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Softshell
The Powerselling Proposition

The 2030 education goal builds on the millennium development goal to achieve universal primary schooling, under which SKECHERS Microburst Gentle Gaze busiK
, according to UN figures.

Getting children into school is only the first step, said Unicef’s deputy executive director, Justin Forsyth, since the international community must also focus on how to keep them there.

“Well trained teachers are the key to children learning properly,” he said. “That’s why it’s important to close this education gap: without highly-trained teachers, children will go to school but they won’t have the skills to write, read or add up.”

In Ghana, pilot teacher training schemes have used technology including solar-powered infrastructure and satellite links to deliver distance learning courses. The $2m (£1.5m) Train for Tomorrow project , funded by Dubai Cares and delivered by the Varkey Foundation, involves instructing teachers face-to-face in “hub” schools so that, using interactive distance learning, they are then able instruct other educators.

The Varkey Foundation’s CEO, Vikas Pota, said: “The original 40 connected schools allow us to reach 5,000 teachers from our studios in Accra, and the project can be expanded by installing the technology package in further schools.”

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Using this model, said Pota, training costs $200 a teacher until infrastructure is in place, at which point the cost decreases to $150 a teacher.

David Archer, head of programme development for ActionAid, recommended a broader approach to finding solutions. He said: “There are many innovative ways to improve the training and continuing professional development of teachers, and distance learning can play a role – but is not in itself a magic bullet.”

Unesco figures show that while the number of primary school teachers in Ghana has increased by 61% over the past decade, there was a decrease in trained teachers from 72% in 1999 to 53% in 2013. The distance-learning method allows teachers to learn novel methods of teaching, which, especially in Africa, have relied for too long on rote learning and dictation, said Pota.

Teachers also need to be paid more and paid on time, argue campaigners. Teachers’ salaries are often so low that they are forced to live hand-to-mouth , supplementing their work with other jobs or spending decades disputing their pay (as is the case in Kenya).

But other socioeconomic and gender factors affect how long a child stays in school, said Forsyth, who pointed to issues such as poor sanitation and the absence of doors on toilets as reasons why girls may stop attending school.

He said: “So many children go to school and then drop out because of poverty – they have to work instead. Or girls drop out because of lack of toilets, or because of embarrassment when they start menstruating.

Getting Started

Migrations are JavaScript files that help you deploy contracts to the Ethereum network. These files are responsible for staging your deployment tasks, and they're written under the assumption that your deployment needs will change over time. As your project evolves, you'll create new migration scripts to further this evolution on the blockchain. A history of previously run migrations is recorded on-chain through a special contract, detailed below.

Command

To run your migrations, run the following:

This will run all migrations located within your project's directory. At their simplest, migrations are simply a set of managed deployment scripts. If your migrations were previously run successfully, will start execution from the last migration that was ran, running only newly created migrations. If no new migrations exists, won't perform any action at all. You can use the option to run all your migrations from the beginning. For local testing make sure to have a test blockchain such as Ganache installed and running before executing .

Migration files

A simple migration file looks like this:

Filename:

Note that the filename is prefixed with a number and is suffixed by a description. The numbered prefix is required in order to record whether the migration ran successfully. The suffix is purely for human readability and comprehension.

artifacts.require()

At the beginning of the migration, we tell Truffle which contracts we'd like to interact with via the method. This method is similar to Node's , but in our case it specifically returns a contract abstraction that we can use within the rest of our deployment script. The name specified should match the name of the contract definition within that source file. Do not pass the name of the source file, as files can contain more than one contract.

Consider this example where two contracts are specified within the same source file:

Filename:

To use only , your statement would look like this:

To use both contracts, you will need two statements:

module.exports

All migrations must export a function via the syntax. The function exported by each migration should accept a object as its first parameter. This object aides in deployment by both providing a clear syntax for deploying smart contracts as well as performing some of deployment's more mundane duties, such as saving deployed artifacts for later use. The object is your main interface for staging deployment tasks, and its API is described at the bottom of this page.

Your migration function can accept other parameters as well. See the examples below.

Initial migration

Truffle requires you to have a Migrations contract in order to use the Migrations feature. This contract must contain a specific interface, but you're free to edit this contract at will. For most projects, this contract will be deployed initially as the first migration and won't be updated again. You will also receive this contract by default when creating a new project with .

Filename:

You must deploy this contract inside your first migration in order to take advantage of the Migrations feature. To do so, create the following migration:

Filename:

From here, you can create new migrations with increasing numbered prefixes to deploy other contracts and perform further deployment steps.

Deployer

Your migration files will use the deployer to stage deployment tasks. As such, you can write deployment tasks synchronously and they'll be executed in the correct order:

Alternatively, each function on the deployer can be used as a Promise, to queue up deployment tasks that depend on the execution of the previous task:

It is possible to write your deployment as a single promise chain if you find that syntax to be more clear. The deployer API is discussed at the bottom of this page.

Network considerations

It is possible to run deployment steps conditionally based on the network being deployed to. This is an advanced feature, so see the Networks section first before continuing.

To conditionally stage deployment steps, write your migrations so that they accept a second parameter, called . Example:

Available accounts

Migrations are also passed the list of accounts provided to you by your Ethereum client and web3 provider, for you to use during your deployments. This is the exact same list of accounts returned from .

Deployer API

The deployer contains many functions available to simplify your migrations.

deployer.deploy(contract, args…, options)

Deploy a specific contract, specified by the contract object, with optional constructor arguments. This is useful for singleton contracts, such that only one instance of this contract exists for your dapp. This will set the address of the contract after deployment (i.e., will equal the newly deployed address), and it will override any previous address stored.

You can optionally pass an array of contracts, or an array of arrays, to speed up deployment of multiple contracts. Additionally, the last argument is an optional object that can include the key named as well as other transaction parameters such as and . If is set to , the deployer won't deploy this contract if one has already been deployed. This is useful for certain circumstances where a contract address is provided by an external dependency.

Note that you will need to deploy and link any libraries your contracts depend on first before calling . See the function below for more details.

For more information, please see the truffle-contract documentation.

Examples:

deployer.link(library, destinations)

Link an already-deployed library to a contract or multiple contracts. can be a single contract or an array of multiple contracts. If any contract within the destination doesn't rely on the library being linked, the contract will be ignored.

Example:

deployer.then(function() {…})

Just like a promise, run an arbitrary deployment step. Use this to call specific contract functions during your migration to add, edit and reorganize contract data.

Example:

See a way to make this page better? Matt Bernson Meridian II o8TIb5u6

There bought by Samuel Jones Loyd, later 1st Baron Overstone (1796–1883);

Thence by inheritance to his son-in-law Brigadier-General Robert Loyd-Lindsay, 1st Baron Wantage, VC, KCB,

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London, Burlington Fine Arts Club, School of Siena ,1904, no. 40 (as follower of Francesco di Giorgio);

Oxford, Ashmolean Museum, Pictures from Lockinge House , Wantage, 1934, no.19;

London, Thomas Agnew

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S. Colvin (ed.), A Florentine Picture Chronicle , London 1898, reproduced plates XVI–XVII;

P. Misciattelli, ' La donna senese del Quattrocento nella vita privata ', in Bollettino senese di storia patria ,

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This elegant panel was painted in Siena in the late 1460s by the famous Veronese painter and miniaturist Liberale da Verona, whose formative youth was spent in that city. The scene is based upon the Trionfo della Pudiccia (‘Triumph of Chastity’) by the great Italian poet Petrarch (1304–1374), itself a section of his long poem Trionfi (‘Triumphs’)
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Fig. 1

Liberale da Verona, , formerly Ehrich Galleries, New York © Fondazione Zeri

Fig. 2

Liberale da Verona, , from Graduale 20.5, Liberia Piccolonini, Siena (detail)

Fig. 3

Liberale da Verona, , RMN-Grand Palais, Musée du Louvre © Franck Raux

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London 1815:...
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THE TRIUMPH OF CHASTITY
tempera onpoplar panel 41.2x 124.5 cm.; 16 1/4 x 49 in.
Estimate 400,000 600,000

The following condition report is provided by Sarah Walden who is an external specialist and not an employee of Sotheby's: This painting is on a thick poplar panel, with one single central joint. It seems to have remained perfectly firm and flat, with only minor past traces of worm and scarcely any sign of movement in the joint or elsewhere. At some time, probably in the middle of the last century when the painting was exhibited, the two vertical cross bars may apparently have been replaced, with the one on the left being slightly further inset into a slight hollow in the back of the main panel. However there appears to have been minimal intervention overall for several centuries. The attention paid to the back of the panel, and the protection from unstable atmospheric humidity indicated by the glass in front and plastic behind, as well as minor surface conservation, were perhaps in response to exhibitions at the Ashmolean in the 1930's and at Agnews in the middle of the last century. Essentially however the exceptional preservation of the painting remains scarcely disturbed. There has been a gentle accumulation of slightly discoloured old varnish, perhaps partially thinned at times in the past, but the pure tempera colour and brushwork survives vividly in the figures and the chariot, with many intricate punched, patterned and gilded clothes and surfaces. The background landscape and the sky has accreted rather more old varnish, with the trees and mountainous background on the left further darkened by the natural transformation of the rich copper resinate green into deepest brown, or even black in the case of the quite impasted trees. The edges have had occasional small retouchings over a long period, with rather more at both ends and especially in the corners, for instance on the right end base corner and up through the red drapery of the girl at far right, and equally at the end on the left. A few minor old retouchings can be seen occasionally near the upper edge in the sky and a few others are visible under ultra violet light at other edges including along the base, but these are rare and older retouching is not visible under UV. A few other retouchings can be seen, for instance a narrow line in the upper right landscape, and various touches in the long flag in the sky at upper left. However there are minimal interventions of any sort over many centuries. As a wedding chest the painting was evidently put to good use, with traces of a great lock falling fairly frequently onto the paint surface around the figure of Cupid, leaving minute dents. Other minor scratches can also be seen in various places, for instance near the little swirl of paint just above the chariot, or in the red dress just behind the chariot or just above the unicorns. The magnificent drawing so vividly apparent in the unicorns themselves, and the brilliance of the brushwork in the clouds for example, have remained supremely intact and untouched, as has this remarkable painting overall. This report was not done under laboratory conditions."This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

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