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When using the Brush Transform tool, you may notice that when the gradient is smaller than the object, the empty space around the gradient is padded with the last color of the gradient. This is the default, but you can control the color in that extra space by setting the Gradient mode to the following: n Pad gradient mode: This fills the extra space with a single color, as shown on the left in Figure 6.12. The color of the padding is the color of the last gradient stop. This is the default mode. n Repeat gradient mode: This repeats the gradient in the extra space, as shown on the right in Figure 6.12. Use this to create a striped look. n Reflect gradient mode: This creates symmetric stripes, as if each gradient had a mirror image attached to it, as shown in Figure 6.12 in the center.

user control over the processing order for the compiler The makefile itself was just a series of commands, closely resembling a shell script ANT is a lot more than just a Java alternative to make It provides all the functionality of make while not suffering from the drawbacks of it ANT is a drastic improvement over make as regards the ease of use and the minimal learning curve With ANT, all that a Java developer needs to understand is Java and some basic XML; this wasn t true with makefiles Makefiles involved quite a lot of non-Java learning on the part of the developer, something that is not really expected of him/her As ANT uses Java, it can also boast of platform independence, something that was missing with makefiles Like many projects controlled by Apache, ANT was the result of necessity, not the desire for luxury.

The Row Source property settings depend on the source type specified by Row Source Type. The method used to specify the Row Source property settings, as listed in Table 17-3, depends on the type of source (which you specified by setting the Row Source Type).

Some support for the view that magical practice did not automatically entail impiety comes in the context of Plato s discussion of the ideal punishments for the impious men and women who practice magic. In his discussion in the Laws about impiety (asebeia), Plato seems to accept that impiety and magic are two different things. Impiety is the more serious charge, and magic charming the souls of the dead, promising to persuade the gods by bewitching them through sacri ces, prayers, and incantations because it implies that the gods are negligent or open to bribes is an exacerbating factor. But in Plato s view magical practice is incidental to impiety, which may thereby be enhanced and spread more effectively throughout the city-state and the individuals and families who comprise it, the more the impious magical practitioners are led in their efforts by avarice.29 If convicted of impiety, such individuals are to be imprisoned in the worst of three proposed prisons, namely the one located in the middle of the country in the wildest and loneliest spot possible outside the boundaries of the city-state. They are to be prohibited from contact with free men and, upon death, cast outside the city s boundaries without burial which is rather glaringly odd, because this is a recipe for the creation of more restless dead , the very agents upon whom a practitioner calls in depositing a curse tablet. To my mind, at least, this leaves an open question as to whether Plato fully understands the dynamics of binding magic. Curiously, Plato also regards neither impiety nor magical practice as hereditary: the children of the convicted, provided they are t for citizenship, are to be taken into the care of the guardians of orphans no differently than the typical orphan.30 Such a