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So what was the highwayman I had danced with on that fateful evening
Twilights Ghost
Uncanny was an exclamation used a lot by my grandPappa; I used to love to hear him say it, even though it was years before I knew its meaning. Uncanny is also the best word I can use to describe the following story:
I’m not sure if what follows is a true “ghost” story. I always thought of ghosts as being wispy things that people always talk about seeing, but never touching. And that’s another issue, I do not believe in ghosts, so why is it that people like me are the ones these type of things happen too. I couldn’t tell you the number of people who upon have heard this story exclaim, oh you saw a ghost, wish it had been me. The ones who want to believe never seem to ever actually see one.
As you can see, I have never placed much faith into supernatural occurrences. Even though my GrandPappa would tell some pretty spooky stories to my sisters, cousins , and I during late night fires around the hearth, I never really thought it could ever happen in real life. Now the romantic medieval tales of knights and princesses that my Móraí wove were another story, so to speak. Those I would fantasize about, and would desire strongly to become true, impressionable young lady that I was, and still am I’ll admit.
And that’s the rub.
The tale I am about to tell, really happened to me, many years ago. But as luck would have it, it favors my GrandPappas tales more so than my dear Móraí s.
GrandPappa was the dean of English Prose , Chatwick college, Surry, but it was my Móraí who was known for her stories, one of which was even published . They livedhappily on campus in a small stone cottage that once had been the livery for the historically old estate that now made up the College’s main campus. A medieval looking cottage made for lighting the imaginations of young girls.
One tale of my Móraí I can still recall vividly was about a local highwayman for whom Abbot‘s Chase, the road bordering the campus, was supposedly named. Craig Abbot supposedly held up the coach that my grandmothers great grand aunt Sarah had been a passenger in You could almost taste the suspense on the air as the highwayman courteously ( for a highwayman) had Sarah hand over her jewels, when my Móraí reached the part where Aunt Sarah had her hand kissed and had pleaded with him not to take her emerald ring, which had been a family keepsake she had received on her 18st birthday, She would have us spellbound with apprehension as to what would happen next( although we would hear the story many times over, and knew the outcome, it was always the same feeling). The highwayman had smile, slipping off Aunt Sarah’s rings, but allowed her to keep the emerald’s she wore around her throat. Poor Aunt Sarah had loved that ring, and it was not a family secret of the grief it caused her to lose it. But, romance always would overshadow reality, and my sisters and I would talk through the evening wondering what had become of such a dashing figure as my grandmothers masked highwayman. But it still remained a story, and nothing more. I had always hoped that I would dream myself into one of my Móraí’s tales, but no dashing prince, or romantic highwayman ever did.
It was years later that I would learn that my romantic highwayman had met his fate by the old bridge on Abbots Chase and had been hung. Legend had it that he was buried in the ancient cemetery that could still be found in those days, and maybe still there, in a small wooded corner of the campus estate.
Years later, after my grandparents had both passed on, and their old stone cottage a distant, but still warm memory, I attended Chatwick college with no direct plans or purpose to be there, other than to walk the same halls as my grandfather.
My experience happened one evening as I was attending a Masque Ball for charity on a blustery Halloween‘s eve. The Ball was being held at the posh old Ryder house in Chatwick Parish . My Girlfriend, Tallie, did not want to go alone, as friends are want to do, and convinced, or rather conned, me into going. I found an old green satin gown with a matching sash, from which a long brooch dangled, It had been a relic from a cousins wedding. I removed the satin sash and bow and it became a rather respectable little gown. I was also sporting the shiny emerald necklace that we had found among my Grandmother’s things. It was pretty, with glittery emeralds surrounding a petite diamond pendant that sparkled like the real thing.
So anyway, there I was, all dressed up, bored to tears as the saying quite correctly goes,, and of course no male seemed to notice me, and I was too shy to ask someone to dance. I remember watching my, friend off dancing with a , handsome bloke in , of course, a prince charming outfit. As I was snickering to myself over an image placed in my mind concerning his green nylon pantaloons, someone stepped onto the hem of my long gown. Turning around I tripped into a tall, bearded saturnine man sporting a black hood and mask. He caught my fall, and twirled me onto the dance floor. He was really light on his feet and had these intense, icy eyes staring from his mask An executioner I joked to him, knowing full well he was dressed like my Móraí’s quixotic highwayman. He did not answer, only looked me over with those wistful eyes. Silent type I remember remarking to him, trying to force a smile, but it did not work. He just grinned, remaining mute and mysterious Thinking back I realized that he had never really said anything the whole time we danced. He spoke to me through his eyes, sad and morose; it said everything that I had needed to know. And It had been enough.
He kissed my hand when the dance was finished, and still not uttering a word, turned and made his way towards the black oak doors leading to the English Gardens. On a sudden whim, I followed him
He stopped at the steps outside; an turning , looked back at me, then led me down the stairs. The walk through the deserted moonlit Garden was surreal, like being in one of my Móraí’s romantic tales. Coming to a break in the hedge , he went through. I followed, walking right into a low hanging cobweb spanning the opening. I bent over to free my long hair of the sticky web, I looked around, that quickly he had deserted me. My highwayman was gone, like a phantom in the night, or more likely a will o wisp of my imagination. But he had seemed real enough, so I did not dwell on the subject, just turned and headed back inside, my skirts swishing along the cobblestone.
I walked back to the hall and rejoined my girlfriend, who was sitting with her frog prince. As she introduced me to him she stopped, and placed a hand to my throat, asking me where my necklace had gotten off to. With a start I realized that it was gone, and we spent the rest of the evening fruitlessly tracking it down. But it, like the masked highwayman, did not reappear.
Now, as I said in the beginning, I was never one to have dreams, and even if I did, none save one, ever remained with me. That one dream I still vividly recall came later that evening... I had declined my friends offer to join her and her boyfriend Charles( forever the frog prince to me), to go out after the party. Instead I went back to my room, and still in the gown, picked up a text that some professor actually thought a normal being could make sense of, and stated to half heatedly study. I found my thoughts drifting to the party and wondering if the mysterious highwayman would come back into my life.
Suddenly I was alone, walking along a misted Abbots Chase , my long gown again swishing along the stones. Just ahead of me sat a misty shrouded mounted figure, outlined in darkness. Steam emits into the chilly night air from his horses’ flared nostrils. It shakes its head awaiting its masters orders. The cloaked figure looks left, then look down into a tree lined valley. The distant sound of horses carries up, and a lone coach comes into view
The carriage horses have just strained to come up from a small valley, the driver cracks his whip to keep them moving. He does not hear what they do, and he assumes their neighs are in answer to his whip. So he is totally unprepared when the horseman, clocked and masked, rides out from the trees and points a sword at him. He pulls to a jerking stop. “Stand and deliver” is the command he hears, The man’s voice muffled from beneath his mask.
Dismounting, the rider strolls casually up to the carriage door, and invites the occupants to step out. They do so, a gentleman first, An older man with the detached look of a sour judge. A bright gold chain encircling his waist, diamond cufflinks glint in the moonlight. Behind him, in the shadows of the carriage, emits the pleasing, to the masked figure, sounds of a rustling dress.
Behind the Judge, the open carriage door is bathed in moonlight. A whisper of satin precedes the pretty lady that enters into view. Easy does it the masked rider says as he helps her down, his words rolling pleasantly with a kindly English accent. I shall, she answers, head held proudly.
His eyes focus on her necklace as it lays glistening along her throat. In my dream, the same necklace That I had found in my Móraí’s jewel case. She steps down into a pool of moon light, revealing the shimmering silver frock that adorns her pretty figure, the gowns long skirts come cascading out as she steps down to the ground. Her hair is up, and a set of drippy emerald earrings sway freely, twinkling merrily about its forlorn wearer. Diamond rings, one a bright emerald sparkle along her slender gloved fingers.
” Nice of you to come dressed up this lovely evening, my pretty lass.” He smiles gallantly in her eyes, she blushes . What do you want,” the judge asks in a commanding voice. With a twinkle in his eyes, the bandit answers, “Well that’s the problem you see, my steed I need your valuables to purchase his feed. That right rapskellian, he says to the horse behind him, who snorts upon hearing his name and tosses his head, mane flowing. His words come across in an almost embarrassed apology. The Highwayman approaches the Judge, his horse waiting patiently in the background.
The figure walks up to him, and holds out his hand, fingers beckoning. At a sign of hesitation, the sword is produced and pointed at his waist. He hands over his fat wallet, gold watch and chain. His diamond cufflinks and emerald pin are also given over.. The booty is placed in a pocket of the the highway man’s cloak . Thank you sir, the highwayman says in an almost civil manner.
The Highwayman moves to the pretty lady in silver. The moon is seen behind her, framing her face casting a light through so very soft long hair.
With puppy sad eyes she looks into his, her heart melting. He moves forward, his sword drawn, and he brings up his gloved hand, lifting her necklace from her throat . Yes, he whispers genially, this for starters now please raise your hands. The look he is giving the area where her diamonds lay upon her throat, just above her ample bosom, is one of lustful desire.
Your jewels, then, miss, he asks her with a daunting voice. Her mouth pursed in a whimper, she sadly lowers her hands , reaches behind and fumbled for her earrings, they explodes into dazzling light as she pulls them reluctantly free and lays them upon the outstretched palm. She slides the bracelets off each wrist, then looking sadly at her shimmering rings, she pulls off the two diamond ones from her gloved fingers. She stops at the emerald ring, she looks up at him, please sir, may I keep it. My lady he says , taking her hand up in his. I cannot let you keep it, though I can tell it has meaning to you. He pulls it off. I will let you keep your necklace however my lady, so that you may sparkle this evening. Realizing he will not bargain, she steps back and watches miserably as her pile of jewelry glistens in his palm.
The horse comes back into view, his head moving up and down, snorting. The highwayman, sheathing his sword, leaves the group and walks backwards to the horse. “I thank you my good gentleman and fine lady, your contribution this evening is greatly appreciated.” The Judge looks at him with scorn, the pretty lady smiles a sad little smile The figure on foot remounts, and rides off.
Suddenly a cold wind comes howling down the road, I tried to wake, but felt myself paralyzed as The Highwayman road off, soon after soldiers on horseback come thundering after him down the road. He is far ahead and I see him cross the bridge, he dismounts and slapping rapskellianon the flank, now rider less, the horse gallops off down Abbots Chase. The masked highwayman darts under the bridge. As the soldiers cross the bridge in hot pursuit, he salutes them from his hiding spot. As I watch, he then goes up and works on of the flagstones loose on the bottom of the bridge, creating a little hallow. It is here that he places his ill-gotten gains, moving the stone back in place he moves onto the road, suddenly he turns around, looking back. I start to look also, but then am aware of a key in my door. Reluctantly I tried to hold onto my dream as I hear my roommates call. As I woke, I found my hand searching in vain for the necklace I had lost, the one he had said I could keep in my dream,.
The next day I discussed my dream with my girlfriend and her boyfriend after lecture. He suggested we should visit the old bridge and look for the loose flagstone. I chided him for his silliness; it was only a dream after all, a remnant of one of my Móraí’s stories. But after they left, I had a sort of odd, haunting feeling. I remember feeling my throat again for the necklace that I had worn. I rose and walked along campus until I reached Abbots Chase. It was almost surreal as I walked down it .The sun disappeared under some blustery autumn clouds, it grew colder, everything around me took on a colorless pale. Off to one side I soon saw the old cemetery, and for the first time in my life I went into it, looking over its crumbling gravestones, reading faint names of those long ago forgotten. I found it, off in a corner by itself. A long tall stone, with carved writing, faint with age ; Craig Abbot was written, and below what looked like the word hung. With a start I realized that the date he had departed from this earth was the very date I had gone to the dance, and chillingly, the date of last evening when I had my dream. I ran my fingers along the etchings, and then still in somewhat of a daze, I went back to the old road and drifted to the bride a short ways off. Upon reaching it, I remembered in vivid detail the stone he had pried away in my dream. I went to it and moved it. It did not budge at first, but to my surprise, stated to wobble, then it come down, exposing a small cavity. Wondering what it meant, I reached inside and felt around. My fingers curled around a small, cold object. Pulling it out I discovered it was a ring, upon further examination it was an emerald ring, one just like the one taken from the pretty young lady in my dream, similar to the one my Móraí had said my Aunt Sarah Had lost to Craig Abbot.
As I finally write this down from my memory, I am wearing the ring I discovered hidden away.. It is very old, and very pretty. What connection, if any it has with my story, I am unsure, but obviously there are many to be made. So was the highwayman I had danced with on that fateful evening I had lost my necklace : a ghost, a figment of my dream, some materialization of the late, hung Craig Abbot. Or merely a flesh and blood rogue whose identity I never will discover? And the ring I am now wearing, could it possibly be Aunt Sarah’s? Much like a ghost, the real answer may never be found.
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Courtesy of Chatwick University Archives
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All rights and copyrights observed by Chatwick University, Its contributors, associates and Agents
The purpose of these chronological photos and accompanying stories, articles is to educate, teach, instruct, and generally increase the awareness level of the general public as to the nature and intent of the underlying criminal elements that have historically plagued humankind.
No Part of this can reprinted, duplicated, or copied be without the express written permission and approval of Chatwick University.
These photos and stories are works of fiction. Any resemblance to people, living or deceased, is purely coincidental.
As with any work of fiction or fantasy the purpose is for entertainment and/or educational purposes only, and should never be attempted in real life.
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Guía de cuidados del gatito
1. ¿Cuáles son los principales aspectos sanitarios a tener en cuenta con el recién llegado?
Una vez decidido aceptar la responsabilidad de incorporar un ser vivo a nuestro hogar, debemos realizar una pequeña revisión que, como mínimo, incluirá:
– Pelo: limpio, suave, sin caspa ni zonas sin pelo. un pelo limpio y sano es uno de los claros indicativos de salud.
– Aspecto general: el animal debe estar atento, con tendencia al juego; su aspecto general debe parecer dinámico, vivaz,…
Ojos y oídos: los ojos sin legañas u otras secreciones, deben ser brillantes y “despiertos”. los oídos sin secreciones, heridas ni zonas sin pelo. el rascado frecuente es síntoma de problema.
Ano: la zona que rodea al ano debe estar limpia, sin restos de heces, lo contrario podría ser indicativo de diarreas y de que alguna patología esta afectando al cachorro.
Encías rosadas y dentadura limpia.
Extremidades rectas, “compactas”, sin abultamientos ni deformaciones.
estas seran unas normas basicas, pero lo mejor sera acudir al profesional para una completa revision y para marcar las pautas de vacunaciones y desparasitaciones.
2. ¿qué nombre le pongo?
En principio el nombre corresponderá a los gustos de la familia, un nombre del agrado de todos y que no coincida con el de algún familiar o amigo evitara problemas de susceptibilidad.
Seria correcto elegir un nombre corto, un máximo de dos silabas facilita que el nuevo amigo identifique rápidamente su nombre.
Esto es lo ideal, pero…¡¡Para gustos….!!
3. ¿Qué debo tener preparado para su llegada?
Es importante disponer de una serie de elementos para sus necesidades diarias, pero también es fundamental tener presente:
El emplazamiento de la caja de arena absorbente debe ser suficientemente independiente de zonas de transito o de uso habitual por la familia. muchos animales no acuden a la arena por ser una zona “estresante”.
La comida y el agua deben emplazarse en sitios de fácil acceso y en comederos que el cachorro no pueda volcar en sus primeros días. si existen otros animales:
Perros: colocar la comida y la bebida en alturas de difícil acceso para el perro.
Gatos: poner comederos y bebederos en numero suficiente para evitar disputas (uno por cada individuo).
Teniendo claros estos puntos, lo imprescindible para el animal recién llegado es:
Comida: un alimento especifico a su edad, evitar alimentos para gatos que son supuestamente validos para cualquier edad, una elección correcta desde el inicio favorece en gran modo un correcto estado sanitario de nuestro nuevo amigo. mejor optar por un alimento seco (pienso).
Agua: siempre fresca y a libre disposición, el gato no es un gran bebedor, pero cuando bebe prefiere agua fresca… es por ello que en muchas ocasiones podamos verle lamiendo las gotas de cualquiera de los grifos de la casa.
Comedero y bebedero: fáciles de limpiar y difíciles de volcar.
Bandeja para la arena absorbente: existen variados tipos de bandejas: simples, con borde, cubiertas (con y sin puerta), de limpieza automática,….
Para empezar sera suficiente, incluso conveniente, optar por una bandeja simple, ello facilitara el acceso del joven animal y su uso sin complicaciones. mas adelante y según las características y uso particular podremos optar por modelos cubiertos (evitar salida de arena en el rascado), automáticos (¡¡lo mas de lo mas!!),…
Importante educar a su buen uso: si el animal hace sus necesidades fuera de la bandeja, las recogeremos y las pondremos en la arena; en pocos dias, este sencillo truco enseñara a nuestro amigo a “no salirse del tiesto”.
Recogedor o paleta: útil para sacar diariamente los residuos sólidos de la bandeja (kk), con este utensilio evitamos el contacto con las deyecciones, evitando transmisión de enfermedades (ej: toxoplasmosis)
Arena o lecho absorbente: la elección del lecho absorbente debe regirse por criterios de calidad y no de precio de oferta. la mayor parte de los gatos son muy selectos en lo referente a su w.c., si no es de su agrado orinaran y defecaran fuera de esa poco adecuada arena. por lo demás, existen distintos minerales, de distintos grosores, aglomerantes o no,…. para empezar optemos por una sepiolita de buena calidad (guarda relación con el precio).
Cepillo: o peine: dependerá de las recomendaciones del profesional, lo que si esta claro es que necesitaremos un utensilio con el que podamos diariamente “poner a punto” el pelo de nuestro gato, tanto si es de pelo largo como de pelo corto.
Malta: este producto suele ofrecerse en forma de pasta, su finalidad es favorecer el transito del pelo que el gato traga cuando se limpia con la lengua. es casi imprescindible para evitar atascos de pelo en el aparato digestivo. los animales de pelo corto deben tomarlo, al menos, una vez por semana, aumentándose la frecuencia (2-3 por semana) en ejemplares de pelo largo.
Con este producto evitamos la hierba gatera, que aunque persigue la misma finalidad (evitar atascos de pelo), lo consigue mediante el estimulo del vomito del animal, al contrario que la malta, que favorece el transito del pelo desde su ingestión por la boca hasta su expulsión por el ano.
Rascador: útil si acostumbramos al animal a su uso desde pequeño. cuando observemos que el animal afila sus uñas en un emplazamiento no deseado le diremos que no…¿cómo? con un chorrito de agua en espray o con un fuerte ruido, los gatos reaccionan a los castigos de forma distinta que los perros , un cachete no les provocaria el mismo efecto que el chorro de agua o el ruido.
Para que elija el rascador como “zona de afilado” deberemos jugar con el animal utilizando el rascador hasta “que se de cuenta” de que sus uñas se enganchan de maravilla y hasta que sus olores (glándulas sudoríparas y sebáceas interdigitales) se “graben” en el rascador. estos métodos conseguirán que el gato elija el rascador y se olvide de cortinas, sillones,…
Collar: función exclusivamente estética si no hemos decidido sacar a pasear al gato, algo cada vez mas frecuente.
De una u otra forma es conveniente acostumbrar al animal a su uso desde pequeño.
4. ¿Debe tener una cama?
Aunque no figura entre los utensilios necesarios a su llegada al hogar, es una buena opción.
Los gatos disfrutan durmiendo, por lo que agradecerán una buena cama. existen diseños de todo tipo… elija uno barato y sencillo de lavar… puede que aunque usted gaste mucho dinero y ponga todo su cariño en la adquisición… su esfuerzo y cariño no sea reconocido.
El gato es como es y decidirá en que sitio o sitios descansara a lo largo del día… ¡¡Por eso no hemos incluido la cama entre los utensilios necesarios!!.
5. ¿Puedo bañar al gato?
¡¡Por supuesto!!, pero cumpliendo los siguientes requisitos:
– No hacerlo, salvo que sea imprescindible (¡¡suciedad extrema!!), hasta que tenga todas las vacunas de cachorro.
– No sustituir los cepillados por los baños: el cepillado debe ser diario y con ello podremos distanciar los baños.
– Utilizar champú específico para gato.
– Secar perfectamente al acabar el baño (toalla y secador).
– Acostumbrar al cachorro al agua… ¡¡Los gatos no odian el agua…. Odian lo que no conocen!!.
6. ¿Es necesario vacunar a los gatos?
¡¡SI!! El gato no tiene menos derechos, ni menos riesgos que un perro. existen graves enfermedades en este tipo de mascotas, enfermedades que pueden evitarse con la correcta vacunación. Las pautas son sencillas:
Cachorro:
1º Desparasitar.
2º Vacuna trivalente (rinotraqueitis, calicivirus, panleucopenia.
3º Vacuna contra leucemia.
4º Vacuna trivalente (revacunación)
5º Vacuna contra leucemia (revacunación)
6º Microchip + vacuna antirábica.
Las vacunas se administran en intervalos de quince dias (aproximadamente).
Adulto:
1º Desparasitación trimestral.
2º Revacunación anual:
-Trivalente.
– Leucemia.
– Rabia.
Estas son pautas de referencia, lo mas conveniente es ajustarse a la pauta de vacunaciones que recomiende el veterinario de confianza, el será el que adecue las vacunaciones a cada animal, dependiendo de las necesidades de la zona
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At Boboli Gardens for a morning look around the gardens in Florence. It was a very hot morning in Florence. A bit dehydrating!
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
After the Fritz Koenig sculptures I saw the day before at the Uffizi Gallery, saw more sculptures, but bigger ones at Boboli Gardens.
Fritz Koeing 1924 - 2017 - A Retrospective
Large Exclamation Point 67
Grande punto esclamativo 67
Großes Rufzeichen 67
1967/1993
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❕ Cuánto vive un gato con leucemia felina
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❕ Cuánto vive un gato con leucemia felina
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La leucemia felina es una de las peores enfermedades víricas que pueden afectar a nuestros gatos, en especial si no están vacunados. De hecho, una vez que el virus entra en su organismo, la esperanza de vida se reduce considerablemente.
Es por eso por lo que es tan importante acudir al veterinario en cuanto veamos que nuestros peludos no están bien, pues de lo contrario la respuesta a la pregunta de cuánto vive un gato con leucemia felina no nos gustará.
¿Qué es la leucemia felina?
La leucemia felina, o FeLV por sus siglas en inglés, es una enfermedad vírica contagiosa que, una vez que el virus consigue entrar en el organismo del gato, se incorpora al material genético de las células. Al hacerlo así, es muy difícil de tratar, ya que el sistema inmunológico del peludo se debilita rápido.
¿Cómo se contagia?
Un gato puede transmitir la leucemia a otro gato de cualquiera de estas formas:
A través de la saliva: por ejemplo, compartiendo el mismo bebedero.
Las lágrimas: acicalamiento mutuo.
Secreciones nasales: como cuando estornuda y sus secreciones van a parar a otro gato que esta cerca.
De madre a hijos: tanto cuando sus pequeños están en el útero como cuando están en periodo de lactancia.
¿Cuáles son los síntomas?
Los síntomas de la leucemia son los siguientes:
Fiebre
Vómitos
Diarrea
Heridas en la piel
Aparición de nuevas enfermedades (bucales, respiratorias, anemia, etc.)
Descuida su aseo personal
Pérdida de apetito
Encías pálidas
Apatía
¿Cuál es el tratamiento?
La leucemia felina no tiene cura; sin embargo, sí que se pueden tratar los síntomas que vayan apareciendo con tal del que el animal pueda llevar una vida lo más normal posible. Así, lo que se hace es darle los medicamentos que vaya necesitando, sobretodo antivirales e inmuno-reguladores, una alimentación de alta calidad y cuidados para que viva feliz y tranquilo.
¿Cuál es la esperanza de vida?
Una vez que el virus ha pasado a ser activo, algo que puede ocurrir a los seis meses del contagio, el 75% de los gatos enfermos consigue vivir de 1 a 3 años más; el 25% restante lamentablemente muere durante ese año.
La leucemia felina es una enfermedad muy grave. Para evitar en lo posible que tu amigo la tenga, llévalo a vacunar.
El artículo Cuánto vive un gato con leucemia felina ha sido originalmente publicado en Noti Gatos.
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Aprovechamos la casa rural para hacer un poco de hogar y sentarnos alrededor a tomar una cerveza tranquilamente.
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At Boboli Gardens for a morning look around the gardens in Florence. A look at the back of the Palazzo Pitti (Pitti Palace) as we headed around the paths and started to go up the hill.
It was a very hot morning in Florence. A bit dehydrating!
The Palazzo Pitti (Italian pronunciation: [paˈlattso ˈpitti]), in English sometimes called the Pitti Palace, is a vast, mainly Renaissance, palace in Florence, Italy. It is situated on the south side of the River Arno, a short distance from the Ponte Vecchio. The core of the present palazzo dates from 1458 and was originally the town residence of Luca Pitti, an ambitious Florentine banker.
The palace was bought by the Medici family in 1549 and became the chief residence of the ruling families of the Grand Duchy of Tuscany. It grew as a great treasure house as later generations amassed paintings, plates, jewelry and luxurious possessions.
In the late 18th century, the palazzo was used as a power base by Napoleon and later served for a brief period as the principal royal palace of the newly united Italy. The palace and its contents were donated to the Italian people by King Victor Emmanuel III in 1919.
The palazzo is now the largest museum complex in Florence. The principal palazzo block, often in a building of this design known as the corps de logis, is 32,000 square metres. It is divided into several principal galleries or museums detailed below.
The construction of this severe and forbidding building was commissioned in 1458 by the Florentine banker Luca Pitti (1398-1472), a principal supporter and friend of Cosimo de' Medici. The early history of the Palazzo Pitti is a mixture of fact and myth. Pitti is alleged to have instructed that the windows be larger than the entrance of the Palazzo Medici. The 16th-century art historian Giorgio Vasari proposed that Brunelleschi was the palazzo's architect, and that his pupil Luca Fancelli was merely his assistant in the task, but today it is Fancelli who is generally credited. Besides obvious differences from the elder architect's style, Brunelleschi died 12 years before construction of the palazzo began. The design and fenestration suggest that the unknown architect was more experienced in utilitarian domestic architecture than in the humanist rules defined by Alberti in his book De Re Aedificatoria.
Though impressive, the original palazzo would have been no rival to the Florentine Medici residences in terms of either size or content. Whoever the architect of the Palazzo Pitti was, he was moving against the contemporary flow of fashion. The rusticated stonework gives the palazzo a severe and powerful atmosphere, reinforced by the three-times-repeated series of seven arch-headed apertures, reminiscent of a Roman aqueduct. The Roman-style architecture appealed to the Florentine love of the new style all'antica. This original design has withstood the test of time: the repetitive formula of the façade was continued during the subsequent additions to the palazzo, and its influence can be seen in numerous 16th-century imitations and 19th-century revivals. Work stopped after Pitti suffered financial losses following the death of Cosimo de' Medici in 1464. Luca Pitti died in 1472 with the building unfinished.
The building was sold in 1549 by Buonaccorso Pitti, a descendant of Luca Pitti, to Eleonora di Toledo. Raised at the luxurious court of Naples, Eleonora was the wife of Cosimo I de' Medici of Tuscany, later the Grand Duke. On moving into the palace, Cosimo had Vasari enlarge the structure to fit his tastes; the palace was more than doubled by the addition of a new block along the rear. Vasari also built the Vasari Corridor, an above-ground walkway from Cosimo's old palace and the seat of government, the Palazzo Vecchio, through the Uffizi, above the Ponte Vecchio to the Palazzo Pitti. This enabled the Grand Duke and his family to move easily and safely from their official residence to the Palazzo Pitti. Initially the Palazzo Pitti was used mostly for lodging official guests and for occasional functions of the court, while the Medicis' principal residence remained the Palazzo Vecchio. It was not until the reign of Eleonora's son Francesco I and his wife Johanna of Austria that the palazzo was occupied on a permanent basis and became home to the Medicis' art collection.
Land on the Boboli hill at the rear of the palazzo was acquired in order to create a large formal park and gardens, today known as the Boboli Gardens. The landscape architect employed for this was the Medici court artist Niccolò Tribolo, who died the following year; he was quickly succeeded by Bartolommeo Ammanati. The original design of the gardens centred on an amphitheatre, behind the corps de logis of the palazzo. The first play recorded as performed there was Andria by Terence in 1476. It was followed by many classically inspired plays of Florentine playwrights such as Giovan Battista Cini. Performed for the amusement of the cultivated Medici court, they featured elaborate sets designed by the court architect Baldassarre Lanci.
The Boboli Gardens (Italian: Giardino di Boboli) is a park in Florence, Italy, that is home to a collection of sculptures dating from the 16th through the 18th centuries, with some Roman antiquities.
The Gardens, directly behind the Pitti Palace, the main seat of the Medici grand dukes of Tuscany at Florence, are some of the first and most familiar formal 16th-century Italian gardens. The mid-16th-century garden style, as it was developed here, incorporated longer axial developments, wide gravel avenues, a considerable "built" element of stone, the lavish employment of statuary and fountains, and a proliferation of detail, coordinated in semi-private and public spaces that were informed by classical accents: grottos, nympheums, garden temples and the like. The openness of the garden, with an expansive view of the city, was unconventional for its time. The gardens were very lavish, considering no access was allowed to anyone outside the immediate Medici family, and no entertainment or parties ever took place in the gardens.
The Boboli Gardens were laid out for Eleonora di Toledo, the wife of Cosimo I de' Medici. The name is a curruption of "Bogoli", a family from whom land had been bought to construct the garden. The first stage was scarcely begun by Niccolò Tribolo before he died in 1550, then was continued by Bartolomeo Ammanati, with contributions in planning from Giorgio Vasari, who laid out the grottos, and in sculpture by Bernardo Buontalenti. The elaborate architecture of the grotto in the courtyard that separates the palace from its garden is by Buontalenti.
The garden lacks a natural water source. To water the plants in the garden, a conduit was built from the nearby Arno River to feed water into an elaborate irrigation system.
The primary axis, centered on the rear façade of the palace, rises on Boboli Hill from a deep amphitheater that is reminiscent in its shape of one half of a classical hippodrome or racecourse. At the center of the amphitheater and rather dwarfed by its position is the Ancient Egyptian Boboli obelisk brought from the Villa Medici at Rome. This primary axis terminates in a fountain of Neptune (known to the irreverent Florentines as the "Fountain of the Fork" for Neptune's trident), with the sculpture of Neptune by Stoldo Lorenzi visible against the skyline as a visitor climbs the slope.
Giulio Parigi laid out the long secondary axis, the Viottolone or Cyprus Road at a right angle to the primary axis. This road led up through a series of terraces and water features, the main one being the Isolotto complex, with the bosquets on either side, and then allowed for exit from the gardens almost at Porta Romana, which was one of the main gates of the walled city. In 1617, Parigi constructed the Grotto of Vulcan (Grotticina di Vulcano) along this axis.
The gardens have passed through several stages of enlargement and restructuring work. They were enlarged in the 17th century to their present extent of 45,000 meters² (111 acres). The Boboli Gardens have come to form an outdoor museum of garden sculpture that includes Roman antiquities as well as 16th and 17th century works.
In the first phase of building, the amphitheatre was excavated in the hillside behind the palace. Initially formed by clipped edges and greens, it was later formalized by rebuilding in stone decorated with statues based on Roman myths such as the Fountain of the Ocean sculpted by Giambologna, then transferred to another location within the same garden. The small Grotto of Madama, and the Large Grotto, were begun by Vasari and completed by Ammannati and Buontalenti between 1583 and 1593.
Even while undergoing restoration work in 2015, the Large Grotto's statues are still on display and represent defining examples of Mannerist sculpture and architecture. Decorated internally and externally with stalactites and originally equipped with waterworks and luxuriant vegetation, the fountain is divided into three main sections. The first one was frescoed to create the illusion of a natural grotto, that is a natural refuge to allow shepherds to protect themselves from wild animals; it originally housed The Prisoners of Michelangelo (now replaced by copies), statues that were first intended for the tomb of the Pope Julius II. Other rooms in the Grotto contain Giambologna's famous Bathing Venus and an 18th-century group of Paris and Helen by Vincenzo de' Rossi.
After the Fritz Koenig sculptures I saw the day before at the Uffizi Gallery, saw more sculptures, but bigger ones at Boboli Gardens. These ones were close to the Pitti Palace.
Fritz Koeing 1924 - 2017 - A Retrospective
Exclamation Point IV H
Punto esclamativo IV H
Rufzeichen IV H
1970
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Como os conté en el vídeo en directo de hoy , el pequeño Albert,
uno de nuestros peluditos desapareció en Agosto hace unos 5 meses
en San Lorenzo en la carretera general , yo me enteré ayer .
Es un peludito muy especial para mí ya que se luchó mucho por salvarle la vida , tiene una peculiaridad que es que le falta la patita derecha, que tuvimos que imputarle .
Este amor de peludito atigrado y blanco tendrá ahora unos cuatro años.
Su adoptante cree que puede estar vivo así que si lo has visto, ya sea vivo o muerto, por favor contacta conmigo por privado.
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