Throughout this book, our programs have all been written in
Python code. We have used interfaces to services outside Python, and
weve coded reusable tools in the Python language, but all our work
has been done in Python itself. Despite our programs scale and
utility, theyve been Python through and through.
For many programmers and scripters, this mode makes perfect
sense. In fact, such standalone programming is one of the main ways
people apply Python. As weve seen, Python comes with
batteries includedinterfaces to system tools,
Internet protocols, GUIs, data storage, and much more is already
available. Moreover, most custom tasks were likely to encounter have
prebuilt solutions in the open source world; the PIL system, for
example, allows us to process images in tkinter GUIs by simply running
But for some systems, Pythons ability to integrate with
components written in (or compatible with) the C programming language is a crucial feature. In fact,
Pythons role as an extension and interface language in larger systems
is one of the reasons for its popularity and why it is often called a
scripting language in the first place. Its design supports
hybrid systems that mix components written in a
variety of programming languages. Because different languages have
different strengths, being able to pick and choose on a
component-by-component basis is a powerful concept. You can add Python
to the mix anywhere you need a flexible and comparatively easy-to-use
language tool, without sacrificing raw speed where it matters.
Maurice de Vlaminck, the “wildest” of the Fauves, was enraptured by Dufy: “The work of Raoul Dufy is more unquestionable and more original than that of Henri Matisse. Dufy is not tempted like Matisse by the solution of plastic problems. He quite simply thinks of his painting. Like the palm-reader who uses the lines on a woman’s hand to discover her character, Raoul Dufy uses the lines of his drawing to convey his vision of things, to describe the gestures and motion of what he sees living and stirring.... For him everything is permitted; he enjoys complete liberty and makes the most of it. The subject does not hamper him.”
Dufy was close to Vlaminck in the absolute freedom of his painting. He saw the world around him primarily in terms of colour. He was never indifferent to that world and, like Vlaminck, he loved flowers, trees, birds, and butterflies. Dufy did not resemble anyone else. He made contact with his future-Fauvist friends in 1900 precisely because at the age of twenty-three, he possessed the same qualities which were to become their common property. Just like the other Fauves, he was opposed on principle to theories and groupings; like all of them, to the end of his life he valued the friendship and preserved the attachments of his youth.
We might never learn her birth name. We will never know her family or even see a photograph of them. What we do know is that Saint Bakhita was born around 1869 in a little village called Olgossa in the Darfur region of Sudan. This village, near the great Algilerei Mountains, borders the African nation of Chad. Sudan is the largest country in the continent of Africa.
Although there had been many Christians in Sudan in earlier centuries, there were not many native-born Christians anywhere in Central Africa by the time Bakhita was born. Pope Gregory XVI sent missionaries to the region in 1846. But disease and poverty made it extremely difficult to preach the Gospel in this part of Africa. Over the years, many Sudanese people, especially those living in the northeastern part of the country, had, due to Arab influence, become Muslim.
In Darfur, Bakhita’s family had never heard of Jesus. The peace-loving, hardworking people of their tribe followed traditional African beliefs. When she was a child, Bakhita had no knowledge of God, although she sensed that the beauties of nature had been created by a Higher Being. It was not until much later in her life that she would come to understand and rejoice in the love of the Lord.