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|Eileen Dunn Bertanzetti||Pauline Books and Media||ePub|
Poor but Rich
In January 2000, eight-year-old Matteo Pio Colella lay in a hospital bed in Padre Pio’s Home for the Relief of Suffering. Matteo, seriously ill with meningitis, was in a deep coma, unable to see, speak, eat, or move. His parents hovered over him, afraid that the disease attacking their son would soon take his life.
“We must pray to Padre Pio!” said Mr. Colella to his wife. “Pio is in heaven now. Surely he can obtain from God a miracle for our Matteo.”
“Yes,” agreed Mrs. Colella. “And we must ask Padre Pio’s friars at the monastery to pray to Pio too.”
How could those two worried parents have such faith that God would answer their prayers through Padre Pio? Before he died, Pio promised everyone, “I will be able to do more for you from heaven than I can while I am alive here on earth.” Mr. and Mrs. Colella knew Pio had been keeping that promise ever since God had taken him to heaven in 1968. Matteo’s parents had heard about the many prayers already answered through Pio’s intercession, and they believed Padre Pio could heal their son, too—if God willed it.See more
|James K. Baxter||Carcanet Press Ltd.|
|David Pogue||O'Reilly Media||ePub|
The iPhone’s concept as an all-screen machine is a curse and a blessing. You may curse it when you’re trying to type text, wishing you had real keys. But when you’re online—oh, baby. That’s when the Web comes to life, looming larger and clearer than you’d think possible on a cellphone. That’s when you see real email, full-blown YouTube videos, hyper-clear Google maps, and all kinds of Internet goodness, right in your hand.
And it’s fast, too—as long as you’re in one of the cities covered by 4G LTE cellular towers, and the gods are smiling.
The iPhone can get onto the Internet using either of two kinds of wireless networks: cellular or WiFi. Which kind you’re on makes a huge difference to your iPhone experience.
Once you’ve accepted the miracle that a cellphone can transmit your voice wirelessly, it’s not much of a stretch to realize that it can also transmit your data. Cellphone carriers (Verizon, AT&T, and so on) maintain separate networks for voice and Internet data—and every year, they spend billions of dollars trying to make those Internet networks faster. Over the years, they’ve come up with data networks like these:See more
|Larry Ludmer||Hunter Publishing||ePub|
B y Mexican standards Santa Rosala is a young community. Its origins go back to the 1880s when a French mining company began operations. Although the copper mine and smelting operations shut down in the 1950s, the mining legacy is evident almost everywhere, including the rather unattractive copper smelter on the edge of town that sits eerily quiet. Because it was the French who built the town from scratch you will not see much evidence of Spanish colonial architecture in Santa Rosala. What is all around you are buildings (especially private homes) constructed of wood in French colonial style. Such a colorful array of clapboard houses in a dazzling variety of pastel shades is seldom seen anywhere in Latin America. The entire town has been declared a national historic landmark by the Mexican government.
Despite the fact that Santa Rosala is a small town (population 15,000), it is a significant port and its harbor can handle large ships. A new facility was recently completed that can accommodate cruise ships, thereby eliminating the need for tendering that existed just a few years ago. Once on the dock you're only a short distance from the historic part of town.See more
|Victoria Charles||Parkstone International|
A la fin de l’année 1632, Van Dyck reçut l’invitation de Charles Ier à venir travailler en Angleterre. Le peintre accepta et ne rentra en Flandre qu’à de rares occasions. Il s’installa à Blackfriars, où le roi venait souvent lui rendre visite. Durant les étés, il bénéficiait d’un logement au palais royal d’Eltham, dans le Kent. En Angleterre, Van Dyck se consacra uniquement au portrait. Ayant rapidement devancé ses collègues anglais, il devint le portraitiste par excellence de l’aristocratie anglaise. Son œuvre incarne parfaitement l’idéal, qui s’était alors formé dans la haute société anglaise, de l’aristocrate à l’esprit raffiné. Dans tous les portraits, le peintre souligne l’élégance de la pose du personnage, sa fierté et la noblesse de son caractère, même si le modèle ne possédait pas ces traits.
La collection de Van Dyck du Musée de l’Ermitage permet de se faire une idée précise de la dernière période de création du peintre, celle-ci étant très bien présentée. La majorité des portraits de cette époque provient, comme nous l’avons déjà dit, de la collection Wharton (Winchendon).See more
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