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Many violets share numerous attributes and are difficult to differentiate from one another. Botanists estimate that there are between 500 and 600 species worldwide, approximately 85 of which can be found in North America. Luckily for the casual wildflower enthusiast, only about half of these are common in New York. There's tremendous variation among the community, with many varieties garnering oxymoronic names, such as round-leaved yellow violet and sweet white violet. While a majority live up to their names in appearance, more than a few are anything but violet, being completely white, pink and even the brightest shade of yellow, with numerous combinations and levels of mixing. All of these attributes aid in their identification.
Yellow violets appear to be the most primitive, with their flowers being the first shift away from the ancestral green. Purple, in contrast, is thought to be one of the most advanced colors. Evolution in progress can be witnessed in the tall, white, Canada violet (Viola canadensis), a native to Canada and the eastern U.S.. Many botanists speculate that the mostly white flower, often dabbed with minor purplish tingeing on the back of the petals, is transitioning from entirely white to "violet." The Canada violet grows throughout the Mohawk Valley in association with the large white trillium.
Violets can be separated into two general categories: those with stems from which leaves and flowers protrude, and those that are stemless, having appendages emanating directly from the roots, with flowers being supported on a thin and usually low, leafless stalk.
In addition to having showy blossoms, certain species possess a trait known as cleistogamy, meaning they are capable of self-pollination by means of tiny, barely noticeable flowers that resemble unopened buds. The term "cleistogamy" combines the Greek 'kleistos' meaning 'closed' with 'gamy' meaning 'marriage.' Once fertilization has occurred by means of insects or self-pollination, the seeds are ready for explosive dispersal. After the seeds are fully developed, the pods they're stored in slowly dry out, with the pod gradually tightening around the seeds, building up tension in the process, similar to the action of a spring. Later, when the pods are disturbed, or sometimes just randomly, the pressure becomes too great and the seeds are shot out like miniature cannonballs. Amazingly, seeds are capable of flying up to 15 feet away from the parent plant. Pretty impressive for such a tiny plant!
Once on the ground, the seeds are further dispersed by ants. Attached to each tiny seed is a fleshy appendage called an elaiosome that's rich in protein and lipids, but serves no direct impact to the seed's survival. Like the sweet nectar of a flower, these elaiosomes are tempting treats to insects, and ants in particular are readily enticed to collect them. Once dragged back to the colony, the energy-laden accessory is removed for consumption, and the hard seed body is dumped in a waste pit where it may ultimately sprout. This dual dispersal technique, using both physiological and biological mechanisms for seed movement, proves to be an effective evolutionary strategy, ensuring rapid colonization of available habitat.
Insects aren't the only ones that appreciate violets' tasty nature. In fact, humans find nearly all parts of the plants edible. The leafy greens can be collected to create a salad high in vitamins A and C, superseding that of an equivalent amount of oranges. Beginning in the nineteenth century, candied violets gained favor as a dessert garnishment and were widely served. Though their popularity has decreased over the years, in some circles they're still a favorite for topping sweet dishes of cake or ice cream. Traditionally, a syrup was also made by boiling the flowers in a concoction of sugar. Apart from sweetening the lips, the syrup is useful as a substitute for litmus paper. The solution turns red in the presence of an acid, green for a base.
To the Haudenosaunee and other eastern Native Americans, the flower is revered as a symbol of love. An Iroquoian myth, akin to the tragic Shakespearian Romeo and Juliet, tells of how two lovers of warring tribes were slain while trying to elope, and where each drop of blood hit the ground, a violet sprouted to commemorate their boundless passion.
While on the topic of romance, it's also interesting to note that violets used to be the traditional flower of Valentine's Day. Almost all bouquets given to loved ones sported purple rather than red. It wasn't until the 1930's that violets began to be supplanted by the thorny rose.
Violets were substantial money makers during the early part of the twentieth century. Like other popular flowers that are added to bouquets or home gardens today, violets were prodigiously cultivated in greenhouses by the millions. Rhinebeck, a quaint, pastoral town located along the shores of the Hudson River in southeastern New York, cornered this unusual market. Growers made sizable profits by shipping flowers to New York City, where there was an especially high demand. Rhinebeck's proximity to the city market, and its easy access to the railroad paralleling the Hudson helped make it the "Violet Capital of the World." At its peak, hundreds of greenhouses routinely cranked out thousands of violets per day in the spring-a fast worker could pick as many as 5,000 during a single shift. Eleanor Roosevelt herself often purchased copious amounts of various exotic cultivar varieties from nearby nurseries to line the gardens at her riverfront estate in Hyde Park, just south of the violet hotbed. She was frequently seen wearing intricate violet arrangements, making it a habit to do so at her husband's numerous inaugurations.
Small white violets are sweet-scented.
Next time you're outside in spring, keep your eyes open for the cosmopolitan violets, which can be found growing just about anywhere-from open and sunny backyards to rich, sheltered woodlands, and even in the dampest wetlands. Though small and unassuming, they nevertheless provide a cheerful reminder of the fecundity and diversity of the spring season. As English philosopher Bernard Williams succinctly said, "We may pass violets looking for roses. We may pass contentment looking for victory."
Autumn Landscape
Design attributed to Agnes Northrop (1857-1953) for Tiffany Studios (1902-32)
New York City, 1923-24
Leaded Favrile Glass
Accession #: 25.173a-o
Metropolitan Museum of Art (New York, New York)—August 28, 2010
A tour de force of its medium, this window, executed late in Tiffany’s career (Louis Comfort Tiffany, 1848-1933), portrays the late afternoon sun filtered through rich autumnal foliage. It was probably designed by Agnes Northrop, who was known especially for her landscapes and flowers. No paint was used to add detail; rather, the modeling, texture, and form were created solely with glass, using the full range developed at Tiffany Studios. The variegated surface was made by wrinkling glass in its molten state. Different color effects were achieved by embedding tiny, confetti-like flakes of glass in the surface. Plating—the superimposition of several layers of glass on the back of the window—added depth. Although commissioned in 1923 by Loren D. Towle for the stair landing of his enormous neo-Gothic mansion in Boston, the window was never installed. In 1925, Robert W. de Forest, Tiffany’s close friend, donated the window to the Metropolitan Museum of Art, where he was president and founder of the American Wing.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
Long Reef
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Catholicism plays a central role in Filipino life, shaping values, traditions, and daily routines. Over 80% of the population is Catholic, making the Philippines one of the most religious countries in Asia—and the world. Churches are active hubs, faith festivals are national events, and symbols of devotion are seen everywhere, reflecting a deep, enduring spiritual culture.
I think this is the very first picture of the traditional dress of Tharaka tribe on Flickr!
Very few Tharaka still use them. Same for the wig she wears.
The Tharaka live on the eastern side of Mount Kenya. About 10% of them live in towns, the rest in the villages of the area.Meaning "starving", the Tharaka belong to the Ameru ethnic group. They speak a Bantu-language, the Meru. They are farmers and shepherds: they grow cereal crops, cotton, and sun flowers and rear cows, goats and sheeps. The decrease in livestock holdings, attributed to droughts and declining cultivable lands, is a concern for the Tharaka. Goat meat in particular is central both for their diet and custom. The Tharaka are also merchants, since they trade with people all over the country. They live in small huts with a corrigated iron roof.Village life is better considered (compared to the life in towns) since it preserves their culture. They have a strong sense of belonging. The "mukuru" (elder) is the most important person of the community, who gives advice and settle conflicts. In this tribe, like in others, there are age-sets: men have to go through several stages before reaching the highest one. There are various important celebrations: the birth of a child, circumcision, marriage and the harvests of June and January. Before marriage, a high brideprice is paid by the prospective groom to the wife's father. They have also an important rite of passage called "Kirimo", name of the mythical animal that swallows human beings and spits it out thereafter. They use arrows and have very efficient fighting techniques. So they still have kept their traditions, even if they are now also christians. There is an estimated 20% active Christians, and 70% have now adopted the christian faith. Tharaka people have an elaborate set of myths, that they share with the other Meru groups and keep in through their oral tradition. One of them involves an exodus from an original homeland (called Mbwa) near a large body of water, another the origins of the Tharaka art of healing (called ugao). According to the legend, the clan of Nyaga was born with the ugao art, which comes from the Mbwa land. But since they were poor, they had to teach other clans this art, in order to get some goats and food. Consequently, as per the myth, the art of healing is a single clan’s attribute. Furthermore, in the myth, there is a reference to clans classified by colours (black, white and red), the red clans being associated with the ugao art. As a consequence, Kenya is a country of a great diversity, as much for its environment and climate (which changes from tropical along the coast to arid in the interior) as for its peoples. And even if they tend to homogenize because of the modern life in cities, some clans still preserve their traditional customs and lifestyle.
Les Tharakas vivent dans la partie est du Mont Kenya. Environ 10% d’entre eux vivent dans des villes, le reste dans les villages de la zone.Signifiant « affamé », les Tharaka appartiennent au groupe ethnique Ameru. Ils parlent une langue bantoue, le mérou. Ils sont agriculteurs et éleveurs : ils ont des cultures céréalières, du coton, et des tournesols et élèvent des vaches, chèvres et brebis. La diminution dans l’exploitation de bétail, attribuée aux sècheresses et aux terres cultivables en déclin, est un sujet de préoccupation pour les Tharaka. La viande de chèvre en particulier est centrale à la fois pour leur alimentation et coutumes. Les Tharaka sont aussi des marchants, puisqu’ils commercent avec des individus de tout le pays. Ils vivent dans des petites huttes au toit de tôles ondulées.La vie au village est davantage considérée (comparée à la vie en ville) puisque préservant leur culture. Ils ont un sens poussé de l’appartenance communautaire. Le « mukuru » (aîné) est la personne la plus importante de la communauté, qui prodigue des conseils et règle les conflits. Dans cette tribu, comme dans d’autres, il y a des classes d’âge : les hommes doivent passer par plusieurs étapes avant d’atteindre la plus élevée. Il y a diverses célébrations importantes : la naissance d’un enfant, la circoncision, le mariage et les moissons de Juin et Janvier. Avant le mariage, un paiement de la mariée élevé est fait par le futur époux au père de la fiancée. Ils ont aussi un rite de passage important appelé « Kirimo », du nom de l’animal mythique qui avale les êtres humains et les recrache ensuite. Ils utilisent des flèches et ont des techniques de combat très efficaces. Ils ont donc gardé leurs traditions, même s’ils sont maintenant aussi chrétiens. Il y a environ 20% de chrétiens actifs, et 70% ont désormais adopté la foi chrétienne. Les Tharaka ont un ensemble de mythes élaborés, qu’ils partagent avec les autres groupes Mérou et conservent grâce à leur tradition orale. L’un d’entre eux parle du départ d’une terre originelle (appelée Mbwa) située près d’un large plan d’eau, un autre des origines de l’art de soigner tharaka (appelé ugao). Selon la légende, le clan des Nyaga est né avec l’art ugao, qui provient de la terre Mbwa. Mais comme ils étaient pauvres, ils ont dû apprendre à d’autres clans cet art pour obtenir des chèvres et de la nourriture. En conséquence, selon le mythe, l’art de soigner est l’attribut d’un seul et même clan. De plus, dans le mythe, on trouve une référence au classement des clans par couleur (noir, blanc et rouge), les clans rouges étant associés à l’art ugao.En conséquence, le Kénya est un pays d’une grande diversité, autant pour son environnement et climat (qui change de tropical le long des côtes à aride à l’intérieur) que pour ses peuples. Et même s’ils ont tendance à s’homogénéiser à cause de la vie moderne des villes, certains clans préservent encore leurs coutumes et modes de vie traditionnels.
© Eric Lafforgue
Although he is known by many other attributes, Ganesha's elephant head makes him particularly easy to identify. In Hinduism, Ganesha is widely revered as the Remover of Obstacles. and more generally as the Lord of Beginnings and the Lord of Obstacles,patron of arts and sciences, and the deva of intellect and wisdom. He is honoured at the beginning of rituals and ceremonies and invoked as the Patron of Letters during writing sessions.Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.
The most well-known story is probably the one taken from the Shiva Purana. Once, while his mother Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body (turmeric was used for its antiseptic and cooling properties), and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned from outside, and as he tried to enter the house, Ganesha stopped him. Shiva was infuriated at this strange little boy who dared to challenge him. He told Ganesha that he was Parvati's husband, and demanded that Ganesha let him go in. But Ganesha would not hear any person's word other than his dear mother's. Shiva lost his patience and had a fierce battle with Ganesha. At last he severed Ganesha's head with his trishula. When Parvati came out and saw her son's lifeless body, she was very angry and sad. She demanded that Shiva restore Ganesha's life at once.
Unfortunately, Shiva's trishula was so powerful that it had hurled Ganesha's head very far off. All attempts to find the head were in vain. Parvati was so enraged and insulted that she decided to destroy the entire Creation! Lord Brahma, being the Creator, naturally had his issues with this, and pleaded that she reconsider her drastic plan. She said she would, but only if two conditions were met: one, that Ganesha be brought back to life, and two, that he be forever worshipped before all the other gods. Sent Brahma out with orders to bring back the head of the first creature he crosses that is laying with its head facing North. Shiva then sent his celestial armies (Gana) to find and take the head of whatever creature they happened to find asleep with its head facing north. They found a dying elephant which slept in this manner, and after its death took its head, attaching the elephant's head to Ganesha's body and bringing him back to life. From then on, he was called Ganapathi, head of the celestial armies, and was to be worshipped by everyone before beginning any activity.
- Wikipedia
Shot of the Mural on the other side of the wall in comment box
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
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click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
Brimstone Butterfly (Gonepteryx rhamni). It is commonly believed that the word "butterfly" is a derived from "butter-coloured fly" which is attributed to the yellow of the male Brimstone butterfly, the female being a much paler whitish-green. The Brimstone has a most exquisite wing shape, perfectly matching a leaf when roosting overnight or hibernating within foliage. This is one of the few species that hibernates as an adult and, as such, spends the majority of its life as an adult butterfly. The distribution of this species closely follows that of the larval foodplant. In England, where it is represented by the subspecies rhamni, it can be found south of a line from Cheshire in the west to South-east Yorkshire in the east, although vagrants may turn up in other areas. In Ireland, where it is represented by the subspecies gravesi, its strongholds are in a small area that lies between the borders of West Galway, West Mayo and East Mayo, and a band running through central Ireland from Clare in the west to Kildare in the east. Photo by Nick Dobbs, Bentley Woods, Wiltshire 24-07-19
The Portrait of Sigismondo Pandolfo Malatesta is a painting attributed to the Italian Renaissance master Piero della Francesca. It portrays the condottiero and lord of Rimini and Fano Sigismondo Pandolfo Malatesta, and is housed in the Musée du Louvre of Paris.
The portrait depicts the condottiero by profile and, according to some sources, was based on a medal executed in 1445 by Pisanello, or to one by Matteo de' Pasti from 1450. The picture itself is believed to be executed by Piero della Francesca during his sojourn in Rimini, during which he also painted the fresco with Sigismondo Pandolfo kneeling after St. Sigismund in the Tempio Malatestiano (Cathedral) of the city.
Despite the choice of the profile representation, typical of the portraits of eminent figures of the type, Piero della Francesca showed his attention for naturalist details in the fine execution of the texture and the hair of the committent. This is a proof of his good knowledge of Flemish masters such as Rogier van der Weyden.
Attribution is not certain and very late. Until 1889, it used to belong to the Russian Imperial Art Collection. Only as art piece of the d'Ancona collection in Milan in late 19th century, it was first attributed to Piero della Francesca by art-dealer Giovanni Morelli. From there it moved to Contini-Bonacossi collection, where Roberto Longhi reiterated the attribution before the family sold it to the Louvre. However, doubts were raised by Italian art critics and professors, some of whom believed it to be a neoclassical fake due to its uncanny resemblance with the painting of Tempio Malatestiano. Similarly, an Italian ministerial art commission refused to buy it in 1969 as part of the Contini-Bonacossi bequest due to the doubts surrounding its attribution. French art historians have, instead, always been unanimous on its attribution, especially after entering the Louvre collection.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
Evangelist St. Mark with his attribute, a lion at his side. The desperate monk in the scriptorium had neither a good pattern book for depicting a lion, nor had he ever seen a lion himself in his life..
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Horae ad usum Romanum, dites Grandes Heures d'Anne de Bretagne
Jean Bourdichon (1457? - 1521) Enlumineur
Source: BNF Latin 9474 - gallica.bnf.fr
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Ceremonial rattle, Tlingit-attributed, 18th Century, copper, wood, and spruce root, artist, southeastern Alaska. Behind glass, Peabody-Essex Museum, Salem Massachusetts. Sigma Art 18-35mm, @f1/8.
A legend attributes Kraków's founding to the mythical ruler Krakus, who built it above a cave occupied by a dragon, Smok Wawelski. The first written record dates to 965, when Kraków was described as a notable commercial center captured by a Bohemian duke Boleslaus I in 955. The first ruler of Poland, Mieszko I, took Kraków from the Bohemians.
In 1038, Kraków became the seat of the Polish government. By the end of the 10th century, the city was a center of trade. Brick buildings were constructed, including the Royal Wawel Castle. The city was sacked and burned during the Mongol invasion of 1241. It was rebuilt and incorporated in 1257 by Bolesław V the Chaste who introduced city rights. In 1259, the city was again ravaged by the Mongols. The third attack in 1287 was repelled thanks in part to the newly built fortifications.
The city rose to prominence in 1364, when Casimir III founded the University of Kraków, the second oldest university in central Europe. But after Casimir´s death in 1370 the campus did not get completed.
As the capital of the Kingdom of Poland and a member of the Hanseatic League, the city attracted craftsmen from abroad, guilds as science and the arts began to flourish. The 15th and 16th centuries are known as Poland's "Złoty Wiek" (Golden Age).
After childless King Sigismund II had died in 1572, the Polish throne passed to Henry III of France and then to other foreign-based rulers in rapid succession, causing a decline in the city's importance that was worsened by pillaging during the Swedish invasion and by an outbreak of bubonic plague that left 20,000 of the city's residents dead. In 1596, Sigismund III of the House of Vasa moved the capital of the Polish–Lithuanian Commonwealth from Kraków to Warsaw.
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The Dominicans, led by St. Jacek (aka "Hyacinth of Poland"), came to Krakow from Bologna in 1222. The first church of the monks was a wooden one.
The new, gothic church and monastery were built after the invasion of the Tatars in 1241. Originally it was a three-nave hall, which was then rebuilt into a basilica church around 1400. Until the mid-nineteenth century, one of the characteristic elements of the church was a brick belfry tower, standing freely in front of the church façad. After the town fire in 1850, only the burnt walls remained of the bell tower, which were pulled down. In 1876, in place of the tower, a neo-Gothic porch was added to the facade of the temple. It covered the gothic, 14th-century main entrance portal, which was renovated in 1893.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
www.primevideo.com/detail/Oh-Mio-Dio/0FBFGSB0G1HMNXV56F5C...
pad.mymovies.it/filmclub/2018/02/181/locandina.jpg
movieplayer.net-cdn.it/t/images/2018/03/08/oh_mio_dio_car...
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
ПАОЛО АНТОНИО БАРБЬЕРИ (предположительно), ок. 1627 года - Портрет Гверчино и его матери с лаготто
☆📀
Location: Roma Fondazione Sorgente Group, Rome, Italy.
Sources: fondazionesorgentegroup.com/en/art-collection/paintings/p...
it.m.wikipedia.org/wiki/Paolo_Antonio_Barbieri
en.m.wikipedia.org/wiki/Lagotto_Romagnolo
Rus: Этот неопубликованный холст представляет собой любопытный взгляд на жизнь известного художника из Ченто Джованни Франческо Барбьери по прозвищу Гверчино, который изображен обнимающим правой рукой собаку, сидящую в центре композиции, на которую указывает сам Гверчино. В сцене также принимает участие пожилая женщина, в которой можно узнать Елену Джизеллини, мать Гверчино. Она изображена с большим ключом, свисающим с талии, что придает ей статус «хозяйки дома», и многие источники описывают большую привязанность Джованни Франческо к своей матери.
Интересно, что Гверчино изображен на портрете с серьезной деформацией правого глаза, явившейся причиной его прозвища. Этот физическое несовершенство никогда не подчеркивалось на других портретах художника и ясно выражено только здесь. Разумно предположить, что Гверчино не хотел, чтобы его изображали в реальном физическом состоянии, но на этой картине запрет, кажется, исчезает. Этот аспект, дополненный радостной и уверенной атмосферой, характеризующей произведение, позволяет нам найти его автора в ближайшем окружении Гверчино, и предположить, что полотно предназначалось исключительно для украшения его частного дома.
Внимание к деталям хорошо выраженное в тонкости кружева, украшающего платье Гверчино, позволяет нам приписать эту картину младшему брату мастера, Паоло Антонио Барбьери. Последний был помощником в мастерской, специализирующейся на натюрмортах, а также бухгалтером семейного бизнеса: он начал и вел так называемую «Libro dei Conti», бухгалтерскую книгу, которую он тщательно заполнял до своей смерти в 1649 году.
Кстати, настоящий герой полотна не Гверчино, а собака породы лаготто, на которую Гверчино указывает пальцем. Лаготто - старинная порода итальянских водяных ретриверов, родом из Романьи. Животное на картине украшено особым ошейником с лилиями и гербом семьи Фарнезе из Пармы. Надо понимать, что это не случайность, и изображенная собака вероятно была подарком Гверчино от герцогов Пармских в благодарность за единственный заказ, который они ему дали: написание фресок в куполе собора Пьяченцы. Эта деталь позволяет нам датировать картину примерно 1627 годом.
Real Name: Unknown
Current Alias: Chancer
Attributes: Claims to possess the power of “luck”.
Inventory: 1 White Coat, 1 pair of red slacks, 1 red cotton dress shirt, 1 white sport coat, 1 white tie, 1 pair of red gloves, 1 pair of white shoes, 1 white piece of facial covering, 1 pair of sunglasses, a set of red and white dice, a deck of cheap playing cards.
Blackgate Prison File: Prisoner 7137137 “Chancer” is another story of rags to riches. His real name is unknown, though he claims the alias of Montgomery Sharp as his favorite of many false identities. He began his criminal career in Gotham city working under Drury Walker Aka Killer Moth and The Misfits. During this time he commuted acts of arson, theft, armed robbery, assault, breaking and entering, and murder in the first, second and third degree. He eventually left the group, though statements from Walker himself claimed Chancer was let go for crossing lines. After his time he began a career as a professional gambler, going as far to best men like Oswald Cobblepot. He was a sensation to criminals and common patrons. Rumors began to spread that the games were rigged, he proved himself worthy when he won against professional gambler Victor Zsasz in the nude. Chancer’s stardom continued to rise, but his past was littered with bodies. Dean Hunter, a photographer from Texas was one of Chancer’s Victims from his days with the Misfits. Chancer murdered his family and burned his house down. He returned during Chancer’s rise with a vengeance, stole an experimental military suit and pursued Chancer under the guise of an unnamed vigilante. The GCPD pursued Hunter, but he allied himself with The Batman and brought Chancer to Justice. Chancer knows nothing about Hunter, but he has described his captor as a nimrod. We know little of his past, we however found a pair of dice and a deck of cheap playing cards. Some guards question if he did cheat or not, although they’re empty wallets seemed to answer that question. The dice are thought to be a memento, we however have no idea what they remind him of. The prisoner has not attempted to escape, although he is to be kept under constant watch. He claims to have the power of “luck”, while we’ve yet to prove this claim, he’s been able to avoid confrontation with most prisoners. When he however comes into contact he is universally unscathed. More information will follow if further progression is made.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
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www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
Alter Ego: SWAT
Name: Sara Killstreak
Powers: Enhanced human physical attributes.
Weakness: Extreme injury: Gunshot to the head etc
Weapons: Tactical Knife, Pistol and Bulletproof Vest
Backstory: Sara was always a rough handed person, when she was at a young age she joined the police academy and ranked high enough to Captain. However with lack of action in the job she quit and joined SWAT to get right to the front lines of the fight. With her rough demeanour and hard attitude Sara makes any criminal run.
Sara is borderline a vigilante, she's barely in a squad and takes her own path when it comes to catching a crook or superviallin, Her only enemy is the paperwork.
Memento mori & roue de la fortune
Napoli MAN Inv 109982 -
wm; Marie-Lan Nguyen
Fig. 8 - Skull with attributes of the beggar and the king.
(before 79 AD from Pompeii) - Roman mosaic, 47 x 41 cm
Naples, Museo Archeologico Nazionale Inv. 871 (109 982)
Between a stick with a knapsack (provision bag) on the right, the indispensable companion of tramps and mendicant philosophers, and a sceptre fluttered by a white band of cloth (the "diadem") with a piece of purple cloth on the left, the skull is enthroned as a sober symbol for the bodily remains of man. Below, the turning wheel of Fortuna or of Nemesis, who inexorably drives the course of life, while the soul - the butterfly - leaves the body.
The aedicule-shaped finial is formed by a set balance, a device for levelling (aequare), which measures the beggar's staff and the king's sceptre with complete indifference. The statement "Omnia mors aequat" (Death makes all things equal) was widespread in antiquity as a popular Cynic moral concept.
Source:
The History of Still Life, Sybille Ebert-Schifferer; Hirmer-Verlag Munich, 1998 - ISBN 3-7774-7890-3
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Abb. 8 – Totenkopf mit Attributen des Bettlers und des Königs
(vor 79 n.Chr. aus Pompeji) – Römisches Mosaik, 47 x 41 cm
Neapel, Museo Archeologico Nazionale Inv. 871 (109 982)
Die Geschichte des Stilllebens, Sybille Ebert-Schifferer; Hirmer-Verlag München, 1998 – ISBN 3-7774-7890-3
Zwischen einem Stock mit Schnappsack rechts, dem unentbehrlichen Begleiter der Landstreicher und Bettelphilosophen und einem von einem weißen Stoffband (dem „Diadem“) umflatterten Szepter mit einem Stück Purpurstoff links, thront der Totenschädel als nüchternes Symbol für die leiblichen Überreste des Menschen. Darunter dreht sich unaufhaltsam das Rad der Fortuna bzw. Nemesis, das den Lebenslauf der Menschen unerbittlich vorantreibt, während die Seele – der Schmetterling – den Körper verläßt.
Den ädikulaförmigen Abschluß bildet eine Setzwaage, ein Gerät zum Nivellieren (aequare), das völlig gleichgültig Bettelstab und Königsszepter mißt. Die Aussage „Omnia mors aequat“ (Alles macht der Tod gleich) war in der Antike als volkstümlich kynische Moralvorstellung verbreitet.
A night view of Cesenatico port canal, whose design and realization is usually attributed to Leonardo da Vinci (I am not sure how solid the foundation of this claim are). The canal is provided with a modern water gate to protect it from the incoming waves when necessary (but such a device could well have been present since the beginning, as Leonardo was an expert hydraulic engineer).
On the left there is St. James church (a XIV century church rebuilt in the XVIII century). In the canal you can see some of the traditional boats parked there as part of the exposition at the Marine Museum (sorry, it looks like the site is only in Italian). Since 1986, during Christmas time, these boats become populated with 50 wooden life-size sculptures creating a very peculiar Marine Nativity scene.
During this photographic session I was thinking of Leonardo conceiving, designing and surveying the realization of this canal. I found myself brooding over the fact that ordinary people dream by night, whereas a genius is always dreaming - especially when she is awake :-)
I have blended three HDR images derived from a 3-bracketing, -1.67 ev/0/+1.67 ev, generated and tonemapped with Luminance HDR 2.4.0 (Fattal, Reinhard05, and Mantiuk06 operators).
I am not fully satisfied with the result of this scene (especially the spot lights, which have proved to be beyond recovery (grrr!), so I hope to receive useful comments, suggestions and critics helping me to understand what are its weak points (and possibly how to avoid them in the future).
Luminance HDR 2.4.0 tonemapping parameters:
Operator: Fattal
alpha: 1.49
beta: 0.92
Saturation: 0.81
Noiseredux: 0.05
fftsolver: 1
---
PreGamma: 1.55
Operator: Reinhard05
Brightness: 1.0
Chromatic adaptation: 0.28
Light adaptation: 1.0
---
PreGamma: 1.18
Operator: Mantiuk06
Contrast Mapping factor: 0.88
Saturation Factor: 0.5
Detail Factor: 2.2
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PreGamma: 0.48
Triclavianism was one of the beliefs attributed to Albigenses and Waldensians, who held that three nails were used to crucify Christ and that a Roman soldier pierced him with a spear on the left side.The 19th century Anglican scholar George Stanley Faber claimed that Pope Innocent III declared this to be a heresy and maintained that four nails were used and Jesus was pierced on the right side. This was repeated in historical works such as Sofia Bompiani's A Short History of the Italian Waldenses.[2] Faber's book does not quote any primary source, and does not give the name or date of the document of Innocent III. Other scholarly treatments of the subject, such as Herbert Thurston's article in the 1914 Catholic Encyclopedia, make no mention of any such document.George Stanley Faber's account of the history in his 1838 work An Inquiry into the History and Theology of the Ancient Vallenses and Albigenses: As Exhibiting, Agreeably to the Promises, The Perpetuity of the Sincere Church of Christ is as follows:I am not without some suspicion, that the circumstance of the Noble Lesson mentioning the five wounds of Christ, while it is silent as to the number of nails employed, affords another incidental testimony to the correctness of its date.Lucas of Tuy, in the thirteenth century, is very large on this subject. He tells us, that the world had turned to many false opinions: and he specially enumerates, the alleged Docetism of the Albigenses which denied that Christ had truly suffered in the flesh, and the unsound tenet unauthoritatively advanced by other sectaries that three nails only were used in the crucifixion and that the left side (not the right side) of our Lord was pierced by the spear.This last opinion was advocated from about the latter end of the eleventh century: but Pope Innocent III finally and infallibly determined, that four nails were used, and that the Roman soldier pierced the right side of Christ; a decision, which of course stamped the brand of heresy upon Triclavianism.The judgment of the Pope was confirmed by a miracle: and, as a decisive proof that four nails were used and that the right side was pierced, Lucas of Tuy brings forward the remarkable case of St. Francis Assissi, upon whose body were preternaturally impressed the five wounds of our Savior, in such a manner, that the semblance of the heads of four nails appeared in the inside of the two hands and on the outside of the two feet, while there was so real a wound on the right side that it often emitted blood.Now this saint was the founder of one of the two Orders which were started by Innocent III against the Humiliated and the Poor Men of Lyons: and as a part of the project, he contrived, we see, to mark himself in such a manner, as to bear a sort of practical testimony against the old triclavian heresy of those whom he was appointed specially to oppose. All parties acknowledged five wounds: but the semblance of four rusty nail-heads on the hands and feet of Francis were, of course, proof positive, that four of the wounds were inflicted by four nails and not by three.Such an argument would not have been used against those whom Francis was appointed to oppose, unless they had believed that three nails were employed: and, accordingly more than a century earlier, the author of the Noble Lesson, whom I suppose to have been a Triclavian, mentions the five wounds; but, probably in order to avoid giving needless offence is silent as to the number of the nails, and specifies not whether the right side, or the left side was pierced.
en.wikipedia.org/wiki/Triclavianism
The authenticity of many of these relics is in question.Very little reliance can be placed upon the authenticity of the thirty or more holy nails which are still venerated, or which have been venerated until recent times, in such treasuries as that of Santa Croce in Rome, or those of Venice, Aachen, Escurial, Nuremberg, Prague, etc. Probably the majority began by professing to be facsimiles which had touched or contained filings from some other nail whose claim was more ancient. It is conceivable that imitations in this way may have come in a very brief space of time to be reputed originals. The bridle of Constantine, for instance, is believed to be identical with a relic of this form which for several centuries has been preserved at Carpentras, but there is another claimant of the same kind at Milan. Similarly the diadem of Constantine is asserted to be at Monza, and it has long been known as "the iron crown of Lombardy." Simple fraud is also a possibility. The tale behind the bridle of Constantine originates with the fifth-century Church historian of Constantinople, Socrates of Constantinople, in his Ecclesiastical History, which was finished shortly after 439.[2] According to Socrates, after Constantine was proclaimed Caesar then Emperor, he ordered that all honor be paid to his mother, Helena to make up for the neglect paid her by her former husband, Constantius Chlorus. After her conversion to Christianity, Constantine sent her on a quest to find the cross and nails used to crucify Jesus. A Jew called Judas (in later retellings called Cyriacus) led her to the place they were buried. Several miracles were claimed, to prove the authenticy of these items, and St. Helena returned with a piece of the cross and the nails. The story that one nail was used to make a bridle, one was used to make the Helmet of Constantine and two were cast into the Adriatic Sea has its origins with Socrates.The Catholic Encyclopedia remarked that given that the question has long been debated whether Christ was crucified with three or with four nails:.One of the nails is said to have come to rest in the Iron Crown of Lombardy.Relics that are claimed to be the Holy Nails with which Christ was crucified are objects of veneration among some Christians, among Catholics and the Eastern Orthodox. In Christian symbolism and art they figure among the Instruments of the Passion or Arma Christi, the objects associated with Jesus' Passion. Like the other Instruments the Holy Nails have become an object of veneration among many Christians and have been pictured in paintings and supposedly recovered.When Helena, mother of Constantine the Great discovered the True Cross in Jerusalem, the legend was told by and repeated by Sozomen and Theodoret that the Holy Nails had been recovered too. Helena left all but a few fragments of the Cross in the Basilica of the Holy Sepulchre in Jerusalem, but returned with the nails to Constantinople. As Theodoret tells it in his Ecclesiastical History, chapter xvii,The mother of the emperor, on learning the accomplishment of her desire, gave orders that a portion of the nails should be inserted in the royal helmet, in order that the head of her son might be preserved from the darts of his enemies. The other portion of the nails she ordered to be formed into the bridle of his horse, not only to ensure the safety of the emperor, but also to fulfil an ancient prophecy; for long before Zechariah, the prophet, had predicted that 'There shall be upon the bridles of the horses Holiness unto the Lord Almighty.The question of whether Christ was crucified with three or four nails has long been debated, and can hardly be answered with references to medieval treatises or ancient iconic traditions. The details can be followed, however, in the Catholic Encyclopedia (see external link below). The belief that three nails were used is called Triclavianism. To Augustine, such people’s conceptions of time are mistaken because they confuse how we experience time with the divine eternity. The nail of the crucified highlights the clouds in the divine ... Augustine at the time: human time, divine eternity and why the old is really the last. "What was God doing before he made heaven and earth?" (Augustine 261).Do not think, brethren, that heresies can be
produced by a few small souls. Only great men
have created heresies.
St. Augustine
en.wikipedia.org/wiki/Nail_(relic)
DANIEL WALTHER
Solusi College, Bulawayo, Rhodesia
WERE THE ALBIGENSES AND WALDENSES
FORERUNNERS OF THE REFORMATION ? When a religious movement comes into existence it tends
to consider itself as an autochthonous phenomenon. Obviously,every reform movement has elements of newness and originality. Martin Luther was not, at first, concerned about spiritual ancestors: "We have come to this point without guide and without a Bohemian doctor." Likewise, in Geneva, Thkodore de B&ze stated that Calvin came "when God had appointed the time." 3 Calvin himself, when asked by Charles V how a Reformation came about, remarked that man cannot bring about a Reformation. When a church is spiritually dead it must be resurrected, and only God has the means to bring this about. The Reformers did not need to seek their origins, since, as was stated by St. Ignatius when he spoke of the orthodox Christians of his time, they have their being rooted in the Gospel. * Similarly, Beausobre wrote that there was no need to seek for spiritual ancestors to the Reformation.5 After the newness subsides, a time of critical examination leads to the conviction that there were other movements which, before their time, had attempted church reforms. There are several approaches to such an analysis. On one hand is the notion of the invisible church, which had to go underground until it gloriously reappeared in the 16th
century. Another concept is that of the unbroken continuity
of ' 'truth" which, through an unmistakable link, goes back
to the inception of Christianity. The relationship between Medieval sects and the Reformation is not of mere academic interest. The seeking for ancestors became a live issue and was ardently debated by historians. It became an object of numerous debates, especially in Huguenot synods.
Church history moved into the debate. Luther himself was
portrayed as a church historian. While Schafer and Jiirgens history and dogma far too little to be able to evaluate it
critically. Moreover, Luther was, like his contemporaries,
much influenced by legends and local rumors. several translations of orthodox defenders of the faith who dealt with medieval heresies. Their methods were recommended as an effective means with which Lutherans and Calvinists might be checked. The Jesuit Gretser, referringto Protestants as the new heretics in line with the Albigenses,
suggested that they could be fought by publishing significant
antiheretical writings of the Middle Ages. 20
The Catholic idea that methods used in the 13th century
could serve as a standard in the Reformation era also had
political overtones. For example, in 1569, Catherine de Medici
told the Venetian ambassador Giovanni Correr that she once
read a manuscript chronicle at Carcassonne in which the
doctrines of the Albigenses were discussed-that they wanted
neither priests nor monks, images, masses, nor churches, and, wrote the ambassador, while reading this text Catherine had the Huguenots in mind. Pius V also wanted the measures against the Albigenses during the Crusade used against the Huguenots of France. He wrote to Catherine de Medici in 1569: "It is only by the total extermination of the Huguenots that the King of France can restore the ancient faith of the noble kingdom of France." 30 St. Bartholomew's night was not far off. Waldenses and Albigenses were discussed not only inreligious circles. The rationalistic author of the Dictionnaire histo~ique et critiqae,
Pierre Bayle, stated "that never before
were the Waldenses discussed as much as today." Bayle.referred to a work where De La ValIette compared the
Albigenses with Calvinism. 46
It has been established that Albigenses and Waldenses
lived at the same time but were far from agreeing on doctrine.In fact, can Albigenses and Waldenses be assimilated?
Though both movements have often been put in a common
category they disagreed on doctrine. They existed roughly
in the same area, but it was mere co-existence. They were not
only far apart in doctrine, but they also frequently debated
their views. The Waldenses were, theologically, the sharpest
opponents of the Albigenses. They had a common enemy, the
papacy, whom both considered the Antichrist. In recent
years the two movements were examined by A. Dondaine
and also by Chr. Thouzellier. 47 It is true that in the 13th
century many documents refer to the Albigenses and Waldenses
together, such as the 258-volume manuscript in the
Doat collection. 48
In 1661 a collection of Waldensian tracts belonging to
Archbishop James Ussher was acquired by the University
of Dublin. This collection was described in 1920 by Mario
Espositio, who listed all the documents as being Waldensian. In 1960 one of these documents was identified as an Albigensian
text, because of an expression in the Lord's Prayer. 50
In documents that have recently been published, the opposition
between the Albigenses and the Waldenses is brought
into sharper focus. Around 1300 the Cathari were attracted
doctrinally by a group of Poor Men of Lyons (Waldenses).
The founder and leader of the "Catholic Poor," Durand of
Huesca, was a former Waldensian converted to Catholicism.
The mission of these "Catholic PoorJ' was to lead the Waldenses
into Catholicism. In 1964 a document directed against
the neo-Manichaeans was published; it is one of the rare
sources giving an insight into the Albigensian teachings by
an opponent who refuted them in debate, and with the use
of Bible texts.One significant debate on Protestantism's forerunners
took place in the 17th century when French Protestantism
was not faring well; the Revocation of the Edict of Nantes
was about to occur. One of the most eloquent voices to enter
the debate on Protestantism was that of the bishop of Meaux,
J. B. Bossuet (died 1704). In his Histoire des variations des bglglises protestantes (Paris, 1688), 62 Bossuet challenged and
denied that there was any relationship between medieval
sects and Protestants. Bossuet nevertheless made an important
contribution ; he differentiated clearly between Albigenses
and Waldenses: the Albigenses were of foreign (Eastern)
origin; the Waldenses came into being only in the 12th
century on French soil and could not be accused of nonChristian
concepts. Protestant apologists answered both
these arguments in detail. By the time Bossuet's essay
appeared, it had become a favorite Protestant argument that
Protestantism had not broken out miraculously but preexisted
in several medieval heterodox movements. What
disturbed Protestant defenders particularly was that Bossuet
seemed to deny any relationship between the Protestants
and the medieval attempts at reform. Especially Basnage
was irked by BossuetJs essay (Book XI) which refutes the
"obvious relationship and the ancient and pure forer~nners."~s
One basic argument which can be seen in all reform movements
is that they saw in the church of Rome an apostate
church that followed tradition rather than Scripture. They
refused to consider that priestly intercession was necessary.
The Albigenses denied the legitimacy of the Church of Rome,
and saw in the Pope the Man of Sin. 54
The Roman Church fought the heretics in various ways.
The Church forbade the use of the Gospels, a use which had been specifically prohibited by certain councils 55 because
such use of the Gospels might lead to a critique of the Church
and the rejection of the sacraments, the intercession of the
saints and purgatory. Another charge laid against the heretics was that in espousing poverty they opposed the hierarchy of the Church because of its wealth, and also because of Church ordination, which seemed incompatible with the ideal of poverty so common in many lands. The Albigensian heretics set up a counter church made up of "good men"
(bonshommes) : the perfect ones (perfecti) and the believers
(credentes). The Albigenses had their own esoteric organization over which the Roman Church, of course, had no control. Another criticism was that lay preaching and the ideal of poverty were somehow linked to dualism. 56 The Church laid its greatest stress on fighting this last point: dualism was the core of heresy. However, the charge of dualism was not always laid against the Albigenses in the beginning. For example, Bernard of Clairvaux did not accuse the Albigenses of being Manichaean. In the 12th century the main concern of the Albigenses seemed to be about apostolic succession and ordination, the rejection of the Old Testament, and extreme simplicity of worship. Later on, the charge of dualistic heresy became increasingly insistent. AS far as Protestantsare concerned, they did not consider the Albigenses as their forerunners because they were dualists, but because of their anti-clericalism. There is also a positive common denominator :the urge to follow Scripture, to live and believe according to the Gospel.
digitalcommons.andrews.edu/cgi/viewcontent.cgi?article=10...
聖釘（せいてい）は、聖遺物のひとつで、イエス・キリストが磔にされた際に手足に打ちつけられた釘であるとキリスト教内で言い伝えられているもの。伝えられるところによれば328年ごろ、コンスタンティヌス1世の母親ヘレナがゴルゴタの丘の跡地、現在の聖墳墓教会付近で聖十字架とともに発見したとされる。
信仰の対象として各地のカトリック教会で祭られている。 カトリック百科事典によれば、世界中で祭られている聖釘は30本を下らないだろうと言われる。中でも最も有名なのは、いわゆる聖槍の中央部に針金で固定されているものである
ja.wikipedia.org/wiki/%E8%81%96%E9%87%98
not same in german...Der Legende nach wurde Jesus Christus mit den Heiligen Nägeln an das Kreuz geschlagen. Nach der Kreuzabnahme sollen die Nägel zusammen mit dem Kreuz vergraben worden sein. Die Auffindung der Heiligen Nägel ist durch Aufzeichnungen Bischofs Gelasius von Caesarea und Rufinus von Aquileia überliefert. Demnach ließ Helena, die Mutter von Konstantin dem Großen, im Heiligen Land nach Gegenständen suchen, die mit dem Leiden und Sterben Christi in direktem Zusammenhang standen. Zusammen mit dem Heiligen Kreuz sollen auch die Nägel im Jahre 325 gefunden worden sein und durch ein Lichtwunder im Beisein Helenas und des historisch nicht nachweisbaren Bischofs Judas Cyriacus von Jerusalem identifiziert worden sein. Helena sandte die Nägel zusammen mit einem Teil des Kreuzes an ihren Sohn Konstantin den Großen. Einen der Nägel ließ er in seine Eiserne Krone einarbeiten, die übrigen in die Zügel seines Zaumzeugs. Später gingen die Heiligen Nägel durch Schenkungen an andere Besitzer über. Insgesamt erheben 29 bis 34 Stätten Anspruch auf den Besitz Heiliger Nägel. Ein Teil dieser Nägel könnte von der Holzkonstruktion des Kreuzes selbst stammen, wie der Fußbank, dem Sitzpflock, oder dem Titulus crucis INRI-Tafel. Ein weiterer Teil der Heiligen Nägel sind vermutlich Berührungsreliquien, also hinzugefügte Nägel, die einen der Heiligen Nägel Christi berührt hatten. Unter anderen ließ Bischof Karl Borromäus von Mailand acht Nägel nach dem Mailänder Nagel anfertigen und verteilen. Ein weiterer Grund für die große Zahl Heiliger Nägel ist dass sie möglicherweise nicht vom Kreuz Christi stammten sondern aus der Leidensgeschichte anderer Märtyrer und dass teilweise die Nägel zerteilt wurden und selbst winzige Feilspäne der Heiligen Nägel verehrt und in Reliquien oder Reliquiare eingearbeitet wurden. Ein weiterer Teil der Heiligen Nägel ist unbestimmter Herkunft.
de.wikipedia.org/wiki/Heiliger_Nagel
whith italian a lot of options...I Sacri Chiodi, al pari della Croce, vennero secondo la tradizione rinvenuti da sant'Elena Imperatrice durante il suo viaggio in Terrasanta nel 327-328. Elena lasciò la croce a Gerusalemme, portando invece con sé i chiodi: tornata a Roma, con uno di essi creò un morso di cavallo[4], e ne fece montare un altro sull'elmo del figlio Costantino I, affinché l'imperatore ed il suo cavallo fossero protetti in battaglia. Ad essi si accenna per la prima volta il 25 febbraio 395 in un'orazione di sant'Ambrogio. Dell'esistenza delle reliquie parlò anche in una missiva con l'imperatore Teodosio.Le reliquie si trasmisero ai discendenti dell'imperatore. San Gregorio di Tours parlò invece di quattro chiodi, citandone uno che fu immerso nel mare per calmare una tempesta. Nel VI secolo si trova una documentazione a Costantinopoli della venerazione di più santi chiodi, forse gli originali, forse derivazioni fatte secondo le consuetudini dell'epoca, usando una parte della reliquia originale e aggiungendovi una parte nuova a formare una replica.Le vicende successive delle reliquie si perdono nell'assenza di documentazione, restando solo varie tradizioni orali impossibili da verificare.La più antica menzione del Sacro Chiodo di Milano è del 1389, in cui si fa menzione di una richiesta a Giangaleazzo Visconti a vantaggio della cattedrale metropolitana, dove era riposto ab antiquo uno dei chiodi con cui fu crocifisso il Salvatore. La tradizione fa risalire la presenza del Chiodo a Milano dall'epoca di Ambrogio, ma esistono numerose altre ipotesi sul suo arrivo: messo in salvo spedendolo dopo la furia iconoclasta di Leone Isaurico (sec. VIII), o arrivato con le reliquie dei Magi deposti poi nella basilica di Sant'Eustorgio, o ancora donato al vescovo Arnolfo II da Ottone III; altri ancora ipotizzano che sia arrivato con le Crociate.Il chiodo si trova ancora oggi sospeso sopra l'altare maggiore, nel semicatino absidale, e secondo la tradizione è uno dei due provenienti dal morso del cavallo di Costantino I.Il Sacro Chiodo è oggi conservato in un tabernacolo, posto nel semicatino absidale e segnalato da una luce rossa. Anche se sospeso molto in alto, una luce lo rende visibile da tutta la cattedrale. Il chiodo era originariamente prelevato dall'arcivescovo e mostrato ai fedeli ogni 3 maggio, festa dell'"Invenzione della Santa Croce" (cioè del ritrovamento della Croce), ora viene portato in processione il sabato che precede il 14 settembre, festa dell'Esaltazione della Santa Croce. Per prelevare il chiodo dalla sua custodia viene utilizzata la seicentesca nivola, un curioso ascensore oggi meccanizzato.Il Sacro Chiodo di Roma si trova assieme alle reliquie della Croce nella basilica di Santa Croce in Gerusalemme; secondo la tradizione sarebbe la seconda parte del morso del cavallo di Costantino.La storica Valeriana Maspero ritiene che la corona fosse il diadema montato sull'elmo di Costantino, dove il sacro chiodo era già presente. Dopo la caduta dell'Impero romano d'Occidente, l'elmo di Costantino sarebbe stato portato a Costantinopoli, ma in seguito fu reclamato dal goto Teodorico il Grande, re d'Italia, il quale aveva a Monza la sua residenza estiva. I bizantini gli inviarono il diadema trattenendo la calotta dell'elmo. Esso sarebbe poi stato montato dentro la Corona ferrea.Uno dei chiodi si trova nella cattedrale di Colle Val d'Elsa in provincia di Siena[7][8]. Si tratta di un chiodo di ferro di circa ventidue centimetri di lunghezza, munito ad un'estremità della capocchia ed all'altra ancora appuntito, intaccato e piegato in prossimità della punta. Nelle descrizioni di questa Reliquia riportate nei documenti ufficiali, sia ecclesiastici sia civili, sempre si parla di “Unus ex Clavis quo crucifixus est Dominus Noster Jesus Christus”. Così nelle bolle pontificie di Eugenio IV, Callisto III, Sisto V, Urbano VIII, Clemente X. Secondo un'antica credenza, diffusa fra i colligiani, sembra trattarsi del S. Chiodo che trafisse il piede sinistro di Gesù.Numerose storie, manoscritte e stampate, sono concordi nel tramandarci che questa è giunta in Val d'Elsa nel IX secolo, come prezioso lascito di un vescovo franco. L'alto prelato che era a Roma, in un periodo di intensi contatti della Santa Sede con il Sacro Romano Impero, ricevette la Reliquia dalle mani del pontefice. Nel suo viaggio di ritorno, il vescovo morì a Viterbo e lasciò il prezioso Chiodo nelle mani di un prete del contado colligiano, di Bibbiano, compagno di viaggio del vescovo o forse suo segretario già dal viaggio d'andata. La Reliquia divenne così sua eredità e fu portata nel castello di Bibbiano da dove, infine, alla morte del sacerdote, venne trasportata in Colle, non senza suscitare rivendicazioni da parte della confinante San Gimignano.La tradizione orale, raccolta dal prete Jacopo Fontana nel 1554, così descrive l'avvenimento: ”vedendo detto Prete piangere la Madre si voltò a lei, e gli disse: Madre mia cara, ed onoranda non piangete, che morendo io vi lascerò una Reliquia, che dove Voi vi risolverete a darla o a Colle, o a S. Gimignano sarete onorata, ed accarezzata; ma vorrei questa grazia da Voi, che per esser mio padre da Colle, e Voi da S. Gimignano, che non avesse più animo a S. Gimignano che a Colle, e però vi prego lo facciate intendere in un medesimo tempo a tutti, e chi prima giunge, di quello sia detta Reliquia, e di questo vi prego per l'amor di Dio. […] I Colligiani subito mandarono per tale Reliquia la Compagnìa di S. Croce della Pieve in Piano, quale è la prima Compagnia ordinata, e stabilita a Colle. […] E quegli di S. Gimignano arrivarono […] per aver detta Reliquia, ma non furono a tempo, perché tardarono tanto in armarsi, pensando di avere a combattere con i Colligiani” .L'insigne Reliquia, dato il suo significato, ebbe subito un grande culto. Inizialmente fu custodita in Piano per poi trovare collocazione in Castello all'interno della pieve colligiana. Tra i devoti spicca l'arciprete della pieve, S. Alberto da Chiatina, che resse il clero di Colle dal 1177 al 1202, quando morì 'crocifisso' da lunghe sofferenze corporali sopportate con esemplare pazienza. Molti provvedimenti del Comune testimoniano la costante devozione della comunità colligiana. Il più significativo è forse quello del 5 maggio 1412, quando, su proposta di Taddeo Beltramini, fu stabilito con legge che i testamenti dei cittadini della Terra di Colle, per essere validi a tutti gli effetti civili, dovevano portare la scrittura di un pur minimo lascito a favore del culto del S. Chiodo.Nel 1444 la preziosa Reliquia era ben conservata in un “forzierino di legno dorato”. Circa venti anni dopo, per custodirla degnamente, fu commissionato a Domenico Rosselli un tabernacolo monumentale. Nel 1592, quando Colle fu eretta diocesi e per volontà del suo primo vescovo, il colligiano Usimbardo Usimbardi, fu iniziata la costruzione dell'odierna cattedrale, questa pregevolissima opera del Rinascimento fu inglobata nella nuova cappella progettata per il S. Chiodo insieme al duomo. È interessante notare che l'Opera del Duomo fu qui istituita nel nome di Opera del S. Chiodo.I fedeli che si inchinano a baciare la Reliquia, da sempre la trovano custodita in un povero bucciolo di canna, lo stesso di quel lontano giorno quando il S. Chiodo passò dal vescovo franco al prete colligiano. Le antiche memorie ricordano l'episodio nel quale il popolo di Colle volle porre il Chiodo in un reliquiario d'argento, ma lo si ritrovò miracolosamente nel suo bucciolo di canna, non per mano d'uomo. La devozione della comunità colligiana verso l'insigne Reliquia è perpetuata dalla Centuria del S. Chiodo, associazione di fedeli canonicamente istituita, fondata per iniziativa del fiorentino Giovan Battista Buonaccorsi il quale, divenuto vescovo di Colle, tra i primi suoi atti volle erigere una Centuria all'altare del S. Chiodo: era il 14 maggio 1645 , lo stesso anno della sua nomina vescovile.
Evidences of Salvation
by James Smith
Many real believers are often distressed and troubled, on account of . . .
the weakness of their faith,
the strength of their fears, and
their mistakes in reference to their interest in Christ.
They look for too much in self, and for too little in Christ.
To avoid soul deception — they are apt to run into gloom and despondency. They look for certain evidences in themselves, and because they do not find those they look for — they conclude they have none; and giving way to the temptations of Satan, they . . .
distress their own souls,
dishonor the Lord Jesus, and
reflect badly on the grace of God.
They doubt not the ability of Christ — but they question his willingness to save. If the testimony of scripture assures me he is able to save — it is to encourage me to approach him and cast my soul upon him — and if he assures me he will never cast out — it is to disperse my fears, remove my doubts, and draw me to his mercy-seat with confidence and courage. There is no saving religion in doubting — though many who are truly godly do doubt. Slavish fear never honors a God of love — yet many who desire to honor him give way to groundless fears.
1. One evidence of true salvation is CONVICTION OF SIN. Conviction of sin in the conduct — and of sin in the heart. We are all sinners — but only a few know what sin is, and what a fearful thing it is to be a sinner. Sin is . . .
the breach of the divine law,
an insult offered to every one of the divine attributes,
and that horrible thing which God hates.
Sin . . .
is rooted in our nature,
grows with our growth,
strengthens with our strength,
flows from our hearts as naturally as water from a fountain, or light from the body of the sun.
Every action we have performed,
every word we have spoken,
every thought we have conceived—
has been defiled by sin, and deserves eternal death!
The nature of sin is most dreadful, and the effects of sin are most fearful. But man untaught of God has no such views of sin, or of himself as polluted by it; but when the Holy Spirit quickens and enlightens the immortal mind, when he brings home the law as the standard of holiness and the rule of conduct — then the sinner discovers his state, and fears the consequences. He is alarmed, distressed, and inquires, "Who, what can save me?" He fears his sins are too numerous and aggravated to be pardoned, being ignorant of the extent of the grace of God, and the infinite merit of the blood of Christ. He fears presumption — and he dreads despair. He cannot laugh at sin or longer trifle with eternity; he can no more dare the justice or slight the mercy of God. He is concerned for his safety, being conscious of his danger. He longs for a pardon, being convinced of his guilt. He trembles at the thought of justice — but hopes when he hears of mercy. Sensible of his lost condition, he presents the heartfelt prayer, "God be merciful to me a sinner!"
But we are not to judge our conviction of sin by its depths — but by its nature. If it drives us to despair, then it is natural. But if it drives us to Jesus, then it is spiritual. If your conviction . . .
leads you to see your need of a Savior,
prevents your resting on anything but Christ Jesus,
leads you frankly to confess your crimes before God,
and to seek for salvation solely by the grace of God—
then they are spiritual convictions, and the evidence of spiritual life. None could produce them, but the Holy Spirit; and none ever experience them, but those whose names are written in the Lamb's book of life!
2. In close connection with conviction of sin, is hatred to sin, loathing ourselves on account of sin. If we see sin in the light of the Lord — then we must hate it. If we see ourselves as polluted and defiled by sin — then we must loathe ourselves on account of it. Finding sin to be rooted in our nature, and seeing it occasionally break out notwithstanding our striving and watching against it — will stop our mouths from boasting, and prevent our excusing ourselves. We shall see sin as our fault — as well as our disease; as our crime — as much as our misery. And feeling inclined at times to favor it, and secretly wishing we were at liberty to indulge in it — will make us abhor ourselves and repent in dust and ashes! The former is from the corruption of nature — and the latter from the principle of divine grace.
The Christian hates sin in all — but mostly in himself; and while he wishes the world to be freed from it — he would give a world if he could but get rid of it! It is sin in himself, which grieves him:
sin in his prayers,
sin in his praises,
sin in his purposes,
sin in his duties,
sin in all he does!
And seeing no hope of complete sanctification on this side the grave, he cries, "I loathe it, I loathe it, I would not live always!" As sin is forbidden, he dares not indulge it. As the object of his hatred, he naturally forsakes it. He cannot but lament that sin is in his nature, and grieve before God when it appears in his conduct. If sin is the object of your hatred, if self is loathed because it is sinful — then it is evident you are born of God; for except a man be born from above — he cannot loathe self, hate sin, and forsake it. In order to do this, he must have a new nature, and that nature must be holy and divine.
3. An appetite for divine things is a scriptural evidence of grace. "Blessed are those who hunger and thirst after righteousness — for they shall be filled." If we can find satisfaction, pleasure, and delight only in the things of the world — then we are dead in sin; dead while we live. But if instead thereof, we are thirsting for God, to . . .
enjoy his presence,
feel his love,
receive his blessing, and
walk in the light of his countenance —
if we are hungering for Jesus as the bread of life,
and if nothing but Jesus himself can satisfy us —
then we are certainly blessed.
"Blessed are those who hunger and thirst after righteousness — for they shall be filled." This promise is plain, positive, and certain; and every hungry soul may derive comfort therefrom. When Jesus is the chief object of our desire, and the blessings he communicates are the principle things in our estimation — then there is divine life in the soul. For dead men have no desire or appetite for natural things; so people spiritually dead have no appetite for spiritual things. If nothing but Christ can satisfy us — then we "have been born again, not of perishable seed, but of imperishable, through the living and enduring word of God!" 1 Peter 1:23
4. An entire willingness to be saved in God's way; that is, by free grace through the blood of Jesus — is an evidence of divine life in the soul. No man in a state of nature is willing to be saved as a poor debtor by a Surety; as a miserable sinner by a gracious Savior. Man would rather perish in sin, than be saved in this way! Hence our Redeemer testified, "You will not come unto me that you might have life." "The carnal mind is enmity against God, it is not subject to the law of God, neither indeed can be."
Self, works, and merit — must be entirely renounced! We must heartily surrender ourselves into the hands of Jesus to be . . .
washed in his blood,
clothed in his righteousness,
and sanctified by his Spirit —
or we reject God's method of salvation.
But if we are willing to do this, there can be no doubt but God has been working in us, to will and to do of his good pleasure. The promise in our experience is then fulfilled, "Your people shall be willing in the day of your power." Fallen human nature will not approve of God's plan, which makes man nothing — and Christ all in all. Nor will the carnal mind accept salvation on any such terms. Consequently if we are willing, heartily willing to be saved from wrath through him, and prove that willingness by our conduct — we doubtless have the Holy Spirit in us.
5. If in addition to this, we are made honest and SINCERE; and being sensible of the ignorance of our minds and deceitfulness of our hearts — we come to the light of God's word, and to his glorious throne, praying, "Search me, O God, and know my heart, try me, and know my thoughts; and see if there is any wicked way in me, and lead me in the everlasting way!" The sincere Christian dreads deception, and desires to make his "calling and election sure;" he shuns presumption, and would avoid the possibility of mistake. He therefore, bares his conscience to the word of God, and would not play the hypocrite upon any consideration.
Honesty and sincerity of heart in reference to our eternal concerns, is a most important blessing; none possess it but those who are "called, and chosen, and faithful;" and if we are made honest in this sense, it is the grace of God which brings salvation that has made us so, and it is clear we are called with a holy calling.
6. FAITH in Jesus is an evidence of salvation; not believing that he is my Savior, that he "loved me and gave himself for me;" for this is rather the effect of faith than faith itself. Faith is the eye of the soul which discovers the blessing which Jesus has to bestow; and the hand which is stretched out to receive it. Believing in Jesus is . . .
venturing my soul upon his work,
trusting my whole self in his hands,
committing myself to him to be saved in his way, to his glory, as he is revealed in the everlasting gospel.
I feel that I am a sinner, and subscribe to all that God says in his holy word, respecting man as a sinner. I hear of Jesus as both able and willing to save, and I go to him in the exercises of my soul and cry, "Lord, save me!" I gather his answer from his word, and am enabled to lay hold on it by the Holy Spirit.
It requires no depth of wisdom, or mighty effort of mind to believe in Jesus. We simply . . .
credit his word,
confide in his faithfulness,
trust his atonement, and
look for the mercy of God unto eternal life.
Believing in him — we confess him as the Savior God has appointed, the Savior on whom we rely; and if we "confess with the mouth the Lord Jesus, and believe in the heart that God has raised him from the dead — we shall be saved."
Reader, believe on the Lord Jesus Christ — and you shall be saved, for "Whoever believes in the Son has eternal life — but whoever rejects the Son will not see life, for God's wrath remains on him." John 3:36
Are you afraid? Do doubts arise in your mind? The difficulty in your mind arises from misapprehension. You needed a Savior, the gospel informs you of Jesus, who is just suited to your need, and assures you that he will receive and save you. And what is faith? Just receiving this statement and acting upon it. It is . . .
going to Jesus as directed,
receiving Christ as he is presented,
looking to him as invited, and
trusting in him as you are exhorted to do.
Every looking Israelite was healed, and every looking sinner shall be saved — the very looking to Jesus is faith, and proves your saving interest in the promise, "whoever believes shall receive remission of sins."
7. Love is an evidence of salvation.
Love to JESUS is an evidence of interest in the covenant of mercy — love flows from faith. If I believe what the Scriptures say of Jesus, as to the glory of his person, the tenderness of his heart, and the fullness of his grace — then I shall go to him to prove the truth of these important statements, and proving the truth of these precious declarations — how can I do otherwise than love him. If I question his loveliness or his love to me — then I cannot love him; and this is the cause why many of the Lord's little ones droop, and doubt, and fear. They question the truth of his word, and consequently the love of Jesus to them; this contracts and hardens the heart, and if they would give a world to feel love to Jesus. They cannot feel it, until brought cordially to admit the truth of what the scriptures testify in reference to the love and loveliness of Jesus — and then their frozen hearts will melt, and they will love him, because he first loved them.
But we must not always judge of love by warmth of feeling. There has been much warmth, where there has been but little sincere love. We must judge by the habitual state of our heart toward him.
Do you desire above all things to love him, and to be conformed to his will? Are you willing to part with all things for him, and unreservedly trust yourself with him? This is love; when I can trust my eternal interests in his hands, and endeavor constantly to keep his commandments.
Love to HIS PEOPLE because they are his, and are like him — is an infallible evidence of the new birth. "We know that we have passed from death unto life, because we love the brethren." If I love the picture — it is because I know and love the original. I could not love saint as a saint — if I did not know and love Jesus as the Savior of his people. If saints were more like Christ, then we would love them more. But as it is, though they are surrounded with infirmities, we love them; and are consequently entitled to be numbered with them, and to participate in all their joys and sorrows.
If we love Jesus supremely, and saints affectionately — then it is clear that we are created anew in Christ Jesus unto good works.
8. Humility proves we are the blessed of the Lord. If we are humbled under a sense of our sin, ignorance, and desert — we shall . . .
flee for refuge to the Lord Jesus,
receive with meekness the engrafted word;
and ascribe all our salvation to grace!
Nothing but the power of the Spirit of God can effectually . . .
humble the proud heart of man,
shut his mouth before God,
cause him with self-abhorrence to cry, "Guilty, guilty!"
and bring him to receive the kingdom of God as a little child.
Man will be something — but grace makes him nothing. It is the greatest mortification to proud nature, to be indebted to another for salvation, or to go to Heaven as a poor pauper, entirely dependant on the work of Jesus.
To renounce our own judgment,
to submit to be taught of God,
to believe the Word because God speaks it, and
to cleave to Jesus with full purpose of heart —
is genuine humility. The man has nothing to say against the demands or sentence of the holy law; and nothing to object to the provision or requirements of the glorious gospel. But he casts himself entirely on the . . .
unmerited mercy,
rich grace, and
promised compassion of Jehovah.
To this man, will Jehovah look with pleasure and approbation, and with him will he take up his abode. He walks humbly with his God. "Though the Lord is high — yet has he respect unto the lowly." "Blessed are the poor in in spirit — for theirs is the kingdom or Heaven."
9. He who is truly humbled under a sense of sin — pants, prays, and seeks for HOLINESS. He is as much concerned to be sanctified, as saved. He sees . . .
a beauty in holiness — and longs to possess it,
deformity in sin — and seeks to be delivered from it.
He mourns over the sins of others — but more over his own sin. Sin and Hell are always associated in his mind. He views . . .
sin as the root — and Hell as the tree;
sin as the fountain — and Hell as the stream naturally flowing from it.
Every man creates his own Hell — but no man can create his own Heaven. The true Christian must long to be holy — the precepts require it, and the principle of life within him pants for it with inextinguishable ardor. If he could but be holy, he would be happy, therefore he cries, "I shall be satisfied when I awake up in your likeness!" He avoids sin — and desires to be arrayed in all the graces of the Spirit, in all the beauties of holiness. He would be the personification of faith, love, humility and godly zeal. This desire for holiness is a certain evidence of godliness; for "without holiness no man shall see the Lord."
10. Godly FEAR is a covenant blessing, and a proof that we are of God. If we fear God with a filial fear, we fear to offend him and desire above all things to please him. It is not what will men say — but shall I hereby please God? We are taught in his word how to walk and to please him, and godly fear always prompts us to aim at this end. We shall fear to dishonor him in the world, the church, and our families. God is jealous of his glory — and so is a godly man. He desires to glorify him in the body, soul, and spirit, which are God's. He does not run at random — but prays, "What will You have me to do?" He does not make excuse for infirmities — but sighs out, "O that my ways were directed to keep your statutes always!" His motto is, "No peace with sin — no truce with Satan — no friendship with the world!" because these would lead him to dishonor God. He would rather suffer pain, than . . .
grieve the Holy Spirit,
dishonor his heavenly Father,
or wound the Savior.
And when he sees others careless, loose, and licentious; indulging their lusts and giving way to temptations, he says, "I do not do so, because of the fear of the Lord." He startles at sin with, "How shall I do this great wickedness, and sin against God!"
11. Attachment to the WORD OF GOD is a proof that we are of God. Real believers always prize the bible — they love to read it, to think over its contents, and to enjoy its communications. It is as necessary for their souls — as food is for their bodies; they often esteem it more than their necessary food. They would sooner part with all their dainties, than with their bibles. They read it as truth, they believe it as containing the mind of God; and when tempted to think differently, they are grieved and distressed. If the word of God is neglected, they condemn themselves, mourn over their folly before God, and crave his forgiveness. They stay themselves upon the word of God — when assaulted by Satan. They look to it for direction — when bewildered in their path. It is to them as Goliath's sword was to David, for they all say, "There is none like it."
They love the Word because it . . .
sets forth Jesus,
reveals the mind of God,
marks out the path of duty,
affords rich consolations,
and contains a mine of wealth.
They live . . .
believing its doctrines,
trusting its promises,
walking by its precepts, and
deriving encouragement and caution from its histories.
"O how I love your law, it is my meditation all the day. Except your law bad been my delight, my soul had almost dwelt in silence."
12. DISSATISFACTION with everything worldly on account of the imperfections discovered, is another evidence of real spirituality. Nothing under Heaven can satisfy the Christian. Having gone the round, he turns away with disgust and exclaims, "Whom have I in Heaven but you, and there is none upon earth that I desire beside you!" He can find full satisfaction only . . .
in the presence of God,
in the enjoyment of his Savior,
and in the duties of Christianity.
Everything besides appears empty, polluted, and vain. He may be occasionally attracted, and for a season led away from his resting place; but feeling dissatisfied, uneasy, and grieved, he says, "Return unto your rest, O my soul. There's nothing here deserves my joys — there's nothing like my God!"
If nothing can satisfy us but God, he will never put us off with less than himself. The wisdom, justice, the grace discovered in such a state of soul, is from himself; and he will never forsake the work of his own hands. We may learn from, and profit by, his works — but we can only rest in, and be satisfied with
himself. "The Lord is our inheritance. He is our portion forever!"
13. A spirit of PRAYER is from the Lord, and is a proof of our saving interest in his love. "Behold he prays!" If desire for prayer is produced, and the throne of grace is frequented — we are the blessed of the Lord. Prayer is the Christian's breath — he prays as naturally and as habitually as he breathes. And we would as soon think of a man living without respiration — as of a Christian living without prayer.
But do not mistake, prayer is not a form of words — but a sense of need, and a petition for supply. The believer often prays without speaking — while many speak in a form without praying. He goes to Jehovah as naturally as a child to his Father, and as frequently as he feels his wants. He lives in constant fellowship with Heaven. Sometimes he can only sigh or groan — and at other times he can plead with liberty and power. Sometimes he can only look towards the throne of grace — and at others he can wrestle with God and prevail.
His heart inspires his petitions,
the Word of God regulates his desires,
to Jesus he looks as his Intercessor before the throne, and
he continues in prayer notwithstanding discouragements.
He often feels . . .
his heart hard,
his thoughts perplexed,
his mind bewildered, and
his spirit lukewarm.
He is tempted to believe that it is no use for such a one, in such a frame to attempt to pray; but he must confess his faults, tell out his fears, and entreat for mercy in a Savior's name. And though often persuaded that he does not pray, that his attempts cannot be accepted, and that he has neither the gift nor the spirit of prayer — yet he still attempts to find access, and to breathe his sorrows there.
Mere formalists are generally satisfied with their prayers, and too often rest in them. But the real Christian sees his to be so impure, imperfect, and worthless — that he dares not trust in anything but Jesus, his righteousness, and blood.
Can you live without prayer? Can your discouragements make you give over attempting? Are you satisfied with your prayers? Or do you see that they, even the best of them, need to be washed in the precious blood of Jesus? If so, you have light, life, and spirituality; and surely you are one of those whom Jesus loves. Private prayer, from a sense of need, continued under all discouragements, is an evidence that we are the children of God.
14. The CONFLICT between the flesh and the Spirit, is an evidence of grace. If we have a daily exposition of the seventh chapter of the Romans within us — then we are as Paul was. This most Christians have in a greater or less degree: they would do good — but evil is present with them. They would serve the law of God — but are led captive by the law of sin. They hate what they often do — and love what they cannot attain to. They would be holy — but they sin; yet they never excuse sin in themselves, or endeavor to quote scripture to cloak it.
The flesh and the spirit carry on a constant warfare, so that the believer often feels wretched and longs for deliverance. He cannot do the things that he would. Sin will fight when it cannot reign. The warfare will only cease with death.
We daily discover how the flesh misleads us, and we find it spoils all we attempt for God's glory. It creeps into our motives, or turns us aside from our rule, or puffs us up at the end. Thus we feel . . .
the daily need the open fountain,
the renewings of the Holy Spirit, and
a fresh pardon from the hands of Jesus.
The flesh would make us truly miserable — but the riches, plenitude, and permanence of grace prevents it. The love of Jesus is the same — he witnesses the conflict, sympathizes with the sufferer, and cheers him with the assurance, "My grace is sufficient for you!"
The spirit desires only to be devoted to, ruled by, and employed for the Lord; and longs for the happy deliverance promised in God's word. Therefore, the flesh and spirit will strive against each other until the day of death!
15. Separation from the WORLD, from a discovery of its vanity and enmity to God — is an evidence of grace. The world will love its own — but saints are not of the world, even as Jesus was not of the world. They see that it is opposed to God in its spirit, maxims, and works; and that all the cry is "No God for me!" They cannot join with the ungodly world — they become strangers and pilgrims, and desire to leave it. They . . .
pity its state,
condemn its spirit,
protest against its practices,
and yet seek its good.
They witness for God in it, and to it. They sigh and cry because of its abominations, and long for the period when the earth shall be delivered from the bondage of corruption, and there shall be no more curse!
A worldly spirit indulged and enjoyed, is the evidence of a worldly man. But deadness to the world, sympathy with Jesus who was persecuted and crucified in the world, and living above the world in fellowship and communion with God — is the evidence of a spiritual man. The world knows not, loves not the Christian; and the Christian loves not the world, knowing that if any man is in friendship with the world, that he is an enemy of God — "if any man loves the world — the love of the Father is not in him." The whole world lies in the wicked one, how important then to be delivered from the present evil world; and to have our affections set on things above, where Christ sits at the right hand of God.
"Those who are in the flesh, mind and enjoy the things of the flesh; but those who are in the Spirit, mind the things of the spirit."
16. The Lord's people are CHASTENED FOR SIN, and cannot go on in transgression without correction. An enlightened conscience armed with God's word will smite them, the ministry of the word will pierce and penetrate their hearts, and they prove it to be an evil and bitter thing to wander from the Lord their God. Providence joins with Scripture in reproving them for their folly, and the Lord follows them with the rod until they fall at his feet, acknowledge their transgression, and crave his forgiveness.
Mere professors may be allowed to go on and escape the rod when they sin — but "those whom the Lord loves — he chastens; and scourges EVERY one whom he receives." And the Christian will justify his God in using discipline, though it may be sharp — and will bow and listen to the rod, though it speaks against him.
To lay low at the Lord's feet while he smites,
to cleave to him when he frowns,
to plead with him when he speaks against us —
proves that our principles are divine, that we have the Spirit of God, and are heirs of glory!
O for much of that meek humility which . . .
closes the mouth from speaking against any of God's ways,
opens the ear to listen to all his communications,
lays the heart at his feet, and
covers the face with holy shame before him, on account of conscious unworthiness!
The lofty mountain of a proud heart will be dry, withered, and barren; but the low valley of an humble soul will be watered with the dew of Heaven from above, and bear fruit to Jehovah's praise.
"By humility and the fear of the Lord, are riches, and honor, and life."
"Blessed are the poor in spirit, for theirs is the kingdom of God."
"Despise not the chastening of the Almighty."
17. Looking, waiting, and longing for the SECOND COMING of Jesus, is a scriptural evidence of saintship. Jesus has promised to come again and receive us to himself, he has commanded us to be ready for his glorious appearing, and he has assured us that "to those who look for him, he will come the second time without sin, unto salvation."
Love must desire the presence of the beloved object, and must desire his glorification; and he is coming "to be glorified in his saints, and admired in all those who believe." He is now in the Heavens, waiting until his enemies to be made his footstool. The Heavens must retain him, "until the times of the restitution of all things which God has spoken by the mouth of his holy prophets." Faith believes the statements;
hope expects their accomplishment; and
love looks and longs for the time; crying "Come, Lord Jesus, come quickly!"
He will certainly come, to the joy of all such — but all his enemies shall be ashamed. There are some things connected with the coming of Jesus, which may make our flesh tremble — but . . .
to see him as he is;
to be like him; to be with him;
to swell his train and his triumphs;
to witness his glories; and
to participate in his blessedness —
is certainly an object of desire to every believer. We wait for him at the Son of God from Heaven, who has preserved us from the wrath to come!
18. But after all is said, there is no evidence like HABITUAL FELLOWSHIP WITH GOD. To walk with God as our Father, communicating to him all that we fear, feel, and desire; and receiving from him vigor, comfort, and daily preservation — is an evidence which can never be questioned. We walk by faith, that is,
believing his word,
trusting his grace,
and doing his will.
And though darkness and gloom may occasionally surround and even distress us — yet we know that we are of God. It is as natural to us to feed on his word, desire his presence, and seek his love; as it is to the natural child to believe the word, enjoy the presence, and be happy in the love of a kind and tender parent. Our God is love, and believing this, we rely on him, walk with him, and look for his mercy unto eternal life.
Beloved reader, endeavor to realize the truth and importance of scripture; to live and act as in the immediate presence of God; and to refresh the mind daily by a view of the perfect work of Jesus, on the ground of which God justifies the ungodly, and walks with poor sinners in peace and love. Stand out from the world — be separate; live by faith, believing God's gracious testimony; lay humbly before the Lord, under a sense of unworthiness; and endeavor to realize daily, your union to Christ, and relation to God as a Father through him. So shall peace be with you, and love with faith from our Lord Jesus Christ, who is our only hope.
But a caution may be necessary; these pages may be read by a self-assured professor, one who has light in the head — but no grace in the heart; who substitutes notions — for divine operations; and a sound creed — for a converted soul.
My fellow sinner, unless your heart is broken for sin, and broken from sin; unless your religion leads you to Jesus as a poor, wretched, hell-deserving sinner; and unless you are united to him, and his life is manifest in you — your religion is but like the dream of a night vision! It may he pleasing — but it will prove a fearful delusion. Nothing but heart work in religion will stand! Mere head knowledge will vanish away, every false covering will one day be stripped off, and unless you are clothed in the righteousness of Jesus, and internally sanctified by the Holy Spirit — a dreadful sentence will be passed on you, never to be repealed. O fearful case, to be dreaming of happiness — and to find misery — misery as deep and lasting as the desert of sin, and the existence of God!
Is it a poor thoughtless sinner that is reading these pages? I have a message from God unto you. "Except you are born again, and converted to God — you cannot see the kingdom of Heaven." If you have not the Spirit of Christ — then you are none of his. If you love not the Lord Jesus Christ in sincerity and truth — then you will be accursed when the Lord comes! Unless you are found in Christ — your death will be melancholy, and your eternal destiny indescribably dreadful!
There is mercy to be obtained NOW — this is emphatically "the day of salvation!" But the day will soon close — and a tremendous night of darkness, anger, and woe will set in upon you. A neglected bible, a slighted gospel, a rejected Savior — will all witness against you! And through eternity, you will condemn your present course and curse your folly.
Satan is seeking your destruction, your own hearts are deceiving you, and perhaps the conduct of some professors may cause you to stumble; but remember, "Every man must give an account of HIMSELF to God; and receive according to the deeds done in the body, whether they be good or evil."
Look well to the foundation on which you build your hope; dig deep and lay that foundation on a rock — even on Christ Jesus. And then you may be happy in time — for you are safe for eternity. "Whoever believes on him shall not be ashamed." He will appear to their joy, and their enemies shall be confounded. Hear then the warning voice, act upon the directions given you in the gospel, make sure work for eternity, and all shall be well.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
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This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
The wig is made of vegetal fibers and seeds.
The Tharaka live on the eastern side of Mount Kenya. About 10% of them live in towns, the rest in the villages of the area.Meaning "starving", the Tharaka belong to the Ameru ethnic group. They speak a Bantu-language, the Meru. They are farmers and shepherds: they grow cereal crops, cotton, and sun flowers and rear cows, goats and sheeps. The decrease in livestock holdings, attributed to droughts and declining cultivable lands, is a concern for the Tharaka. Goat meat in particular is central both for their diet and custom. The Tharaka are also merchants, since they trade with people all over the country. They live in small huts with a corrigated iron roof.Village life is better considered (compared to the life in towns) since it preserves their culture. They have a strong sense of belonging. The "mukuru" (elder) is the most important person of the community, who gives advice and settle conflicts. In this tribe, like in others, there are age-sets: men have to go through several stages before reaching the highest one. There are various important celebrations: the birth of a child, circumcision, marriage and the harvests of June and January. Before marriage, a high brideprice is paid by the prospective groom to the wife's father. They have also an important rite of passage called "Kirimo", name of the mythical animal that swallows human beings and spits it out thereafter. They use arrows and have very efficient fighting techniques. So they still have kept their traditions, even if they are now also christians. There is an estimated 20% active Christians, and 70% have now adopted the christian faith. Tharaka people have an elaborate set of myths, that they share with the other Meru groups and keep in through their oral tradition. One of them involves an exodus from an original homeland (called Mbwa) near a large body of water, another the origins of the Tharaka art of healing (called ugao). According to the legend, the clan of Nyaga was born with the ugao art, which comes from the Mbwa land. But since they were poor, they had to teach other clans this art, in order to get some goats and food. Consequently, as per the myth, the art of healing is a single clan’s attribute. Furthermore, in the myth, there is a reference to clans classified by colours (black, white and red), the red clans being associated with the ugao art. As a consequence, Kenya is a country of a great diversity, as much for its environment and climate (which changes from tropical along the coast to arid in the interior) as for its peoples. And even if they tend to homogenize because of the modern life in cities, some clans still preserve their traditional customs and lifestyle.
Les Tharakas vivent dans la partie est du Mont Kenya. Environ 10% d’entre eux vivent dans des villes, le reste dans les villages de la zone.Signifiant « affamé », les Tharaka appartiennent au groupe ethnique Ameru. Ils parlent une langue bantoue, le mérou. Ils sont agriculteurs et éleveurs : ils ont des cultures céréalières, du coton, et des tournesols et élèvent des vaches, chèvres et brebis. La diminution dans l’exploitation de bétail, attribuée aux sècheresses et aux terres cultivables en déclin, est un sujet de préoccupation pour les Tharaka. La viande de chèvre en particulier est centrale à la fois pour leur alimentation et coutumes. Les Tharaka sont aussi des marchants, puisqu’ils commercent avec des individus de tout le pays. Ils vivent dans des petites huttes au toit de tôles ondulées.La vie au village est davantage considérée (comparée à la vie en ville) puisque préservant leur culture. Ils ont un sens poussé de l’appartenance communautaire. Le « mukuru » (aîné) est la personne la plus importante de la communauté, qui prodigue des conseils et règle les conflits. Dans cette tribu, comme dans d’autres, il y a des classes d’âge : les hommes doivent passer par plusieurs étapes avant d’atteindre la plus élevée. Il y a diverses célébrations importantes : la naissance d’un enfant, la circoncision, le mariage et les moissons de Juin et Janvier. Avant le mariage, un paiement de la mariée élevé est fait par le futur époux au père de la fiancée. Ils ont aussi un rite de passage important appelé « Kirimo », du nom de l’animal mythique qui avale les êtres humains et les recrache ensuite. Ils utilisent des flèches et ont des techniques de combat très efficaces. Ils ont donc gardé leurs traditions, même s’ils sont maintenant aussi chrétiens. Il y a environ 20% de chrétiens actifs, et 70% ont désormais adopté la foi chrétienne. Les Tharaka ont un ensemble de mythes élaborés, qu’ils partagent avec les autres groupes Mérou et conservent grâce à leur tradition orale. L’un d’entre eux parle du départ d’une terre originelle (appelée Mbwa) située près d’un large plan d’eau, un autre des origines de l’art de soigner tharaka (appelé ugao). Selon la légende, le clan des Nyaga est né avec l’art ugao, qui provient de la terre Mbwa. Mais comme ils étaient pauvres, ils ont dû apprendre à d’autres clans cet art pour obtenir des chèvres et de la nourriture. En conséquence, selon le mythe, l’art de soigner est l’attribut d’un seul et même clan. De plus, dans le mythe, on trouve une référence au classement des clans par couleur (noir, blanc et rouge), les clans rouges étant associés à l’art ugao.En conséquence, le Kénya est un pays d’une grande diversité, autant pour son environnement et climat (qui change de tropical le long des côtes à aride à l’intérieur) que pour ses peuples. Et même s’ils ont tendance à s’homogénéiser à cause de la vie moderne des villes, certains clans préservent encore leurs coutumes et modes de vie traditionnels.
© Eric Lafforgue
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
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www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
Representing Herakles with kantharos, Dionysos, and a satyr treading grapes
Attributed to the Eucharides Painter, ca. 500-490 BCE.
Used as a funerary urn. Found on Samothrace.
www.beazley.ox.ac.uk/record/C2C2DF60-4488-4F09-85FC-16D5E344FE07 (?)
On display at the special exhibit "Samothrace. The mysteries of the Great Gods" at the Acropolis Museum, Athens, Greece, June 30-September 30, 2015 (extended to January 10, 2016).
"Σαμοθράκη. Τα μυστήρια των Μεγάλων Θεών"
Nothing escapes His notice!
(Arthur Pink, "The Attributes of God")
What a wondrous Being is the God of Scripture!
"Nothing in all creation is hidden from God's sight.
Everything is uncovered and laid bare before the
eyes of Him to whom we must give account."
Hebrews 4:13
God is omniscient.
He knows everything:
everything possible,
everything actual,
all events,
all creatures,
of the past, the present, and the future.
He is perfectly acquainted with every detail in the
life of every being in heaven, in earth, and in hell.
Nothing escapes His notice, nothing can be
hidden from Him, nothing is forgotten by Him.
His knowledge is perfect.
He never errs.
He never changes.
He never overlooks anything.
God not only knows whatever has happened in the past
in every part of His vast domains; and He is not only
thoroughly acquainted with everything that is now
transpiring throughout the entire universe—but He is
also perfectly cognizant of every event, from the least
to the greatest, that ever will happen in the ages to
come! God's knowledge of the future is as complete
as is His knowledge of the past and the present; and
that, because the future depends entirely upon Himself.
God has Himself designed whatever shall yet be, and
what He has designed, must be effectuated. God's
knowledge does not arise from things because they
are or will be—but because He has ordained them to
be! Yes, such is the God with whom we have to do!
"You know when I sit and when I rise; You perceive my
thoughts from afar. You discern my going out and my
lying down; You are familiar with all my ways. Before a
word is on my tongue—You know it completely, O Lord!"
Psalm 139:2-4
How solemn is this fact: nothing can be concealed from
God! "For I know the things that come into your mind,
every one of them" (Ezekiel 11:5). Though He is invisible
to us—we are not so to Him. Neither the darkness of night,
the closest curtains, nor the deepest dungeon—can hide
any sinner from the eyes of Omniscience! Men would strip
Deity of His omniscience if they could. They wish there
might be . . .
no Witness of their sins,
no Searcher of their hearts,
no Judge of their deeds!
St Ives (Cornish: Porth Ia, meaning "St Ia’s cove") is a seaside town, civil parish and port in Cornwall. The town lies north of Penzance and west of Camborne on the coast of the Celtic Sea. In former times it was commercially dependent on fishing. The decline in fishing, however, caused a shift in commercial emphasis, and the town is now primarily a popular seaside resort, notably achieving the title of Best UK Seaside Town from the British Travel Awards in both 2010 and 2011. St Ives was incorporated by Royal Charter in 1639. St Ives has become renowned for its number of artists. It was named best seaside town of 2007 by The Guardian newspaper. It should not be confused with St Ive, a village and civil parish in south-east Cornwall.
The origin of St Ives is attributed in legend to the arrival of the Irish saint Ia of Cornwall, in the 5th century. The parish church bears her name, and the name St Ives derives from it.
The Sloop Inn, which lies on the wharf was a fisherman's pub for many centuries and is dated to "circa 1312", making it one of the oldest inns in Cornwall. The town was the site of a particularly notable atrocity during the Prayer Book Rebellion of 1549. The English provost marshal, Anthony Kingston, came to St Ives and invited the portreeve, John Payne, to lunch at an inn. He asked the portreeve to have the gallows erected during the course of the lunch. Afterwards the portreeve and the Provost Marshal walked down to the gallows; the Provost Marshal then ordered the portreeve to mount the gallows. The portreeve was then hanged for being a "busy rebel".
The seal of St Ives is Argent, an ivy branch overspreading the whole field Vert, with the legend Sigillum Burgi St. Ives in Com. Cornub. 1690.
During the Spanish Armada of 1597, two Spanish ships, a bark and a pinnace, had made their way to St Ives to seek shelter from the storm which had dispersed the Spanish fleet. They were captured by the English warship Warspite of Sir Walter Raleigh leaking from the same storm. The information given by the prisoners was vital on learning the Armada's objectives.
From medieval times fishing was important at St Ives; it was one of the most important fishing ports on the north Cornish coast. The original pier's construction date is unknown but the first reference to St Ives having a pier was in 1478 in William Worcester's 'Itinerary'. The pier was re-built by John Smeaton between 1766 and 1770 after falling into disrepair. It was lengthened at a later date. The octagonal lookout with a cupola belongs to Smeaton's design.
A. K. Hamilton Jenkin describes how the St Ives fisherman strictly observed Sunday as a day of rest. St Ives was a very busy fishing port and seining was the usual method of fishing. Seining was carried out by a set of three boats of different sizes, the largest two carrying seine nets of different sizes. The total number of crew was seventeen or eighteen. However this came to an end in 1924. In the decade 1747–1756 the total number of pilchards dispatched from the four principal Cornish ports of Falmouth, Fowey, Penzance, and St Ives averaged 30,000 hogsheads annually (making a total of 900 million fish). Much greater catches were achieved in 1790 and 1796. In 1847 the exports of pilchards from Cornwall amounted to 40,883 hogsheads or 122 million fish while the greatest number ever taken in one seine was 5,600 hogsheads at St Ives in 1868. The bulk of the catch was exported to Italy: for example, in 1830, 6400 hogsheads were sent to Mediterranean ports. From 1829 to 1838, the yearly average for this trade was 9000 hogsheads.
Once the spring mackerel season ends, the fishing fleet head north. In July 1882, ninety luggers and six hundred men were engaged in the Scottish herring fishery.
While commercial fishing is much reduced, the harbour is still in use, often as well for recreational boating, tourist fishing and day trips to the nearby seal colonies on the Carrack Rocks and other locations along the coast. Recently, a class of Victorian fishing boat unique to St Ives, known as a "jumbo," has been replicated by boatbuilder Jonny Nance to celebrate the town's maritime heritage. Today's jumbos are operated by the St Ives Jumbo Association.
The modern seaside resort developed as a result of the arrival of the St Ives Bay branch line from St Erth, part of the Great Western Railway in 1877. With it came a new generation of Victorian seaside holidaymakers. Much of the town was built during the latter part of the 19th century. The railway, which winds along the cliffs and bays, survived the Beeching cuts and has become a tourist attraction itself.
In 1952, the Royal Navy warship HMS Wave ran aground near the town. The ship was later salvaged, repaired and returned to service. A propeller believed to be from HMS Wave was washed ashore in 2008.
In 1999, the town was the first landfall of the solar eclipse of 11 August 1999. The Tate St Ives displayed an exhibition called As Dark as Light, with art by Yuko Shiraishi, Garry Fabian Miller and local schoolchildren, to celebrate the event. A live BBC programme with the astronomer Patrick Moore was clouded out and the eclipse was missed.
St Ives is on the western shore of St Ives Bay, its harbour sheltered by St Ives Island (a headland) and Smeaton's pier. Close to the harbour, in the old part of the town, the streets are narrow and uneven while its wider streets are in the newer parts of the town on rising ground. The town has four beaches: Porthmeor a surfing beach, Porthgwidden a small sandy cove, Harbour by the working port and Porthminster which has almost half a mile of sand. St Ives has an oceanic climate and has some of the mildest winters and warmest summers in Britain and Northern Europe. It is therefore a popular tourist resort in the summer, and also benefits from an amount of sunshine per year that is above the national average. The South West Coast Path passes through the town.
Early-20th-century figures in St Ives appear in Virginia Woolf's reflections contained in "A Sketch of the Past", from Moments of Being, "...I could fill pages remembering one thing after another. All together made the summer at St. Ives the best beginning to life imaginable. Her 1927 novel To the Lighthouse is said to have been influenced by the view from Talland House where she stayed with her parents on family holidays.
This St Ives is generally believed to be the one referred to in the famous Nursery Rhyme "As I was going to St Ives".
The Cornish language poet Mick Paynter is resident in St Ives.
Modern-day novelist Elizabeth Day, author of The Party, writes many of her novels whilst staying in St Andrews Street in St Ives.
The Ulysses Moore series of books, written by Pierdomenico Baccalario are based in the hypothetical village of Kilmore Cove near Zennor and St Ives.
The St Ives Literature Festival is an annual week-long event, started in 2008, in May. Open air performances are held in Norway Square and the St Ives Arts Club, as well as talks, workshops and live music.
In 1978/1979 the town, the pub The Sloop Inn and Barnoon Cemetery were filmed and appeared in Jerry Jameson's film Raise the Titanic released in 1980.
The Discovery Travel and Living programme Beach Café, featuring Australian chef Michael Smith, was filmed in St Ives.
In 2002, the town came to international prominence during a WWF Storyline between Stephanie McMahon and Triple H. The couple had arranged to see a British doctor in order to give proof to Triple H that Miss. McMahon was in fact pregnant. The British doctor was revealed to be just in fact an actor working for Tourism in St. Ives. Miss McMahon was indeed revealed not to be pregnant.
(Wikipedia)
St Ives (Kornisch Porth Ia [KK], Porth Ya [UCR]) ist eine Stadt in der Grafschaft Cornwall in England und zählt etwa 11.000 Einwohner. Der Name leitet sich von der kornischen Heiligen Ia ab, nach welcher die Kirche im Ort, St Ia’s Church, benannt ist. St Ives ist als beliebter Ferienort und Künstlerkolonie bekannt.
Im Jahr 1877 wurde eine Eisenbahnstrecke von der nahegelegenen Gemeinde St Erth nach St Ives gebaut. Die Stadt wurde danach zum beliebten Ausflugs- und Ferienort, nicht zuletzt deshalb, weil sich im Ort selbst zwei große Strände (Porthminster Beach und Porthmeor Beach) und ein weiterer kleiner Strand (Porthgwidden Beach) befinden.
In der Nähe findet man die Carbis Bay und den kilometerlangen Strand der St Ives Bay. Alle Strände sind bereits mehrfach ausgezeichnet worden aufgrund ihrer Lage, ihrer Blicke und ihres feinen weißen Sandes.
Der schottische Maler Thomas Millie Dow (1848–1919) zog 1894 nach St Ives und wohnte dort bis zu seinem Tod. Er erwarb 1895 das Talland House von Leslie Stephen, Vater von Virginia Woolf.
Bernard Leach (1887–1979) und der Japaner Shoji Hamada (1894–1978) begründeten 1920 die Leach Pottery in St Ives. Sie stellten Töpferwaren unter dem Gesichtspunkt westlicher und östlicher Kunst und Philosophie her. Leach arbeitete bis zum Jahr 1972; fünf Jahre später, 1977, zeigte das Victoria and Albert Museum in London seine Arbeiten. Die Leach Pottery ist noch in Betrieb und unterhält ein kleines Museum, das Leachs Werke und die seiner Schüler zeigt.
Ben Nicholson, Alfred Wallis und Christopher Wood gründeten 1928 in der Stadt eine Künstlerkolonie. 1993 eröffnete die Londoner Tate Gallery einen Ableger in St Ives am Porthmeor Beach mit den Werken der dort wirkenden Künstler wie beispielsweise Ben Nicholson und seine Frau Barbara Hepworth, eine der berühmtesten englischen Bildhauerinnen, deren Werke auch in einem eigenen, idyllisch gelegenen Museum, ihrem früheren (Trewyn-)Studio, zu sehen sind.
In St Ives lebt seit 1974 auch ein bedeutender moderner Maler: Roy Ray (* 1936), der der kornischen Sprache und Landschaft mit seinen Bildern Ausdruck verleiht. 1913 wurde der Komponist George Lloyd in St Ives geboren.
Die britische Schriftstellerin Virginia Woolf verbrachte als Kind mit ihrer Familie von 1882 bis 1894 die Sommermonate in St Ives. Woolf, die eine sehr unglückliche Jugend erlebte, widmete St Ives und Cornwall später den Roman Jacobs Zimmer. Auch ihr Roman Die Fahrt zum Leuchtturm ist – obwohl auf der Hebrideninsel Skye angesiedelt – eine Reminiszenz an St Ives. Das frühere Sommerhaus von Woolfs Vater Leslie Stephen, Talland House, liegt in der Nähe von Porthminster Beach. Es war von 1882 bis 1895 im Besitz der Familie Stephen.
In St Ives spielen auch einige Romane wie zum Beispiel Die Muschelsucher der auch in Deutschland populären Schriftstellerin Rosamunde Pilcher, deren Geburtsort Lelant nicht weit entfernt ist. St Ives heißt in ihren Büchern Porthkerris und diente oft als Kulisse für die in Deutschland ebenfalls bekannten Romanverfilmungen.
(Wikipedia)
Attributed to Charles Joseph Flipart (1721-1797) - Portrait of Carlo Broschi, called Farinelli, in the role of Epitide in Geminiano Giacomelli's Merope
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
www.primevideo.com/detail/Oh-Mio-Dio/0FBFGSB0G1HMNXV56F5C...
pad.mymovies.it/filmclub/2018/02/181/locandina.jpg
movieplayer.net-cdn.it/t/images/2018/03/08/oh_mio_dio_car...
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click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
Please attribute to Lorie Shaull if used elsewhere
With thanks to the sun for centering itself so nicely behind the flag when it decided to blow!
PoPville's Rant/Rave page (rave: how bout that sunset!!)
www.popville.com/2015/06/random-reader-rant-andor-revel-1...
www.washingtonpost.com/blogs/capital-weather-gang/wp/2015...
Name: Callum Hunt
Age: 14
Hair: Black
Eye Colour: Blueish Grey
Attributes/abilities: Martial arts expert, Flexibility, Peak endurance and physical stature
Callum Hunt was a child who grew up without any parents in a foster house looked after by the corrupt men that ran the place. They were child labourers that made the children within the house work for their meals and if they were unable to meet the standards of the days work and seldom did any of them they were punished and given no meal or food at all. Callum instead of sleeping trained himself to stay in peak physical condition while he was in the house so one day he could escape. Callum tried several times to escape but each ended in failure. He was punished severely for this by being whipped and locked in a small room were the rats lived. These punishments were inflected by the man who ran his wing of the operation; Callum had not known his real name but referred to him as Brute. He was about to give up hope on escape when in his eyes a dark angel saved him when he had turned seven. The Batman had stormed the labourers’ house and took down the head. In the assuming chaos Callum escaped but promised he would return to stop the rest of the organisation and Brute who had seemed to escape the Batman’s wrath.
Callum decided to seek refuge elsewhere from Gotham and hone his skills in the category of martial arts to give balance to his reckless fighting style. He boarded a ship to Japan with the help of some smugglers and went to go find a teacher that could help him in his quest. This is where he met Shen who found him hungry and covered in filth, roaming the streets without hope after being rejected time and time again by each person he looked up to train him. Shen took the child in and trained him in the arts of all the weapons, weapons that could be an extension of his self. As well as all types of fighting styles that would bring honour to the boy. When he had turned thirteen Shen told him that he had learnt all that he could teach and said it was time for his final test. The final test turned out to be a battle between him and his master. Callum lost the battle in the end and thought he had failed. Shen said that he had succeeded in the test despite the outcome, explaining that he may of lost the battle but he had shown all the true value of the ninja and showed he was worthy of the title Shen was about to bestow upon him. Shen sat him down and told him the tale of the ninja of ancient times and revealing that he was among the last of who remained through his line of blood and he had no sons or daughters to carry on his legacy. He then told Callum that he was trusted to continue the line despite his birth and race. Shen then bought him a ticket back to Gotham and said that he would bring the values he had taught him back to Gotham. But he had warned, that Callum was still inexperienced in the people in the corrupt city and still had much to learn despite what had transpired while he was in Japan and would need another teacher to help him become the person he new he could be.
When he returned to Gotham he found out as much as he could about the watcher of the city trough the internet in the public library and discovered that Batman had previously worked with people his own age and that he was without a partner at present time. He then fashioned himself a suit similar to that of the previous robins and went to find the Dark Knight to show him his skill. He followed a police report to an attempt a Gotham second national bank where a couple of thugs were attempting to rob it. The self proclaimed Robin attempted to stop the robbery before the Bat arrived and went to attack the men he found with his new fighting skills to take them down. He was on the winning side until one guy got up behind him gun loaded and ready to kill him amused by the child’s fight, but still told him that he was going to kill him anyway. This is where Batman showed up and took down the man in the ski mask before he could unload the weapon into the teenager. After Batman had stopped the villain he turned to see Callum. He asked who he was and Callum explained and said he needed to be his Robin to help bring balance to the city. Batman refused and left.
Callum tried several times after to help the vigilante and become his partner, each time was met with a refusal. This continued until Batman showed up at the small flat Callum had been able to afford with the money Shen had left him. Though he would soon have to leave because he was running out of cash. Batman allowed him to follow him on a patrol through the city to see if Callum was well equipped and good enough to match up to the previous Robins before him. Callum matched up to his expectations and when Dawn began to approach Batman looked at the teenager and told him to get in the car. Callum went in with extreme joy and asked if this meant he was going to be Robin. Batman didn’t reply and kept driving. It looked as if the crime fighter was about to drive straight into the cliff wall that lay before him and looked at the man with worried eyes. Batman then pressed a button on the wheel of the Batmobile and the cliff opened up enveloping them into darkness and depositing them into a cave full of high-tech gadgets and machinery. Batman then told him he was going to need a new suit and would need to get cleaned up, pulling of his mask and walking up to the huge computer at the top of the cave. Callum was shocked to see Bruce Wayne behind the cowl and asked again if this meant he was Robin. An old man came up behind him and asked if he really needed an answer after this and went to Batman’s side. “Are you sure this is a good idea to bring a street urchin into the batcave, what if he has a rather large mouth on him?” the butler asked. “Jason lived on the streets, he kept the secret well” Bruce replied. “And remember what happened to him?” the man said in a British accent to Bruce. Bruce remained quiet for a few moments before replying. “Jason was different, more reckless and angry, Callum showed more clarity and control while fighting” he responded. “How do you know my name and am I going to be Robin or not?” Callum blurted out, and then shrinking back wishing he had kept silent. Again the man waited before speaking, as if he was having doubts on bringing him into the batcave. “I know your name because I’ve been watching you for a few weeks now and have seen how you act, you should stop talking to yourself, it’s a bad habit. And yes you’re going to be Robin despite Alfred’s protests.” Bruce said keeping his eyes glued to the computer screen. “Very well sir, please Master Callum let me show you to your room. I suggest you get yourself cleaned up, fresh clothes will be laid out on your bed, some old ones of Master Timothy’s should fit. Breakfast is in one hour, though I’m afraid Master Bruce may not show up due to his other duties, now come along” Alfred said somehow without taking a breath rushing the boy out of the cave and up a stairway. From then on a new Robin emerged ready to take on those who worshipped crime and with a personal vendetta against the child labourers and the man he had dubbed Brute.
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Callum has a very serious personality and usually uses dark humour and taunts when fighting crime. When he tries to smile, if he does at all, it comes across pained and seems fake and the look in his eyes shows that he has been hurt in a strange way. He tries to stray away from his darker side and let go of his traumatic past to become a better person, but he knows he won't be able to do so alone, that is part of the reason Bruce decided to take him in.
My costume for Robin is a mix of all three previous Robins with my own touches here and there.
Callum is a master of many forms of Japanese style martial arts, bojitsu, jujitsu, judo, karate, nijitsu as well as a mastery in nun chucks and is given a cape which weight is adjusted to use to hide in the shadows and move freely through the rooftops of Gotham as well as allowing him to glide through the use of an electric current that charges the density of the fabric to allow him to do so, many gadgets and equipment e.g. smoke pellets, birdarangs, infra-red vision built into the domino mask, a con-link located in his ear directed to Bruce's cowl and police reports, grappling hook and launcher, computer hacking gauntlets that can connect to machinery and the internet via a wireless signal, a code cracker and a line connected through the gauntlet that launches a tazer line
My Robin varies from the other three with a different origin as he is grown up as a slave and went to train himself for revenge, where Dicks parents were murdered in front of him, Jason grew up on the streets with his 'father' and Tim had his farther around who changed his ways to be a better father to him and discovered Batman and Robins identities. While Dick was the more agile and carefree Robin, Jason was an arrogant self absorbed one and Tim was more intelligent, Callum is the more tactical and reasoning.
I hope you like it anyway. Dawing is made with the help of Phil-Cho from Devianart C & C welcome.