From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest)
To: ammf-digest@smoe.org
Subject: alt.music.moxy-fruvous digest V14 #14696
Reply-To: ammf@fruvous.com
Sender: owner-ammf-digest@smoe.org
Errors-To: owner-ammf-digest@smoe.org
Precedence: bulk


alt.music.moxy-fruvous digest Tuesday, September 10 2024 Volume 14 : Number 14696



                               Today's Subjects:
                               -----------------
  My private collection of healthy fried recipes...  ["AIR-FRIED CHICKEN" <a]
  Please confirm your email address  ["AIR-FRIED CHICKEN" <airfriedchickn@su]
  All Edible and Medicinal Plants of North America  ["John" <Robert@foragerf]

----------------------------------------------------------------------

Date: Tue, 10 Sep 2024 10:55:19 +0200
From: "AIR-FRIED CHICKEN" <airfriedchickn@nuubuupatches.za.com>
Subject: My private collection of healthy fried recipes...

My private collection of healthy fried recipes...

http://nuubuupatches.za.com/a0Ni6mecZqpZSO-z54bqspqus2ps1a32vMqXlUwCGvXiYbOfbA

http://nuubuupatches.za.com/r1H7T3jm-SI6-na72Q804tX4n0NbvKg90AEOe5rS3wjXBiCaMA

rogressed, altarpieces began to be commissioned more frequently. In Northern Europe, initially LC<beck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds and confraternities. The 15th century saw the birth of Early Netherlandish painting in the Low Countries; henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead often preferred, for example the Veit Stoss altarpiece in KrakC3w (completed 1489), while in England there was a 15th-century industry producing relatively cheap painted altarpiece kits in Nottingham alabaster, many of which were exported, the frame being added at the destination.

In England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with individual painted panels and often (notably in Venice and Bologna) with complex framing in the form of architectural compositions. In Spain, altarpieces developed in a highly original fashion into often very large, architecturally influenced reredos, sometimes as tall as the church in which it was housed.

Renaissance and Reformation

Sacra conversazione with a landscape setting and donor portrait, Palma Vecchio, c. 1519
The 15th century also saw a development of the composition of Italian altarpieces where the polyptych was gradually abandoned in favour of single-panel, painted altarpieces. In Italy, the sacra conversazione developed, a group usually centred on the Virgin and Child, flanked by a group of saints usually chosen to repre

------------------------------

Date: Tue, 10 Sep 2024 10:21:54 +0200
From: "AIR-FRIED CHICKEN" <airfriedchickn@supranailnknees.click>
Subject: Please confirm your email address

Please confirm your email address

http://supranailnknees.click/00AyKv_JSKTTSrsP1yvKn-QjpsXXqLNRAiH8n2mlDi8NuxTXvQ

http://supranailnknees.click/72r57ddSJIv6Ty9SMVOThTwnmPHMQMfjrLwbBd7hnm237p83Bw

rogressed, altarpieces began to be commissioned more frequently. In Northern Europe, initially LC<beck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds and confraternities. The 15th century saw the birth of Early Netherlandish painting in the Low Countries; henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead often preferred, for example the Veit Stoss altarpiece in KrakC3w (completed 1489), while in England there was a 15th-century industry producing relatively cheap painted altarpiece kits in Nottingham alabaster, many of which were exported, the frame being added at the destination.

In England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with individual painted panels and often (notably in Venice and Bologna) with complex framing in the form of architectural compositions. In Spain, altarpieces developed in a highly original fashion into often very large, architecturally influenced reredos, sometimes as tall as the church in which it was housed.

Renaissance and Reformation

Sacra conversazione with a landscape setting and donor portrait, Palma Vecchio, c. 1519
The 15th century also saw a development of the composition of Italian altarpieces where the polyptych was gradually abandoned in favour of single-panel, painted altarpieces. In Italy, the sacra conversazione developed, a group usually centred on the Virgin and Child, flanked by a group of saints usually chosen to repre

------------------------------

Date: Tue, 10 Sep 2024 13:14:16 +0200
From: "John" <Robert@foragerfoods.ru.com>
Subject: All Edible and Medicinal Plants of North America

All Edible and Medicinal Plants of North America

http://foragerfoods.ru.com/PcQlicnVYdNpBjMKOVgzwZ_yxH91O8fe-hLlbeBECAVbi52LwQ

http://foragerfoods.ru.com/ZIOJm0wemMx6h-KfPy8AEjJJw2x4F5zRqRLOj59xgH55xVPo-w

omes. There are at least three producer associations in the regions of Cidade Ocidental and LuziC"nia that produce Marmelada de Santa Luzia: the Association of Small Rural Producers of Mesquita and C
gua Quente (AssociaC'C#o dos Pequenos Produtores Rurais do Mesquita e C
gua Quente, APROMAQ), the Mesquita Quilombo Renovation Association (AssociaC'C#o Renovadora do Quilombo Mesquita, AREQUIM), and the Association of Small Rural Producers of Xavier (AssociaC'C#o dos Pequenos Produtores Rurais de Xavier). There are around 30 quince fruit producers and 10 marmelada producers between both organizations. Each marmelada producer has an annual production of 1,000 kilograms (2,200 pounds) on average.

The recipe used to make Marmelada de Santa Luzia has been passed down through generations. The quince fruit that is used is a variety of Portuguese quince and is harvested when it ripens in January. The fruit is prepared by removing the hairs outside of the fruit with a cloth and removing its seeds. The fruit is then ground into a paste, run through a sieve to remove large solids, and then stirred with a wooden spoon in a copper pan with sugar syrup or sugar until reaching the desired consistency. The confection is then scooped into small wooden boxes that are also produced by the artisans, wherein they can be preserved for up to a year. The wood from local Samanea saman or Didymopanax macrocarpus trees are used as it does not influence the taste of the marmelada.

In recent years, the artisanal production of Marmelada de Santa Luzia has decreased drastically due to competition with regional companies who industrialize the production of marmelada and import quince fruit from outside the region.

Use
The texture of Marmelada de Santa Luzia is similar to goiabada, but the flavor is not as sweet.

Marmelada de Santa Luzia is typically eaten after meals as a dessert or enjoyed with local cheeses in the manner of Romeu e Julieta. Additionally, it can be eaten with requeijC#o, avocado, or mixed with milk in smoothies. According to one marmelada producer, it can also be eaten immed

------------------------------

End of alt.music.moxy-fruvous digest V14 #14696
***********************************************