We all make them and then pray we’ve made the right choice.
Some people make them and never doubt themselves.
Ulysses S Grant one of those.
The new head of all Northern armies.
He never doubted the bases of his decision:
That future campaigns against the South would be treated as a single overall strategy, and so begun simultaneously.
The goal: to engage all the South’s armies at once; to defeat them on open battlefields.
To prevent Lee from sending reinforcements from one battle to another, and
To deplete their numbers and their supplies.
Grant knew that, ultimately, the North could replace their depleted ranks and stores.
The South, not so much.
Profound decisions come with corollaries.
Grant needed manpower to fuel his attacks.
He pressed for regiments of black troops.
He reassigned underused troops from protective positions to aggressive movements to engage or distract the enemy; or to new commands entirely, to be absorbed by fighting divisions.
Launching the Attack or “Lt. Gen. Ulysses S. Grant's 1864 Overland Campaign of the American Civil War”
May 3 was the day.
After noon the wagons lumbered onto the roads.
Hundreds, thousands of them to take care of the huge army.
Meade knew how to move an army.
After the wagons left, he sent out the cavalry to reconnoiter and ride shotgun, and a little after midnight, first the engineer detachments and then brigade after endless brigades, the army moved out, not until five hours later did Gen. Meade get the space he wanted in the line.
Profound decisions have consequent corollaries.
Corollaries are supported by details.
In Grant’s case, his details involved battles, many, unceasing, beginning the next before the current one over.
Details that resulted in casualty totals that dwarfed anything seen before.
And both sides had seen rivers of blood, cf. Shiloh and Gettysburg.
Today is Sunday, June 3, 2018
Good morning, my friends.
This is my fifty-seventh consecutive daily posting.
It is 6.21am
Cool but sunny today.
On TV: “Witness for the Prosecution,” directed by Billy Wilder starring Tyrone Power, Marlene Dietrich, and Charles Laughton.
I’m at my desk.
Dinner is being prepared by a friend. I’m visiting. Indian food. The real India.
A letter from Anne Kilzer, who is a great hostess, on the posting, “Always on Hand.”
Thank you!! I am getting this done today in my kitchen!!
I am also emailing this to my daughters.
I also loved the "woof" !!! Wow, you are a great writer!
Doing some good work on the structure of the pages, including the Daily Posting.
3. Intensity, from “Wine by the Glass,” (a hitherto unpublished manuscript by the Web-Meister)
Tint, also called “hue,” is the specific graduation or variety of a color. The word “color” is frequently used when “tint” is meant.
Intensity measures the concentration of color pigment in the bottle of wine.
Wines that are deep because of the high concentration of pigment are often mistakenly described as having darker tints than they do.
Illustrating the differences between tint and intensity.
A recipe for making a quart of regular chocolate ice cream calls for a cup of chocolate flavoring.
The same cookbook offers a recipe for a dark chocolate ice cream that has identical ingredients except that it calls for two cups of the same chocolate flavor.
The second batch will be more intense, much darker than the first.
But the tints of both ice creams will be identical since the mixes have identical color pigments.
The darker appearance is accurately described as being more intense, not having a different tint.
A wine taster, in describing the color of a wine, distinguishes between tint (hue) and intensity - not always easy.
Intensity and age.
Intensity is a good indication of the age of fine wines because, over time, red color pigment solidifies and precipitates out of the wine, coming to rest on the side of the bottle.
The result is a wine of less intensity.
Note that we are talking in relative terms.
For example, a red wine that is very intense to start with may lose much of its color pigment as it ages and still be deeper in color than a very young red whose grape, region and vinification make it a light wine at birth.
Pigment is the coloring matter suspended in the wine.
The quantity of pigment particles in the wine, like the chocolate flavoring in the ice cream recipes, determines the intensity of its color.
Wine lacking intensity will permit most of the light hitting it to pass through the glass.
Objects on the other side of the glass are clearly visible when looking at them through the glass of wine.
A medium intense wine might permit some light to pass through so that objects seen through the glass are visible, but not clearly so.
On the extreme end of the continuum, a very intense wine will absorb all light so that looking through the glass nothing will be visible.
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Existential Auto Trip: