stained any color to match the other furniture, while the box spring and little pillow and mattress are covered with the same material as the draperies of the room.
Furniture of a special size for children's rooms is made in a design that is substantial and handsome, by the manufacturer of a well-known and widely used type. There is a wardrobe just five feet high, with compartments for hats, clothing, and shoes; a bureau twenty-nine inches high, with a twenty-inch mirror on it; a bed with high sides, the simple decorations of which match those of the bureau; rocking chairs and straight chairs with leather seats, a settle, and tables of different sizes and shapes. Nothing could be more attractive or complete than a room furnished in this way for a child of six or seven years who has outgrown the daintier surroundings of the nursery. It has all of the dignity of a well-appointed grown-up room, but with everything in proportion to the size of its owner.
Even washstand sets, suitable as to shape and decoration, may be had for the child's room in which no detail is to be omitted. They are little if any smaller than the usual sets, but the decorations are in keeping with those of the other appointments, and the pitchers are designed with a view to their being handled easily by small hands. They are not unlike milk jugs in shape, with a substantial handle over[105] the top and another at the back, so that there is small chance of their slipping while in transit, and the mouth is a definitely formed one that will not fail to pour in the direction intended.
For a comparatively small amount a room may be fitted up with enough distinctive juvenile furnishings to impart individuality and to give the child a sense of possession that it will never have in grown-up surroundings. Even though circumstances are such that it has not had an elaborate nursery, as soon as a child is old enough to have a room of its own there is no reason why the furnishings should not be in keeping, and with the expenditure of a little money a dainty and attractive room may be arranged. High-priced beds and other pieces of furniture are by no means necessary, and, as is often the case, the most reasonably furnished room may be the most satisfactory if a little ingenuity and good taste are brought into service.
Thirty to thirty-two dollars can be made to cover the cost of wall-paper,
curtains, bed and mattress, a rug and a bureau, all in sizes and
designs suitable for children. The wall-papers in juvenile patterns
are not expensive, and the cost of papering a room of average size
[106]
[107]would be about five dollars. A little white iron bed may be had for
as low as five dollars, with seven dollars additional for the mattress,
and a rug 3 × 6 feet in size with a decorative border is $3.50. A
bureau of small size, such as comes in an inexpensive grade of the
so-called antique oak, costs about $8.00. For the very reason that
the furnishings of the room are only temporary, and soon to be outgrown
and discarded, it is quite satisfactory to buy a cheap grade of
furniture whenever possible, if price is a consideration. A small
bureau is less expensive than one made especially in a child's size, and
is equally practical if not so substantially made. Such a bureau can
be done over in white enamel to match the bed, or in any dark color
that may be preferred in place of the shiny oak finish.
For curtains that hang straight from the top of the window to the lower edge of the sash, scrim at twenty-five cents a yard would cost two dollars. Allowing four yards for each of two windows, and enough printed cretonne to make a decorative border, it would cost a dollar and a half additional.
These figures are of the very lowest for which a child's room can be fitted up, but even with everything of the most inexpensive grade it will give more real pleasure than one on which a much greater amount has been spent if the room is nondescript in its furnishings and fails to impress the child with a sense of ownership.
Sarah Leyburn Coe
There is a growing and altogether proper tendency to treat the kitchen as an integral part of the house, which was almost entirely absent in English and American houses of early times; in fact, until within the last twenty-five years very little thought was attached to it. A century ago it was regarded advisable to have the kitchen occupy a separate building somewhat removed from the main building or located at a great distance from the dining or living rooms, ofttimes the whole length of the house. The principal reason for this was the primitive methods used in cooking and preparing foods which were very objectionable at close range.  The present-day intelligent methods of dealing with the kitchen, particularly in America, have effected a complete transformation in this old idea. Our modern successful architect of the home attaches great importance to the planning of the kitchen, with its adjoining pantries, closets, storage rooms, etc.; and rightfully he should, as it goes more towards making for the convenience, help and comfort of the up-to-date household than possibly any other feature of the home.
The modern English kitchen with its relation to the dining-room is interesting for comparison with those here in America, chiefly because the early English settlers constitute the original source from which we obtain our start in house-building. The English kitchen's[117] adjuncts practically comprise separate departments, such as the scullery, larder, wood, ashes, knives and boots, fuel, etc. This condition naturally requires the employment of considerable help even in the smaller homes. On the other hand, the compactness so noticeable in American homes—requiring perhaps one-half the space, thus reducing the necessary help to a minimum and obtaining the maximum of convenience—has brought our kitchen to a standard, nearly, if not entirely, approaching the ideal. The American architect has based his idea for this compactness upon the same reasoning as is exercised in fitting up a convenient workshop, for truly a kitchen is the workshop of the house. Again, the peculiar custom of medieval times in placing the kitchen a considerable distance from the dining-room still survives in the English homes, while in American homes a marked difference has long prevailed. The kitchen here is usually placed as near as possible to the dining-room, only separated, if at all, by a china-closet, pantry, or butler's room.
Convenience, cleanliness and ventilation are three essentials that must be paramount in arranging the up-to-date kitchen and its accessories.
While there may be differences as to minor details, the principal features to be obtained in establishing a modern kitchen may be found in the various suggestions herein contained:
1st. The kitchen should be roomy but not excessively large. This applies to any size of house, as too large a kitchen is maintained at the expense of convenience and labor. An ideal size for a kitchen in a house measuring 25 × 50 (containing living-room, reception room, dining-room and pantry on first floor) would be 12 × 15 feet.
2nd. The general construction of the interior is of the utmost importance. The floor may be of hard Georgia pine, oiled, or covered with linoleum or oilcloth. As a covering, linoleum of a good inlaid pattern, while more expensive than oilcloth, proves the best and most economical in length of service. In a house where comfort is demanded regardless of cost, an interlocking rubber tiling[119] is suggested. This flooring absolutely avoids noises and slipping and is comfortable to the feet, as well as being of an exceptional durability. Other floors of a well-merited character are unglazed tile, brick, or one of the many patented compositions consisting chiefly of cement, which is also fireproof.
The wainscoting, if adopted for the kitchen, can be of tile, enameled brick, or matched and V-jointed boards, varnished or painted; but in any event should be connected with the floor in a manner to avoid cracks for collecting dust or dirt. This is accomplished (when a wooden wainscot is used) by means of a plain rounded molding which is set in the rightangle formed by the junction of the floor with the wainscot. While seldom seen, because of the expense, a kitchen completely tiled or bricked on walls, floor and ceiling is indeed a thing of beauty and necessarily an ideally sanitary room.
The doors, window frames, dressers and other necessary woodwork should be plain, made of medium wood and painted some[120] light color or enameled white; or finished in the natural state with a transparent varnish.
The walls and ceiling, if not tiled or bricked, should be finished with a hard smooth plaster and painted three or four coats of some light color—light yellow, green, or blue making a very agreeable color to the eye. This manner of treatment permits the walls to be washed and kept free from dust and dirt, which latter is a disagreeable feature in the use of wall papers.
3rd. The proper installation of the various furnishings of the kitchen is worthy of much thought and consideration. Of all these, nothing is of more vital importance nor appeals more strongly to the household than the range. The size of the range is largely governed by the size of the house or the number of persons it is intended to serve. However, it is advisable to have a range not[121] less than three feet square for a seven or eight-room house. It should be of a thoroughly modern style, with a hood over it, either built in or of sheet iron, an excellent provision for drawing away the steam and fumes of cooking. And, by all means, the range should be placed so that direct daylight falls upon it. Most present-day houses also have either gas or electric ranges installed in them and these should be near the coal range so as to confine all cooking to one part of the kitchen; and further, especially in winter when large gatherings are entertained, they furnish a combined service. Some large establishments, in addition to the range, are especially equipped with "warmers."
The sink, being so closely allied in its usefulness to the range, should be placed near the latter and under, between or near windows, but never where the person using it would have his back to the light. It may be of galvanized iron, copper, soapstone or enameled porcelain, and provided with an ample draining-board;[122] two being much preferred. If there is a special sink for vegetables required, it should be immediately adjoining the draining-board to insure compactness and convenience as well as economy in plumbing. The draining-board may be of hard wood or of wood covered with copper or zinc. The best are made of enameled ware similar to the sinks. Draining-boards of copper or zinc should be given only a slight slope to prevent the possibility of dishes slipping therefrom.
The refrigerator should be built in or placed against an outside wall in order that the ice can be put in easily from without through either a small opening or window. If it can be avoided, the refrigerator should not be placed immediately in the kitchen, but rather in the entry, pantry or enclosed porch.
The kitchen of the small house which sometimes has no communicating pantry should have built therein dressers of such pro[123]portions as will accommodate all the necessary dishes, pots, vessels, bins for flour, sugar, etc., cutlery, and other things essential for obtaining the best results under the circumstances. A dresser of commodious size is always a blessing. The top portion, of plain shelves, should be enclosed either with doors or sliding glass fronts; the lower portion, first lined with zinc and enclosed with solid wooden doors so constructed to fit nearly if not airtight. If an exclusive pot closet is desired, it should be handy to the range and at the same time be under cover for sanitary reasons.
Frequently in a small kitchen a counter or drop leaves against the wall are substituted for a table, but in most kitchens a good-sized substantial table, preferably in the center of the room, is found indispensable. The table should have a smooth top that can be easily kept clean. Although costly, a heavy plate glass fitted perfectly with rounded edges makes a splendid top for the table.
The service part of the house, of which the kitchen is the central room, should fit together just as parts of a machine and form a[124] unit in themselves. The pantries, store rooms, etc., should be placed so as to afford easy access one to the other.
In a house, which has two or more servants, a dining-room or alcove should be provided for their use. This may be a part of the kitchen or immediately adjoining, and merely large enough to seat comfortably the servants around a table.
The cook's pantry should contain cupboards in which are all the necessary paraphernalia for preparing pastries, puddings, etc., such as bins, bakeboards, crockery, pans and supplies, and should be lighted by at least one window.
The butler's pantry, or china-closet as it is often called—generally located and affording direct communication between the kitchen and the dining-room—is essentially a serving-room and should contain a sink with draining-boards, cupboards and shelves to accommodate the fine china, glassware and other requisites for the table. With[125] such a plan the door between the pantry and kitchen may be either sliding or double swinging, but between the pantry and the dining-room, a noiseless double-swinging door. A slide, with small shelves or counters on either side, between the kitchen and pantry, for the passing of food and dishes, saves time and steps. It is well to have the communication rather indirect through the pantry to prevent in a measure the passage of odors or a direct view of the kitchen by those entering the dining-room or seated at the table. This can be partly accomplished by not having the communicating doors directly opposite each other.
The outside entrance to the kitchen should be so placed as to facilitate the delivery of provisions, preferably through an entry or an enclosed porch.
The laundry in many houses is combined with the kitchen or
immediately adjoining, in which latter case it often serves as an
entry and a place to store certain articles, such as brooms, buckets
[126]
[127]and possibly the refrigerator. The very best plan is to have the
laundry in the basement, with separate outside stairs. In such a
case, a chute for sending soiled linen, etc., should run from the
kitchen or pantry to the laundry.
The kitchen should above all be well ventilated and have plenty of daylight. The necessary fumes and heat arising from the cooking should be taken care of in such a way that none of it is carried to the dining-room or to other parts of the house. This can partly be accomplished by the hood over the range, but plenty of fresh air is required. Generally in country homes, the living-rooms are given the southern exposure, so the kitchen usually faces the north. The best location is either the northern or eastern exposure, as the cooling breezes in the summer generally come from that direction, especially in this part of the country, and combined with the morning sun, make the kitchen cheerful and cool. If possible there should be exposure on at least two sides, opposite, affording cross ventilation as well as an abundance of light. All windows should be well fitted[128] with screens in summer to keep out flies and other insects attracted by the odors of cooking.
The best artificial lighting is obtained by a reflector in the center of the kitchen, possibly with side brackets where necessary, as at the sink or at the range.
In a large house the service portion may be situated in a separate wing and if so the stairs should be in a small hall, centrally located and near the kitchen, especially the stairs to the cellar. This hall may contain a closet for brooms and a lavatory for the use of the servants. It it well not to have the stairway ascending directly from the kitchen, as it lessens the valuable wall space. The rooms directly over the kitchen can best be utilized in most cases for servants' sleeping rooms as they are often objectionable for members of the household, or guests.
James Earle Miller
Minor punctuation and printer errors repaired.
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Previous Menu
First String E (Track 2)
Playing with E,F,G(Track 3)
Extra Credit (Track 4)
Blues in C (Track 5)
Second String A (Track 6)
Jamming on Two strings (Track 7)
Hot Cross Buns (Track 8)
Blues in F (Track 9)
Rockin Mandolin (Track 10)
Third String D (Track 11)
Old MacDonald (Track 12)
Largo (Track 13)
Jingle Bells (Track 14)
Beautiful Brown Eyes (Track 15)
High A Exercise (Track 16)
Rockin in Dorian Mode (Track 17)
My Bonnie lies over the Ocean (Track 19)
Fourth String G (Track 19)


Please download the latest zip or tar.gz file from the releases in our releases page.
Unzip the file in your local computer. You need to rename a couple of directories inside it:
metadata/sites/yourSiteId: Rename the yourSiteId with your site id. You can find this on the top left of the administration page of your SFCC instance.
cartridges: rename the cartridges folder with the name of the code version you are using for your site. You can find the code version in Administration > Site Development > Code Deployment
Then you need to zip the files again for uploading it to SFCC.
zip the metadata folder only:
zip -r metadata.zip metadata
zip the cartridges folder:
zip -r code_version.zip CODE-VERSION/
You need to upload the metadata in Administration > Site Development > Site Import & Export Use the Upload Archive functionality for uploading the metadata.zip file you generated in the previous step.
Select your uploaded file from the list and click in the Import button.
You need to upload the cartridges using the sfcc-ci tool. Please refer to its documentation in order to configure it properly, especially about authentication.
Then, run this command for upload the cartridges:
sfcc-ci code:deploy code_version.zip
Go to Administration > Sites > Manage Sites.
For each of the sites you want to enable the cartridge, open its Settings and, in the Cartridge field, input (without quotes) "int_wallee:".
Save the configuration by clicking on the Apply button.
Now click on Business Manager Site, and go to its settings.
Again, in the Cartridges field input (without quotes) "bm_wallee:".
Save the configuration by clicking on the Apply button.
Go to Administration > Organization > Roles & Permissions
Click on the Administrator role.
Click on the Business Manager Modules tab.
Under the Site Preferences section, localize the Wallee option.
Check the checkbox for the Write columnd of the Wallee row.
At the bottom of the page, click on the Update button.
Go to Merchant Tools > Site Preferences > Wallee.
Input the settings provided given to you by Wallee for the Space ID, User ID and API Secret.
Click on Apply button.
So far, in order to use the payment methods provided by Wallee you need to disable other payment methods available in your SFCC instance.
Go to Merchant Tools > Ordering > Payment Methods.
For each of the payment methods available, except the entry for Wallee, disable them using the panel.
Transaction successful: the order status in SFCC will be marked as Open and the payment status will be marked as Paid.
Transaction authorized: the order status in SFCC will be marked as Open and the payment status will be marked as Not Paid.
Transaction completed: After the transaction has been authorized, the merchant can complete the transaction. Then the order status will be marked as Open and the payment status will be marked as Paid.
Transaction failed: the order status in SFCC will be marked as Canceled, and the payment status will be marked as Not Paid.
Transaction refunded: After the transaction has been completed or successful, the merchant can refund the transaction. Then the order status will be marked as Canceled and the payment status will be marked as Not Paid.


dials.apply_mask¶
Introduction¶
This program augments a experiments JSON file with one or more masks specified by the user. Its only function is to input the mask file paths to the experiments JSON file, but means that the user does not have to edit the experiments file by hand.
Crucially, the mask files must be provided in the same order as their corresponding imagesets (sequences) appear in the experiments JSON file.
Examples:
dials.apply_mask models.expt input.mask=pixels.mask
dials.apply_mask models.expt input.mask=pixels1.mask input.mask=pixels2.mask
Basic parameters¶
input {
mask = None
}
output {
experiments = masked.expt
}
Full parameter definitions¶
input {
mask = None
.help = "The mask filenames, one mask per imageset"
.type = str
.multiple = True
}
output {
experiments = masked.expt
.help = "Name of output experiments file"
.type = str
}


Our Story
Wintria was originally a weekend project built by Lucas Ou-Yang in 18
hours before his finals.
Lucas was sick of how "bland" the flavor of our current today news tasted. He
wanted to create a new way for people to interact with and experience their
daily news. In January 2013, Wintria's baby alpha build was released online.
It was designed as a humble and hardcoded news feeder, only retrieving
and aggregating articles from a mere 4 websites. Due to the overwhelming
response from reddit, friends, and family, what was originally a hobby
escalated quickly to something much more thrilling.
Wintria was refined since its initial release. Nithin Jilla joined Wintria in May
2013, serving as the visionary for the company with Lucas being the visionary
for the product. With Nithin’s vision and contribution, Wintria changed from
being an aggregator to a search. A search for news that aimed to be the
leader for the way we get news surrounding a certain keyword or a topic of
our interest. Nithin helped define the vision, timeline, core features and the
features of the minimum viable product along with helping to incorporate
Wintria as well as raise seed funding to patent and cover all costs.
Wintria launched into its beta testing phase to gather feedback in order to
iterate the next version. During this stage, Lucas decided to focus more on
finishing school early so that he can focus on entrepreneurial ventures more
wholeheartedly after. He also interned at Facebook for more industry exposure.
Following a series of events, Nithin & Lucas made the decision to close
out wintria in February 2014. It proved to be a great learning experience for
both Lucas & Nithin.
Lucas Ou - Cofounder
Lucas is a CS student at UCI and interested in data mining, the web, and snowboarding.
Lucas is a young entrepreneur and never stops programming, and he does it to an unhealthy extent.
Aside from coding random ideas, programming projects or working on Wintria, Lucas enjoys distance running
and snowboarding. Despite being an engineer, Lucas is fascinated in art, branding, and entrepreneurship and it
is reflected in his software. He has a collection of small games and apps.
Lucas is the head engineer & original visionary behind Wintria.

Nithin is a graduate from the Information & Computer Sciences School at the University of California, Irvine and is a social entrepreneur following his passion of giving back and helping others by combining his interests in technology and education. He’s been working on growing Kenya Dream, a nonprofit that raises funds to help improve access to education abroad. He is also the Co-Project Manager of AppJam+, a S.T.E.M.- focused program which educates Middle School students in the creation of mobile applications. Nithin aspires to help spread the “learning by doing” model to the younger generation and nurture the next generation of innovators through entrepreneurship.


Just a little site to help me learn Jekyll and German.
View the Project on GitHub
Link to Auxiliary verbs.
Link to Modal verbs.
Link to Weak Verbs.
End
Link to the original index.md file.


1. Banana and Egg Hair Treatment
Looking for a little more shine in your hair? Simply mix one egg and a mashed up banana. Apply it as a thick paste to your hair and leave it on for 10-30 minutes. Wash it our doing your usual hair washing ritual (if you usually use a store-bought conditioner you'll probably only need to condition the ends). And voila! Super simple, and all natural, good looks tip.
2. Moisturizing Nail Treatment
Soak your nails in olive oil for five minutes.
3. Simple Honey Face Mask
Raw honey is naturally anti-bacterial and a super quick way to get soft, beautiful skin. Once a week use a tablespoon or so of raw honey (not the processed stuff parading as honey) and gently warm it by rubbing your fingertips together. Spread on your face. Leave on for 5-10 minutes and then use warm water to gently rinse it off and pat dry. Then bask in the glow of your honey-awesomeness. This raw honey is awesome, by the way.
4. Apple Cider Vinegar Clarifying Shampoo
For those who are using commercial shampoos: To help eliminate any build up in your hair, mix 1/4 cup organic apple cider vinegar (like this) with 1 cup water. Follow with your usual conditioner.
5. Elbow and Knee Exfoliate and Skin Brightener
Cut an orange in half and rub it on your elbows and knees. Helps soften those rough patches. And it smells good. (Rinse off the sticky mess when you are done.)
6. Gentle Body Scrub
Mix a 2 to 1 ratio of olive oil and sea salt to make a quick and effective body scrub. This helps get rid of dead skin cells creating softer, more glowing skin. And this natural good looks tip is much cheaper that expensive store bought body scrubs.
7. Easy Deep Conditioning Hair Treatment
Want super soft, hydrated hair? This is one of my favorite all natural good looks tips. Use melted coconut oil as a deep conditioning hair and scalp treatment. Massage coconut oil into your scalp and then work it through your hair. Leave it on for a couple of hours and then wash it out using shampoo (no need to condition unless you have really long hair and then maybe just the ends.) Note: For you no poo-ers keep in mind that coconut oil will saturate your hair with awesome goodness that can be really hard to get out with just baking soda and *some* natural shampoos. You may want to try just a little coconut oil on a little section of hair and see if you can get it out before you do this. Otherwise you might have really greasy (but soft!) hair for a few washes. NOT that I'm speaking from personal experience of anything (*cough*).
8. Simple Toxic-Free Shaving Cream
Use coconut oil on your legs as a natural replacement for your shaving cream. Talk about a simple, natural good looks tip.
9. All Natural Black Head Removal
Place 4 or 5 drops of raw honey on an open lemon wedge. Then rub the lemon on your face for a minute, emphasizing any trouble areas. Leave the mixture on for 5 minutes and rinse with cold water. (Keep in mind that citrus can make your skin photosensitive so it's best to do this before bed rather than before going outside).
10. Dry Brushing for Better Skin
Dry brushing is a simple detoxification process for your body. It stimulates a number of organs through a gently massage. It also helps the lymphatic system, eliminates dead skin coatings, strengthens the immune system, can eliminate cellulite, stimulates the hormones, and can help tighten skin through better circulation. Best of all, it's cheap and easy. Learn more about dry brushing and how to do it here. Here's a great skin brush to get you started!
Credits to: thankyourbody


The lean backtest
command supports the following options:
| Option | Description |
|---|---|
--output <path> |
Directory to store results in (defaults to <project> / backtests / <timestamp>). |
--detach , -d |
Run the backtest in a detached Docker container and return immediately. The name of the Docker container is shown before the command ends. You can use Docker's own commands to manage the detached container. |
--debug |
Enable a certain debugging method, see Debugging for more information. |
--data-provider <value> |
Update the Lean configuration file to retrieve data from the given provider, which must be Local , QuantConnect , or Terminal Link . |
--download-data |
Update the Lean configuration file to download data from the QuantConnect API, alias for --data-provider QuantConnect . |
--data-purchase-limit <value> |
The maximum amount of QCC to spend on downloading data during the backtest when using QuantConnect as data provider. |
--terminal-link-environment <value> |
The environment to run in, which must be Production or Beta . |
--terminal-link-server-host <value> |
The host on which the Terminal Link server is running. |
--terminal-link-server-port <value> |
The port on which the Terminal Link server is running. |
--terminal-link-openfigi-api-key <value> |
The Open FIGI API key to use for mapping Options. |
--image <value> |
The LEAN engine image to use (defaults to quantconnect/lean:latest ). |
--python-venv <value> |
The path of the python virtual environment to use. |
--update |
Pull the LEAN engine image before running the backtest. |
--no-update |
Use the local LEAN engine image instead of pulling the latest version. |
--lean-config <path> |
The Lean configuration file that should be used (defaults to the nearest lean.json file). |
--release |
Compile C# projects in release configuration instead of debug. |
--verbose |
Enable debug logging. |
--help |
Display the help text of the lean backtest command and exit. |


2 Chronicles 4:13
And four hundred pomegranates on the two wreaths; two rows of pomegranates on each wreath, to cover the two pommels of the chapiters which were upon the pillars.


Try out: lol.png, testjubs.jpg, stars.jpg, 1600.jpg, fallout.jpg
Franz core functionality (not canvas related):
Reset Sort by Hue Saturation Brightness
This experiment was brought to you in Technicolor (get it?) by Ryan McGrath & Dominick Pham, two of the most awesome people you'll ever hear about. If you're interested in helping out, hit up Franz on GitHub!


Block Mode
User:
Anonymous
16
17
18
19
20
21
22
23
24
25
26
Task:
None
Find the location in the code where a cow is removed from the list of cows.
Without using search, find the location in the code where a cow’s direction is updated because it hit a wall
What conditions must be true in order for the UFO to be moved left?
DONE!
Blocks Shortcuts
(Note: on MacOS, Cmd replaces Ctrl .)
Screenreader users: Make sure to either increase your screenreader's verbosity, or character over the shortcut column in the tables below. Some shortcuts use punctuation keys that may not always be spoken.
Navigation
Command Shortcut
Previous Block Up
Next Block Down
Collapse Block Left
Expand Block Right
Expand All Shift-Right
Collapse All Shift-Left
First Visible Block Home
Last Visible Block End
Read Ancestors \
Read Block and Children Shift-\
Editing
Command Shortcut
Edit a Literal Enter or Return
Edit any Block Ctrl-Enter
Cancel Editing ESC or Shift-ESC
Insert Before Ctrl-[
Insert After Ctrl-]
Start New Expression (
Delete Selected Blocks Delete
Selection and Cut/Copy/Paste
Command Shortcut
Toggle selection Space
Navigate and keep selection Ctrl +Navigate (Cmd on Mac)
Cut / Copy / Paste Ctrl-X / Ctrl-C / Ctrl-V
Paste before active node Shift-Ctrl-V
Search
Command Shortcut
Enter Search Mode / (forward slash)
Exit Search Mode ESC or Shift-ESC
Find next Enter
Find previous Shift-Enter


portfolio
character animationThis animation is created with the help of a markerless Motion Capture Technology. The Motion Capture Data is generated with two Kinect Sensors, iPi Desktop Motion Capture and MotionBuilder.
|
|
motion graphicsThis shows the intro of the world conference on regenerative medicine 2011 that was hosted by the Fraunhofer Institute for Cell Therapy and Immunology IZI, Leipzig.
|
|
digital compositingThe aim of this shortfilm was to show the interaction of a real actor with a CG character.
|
|
instructional animationAn animation that explains the principles of relative humiditiy. It uses a private home as an example. It is made with the help of the open source 3D content creation suite Blender, to build and animate the various 3d-scenes
|
|
typo animationThe aim of this group project was to visualize and animate the lyrics of Johnny Cash's Father and Son. I applied myself to the 1st strophe.
|


lingvo.core.base_model_test module¶
Tests for base_model.
-
class
lingvo.core.base_model_test.
BaseTaskTest
(methodName='runTest')[source]¶ Bases:
tensorflow.python.framework.test_util.TensorFlowTestCase
-
class
lingvo.core.base_model_test.
DistillationTaskTest
(methodName='runTest')[source]¶ Bases:
tensorflow.python.framework.test_util.TensorFlowTestCase
-
class
lingvo.core.base_model_test.
DistillationTestTask
(*args, **kwargs)[source]¶ Bases:
lingvo.core.base_model.DistillationTask
-
ComputeLoss
(theta, input_batch, predictions)[source]¶ Computes loss and other metrics for the given predictions.
Parameters: - theta – A nested map object containing variable values of this task.
- input_batch – A nested map object containing input tensors to this tower.
- predictions – The output of ComputePredictions.
Returns: A dict containing str keys and (metric, weight) pairs as values, where one of the keys is expected to be ‘loss’.
-
-
class
lingvo.core.base_model_test.
MultiTaskModelTest
(methodName='runTest')[source]¶ Bases:
tensorflow.python.framework.test_util.TensorFlowTestCase
-
class
lingvo.core.base_model_test.
SingleTaskModelTest
(methodName='runTest')[source]¶ Bases:
tensorflow.python.framework.test_util.TensorFlowTestCase
-
class
lingvo.core.base_model_test.
StudentTask
(*args, **kwargs)[source]¶ Bases:
lingvo.core.base_model.BaseTask
-
ComputePredictions
(theta, input_batch)[source]¶ Computes predictions for ‘input_batch’.
The output can be in the form of probablistic distributions, e.g., softmax logits for discrete outputs, mixture of logistics for continuous values, or regression values.
For training/evaluation, the output will be used for computing loss and gradient updates, including comparing predicted distributions between teacher and student for distillation. During inference the output can be used to compute final outputs, perhaps with sampling.
Parameters: - theta – A nested map object containing variable values of this task.
- input_batch – A nested map object containing input tensors to this tower.
Returns: Predictions, in the form of a single Tensor, a NestedMap, or a namedtuple.
-
-
class
lingvo.core.base_model_test.
TeacherTask
(*args, **kwargs)[source]¶ Bases:
lingvo.core.base_model.BaseTask
-
ComputePredictions
(theta, input_batch)[source]¶ Computes predictions for ‘input_batch’.
The output can be in the form of probablistic distributions, e.g., softmax logits for discrete outputs, mixture of logistics for continuous values, or regression values.
For training/evaluation, the output will be used for computing loss and gradient updates, including comparing predicted distributions between teacher and student for distillation. During inference the output can be used to compute final outputs, perhaps with sampling.
Parameters: - theta – A nested map object containing variable values of this task.
- input_batch – A nested map object containing input tensors to this tower.
Returns: Predictions, in the form of a single Tensor, a NestedMap, or a namedtuple.
-
-
class
lingvo.core.base_model_test.
TestInputGenerator
(params)[source]¶ Bases:
lingvo.core.base_input_generator.BaseSequenceInputGenerator


I had heard of absinthe but became interested in trying it when I learned it was fairly easily accesible in the U.S. by mail order. I did a little research and decided to order a bottle of Deva 50 from SC. It cost approximately $50. I recieved it in about a week. I filled a 16 oz. glass with ice, poured a good sized shot, added water and a good tablespoon of sugar and stirred. It louched to a nice milky green color and tasted highly of anise, leaving a coated or numbing feeling in my mouth. I assume the gritty coated feeling came from the excess of sugar I had dumped into it. Also the numbness in nothing special, it is the same as I get eating anise candy. If you like the taste of anise as I do you would most likely enjoy drinking Deva. I have stopped putting so much sugar it in, less gritty and the less sweetened taste has grown on me.
My next SC puchase was for three bottles of absinthe of different brands, Segarra, N.S, and Serpis (which is red colored). N.S. is now my favorite, much like Deva only more olive green, less anise-flavored, more herbal-flavored. I have only tried a small glass of each of the Segarra and Serpis. Segarra louches to a caramel sort of color, and the Serpis looks a bit like watered down tomato juice. Both of these had too strong of an alcohol taste for me. I guess when my Deva and N.S. run out I will try them again, adjusting the wter/sugar/absinthe levels of my recipe. Now for the effects...
I am a bartender of 9 years and have had my share of drinking experiences. In the past I have also tried the occasion drugs. Now I am mainly a beer drinker. Somtimes I drink vodka. Occasionally accompanied with a few shots of tequila. And on holiday I'll have a few glasses of wine. The only noticeable effects of absinthe for me are minimal. Just as there is a difference when I drink beer or vodka or wine. Of course I get drunk, there's alcohol in it! But a 'beer drunk' and a 'wine drunk' or a 'whiskey drunk' are all different in their own ways. If you normally mix all of these maybe you've never noticed this but believe me, it's true. Most stories I read of people getting a different buzz on absinthe ring only partially true. If you only drank beer all the time, and one night decided to do half a dozen shots of tequila (and had never tried it before) your experience would be different of course. You would be way more smashed, and it would be a different kind of drunk.
I enjoy a few glasses of absinthe occasionally and I enjoy the different kind of 'buzz' I get. Being able to recognize the difference in effect of all different types of alcohol, or drugs, is the key. Mix it all up, or just getting completely hammered does not construe having an absinthe affect, it is more like lkely you are just hammered.
I have compiled a list of the ingredients in many recipes of absinthe, and listed their medicinal and 'psychoactive' uses, there is more to it than thujone. For thase interested in thujone, i have a list of the herbs besides wormwood than contain thujone, which is supposedly similar to THC in marijuana. You can find these
here.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


Enter a NUSNET ID or matric number into the input box below...
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is a valid NUS matriculation number.
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is an invalid NUS matriculation number. The last letter of the matric number should have been
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is an invalid NUS matriculation number.
Matric Number Check Code:
Based on the NUSNET ID entered, the matric number should be
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A super long string that has been marked as ignore because it was probably generated by some script.
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| Dogs | Cats | Weasels | Bats | Pigs | Mice | Hedgehogs | Capybaras | Rats | Tigers | | ---- | ---- | ------- | ---- | ---- | ---- | --------- | --------- | ---- | ------ | | 1 | 1 | 0 | 0 | 1 | 1 | 5 | 16 | 4 | 0 |


Time to Pay for your Usage
Once your payment has been received you will be granted access to this Demo for another month or so depending on your actual usage (prices can change without prior notice based on usage)
Please allow 1-3 business days for your access to this demo AFTER your payment has cleared the Vyper Logix Corp Accounting Department.