Two decorators (classmethod() and staticmethod()) have been available in Python since version 2.2. It's been assumed since approximately that time that some syntactic support for them would eventually be added to the language. Given this assumption, one might wonder why it's been so difficult to arrive at a consensus. Discussions have raged off-and-on at times in both comp.lang.python and the python-dev mailing list about how best to implement function decorators. There is no one clear reason why this should be so, but a few problems seem to be most divisive.
You saw that, to define a decorator, you typically define a function returning a wrapper function. The wrapper function uses *args and **kwargs to pass on arguments to the decorated function. If you want your decorator to also take arguments, you need to nest the wrapper function inside another function. In this case, you usually end up with three return statements.
The primary objection to this form is that it requires "peeking inside" the method body to determine the decorators. In addition, even though the code is inside the method body, it is not executed when the method is run. Guido felt that docstrings were not a good counter-example, and that it was quite possible that a 'docstring' decorator could help move the docstring to outside the function body.
The decorate() proposal was that no new syntax be implemented -- instead a magic function that used introspection to manipulate the following function. Both Jp Calderone and Philip Eby produced implementations of functions that did this. Guido was pretty firmly against this -- with no new syntax, the magicness of a function like this is extremely high:
Painters deal practically with pigments, so "blue" for a painter can be any of the blues: phthalocyanine blue, Prussian blue, indigo, Cobalt blue, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, means of painting. Colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music (like a C note) is analogous to "light" in painting, "shades" to dynamics, and "coloration" is to painting as the specific timbre of musical instruments is to music. These elements do not necessarily form a melody (in music) of themselves; rather, they can add different contexts to it.
A painter & decorator is responsible for preparing a surface and applying a range of finishes to it in response to the particular specifications of a job, paying close attention to detail to create a quality end product. The specific role of the painter & decorator is to prepare and decorate a particular surface in accordance with the wishes of the client. This will involve working on a wide variety of surfaces, including metal, wood, plaster and stone, and incorporating numerous materials, such as paint, varnish and wallpaper. The jobs involved depend upon the area that the painter & decorator works in. This can range from the industrial, specially-trained worker supplying skills for a large company, to the part-time, self-employed worker complementing a pension. A lot of the roles of the painter & decorator will come somewhere in between. If working for a larger construction firm, work can include more industrial-scale jobs, such as working as part of a team to prepare and paint the interior of a building or office. This will often involve specialist industrial techniques and larger equipment. If self-employed, this will normally include working independently on smaller jobs such as decorating private houses, schools, shops and other local buildings.
In Spanish art, a bodegón is a still life painting depicting pantry items, such as victuals, game, and drink, often arranged on a simple stone slab, and also a painting with one or more figures, but significant still life elements, typically set in a kitchen or tavern. Starting in the Baroque period, such paintings became popular in Spain in the second quarter of the 17th century. The tradition of still life painting appears to have started and was far more popular in the contemporary Low Countries, today Belgium and Netherlands (then Flemish and Dutch artists), than it ever was in southern Europe. Northern still lifes had many subgenres: the breakfast piece was augmented by the trompe-l'œil, the flower bouquet, and the vanitas. In Spain there were much fewer patrons for this sort of thing, but a type of breakfast piece did become popular, featuring a few objects of food and tableware laid on a table.
There is some history in Java using @ initially as a marker in Javadoc comments  and later in Java 1.5 for annotations , which are similar to Python decorators. The fact that @ was previously unused as a token in Python also means it's clear there is no possibility of such code being parsed by an earlier version of Python, leading to possibly subtle semantic bugs. It also means that ambiguity of what is a decorator and what isn't is removed. That said, @ is still a fairly arbitrary choice. Some have suggested using | instead.
Aesthetics is the study of art and beauty; it was an important issue for 18th- and 19th-century philosophers such as Kant and Hegel. Classical philosophers like Plato and Aristotle also theorized about art and painting in particular. Plato disregarded painters (as well as sculptors) in his philosophical system; he maintained that painting cannot depict the truth—it is a copy of reality (a shadow of the world of ideas) and is nothing but a craft, similar to shoemaking or iron casting. By the time of Leonardo, painting had become a closer representation of the truth than painting was in Ancient Greece. Leonardo da Vinci, on the contrary, said that "Italian: La Pittura è cosa mentale" ("English: painting is a thing of the mind"). Kant distinguished between Beauty and the Sublime, in terms that clearly gave priority to the former. Although he did not refer to painting in particular, this concept was taken up by painters such as J.M.W. Turner and Caspar David Friedrich.
The delegate injection point must be an injected field, initializer method parameter or bean constructor method parameter. If an injection point that is not an injected field, initializer method parameter or bean constructor method parameter is annotated @Delegate, the container automatically detects the problem and treats it as a definition error.
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Enforcement of this Act by the Painter-Stainers Company was sought up until the early 19th century, with master painters gathering irregularly to decide the fees that a journeyman could charge, and also instigating an early version of a job centre in 1769, advertising in the London newspapers a "house of call" system to advertise for journeymen and also for journeymen to advertise for work. The guild's power in setting the fee a journeyman could charge was eventually overturned by law in 1827, and the period after this saw the guild's power diminish, along with that of the other guilds; the guilds were superseded by trade unions, with the Operative United Painters' Union forming sometime around 1831.
Tempera, also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigment mixed with a water-soluble binder medium (usually a glutinous material such as egg yolk or some other size). Tempera also refers to the paintings done in this medium. Tempera paintings are very long lasting, and examples from the first centuries CE still exist. Egg tempera was a primary method of painting until after 1500 when it was superseded by the invention of oil painting. A paint commonly called tempera (though it is not) consisting of pigment and glue size is commonly used and referred to by some manufacturers in America as poster paint.
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Painting is an important form in the visual arts, bringing in elements such as drawing, gesture (as in gestural painting), composition, narration (as in narrative art), or abstraction (as in abstract art). Paintings can be naturalistic and representational (as in a still life or landscape painting), photographic, abstract, narrative, symbolistic (as in Symbolist art), emotive (as in Expressionism), or political in nature (as in Artivism).