[136778] in SIPB IPv6
Common bedtime habit skyrockets dementia risk
daemon@ATHENA.MIT.EDU (Dementia warning)
Thu Mar 6 10:30:23 2025
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Date: Thu, 6 Mar 2025 16:29:50 +0100
From: "Dementia warning" <Dementiatrigger@burnfat24.sa.com>
Reply-To: "Dementia trigger" <Dementiawarning@burnfat24.sa.com>
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Common bedtime habit skyrockets dementia risk
http://burnfat24.sa.com/xUPZoQuP85yz5kVoMSWcQyhz36d0uIU1croCASbBOKia43K3qQ
http://burnfat24.sa.com/UyfOyGzfh5qlyd2NhieOszqQ25akPerOLGIkjRpjtDIcynmekg
an Tondo, also from Roman Egypt (about 200 AD), is one of the handful of non-funerary Graeco-Roman specimens to survive. Wood has always been the normal support for the Icons of Byzantine art and the later Orthodox traditions, the earliest of which (all in Saint Catherine's Monastery) date from the 5th or 6th centuries, and are the oldest panel paintings which seem to be of the highest contemporary quality. Encaustic and tempera are the two techniques used in antiquity. Encaustic largely ceased to be used after the early Byzantine icons.
Although there seem from literary references to have been some panel paintings produced in Western Europe through the centuries between Late Antiquity and the Romanesque period, and Byzantine icons were imported, there are next to no survivals in an unaltered state. In the 12th century panel painting experienced a revival. Altarpieces seem to have begun to be used during the 11th century, with the possible exception of a few earlier examples. They became more common in the 13th century because of new liturgical practices—the priest and congregation were now on the same side of the altar, leaving the space behind the altar free for the display of a holy image—and thus altar decorations were in demand. The habit of placing decorated reliquaries of saints on or behind the altar, as well as the tradition of decorating the front of the altar with sculptures or textiles, preceded the first altarpieces.
The earliest forms of panel painting were dossals (altar backs), altar fronts and crucifixes. All were painted with religious images, commonly the Christ or the Virgin, with the saints appropriate to the dedication of the church, and the local town or diocese, or to the donor. Donor portraits inclu
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<div style="color:#FFFFFF;font-size:10px;">stery) date from the 5th or 6th centuries, and are the oldest panel paintings which seem to be of the highest contemporary quality. Encaustic and tempera are the two techniques used in antiquity. Encaustic largely ceased to be used after the early Byzan</div>
<div style="color:#FFFFFF;font-size:10px;">an Tondo, also from Roman Egypt (about 200 AD), is one of the handful of non-funerary Graeco-Roman specimens to survive. Wood has always been the normal support for the Icons of Byzantine art and the later Orthodox traditions, the earliest of which (all in Saint Catherine's Mona</div>
<div style="color:#FFFFFF;font-size:10px;">tine icons. Although there seem from literary references to have been some panel paintings produced in Western Europe through the centuries between Late Antiquity and the Romanesque period, and Byzantine icons were imported, there are next to no survivals in an unaltered state. In the 12th century panel painting experienced a revival. Altarpieces seem to have begun t</div>
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<a href="http://burnfat24.sa.com/OSarMlZolXPKbR67CeNupmLQBSrUUgt0gaS0bLjyL8sm6e9TWA" target="blank"><img src="http://burnfat24.sa.com/174c3c5c8e60d8eb44.jpg" /></a><br />
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<div style="color:#FFFFFF;font-size:10px;">o be used during the 11th century, with the possible exception of a few earlier examples. They became more common in the 13th century because of new liturgical practices—the priest and congregation were now on the same side of the altar, leaving the space behind the altar free for the display of a holy image—and thus altar decorations were in demand. The habit of placing decorated reliquaries of saints on or behind the altar, as well as the tradition of decorating the front of the altar with sculptures or textiles, preceded the first altarpieces. The earliest forms of panel painting were dossals (altar backs), altar fronts and crucifixes. All were painted with religious images, commonly the Christ or the Virgin, with the saints appropriate to the dedication of the church, and the local town or diocese, or to the donor. Donor portraits inclu</div>
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