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Please attribute to Lorie Shaull if used elsewhere.
The large free-form red-white-blue sculpture on Avenida de las Americas is the park’s most well-known artwork and one of Houston’s great treasures. Its title means “Monument to the Phantom” or imaginary city in French.
There are seven individual forms that represent different features of this city, including a church, hedge, chimney, dog, phantom, tree and mast.
“Good artists borrow; great artists steal.” Pablo Picasso, to whom this quotation is attributed, may indeed be one of the most original artists of the 20th century, but he also borrowed generously from art history, purloining subject matter directly from Lautrec, Manet, and Ingres among others. Yasumasa Morimura follows in a long line of artists directly inspired by the work of previous artists – in his “Art History” series he re-imagines famous paintings throughout the ages by inserting his own likeness into iconic works, such as Vermeer’s 'Girl with a Pearl Earring'. In so doing, Morimura explodes the aura of originality we’ve come to expect of artworks in museums, transferring the moment of artistic creativity from the canvas to the artist himself.
Morimura has credited Warhol as an influence. But Morimura is doing something different with his investigations of these masterpieces of art. While for many artists, copying is a way to brush shoulders with artistic heroes and imagine oneself in a pantheon reserved for creative greats, Morimura uses the copy as a resonance chamber for alternate gender identities, impersonating as he does female figures from Western masterpieces. In this Vermeer Study, the coquettish ingénue is replaced by the face of the Japanese, gender-bending artist, an effect both familiar and unsettling, beautiful and off-putting.
Morimura's work was photographed on display in an exhibit entitled "Collected" at 'Pier 24 Photography' in San Francisco, California.
Samson and Delilah is a painting long attributed to the Flemish Baroque artist Peter Paul Rubens (1577–1640) in the National Gallery, London. It dates from about 1609 to 1610.
Two preliminary copies of the painting exist today: an ink-and-wash drawing on paper, and an oil sketch on wood panel. The oil sketch is in the Cincinnati Art Museum, while the ink sketch is held by a private collection in Amsterdam.
Rubens depicts the moment when, Samson having fallen asleep on Delilah's lap, a young man cuts Samson's hair. Samson and Delilah are in a dark room, which is lit mostly by a candle held by an old woman to Delilah's left. Delilah is shown fully dressed, but with her breasts exposed. Her left hand is on top of Samson's right shoulder, as his left arm is draped over her legs. The man snipping Samson's hair is crossing his hands, which is a sign of betrayal. Philistine soldiers can be seen in the right-hand background of the painting. The niche behind Delilah contains a statue of Venus, the goddess of love, and her son, Cupid. Notably, Cupid's mouth is bound, rather than his eyes. This statue can be taken to represent the cause of Samson's fate and the tool of Delilah's actions.
The painting depicts an episode from the Old Testament story of Samson and Delilah (Judges 16). Samson was a Hebrew hero known for fighting the Philistines. Having fallen in love with Delilah, who has been bribed by the Philistines, Samson tells her the secret of his great strength: his uncut hair. Without his strength, Samson is captured by the Philistines. The old woman standing behind Delilah, providing further light for the scene, does not appear in the biblical narrative of Samson and Delilah. She is believed to be a procuress, and the adjacent profiles of her and Delilah may symbolise the old woman's past, and Delilah's future.
The painting was originally commissioned by Nicolaas II Rockox, lord mayor of Antwerp, for Rockox House in that city. In addition to being a patron, Rockox was a close personal friend of Rubens. The painting was specifically intended to be placed above a 7-foot mantelshelf, where the painting would have been seen from below. The painting was publicly sold for charity when Rockox died in 1640, but the purchaser's identity is unknown. In 1700, a panel titled Samson and Delilah was bought by Hans-Adam I, Prince of Liechtenstein. This is likely to have been Rubens's painting. However, when the panel was part of the Liechtenstein Collection in Vienna in the eighteenth century, the painter was identified as Jan van den Hoecke, who was a principal assistant of Rubens in the 1630s. The painting was then sold in 1880 in Paris, where it was later discovered by Ludwig Burchard in 1929. Eventually, it was sold at auction in 1980 at Christie's, purchased by the National Gallery for $5 million.
The painting was earlier attributed to the Dutch painter Gerard van Honthorst, a painter who, like Rubens, worked in Rome in the shadow of Caravaggio at the start of the 17th century.
There has been some doubt cast over the attribution of the painting to Rubens, led by Euphrosyne Doxiadis, an artist and scholar of the Fayum mummy portraits. She argues that the National Gallery's painting varies in details from copies of the original made during Rubens's lifetime, that it does not employ the layering technique of glazing common in oil painting at the time and mastered by Rubens, and that its provenance cannot be documented with certainty between 1641 and 1929. A dendrochronological examination of the painting however, confirms that the painting dates to the correct period, and the attribution has been accepted by a majority of the art-historical scholarly community.
In September 2021 however, an artificial intelligence analysis conducted by Dr Carina Popovici and Art Recognition, a Swiss company based near Zurich, seemed to confirm doubters' beliefs when it was announced there is a 91% probability that the painting was not the work of Rubens.
The painting was cleaned and investigated in the National Gallery in 1983. It is noteworthy for the masterful and elaborate painting of the draperies and for the absence of blue pigments. Rubens employed carmine (kermes) lake, lead-tin-yellow, vermilion and ochres in addition to lead white and charcoal black. Chemical pigment analysis however, was still in its early stages at that time, and not enough samples for other works by Rubens were available compared to what is available today.
Jacob Matham, a Haarlem printmaker, used the Cincinnati oil sketch of Samson and Delilah as a modello for an engraving he made c. 1613. The engraving is a reverse image of Samson and Delilah.
The painting of Samson and Delilah can be seen in Frans Francken the Younger's painting Banquet at the House of Burgomaster Rockox, where the painting is hanging above the mantelpiece. Notably, this 17th-century depiction of the original Rubens painting shows Samson's foot included wholly within the frame of the composition. Compared to it the National Gallery's version is cropped on both left and right sides. Also, there are five soldiers in the doorway compared to three in Francken's picture and in early engravings.
Kenroku-en Gardens & Kanazawa Castle, Kanazawa, Japan
Kenroku-en (兼六園, Six Attributes Garden), located in Kanazawa, Ishikawa, Japan, is an old private garden associated with Kanazawa Castle. Along with Kairaku-en and Kōraku-en, Kenroku-en is one of the Three Great Gardens of Japan.
Kenroku-en was developed from the 1620s to the 1840s by the Maeda clan, the daimyōs who ruled the former Kaga Domain.
While the date of initial development of the garden that would be become known as Kenroku-en is rather unclear, one version of the garden's origins can perhaps be marked by the completion of the Tatsumi water channel in 1632 by Maeda Toshitsune, the third daimyō of the powerful Maeda clan and ruler of the Kaga Domain from 1605 to 1639, as this feature would be later incorporated into creating the garden's twisting waterways in 1822.
The garden is located outside the gates of Kanazawa Castle where it originally formed the outer garden, and covers 114,436.65 m² (over 25 acres). It began in 1676 when the 5th daimyō Maeda Tsunanori moved his administration to the castle and began to landscape a garden in this vicinity. This garden was, however, destroyed by fire in 1759.
The garden was named by Matsudaira Sadanobu at the request of Narinaga. Its name was derived from the "Chronicles of the Famous Luoyang Gardens" (洛陽名園記), a book by the Chinese poet Li Gefei (李格非), and stands for the six attributes of a perfect landscape: spaciousness, seclusion, artifice, antiquity, waterways, and panoramas.
Kanazawa
Kanazawa (金沢市 Kanazawa-shi) is a city located in Ishikawa Prefecture, Japan. As of 1 January 2018, the city had an estimated population of 466,029 in 203,271 households. The total area of the city was 468.64 square kilometres (180.94 sq mi). It is the capital of Ishikawa Prefecture.
Kanazawa is located in north-western Ishikawa Prefecture in the Hokuriku region of Japan and is bordered by the Sea of Japan to the west and Toyama Prefecture to the east. The city sits between the Sai and Asano rivers. The eastern portion of the city is dominated by the Japanese Alps. Parts of the city are within the borders of the Hakusan National Park. Kanazawa has a humid continental climate (Köppen Cfa) characterized by hot and humid summers and cold winters with heavy snowfall. Average temperatures are slightly cooler than those of Tokyo, with means approximately 4 °C (39 °F) in January, 12 °C (54 °F) in April, 27 °C (81 °F) in August, 17 °C (63 °F) in October, and 7 °C (45 °F) in December. The minimum temperature on record was −9.4 °C (15.1 °F) on January 27, 1904, with a maximum of 38.5 °C (101.3 °F) standing as a record since September 8, 1902. The city is distinctly wet, with an average humidity of 73% and 193 rainy days in an average year. Precipitation is highest in the autumn and winter; it averages more than 250 millimetres (10 in)/ month November through January when the Aleutian Low is strongest, but it is above 125 millimetres (4.9 in) every month of the year.
The area around Kanazawa was part of ancient Kaga Province. The name "Kanazawa" (金沢, 金澤), which literally means "marsh of gold", is said to derive from the legend of the peasant Imohori Togoro (literally "Togoro Potato-digger"), who was digging for potatoes when flakes of gold washed up. The well in the grounds of Kenroku-en known as 'Kinjo Reitaku' (金城麗澤) to acknowledge these roots. The area where Kanazawa is was originally known as Ishiura, whose name is preserved at the Ishiura Shrine near the Kenrokuen Gardens.
During the Muromachi period, as the powers of the central shōguns in Kyoto was waning, Kaga Province came under the control of the Ikkō-ikki, followers of the teachings of priest Rennyo, of the Jōdo Shinshū sect, who displaced the official governors of the province, the Togashi clan, and established a kind of theocratic republic later known as "The Peasants' Kingdom". Their principal stronghold was the Kanazawa Gobo, on the tip of the Kodatsuno Ridge. Backed by high hills and flanked on two sides by rivers, it was a natural fortress, around which a castle town developed. This was the start of what would become the city of Kanazawa.
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Unsigned sketches attributed to William Buelow Gould
Inscribed on the UNESCO Australian Memory of the World Register on 1 April 2011
Tasmanian Archives and Heritage Office: Allport Library & Museum of Fine Arts
Images from the TAHO collection that are part of The Commons have ‘no known copyright restrictions’, which means TAHO is unaware of any current copyright restrictions on these works. This can be because the term of copyright for these works may have expired or that the copyright was held and waived by TAHO. The material may be freely used provided TAHO is acknowledged; however TAHO does not endorse any inappropriate or derogatory use.
Attributed to Skylax, 1st Century AD
Mount: Ca. 1686
Formerly in the Collection of King Louis XIV.
Photographed at the Bibliotheque Nationale de France, Paris.
This image is attributed to photographer Fred Hardy, for the studio of George Washington Wilson.
The Australian National Maritime Museum undertakes research and accepts public comments that enhance the information we hold about images in our collection. If you can identify a person, vessel or landmark, write the details in the Comments box below.
Thank you for helping caption this important historical image.
Object number: 00031387
Attributed to Sofonisba Anguissola
it is probable that we see an self-portrait of Sofonisba's sister Lucia
Self-portrait at easel with madonna
Christie's
GG
collection of Federico Zeri, Mentana
Rembrandt van Rijn -
Self-portrait wearing a white feathered bonnet [1635]
Buckland Abbey National Trust AN 810136
The painting was recently cleaned and attributed to Rembrandt himself:
Self portrait wearing a white feathered bonnet
*oil on panel
*91 x 72 cm
*signed b.r.: Rembran[...] / f:· 1635
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One of the most famous artists of all time, Rembrandt van Rijn (1606–69) repeatedly used his own face to practise and demonstrate his craft. Many of his self-portrait paintings and drawings survive, and this one was painted in 1635, when he had recently moved from Leiden to Amsterdam and begun a successful career. Here we see him dressing up as a wealthy adventurer. He wears a flamboyant plumed hat, a short velvet cloak embroidered with gilt and jewelled adornments, and (bizarrely) a military metal neckband (gorget) from a suit of armour. The lighting is as theatrical as the outfit, and Rembrandt appears to be experimenting with the use of angled light and looming shadows to create a sense of brooding or impending drama.
Although the portrait is signed and dated, its attribution was once considered doubtful. However, it has recently been subjected to cleaning and scientific analysis and has been confirmed as a work by the master’s hand.
Source:
Attributed to Bartolomé Esteban Murillo (Spain, 1618-1682)
Oil paint on canvas
79,1 x 63,5 cm (2'6" x 2'1")
Inv. No. 608
Provenance: 1799 from the Mannheim Gallery
Alte Pinokathek, Munich.
======================Bartolomé Esteban Murillo born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times.
Murillo was born to Gaspar Esteban and María Pérez.[1] He may have been born in Seville or in Pilas, a smaller Andalusian town.[2]
It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. After his parents died in 1627 and 1628, he became a ward of his sister's husband, Juan Agustín Lagares.[1]
Murillo seldom used his father's surname, and instead took his surname from his maternal grandmother, Elvira Murillo.[1]
Murillo began his art studies in Seville under Juan del Castillo, who was a relative of his mother (Murillo's uncle, Antonio Pérez, was also a painter).[1]
His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach.
The great commercial importance of Seville at the time ensured that he was subject to artistic influences from other regions. He became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano).
As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works.
In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences.[3]
In 1645 he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had eleven children.[1]
In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville.
These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare) that became typical of Murillo's mature work.[1]
According to the art historian Manuela B. Mena Marqués, "in ... the Levitation of St Giles (usually known as the "Angel’s Kitchen", Paris, Louvre) and the Death of St Clare (Dresden, Gemäldegal. Alte Meister), the characteristic elements of Murillo’s work are already evident: the elegance and beauty of the female figures and the angels, the realism of the still-life details and the fusion of reality with the spiritual world, which is extraordinarily well developed in some of the compositions."[1]
Also completed c. 1645 was the first of Murillo's many paintings of children, The Young Beggar (Musée du Louvre), in which the influence of Velázquez is apparent.[1]
Following the completion of a pair of pictures for the Seville Cathedral, he began to specialize in the themes that brought him his greatest successes: the Virgin and Child and the Immaculate Conception.[4]
After another period in Madrid, from 1658 to 1660, he returned to Seville. Here he was one of the founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect Francisco Herrera the Younger.
This was his period of greatest activity, and he received numerous important commissions, among them the altarpieces for the Augustinian monastery, the paintings for Santa María la Blanca[5] (completed in 1665), and others.[1]
He died in Seville in 1682, a few months after he fell from a scaffold while working on a fresco at the church of the Capuchines in Cádiz.[1]
Murillo had many pupils and followers. The prolific imitation of his paintings ensured his reputation in Spain and fame throughout Europe, and prior to the 19th century his work was more widely known than that of any other Spanish artist.[3] Artists influenced by his style included Gainsborough and Greuze.[1] Google marked the 400 years since Murillo's birth with a doodle on 29 November 2018.[6]
“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...
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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.
Constantyn Francken (1661-1717) - The Music Lesson (1709)
fineart.ha.com/itm/paintings/attributed-to-constantyn-fra...
Must attribute with link to: www.ptpioneer.com
Image of a girl Doing A plank or a push-up on to dumbbells outdoors in a sunny park
The Château de Chambord in Chambord, Centre-Val de Loire, France, is one of the most recognisable châteaux in the world because of its very distinctive French Renaissance architecture which blends traditional French medieval forms with classical Renaissance structures. The building, which was never completed, was constructed by the king of France, Francis I.
Chambord is the largest château in the Loire Valley; it was built to serve as a hunting lodge for Francis I, who maintained his royal residences at the Château de Blois and Amboise. The original design of the Château de Chambord is attributed to Italian architect Domenico da Cortona; Leonardo da Vinci may also have been involved or influenced the design.
Chambord was altered considerably during the twenty-eight years of its construction (1519–1547), during which it was overseen on-site by Pierre Neveu. With the château nearing completion, Francis showed off his enormous symbol of wealth and power by hosting his old archrival, Emperor Charles V, at Chambord.
In 1792, in the wake of the French Revolution, some of the furnishings were sold and timber removed. For a time the building was left abandoned, though in the 19th century some attempts were made at restoration. During the Second World War, art works from the collections of the Louvre and the Château de Compiègne were moved to the Château de Chambord. The château is now open to the public, receiving 700,000 visitors in 2007. Flooding in June 2016 damaged the grounds but not the château itself.
Who designed the Château de Chambord is a matter of controversy. The original design is attributed, though with several doubts, to Domenico da Cortona, whose wooden model for the design survived long enough to be drawn by André Félibien in the 17th century. In the drawings of the model, the main staircase of the keep is shown with two straight, parallel flights of steps separated by a passage and is located in one of the arms of the cross. According to Jean-Guillaume, this Italian design was later replaced with the centrally located spiral staircase, which is similar to that at Blois, and a design more compatible with the French preference for spectacular grand staircases. However, "at the same time the result was also a triumph of the centralised layout—itself a wholly Italian element." In 1913 Marcel Reymond suggested that Leonardo da Vinci, a guest of Francis at Clos Lucé near Amboise, was responsible for the original design, which reflects Leonardo's plans for a château at Romorantin for the King's mother, and his interests in central planning and double-spiral staircases; the discussion has not yet concluded, although many scholars now agree that Leonardo was at least responsible for the design of the central staircase.
Archaeological findings by Jean-Sylvain Caillou & Dominic Hofbauer have established that the lack of symmetry of some façades derives from an original design, abandoned shortly after the construction began, and which ground plan was organised around the central staircase following a central gyratory symmetry. Such a rotative design has no equivalent in architecture at this period of history, and appears reminiscent of Leonardo da Vinci's works on hydraulic turbines or the helicopter. Had it been respected, it is believed that this unique building could have featured the quadruple-spiral open staircase, strangely described by John Evelyn and Andrea Palladio, although it was never built.
Regardless of who designed the château, on 6 September 1519 Francis de Pontbriand was ordered to begin construction of the Château de Chambord. The work was interrupted by the Italian War of 1521–1526, and work was slowed by dwindling royal funds and difficulties in laying the structure's foundations. By 1524, the walls were barely above ground level. Building resumed in September 1526, at which point 1,800 workers were employed in building the château. At the time of the death of King Francis I in 1547, the work had cost 444,070 livres.
The château was built to act as a hunting lodge for King Francis I; however, the king spent barely seven weeks there in total, that time consisting of short hunting visits. As the château had been constructed with the purpose of short stays, it was not practical to live in on a longer-term basis. The massive rooms, open windows and high ceilings meant heating was impractical. Similarly, as the château was not surrounded by a village or estate, there was no immediate source of food other than game. This meant that all food had to be brought with the group, typically numbering up to 2,000 people at a time.
As a result of all the above, the château was completely unfurnished during this period. All furniture, wall coverings, eating implements and so forth were brought specifically for each hunting trip, a major logistical exercise. It is for this reason that much furniture from the era was built to be disassembled to facilitate transportation. After Francis died of a heart attack in 1547, the château was not used for almost a century.
For more than 80 years after the death of King Francis I, French kings abandoned the château, allowing it to fall into decay. Finally, in 1639 King Louis XIII gave it to his brother, Gaston d'Orléans, who saved the château from ruin by carrying out much restoration work.
King Louis XIV had the great keep restored and furnished the royal apartments. The king then added a 1,200-horse stable, enabling him to use the château as a hunting lodge and a place to entertain a few weeks each year, for example Molière presented the premiere of his celebrated comedy, Le Bourgeois Gentilhomme here. Nonetheless, Louis XIV abandoned the château in 1685.
From 1725 to 1733, Stanislas Leszczyński (Stanislas I), the deposed King of Poland and the father-in-law of King Louis XV, lived at Chambord. In 1745, as a reward for valour, the king gave the château to Maurice de Saxe, Marshal of France who installed his military regiment there. Maurice de Saxe died in 1750, and once again the colossal château sat empty for many years.
In 1792, the Revolutionary government ordered the sale of the furnishings; the wall panellings were removed and even floors were taken up and sold for the value of their timber, and, according to M de la Saussaye, the panelled doors were burned to keep the rooms warm during the sales; the empty château was left abandoned until Napoleon Bonaparte gave it to his subordinate, Louis Alexandre Berthier. The château was subsequently purchased from his widow for the infant Duke of Bordeaux, Henri Charles Dieudonné (1820–1883) who took the title Comte de Chambord. A brief attempt at restoration and occupation was made by his grandfather King Charles X (1824–1830) but in 1830 both were exiled. In Outre-Mer: A Pilgrimage Beyond the Sea, published in the 1830s, Henry Wadsworth Longfellow remarked on the dilapidation that had set in: "all is mournful and deserted. The grass has overgrown the pavement of the courtyard, and the rude sculpture upon the walls is broken and defaced". During the Franco-Prussian War (1870–1871) the château was used as a field hospital.
The final attempt to make use of the colossus came from the Comte de Chambord, but after the Comte died in 1883, the château was left to his sister's heirs, the titular Dukes of Parma, then resident in Austria. First left to Robert, Duke of Parma, who died in 1907 and after him, Elias, Prince of Parma. Any attempts at restoration ended with the onset of World War I in 1914. The Château de Chambord was confiscated as enemy property in 1915, but the family of the Duke of Parma sued to recover it, and that suit was not settled until 1932; restoration work was not begun until a few years after World War II ended in 1945. The Château and surrounding areas, some 5,440 hectares (13,400 acres; 21.0 sq mi), have belonged to the French state since 1930.
In 1939, shortly before the outbreak of World War II, the art collections of the Louvre and Compiègne museums (including the Mona Lisa and Venus de Milo) were stored at the Château de Chambord. An American B-24 Liberator bomber crashed onto the château lawn on 22 June 1944. The image of the château has been widely used to sell commodities from chocolate to alcohol and from porcelain to alarm clocks; combined with the various written accounts of visitors, this made Chambord one of the best known examples of France's architectural history. Today, Chambord is a major tourist attraction, and in 2007 around 700,000 people visited the château.
After unusually heavy rainfall, Chambord was closed to the public from 1 to 6 June 2016. The river Cosson, a tributary of the Loire, flooded its banks and the château's moat. Drone photography documented some of the peak flooding. The French Patrimony Foundation described effects of the flooding on Chambord's 13,000-acre property. The 20-mile wall around the château was breached at several points, metal gates were torn from their framing, and roads were damaged. Also, trees were uprooted and certain electrical and fire protection systems were put out of order. However, the château itself and its collections reportedly were undamaged. The foundation observed that paradoxically the natural disaster affected Francis I's vision that Chambord appears to rise from the waters as if it were diverting the Loire. Repairs are expected to cost upwards of a quarter-million dollars.
The Château de Chambord has further influenced a number of architectural and decorative elements across Europe. Château de Chambord was the model for the reconstruction and new construction of the original Schwerin Palace between 1845 and 1857.
Yet in the later half of the 19th century, the château's style is seen proliferating across the United Kingdom, influencing the Founder's Building at Royal Holloway, University of London, designed by William Henry Crossland and the main building of Fettes College in Edinburgh, designed by David Bryce in 1870. Between 1874 and 1889, the country house in Buckinghamshire, Waddesdon Manor, was built with similar architectural frameworks as the Château de Chambord, disseminated via the architect Gabriel-Hippolyte Destailleur. For instance, the twin staircase towers, on the north façade, were inspired by the staircase tower at the Château.[36] However, following the theme of unparalleled luxury at Waddesdon, the windows of the towers at Waddesdon were glazed, unlike those of the staircase at Chambord, and were far more ornate.
Francis I (French: François Ier; Middle French: Francoys; 12 September 1494 – 31 March 1547) was King of France from 1515 until his death in 1547. He was the son of Charles, Count of Angoulême, and Louise of Savoy. He succeeded his first cousin once removed and father-in-law Louis XII, who died without a legitimate son.
A prodigious patron of the arts, he promoted the emergent French Renaissance by attracting many Italian artists to work for him, including Leonardo da Vinci, who brought the Mona Lisa, which Francis had acquired. Francis' reign saw important cultural changes with the growth of central power in France, the spread of humanism and Protestantism, and the beginning of French exploration of the New World. Jacques Cartier and others claimed lands in the Americas for France and paved the way for the expansion of the first French colonial empire.
For his role in the development and promotion of the French language, he became known as le Père et Restaurateur des Lettres (the 'Father and Restorer of Letters'). He was also known as François au Grand Nez ('Francis of the Large Nose'), the Grand Colas, and the Roi-Chevalier (the 'Knight-King').
In keeping with his predecessors, Francis continued the Italian Wars. The succession of his great rival Emperor Charles V to the Habsburg Netherlands and the throne of Spain, followed by his election as Holy Roman Emperor, led to France being geographically encircled by the Habsburg monarchy. In his struggle against Imperial hegemony, Francis sought the support of Henry VIII of England at the Field of the Cloth of Gold. When this was unsuccessful, he formed a Franco-Ottoman alliance with the Muslim sultan Suleiman the Magnificent, a controversial move for a Christian king at the time.
Early life and accession
Francis of Orléans was born on 12 September 1494 at the Château de Cognac in the town of Cognac, which at that time lay in the province of Saintonge, a part of the Duchy of Aquitaine. Today the town lies in the department of Charente.
Francis was the only son of Charles of Orléans, Count of Angoulême, and Louise of Savoy, and a great-great-grandson of King Charles V of France. His family was not expected to inherit the throne, as his third cousin King Charles VIII was still young at the time of his birth, as was his father's cousin the Duke of Orléans, later King Louis XII. However, Charles VIII died childless in 1498 and was succeeded by Louis XII, who himself had no male heir. The Salic Law prevented women from inheriting the throne. Therefore, the four-year-old Francis (who was already Count of Angoulême after the death of his own father two years earlier) became the heir presumptive to the throne of France in 1498 and was vested with the title of Duke of Valois.
In 1505, Louis XII, having fallen ill, ordered for his daughter Claude and Francis to be married immediately, but only through an assembly of nobles were the two engaged. Claude was heir presumptive to the Duchy of Brittany through her mother, Anne of Brittany. Following Anne's death, the marriage took place on 18 May 1514. On 1 January 1515, Louis died, and Francis inherited the throne. He was crowned King of France in the Cathedral of Reims on 25 January 1515, with Claude as his queen consort.
Reign
As Francis was receiving his education, ideas emerging from the Italian Renaissance were influential in France. Some of his tutors, such as François de Moulins de Rochefort (his Latin instructor, who later during the reign of Francis was named Grand Aumônier de France) and Christophe de Longueil (a Brabantian humanist), were attracted by these new ways of thinking and attempted to influence Francis. His academic education had been in arithmetic, geography, grammar, history, reading, spelling, and writing and he became proficient in Hebrew, Italian, Latin and Spanish. Francis came to learn chivalry, dancing, and music, and he loved archery, falconry, horseback riding, hunting, jousting, real tennis and wrestling. He ended up reading philosophy and theology and he was fascinated with art, literature, poetry and science. His mother, who had a high admiration for Italian Renaissance art, passed this interest on to her son. Although Francis did not receive a humanist education, he was more influenced by humanism than any previous French king.
Patron of the arts
By the time he ascended the throne in 1515, the Renaissance had arrived in France, and Francis became an enthusiastic patron of the arts. At the time of his accession, the royal palaces of France were ornamented with only a scattering of great paintings, and not a single sculpture, not ancient nor modern.
Francis patronized many great artists of his time, including Andrea del Sarto and Leonardo da Vinci; the latter of whom was persuaded to make France his home during his last years. While da Vinci painted very little during his years in France, he brought with him many of his greatest works, including the Mona Lisa (known in France as La Joconde), and these remained in France after his death. Other major artists to receive Francis' patronage included the goldsmith Benvenuto Cellini and the painters Rosso Fiorentino, Giulio Romano, and Primaticcio, all of whom were employed in decorating Francis' various palaces. He also invited architect Sebastiano Serlio, who enjoyed a fruitful late career in France. Francis also commissioned a number of agents in Italy to procure notable works of art and ship them to France.
Man of letters
Francis was also renowned as a man of letters. When he comes up in a conversation among characters in Baldassare Castiglione's Book of the Courtier, it is as the great hope to bring culture to the war-obsessed French nation. Not only did Francis support a number of major writers of the period, but he was also a poet himself, if not one of particular abilities. Francis worked diligently at improving the royal library. He appointed the great French humanist Guillaume Budé as chief librarian and began to expand the collection. Francis employed agents in Italy to look for rare books and manuscripts, just as he had agents looking for artworks. During his reign, the size of the library greatly increased. Not only did he expand the library, but there is also evidence that he read the books he bought for it, a much rarer event in the royal annals. Francis set an important precedent by opening his library to scholars from around the world in order to facilitate the diffusion of knowledge.
In 1537, Francis signed the Ordonnance de Montpellier, which decreed that his library be given a copy of every book to be sold in France. Francis' older sister, Marguerite, Queen of Navarre, was also an accomplished writer who produced the classic collection of short stories known as the Heptameron. Francis corresponded with the abbess and philosopher Claude de Bectoz, of whose letters he was so fond that he would carry them around and show them to the ladies of his court. Together with his sister, he visited her in Tarascon.
Construction
Francis poured vast amounts of money into new structures. He continued the work of his predecessors on the Château d'Amboise and also started renovations on the Château de Blois. Early in his reign, he began construction of the magnificent Château de Chambord, inspired by the architectural styles of the Italian Renaissance, and perhaps even designed by Leonardo da Vinci. Francis rebuilt the Louvre Palace, transforming it from a medieval fortress into a building of Renaissance splendour. He financed the building of a new City Hall (the Hôtel de Ville) for Paris in order to have control over the building's design. He constructed the Château de Madrid in the Bois de Boulogne and rebuilt the Château de Saint-Germain-en-Laye. The largest of Francis' building projects was the reconstruction and expansion of the Château de Fontainebleau, which quickly became his favourite place of residence, as well as the residence of his official mistress, Anne, Duchess of Étampes.
Military action
Although the Italian Wars (1494–1559) came to dominate the reign of Francis I, which he constantly participate at the forefront as le Roi-Chevalier, the wars were not the sole focus of his policies. He merely continued the wars that he succeeded from his predecessors and that his heir and successor on the throne, Henry II of France, would inherit after Francis' death. Indeed, the Italian Wars had begun when Milan sent a plea to King Charles VIII of France for protection against the aggressive actions of the King of Naples. Militarily and diplomatically, the reign of Francis I was a mixed bag of success and failure. Francis I tried and failed to become Holy Roman Emperor at the Imperial election of 1519, primarily due to his adversary Charles having threatened the electors with violence. However, there were also temporary victories, such as in the portion of the Italian Wars called the War of the League of Cambrai (1508–1516) and, more specifically, to the final stage of that war, which history refers to simply as "Francis' First Italian War" (1515–1516), when Francis routed the combined forces of the Papal States and the Old Swiss Confederacy at Marignano on 13–15 September 1515. This grand victory at Marignano allowed Francis I to capture the Italian city-state of Duchy of Milan. However, in November 1521, during the Four Years' War (1521–1526) and facing the advancing Imperial forces of the Holy Roman Empire and open revolt within Milan, Francis I was forced to abandon Milan.
Much of the military activity of Francis's reign was focused on his sworn enemy, the Holy Roman Emperor Charles V. Francis and Charles maintained an intense personal rivalry. Charles, in fact, brashly dared to challenge Francis to single combat multiple times. In addition to the Holy Roman Empire, Charles personally ruled Spain, Austria, and a number of smaller possessions neighbouring France. He was thus a constant threat to Francis I's kingdom.
Francis I attempted to arrange an alliance with Henry VIII at the famous meeting at the Field of Cloth of Gold on 7 June 1520, but despite a lavish fortnight of diplomacy they failed to reach an agreement. Francis I and Henry VIII both shared the dreams of power and chivalric glory; however their relationship featured intense personal and dynastic rivalry. Francis I was driven by his intense eagerness to retake Milan, despite the strong opposition of other powers. Henry VIII was likewise determined to recapture northern France, which Francis I could not allow.
However, the situation was grave; Francis I had to face not only the whole might of Western Europe, but also the internal hostility in form of Charles III de Bourbon, a capable commander who fought alongside Francis I as his constable at the great battle of Marignano, but defected to Charles V after his conflict with Francis I's mother over inheritance of Bourbon estates. Despite all this, the Kingdom of France still held the balance of power in its favour. Nevertheless, the defeat suffered from the cataclystic battle of Pavia on 24 February 1525, during part of the continuing Italian Wars known as the Four Years' War upheaved the political ground of Europe. He was actually taken prisoner: Cesare Hercolani injured his horse, and Francis I himself was subsequently captured by Charles de Lannoy. Some claims he was captured by Diego Dávila, Alonso Pita da Veiga, and Juan de Urbieta, from Guipúzcoa. For this reason, Hercolani was named "Victor of the battle of Pavia". Zuppa alla Pavese was supposedly invented on the spot to feed the captive king after the battle.
Francis I was held captive morbidly in Madrid. In a letter to his mother, he wrote, "Of all things, nothing remains to me but honour and life, which is safe." This line has come down in history famously as "All is lost save honour." Francis I was compelled to make major concessions to Charles in the Treaty of Madrid (1526), signed on 14 January, before he was freed on 17 March. An ultimatum from Ottoman Sultan Suleiman to Charles additionally played a role in his release. Francis I was forced to surrender any claims to Naples and Milan in Italy. Francis I was forced to recognised the independence of the Duchy of Burgundy, which had been part of France since the death of Charles the Bold in 1477. And finally, Francis I was betrothed to Charles' sister Eleanor. Francis I returned to France in exchange for his two sons, Francis and Henry, Duke of Orléans, the future Henry II of France, but once he was free he revoked the forced concessions as his agreement with Charles was made under duress. He also proclaimed that the agreement was void because his sons were taken hostage with the implication that his word alone could not be trusted. Thus he firmly repudiated it. A renewed alliance with England enabled Francis to repudiate the treaty of Madrid.
Francis persevered in his rivalry against Charles and his intent to control Italy. By the mid-1520s, Pope Clement VII wished to liberate Italy from foreign domination, especially that of Charles, so he allied with Venice to form the League of Cognac. Francis joined the League in May 1526, in the War of the League of Cognac of 1526–30. Francis' allies proved weak, and the war was ended by the Treaty of Cambrai (1529; "the Peace of the Ladies", negotiated by Francis’ mother and Charles’ aunt).The two princes were released, and Francis married Eleanor.
On 24 July 1534, Francis, inspired by the Spanish tercios and the Roman legions, issued an edict to form seven infantry Légions of 6,000 troops each, of which 12,000 of 42,000 were arquebusiers, testifying to the growing importance of gunpowder. The force was a national standing army, where any soldier could be promoted on the basis of vacancies, were paid wages by grade and granted exemptions from the taille and other taxes up to 20 sous, a heavy burden on the state budget.
After the League of Cognac failed, Francis concluded a secret alliance with the Landgrave of Hesse on 27 January 1534. This was directed against Charles on the pretext of assisting the Duke of Württemberg to regain his traditional seat, from which Charles had removed him in 1519. Francis also obtained the help of the Ottoman Empire and after the death of Francesco II Sforza, ruler of Milan, renewed the contest in Italy in the Italian War of 1536–1538. This round of fighting, which had little result, was ended by the Truce of Nice. The agreement collapsed, however, which led to Francis' final attempt on Italy in the Italian War of 1542–1546. Francis I managed to hold off the forces of Charles and Henry VIII. Charles was forced to sign the Treaty of Crépy because of his financial difficulties and conflicts with the Schmalkaldic League.
Attributed to Giambettino Cignaroli (1706-1770) - Portrait of Wolfgang Amadeus Mozart at the age of 13 in Verona (1770)
Attributed to Cornelis Norbertus Gijsbrechts (1630-1683) - Trompe-L'oeil still life with a lute and rebec, music sheets, a print and other objects
www.sothebys.com/en/auctions/ecatalogue/2011/important-ol...
nothing really new - just some attributes to create a new character out of my little peg-men. as well as with the first try the glasses are lifted by pressing the peg.
The Kikuyu are the country's largest ethnic group (22%). They live on the whole territory of Kenya. However, the highest concentration can be found in Central Province, known as the traditional Kikuyu homeland. The Kikuyu were formerly hunters, and meat was the prerogative of men. But from now on, Kenyan laws prohibit them from hunting, and meat is served only on special occasions (circumcision, new visitor etc.). The Kikuyu are also traditionally an agricultural people. Nevertheless, many are involved in all kinds of businesses and a lot have moved into cities. Since they speak a Bantu language, they are culturally related to other Bantu-speaking peoples of East Africa, in particular the Kamba, the Meru, the Embu, and the Chuka.Most of their culture has been communicated through very rich oral traditions. Their oral literature consists of original poems, stories, fables, myths, enigmas, and proverbs containing the principles of their philosophy and moral codes. The Gicandi for example is an ancient poem of enigmas, which is sung in public markets and accompanied by musical instruments made from gourds. According to tradition, the founder of the tribe is a man named Gikuyu. His nine daughters are supposed to be on the origin of the nine sub-groups. Each member of the subclan (mbari) knows from which ancestor, or which daughter of Gikuyu, he or she originates. The transition from one life stage to another in the Kikuyu society used to be marked by rites of passage, both for males and females. Were included in the main stages : the birth of a newborn, the stage of infant, the one of children before circumcision or excision, and after circumcision or excision, the period of mariage without and then with children, and old age. The concept of age-sets (mariika) is still of the utmost importance in their society. Each one of the circumcision groups (generations) is given a name. Members of the same age-set are given a rank in the groups. This rank determines the behavior of the members within a age-set and their behavior towards members of other age groups. More respect is given to the elder. Relationships are very strong between members of the same age-set and continue throughout their lives, even if it is less true today. Traditionally the Kikuyu worship their ancestors and their unique God called Ngai, name borrowed to the Maasai. In the past, they used to offer to Ngai sacrifices of animals on sacred places. Mount Kenya for instance is considered the home of God. The Kikuyu still gather sometimes on these places for religious or political meetings. Traditionaly, the medicine man is a powerful person who forecasts the future, heals, or frees people from ill omens. His main attribute is a gourd. It contains river's pebbles collected during his initiation, as well as small bones and sticks, marbles, old coins and pieces of glass, among other things. Conversion to Christianity was slow because they didn't want to give up their own culture. Even now, many have become Christian but their customs are still very strong. Many Kikuyu firmly opposed to the abolishment of excision. However, because of the influence of Christianity and Western education, they tend to be monogam. And though the main religion is now Christianity, some still have their traditional beliefs and others are muslim.
Les Kikuyu sont le groupe ethnique le plus large du pays (22%).Ils vivent sur l’ensemble du territoire du Kenya. Toutefois, la plus grande concentration se trouve dans la Province Centrale, connue comme la terre traditionnelle des Kikuyu.Les Kikuyu étaient auparavant des chasseurs, et la viande était la prérogative des hommes. Mais désormais, les lois kenyanes leur interdisent de chasser, et la viande est servie uniquement pour les occasions spéciales (circoncision, nouveau venu etc.). Les Kikuyu sont aussi traditionnellement un peuple d’agriculteurs. Néanmoins, beaucoup se sont engagés dans tout type de commerces et un grand nombre est parti dans les villes. Comme ils parlent une langue Bantu, ils sont culturellement liés aux autres peuples de langue Bantu d’Afrique de l’Est, en particulier les Kamba, Meru, Embu et Chuka.La majorité de leur culture a été communiquée par des traditions orales très riches. La littérature orale est composée de poèmes originaux, histoires, fables, mythes, énigmes, et proverbes qui contiennent les principes de leur philosophie et codes moraux. Le Gicandi par exemple est un ancien poème d’énigmes qui est chanté sur les marchés publics et accompagné par des instruments de musique faits à partir de gourdes. Selon la tradition, le fondateur de la tribu est un homme nommé Gikuyu. Ses neuf filles sont censées être à l’origine des neuf sous-groupes. Chaque membre du sous-clan (mbari) sait de quel ancêtre, ou se quelle fille de Gikuyu, il provient. La transition d’une étape de la vie à une autre dans la société Kikuyu était autrefois marquée par des rites de passage, pour les hommes comme pour les femmes. Faisaient partie des étapes principales: la naissance du nouveau-né, l’étape du petit enfant, celle des enfants avant la circoncision ou l’excision, celle après la circoncision ou l’excision, la période du mariage sans puis avec enfants, et la vieillesse. Le concept de classes d’âge (mariika) est encore de la plus grande importance dans leur société. Un nom est attribué à chacun des groupes de circoncision (c’est-à-dire chacune des générations). Un rang est donné aux membres d’une même classe d’âge. Ce rang détermine la conduite des membres au sein d’une classe d’âge et celle envers les membres des autres groupes d’âge. Les aînés ont droit à davantage de respect. Les relations sont très solides entre les membres d’une même classe d’âge et continuent tout au long de leur vie, même si cela est moins vrai aujourd’hui. Traditionnellement, les Kikuyu vouent un culte à leurs ancêtres et leur Dieu unique appelé Ngai, nom emprunté aux Maasai. Dans le passé, ils avaient l’habitude d’offrir à Ngai des sacrifices d’animaux dans des endroits sacrés. Le Mont Kenya par exemple est considéré comme la maison de Dieu. Les Kikuyu se rassemblent encore quelques fois dans ces lieux pour des réunions religieuses et politiques. Traditionnellement, l’homme sorcier est une personne puissante qui prédit le futur, soigne, et libère les gens des mauvais augures. Son principal attribut est une gourde. Celle-ci contient des galets de rivière ramassés lors de son initiation, ainsi que des petits os et bâtonnets, des billes, des vieilles pièces et morceaux de verre, parmi d’autres choses. La conversion au Christianisme a été lente car ils ne voulaient pas abandonner leur propre culture. Encore de nos jours, beaucoup sont devenus chrétiens mais leurs coutumes sont encore très présentes. De nombreux Kukuyu s’opposent fermement à l’abolition de l’excision. Toutefois, à cause de l’influence du Christiansme et de l’éducation occidentale, ils ont de plus en plus tendance à être monogames. Et malgré le fait que la principale religion soit maintenant le Christianisme, certains ont conservé leurs croyances tandis que d’autres sont musulmans.
© Eric Lafforgue
JOJO’S BIZARRE ADVENTURE : SS GUIDE – New Medals – 2016/03/16
JOJO’S BIZARRE ADVENTURE : SS GUIDE New Medals have come! Please check and get them!
(SSR)Polnareff & Kakyoin
Rarity
Attribute
Cost
Rebirth
SSR
Blue
24
4
Rebirth
Slots
Capacity
Range
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jp-apps-dl.net/2016/03/16/jojos-bizarre-adventure-ss-guid...
The Château de Chambord in Chambord, Centre-Val de Loire, France, is one of the most recognisable châteaux in the world because of its very distinctive French Renaissance architecture which blends traditional French medieval forms with classical Renaissance structures. The building, which was never completed, was constructed by the king of France, Francis I.
Chambord is the largest château in the Loire Valley; it was built to serve as a hunting lodge for Francis I, who maintained his royal residences at the Château de Blois and Amboise. The original design of the Château de Chambord is attributed to Italian architect Domenico da Cortona; Leonardo da Vinci may also have been involved or influenced the design.
Chambord was altered considerably during the twenty-eight years of its construction (1519–1547), during which it was overseen on-site by Pierre Neveu. With the château nearing completion, Francis showed off his enormous symbol of wealth and power by hosting his old archrival, Emperor Charles V, at Chambord.
In 1792, in the wake of the French Revolution, some of the furnishings were sold and timber removed. For a time the building was left abandoned, though in the 19th century some attempts were made at restoration. During the Second World War, art works from the collections of the Louvre and the Château de Compiègne were moved to the Château de Chambord. The château is now open to the public, receiving 700,000 visitors in 2007. Flooding in June 2016 damaged the grounds but not the château itself.
Who designed the Château de Chambord is a matter of controversy. The original design is attributed, though with several doubts, to Domenico da Cortona, whose wooden model for the design survived long enough to be drawn by André Félibien in the 17th century. In the drawings of the model, the main staircase of the keep is shown with two straight, parallel flights of steps separated by a passage and is located in one of the arms of the cross. According to Jean-Guillaume, this Italian design was later replaced with the centrally located spiral staircase, which is similar to that at Blois, and a design more compatible with the French preference for spectacular grand staircases. However, "at the same time the result was also a triumph of the centralised layout—itself a wholly Italian element." In 1913 Marcel Reymond suggested that Leonardo da Vinci, a guest of Francis at Clos Lucé near Amboise, was responsible for the original design, which reflects Leonardo's plans for a château at Romorantin for the King's mother, and his interests in central planning and double-spiral staircases; the discussion has not yet concluded, although many scholars now agree that Leonardo was at least responsible for the design of the central staircase.
Archaeological findings by Jean-Sylvain Caillou & Dominic Hofbauer have established that the lack of symmetry of some façades derives from an original design, abandoned shortly after the construction began, and which ground plan was organised around the central staircase following a central gyratory symmetry. Such a rotative design has no equivalent in architecture at this period of history, and appears reminiscent of Leonardo da Vinci's works on hydraulic turbines or the helicopter. Had it been respected, it is believed that this unique building could have featured the quadruple-spiral open staircase, strangely described by John Evelyn and Andrea Palladio, although it was never built.
Regardless of who designed the château, on 6 September 1519 Francis de Pontbriand was ordered to begin construction of the Château de Chambord. The work was interrupted by the Italian War of 1521–1526, and work was slowed by dwindling royal funds and difficulties in laying the structure's foundations. By 1524, the walls were barely above ground level. Building resumed in September 1526, at which point 1,800 workers were employed in building the château. At the time of the death of King Francis I in 1547, the work had cost 444,070 livres.
The château was built to act as a hunting lodge for King Francis I; however, the king spent barely seven weeks there in total, that time consisting of short hunting visits. As the château had been constructed with the purpose of short stays, it was not practical to live in on a longer-term basis. The massive rooms, open windows and high ceilings meant heating was impractical. Similarly, as the château was not surrounded by a village or estate, there was no immediate source of food other than game. This meant that all food had to be brought with the group, typically numbering up to 2,000 people at a time.
As a result of all the above, the château was completely unfurnished during this period. All furniture, wall coverings, eating implements and so forth were brought specifically for each hunting trip, a major logistical exercise. It is for this reason that much furniture from the era was built to be disassembled to facilitate transportation. After Francis died of a heart attack in 1547, the château was not used for almost a century.
For more than 80 years after the death of King Francis I, French kings abandoned the château, allowing it to fall into decay. Finally, in 1639 King Louis XIII gave it to his brother, Gaston d'Orléans, who saved the château from ruin by carrying out much restoration work.
King Louis XIV had the great keep restored and furnished the royal apartments. The king then added a 1,200-horse stable, enabling him to use the château as a hunting lodge and a place to entertain a few weeks each year, for example Molière presented the premiere of his celebrated comedy, Le Bourgeois Gentilhomme here. Nonetheless, Louis XIV abandoned the château in 1685.
From 1725 to 1733, Stanislas Leszczyński (Stanislas I), the deposed King of Poland and the father-in-law of King Louis XV, lived at Chambord. In 1745, as a reward for valour, the king gave the château to Maurice de Saxe, Marshal of France who installed his military regiment there. Maurice de Saxe died in 1750, and once again the colossal château sat empty for many years.
In 1792, the Revolutionary government ordered the sale of the furnishings; the wall panellings were removed and even floors were taken up and sold for the value of their timber, and, according to M de la Saussaye, the panelled doors were burned to keep the rooms warm during the sales; the empty château was left abandoned until Napoleon Bonaparte gave it to his subordinate, Louis Alexandre Berthier. The château was subsequently purchased from his widow for the infant Duke of Bordeaux, Henri Charles Dieudonné (1820–1883) who took the title Comte de Chambord. A brief attempt at restoration and occupation was made by his grandfather King Charles X (1824–1830) but in 1830 both were exiled. In Outre-Mer: A Pilgrimage Beyond the Sea, published in the 1830s, Henry Wadsworth Longfellow remarked on the dilapidation that had set in: "all is mournful and deserted. The grass has overgrown the pavement of the courtyard, and the rude sculpture upon the walls is broken and defaced". During the Franco-Prussian War (1870–1871) the château was used as a field hospital.
The final attempt to make use of the colossus came from the Comte de Chambord, but after the Comte died in 1883, the château was left to his sister's heirs, the titular Dukes of Parma, then resident in Austria. First left to Robert, Duke of Parma, who died in 1907 and after him, Elias, Prince of Parma. Any attempts at restoration ended with the onset of World War I in 1914. The Château de Chambord was confiscated as enemy property in 1915, but the family of the Duke of Parma sued to recover it, and that suit was not settled until 1932; restoration work was not begun until a few years after World War II ended in 1945. The Château and surrounding areas, some 5,440 hectares (13,400 acres; 21.0 sq mi), have belonged to the French state since 1930.
In 1939, shortly before the outbreak of World War II, the art collections of the Louvre and Compiègne museums (including the Mona Lisa and Venus de Milo) were stored at the Château de Chambord. An American B-24 Liberator bomber crashed onto the château lawn on 22 June 1944. The image of the château has been widely used to sell commodities from chocolate to alcohol and from porcelain to alarm clocks; combined with the various written accounts of visitors, this made Chambord one of the best known examples of France's architectural history. Today, Chambord is a major tourist attraction, and in 2007 around 700,000 people visited the château.
After unusually heavy rainfall, Chambord was closed to the public from 1 to 6 June 2016. The river Cosson, a tributary of the Loire, flooded its banks and the château's moat. Drone photography documented some of the peak flooding. The French Patrimony Foundation described effects of the flooding on Chambord's 13,000-acre property. The 20-mile wall around the château was breached at several points, metal gates were torn from their framing, and roads were damaged. Also, trees were uprooted and certain electrical and fire protection systems were put out of order. However, the château itself and its collections reportedly were undamaged. The foundation observed that paradoxically the natural disaster affected Francis I's vision that Chambord appears to rise from the waters as if it were diverting the Loire. Repairs are expected to cost upwards of a quarter-million dollars.
The Château de Chambord has further influenced a number of architectural and decorative elements across Europe. Château de Chambord was the model for the reconstruction and new construction of the original Schwerin Palace between 1845 and 1857.
Yet in the later half of the 19th century, the château's style is seen proliferating across the United Kingdom, influencing the Founder's Building at Royal Holloway, University of London, designed by William Henry Crossland and the main building of Fettes College in Edinburgh, designed by David Bryce in 1870. Between 1874 and 1889, the country house in Buckinghamshire, Waddesdon Manor, was built with similar architectural frameworks as the Château de Chambord, disseminated via the architect Gabriel-Hippolyte Destailleur. For instance, the twin staircase towers, on the north façade, were inspired by the staircase tower at the Château.[36] However, following the theme of unparalleled luxury at Waddesdon, the windows of the towers at Waddesdon were glazed, unlike those of the staircase at Chambord, and were far more ornate.
Francis I (French: François Ier; Middle French: Francoys; 12 September 1494 – 31 March 1547) was King of France from 1515 until his death in 1547. He was the son of Charles, Count of Angoulême, and Louise of Savoy. He succeeded his first cousin once removed and father-in-law Louis XII, who died without a legitimate son.
A prodigious patron of the arts, he promoted the emergent French Renaissance by attracting many Italian artists to work for him, including Leonardo da Vinci, who brought the Mona Lisa, which Francis had acquired. Francis' reign saw important cultural changes with the growth of central power in France, the spread of humanism and Protestantism, and the beginning of French exploration of the New World. Jacques Cartier and others claimed lands in the Americas for France and paved the way for the expansion of the first French colonial empire.
For his role in the development and promotion of the French language, he became known as le Père et Restaurateur des Lettres (the 'Father and Restorer of Letters'). He was also known as François au Grand Nez ('Francis of the Large Nose'), the Grand Colas, and the Roi-Chevalier (the 'Knight-King').
In keeping with his predecessors, Francis continued the Italian Wars. The succession of his great rival Emperor Charles V to the Habsburg Netherlands and the throne of Spain, followed by his election as Holy Roman Emperor, led to France being geographically encircled by the Habsburg monarchy. In his struggle against Imperial hegemony, Francis sought the support of Henry VIII of England at the Field of the Cloth of Gold. When this was unsuccessful, he formed a Franco-Ottoman alliance with the Muslim sultan Suleiman the Magnificent, a controversial move for a Christian king at the time.
Early life and accession
Francis of Orléans was born on 12 September 1494 at the Château de Cognac in the town of Cognac, which at that time lay in the province of Saintonge, a part of the Duchy of Aquitaine. Today the town lies in the department of Charente.
Francis was the only son of Charles of Orléans, Count of Angoulême, and Louise of Savoy, and a great-great-grandson of King Charles V of France. His family was not expected to inherit the throne, as his third cousin King Charles VIII was still young at the time of his birth, as was his father's cousin the Duke of Orléans, later King Louis XII. However, Charles VIII died childless in 1498 and was succeeded by Louis XII, who himself had no male heir. The Salic Law prevented women from inheriting the throne. Therefore, the four-year-old Francis (who was already Count of Angoulême after the death of his own father two years earlier) became the heir presumptive to the throne of France in 1498 and was vested with the title of Duke of Valois.
In 1505, Louis XII, having fallen ill, ordered for his daughter Claude and Francis to be married immediately, but only through an assembly of nobles were the two engaged. Claude was heir presumptive to the Duchy of Brittany through her mother, Anne of Brittany. Following Anne's death, the marriage took place on 18 May 1514. On 1 January 1515, Louis died, and Francis inherited the throne. He was crowned King of France in the Cathedral of Reims on 25 January 1515, with Claude as his queen consort.
Reign
As Francis was receiving his education, ideas emerging from the Italian Renaissance were influential in France. Some of his tutors, such as François de Moulins de Rochefort (his Latin instructor, who later during the reign of Francis was named Grand Aumônier de France) and Christophe de Longueil (a Brabantian humanist), were attracted by these new ways of thinking and attempted to influence Francis. His academic education had been in arithmetic, geography, grammar, history, reading, spelling, and writing and he became proficient in Hebrew, Italian, Latin and Spanish. Francis came to learn chivalry, dancing, and music, and he loved archery, falconry, horseback riding, hunting, jousting, real tennis and wrestling. He ended up reading philosophy and theology and he was fascinated with art, literature, poetry and science. His mother, who had a high admiration for Italian Renaissance art, passed this interest on to her son. Although Francis did not receive a humanist education, he was more influenced by humanism than any previous French king.
Patron of the arts
By the time he ascended the throne in 1515, the Renaissance had arrived in France, and Francis became an enthusiastic patron of the arts. At the time of his accession, the royal palaces of France were ornamented with only a scattering of great paintings, and not a single sculpture, not ancient nor modern.
Francis patronized many great artists of his time, including Andrea del Sarto and Leonardo da Vinci; the latter of whom was persuaded to make France his home during his last years. While da Vinci painted very little during his years in France, he brought with him many of his greatest works, including the Mona Lisa (known in France as La Joconde), and these remained in France after his death. Other major artists to receive Francis' patronage included the goldsmith Benvenuto Cellini and the painters Rosso Fiorentino, Giulio Romano, and Primaticcio, all of whom were employed in decorating Francis' various palaces. He also invited architect Sebastiano Serlio, who enjoyed a fruitful late career in France. Francis also commissioned a number of agents in Italy to procure notable works of art and ship them to France.
Man of letters
Francis was also renowned as a man of letters. When he comes up in a conversation among characters in Baldassare Castiglione's Book of the Courtier, it is as the great hope to bring culture to the war-obsessed French nation. Not only did Francis support a number of major writers of the period, but he was also a poet himself, if not one of particular abilities. Francis worked diligently at improving the royal library. He appointed the great French humanist Guillaume Budé as chief librarian and began to expand the collection. Francis employed agents in Italy to look for rare books and manuscripts, just as he had agents looking for artworks. During his reign, the size of the library greatly increased. Not only did he expand the library, but there is also evidence that he read the books he bought for it, a much rarer event in the royal annals. Francis set an important precedent by opening his library to scholars from around the world in order to facilitate the diffusion of knowledge.
In 1537, Francis signed the Ordonnance de Montpellier, which decreed that his library be given a copy of every book to be sold in France. Francis' older sister, Marguerite, Queen of Navarre, was also an accomplished writer who produced the classic collection of short stories known as the Heptameron. Francis corresponded with the abbess and philosopher Claude de Bectoz, of whose letters he was so fond that he would carry them around and show them to the ladies of his court. Together with his sister, he visited her in Tarascon.
Construction
Francis poured vast amounts of money into new structures. He continued the work of his predecessors on the Château d'Amboise and also started renovations on the Château de Blois. Early in his reign, he began construction of the magnificent Château de Chambord, inspired by the architectural styles of the Italian Renaissance, and perhaps even designed by Leonardo da Vinci. Francis rebuilt the Louvre Palace, transforming it from a medieval fortress into a building of Renaissance splendour. He financed the building of a new City Hall (the Hôtel de Ville) for Paris in order to have control over the building's design. He constructed the Château de Madrid in the Bois de Boulogne and rebuilt the Château de Saint-Germain-en-Laye. The largest of Francis' building projects was the reconstruction and expansion of the Château de Fontainebleau, which quickly became his favourite place of residence, as well as the residence of his official mistress, Anne, Duchess of Étampes.
Military action
Although the Italian Wars (1494–1559) came to dominate the reign of Francis I, which he constantly participate at the forefront as le Roi-Chevalier, the wars were not the sole focus of his policies. He merely continued the wars that he succeeded from his predecessors and that his heir and successor on the throne, Henry II of France, would inherit after Francis' death. Indeed, the Italian Wars had begun when Milan sent a plea to King Charles VIII of France for protection against the aggressive actions of the King of Naples. Militarily and diplomatically, the reign of Francis I was a mixed bag of success and failure. Francis I tried and failed to become Holy Roman Emperor at the Imperial election of 1519, primarily due to his adversary Charles having threatened the electors with violence. However, there were also temporary victories, such as in the portion of the Italian Wars called the War of the League of Cambrai (1508–1516) and, more specifically, to the final stage of that war, which history refers to simply as "Francis' First Italian War" (1515–1516), when Francis routed the combined forces of the Papal States and the Old Swiss Confederacy at Marignano on 13–15 September 1515. This grand victory at Marignano allowed Francis I to capture the Italian city-state of Duchy of Milan. However, in November 1521, during the Four Years' War (1521–1526) and facing the advancing Imperial forces of the Holy Roman Empire and open revolt within Milan, Francis I was forced to abandon Milan.
Much of the military activity of Francis's reign was focused on his sworn enemy, the Holy Roman Emperor Charles V. Francis and Charles maintained an intense personal rivalry. Charles, in fact, brashly dared to challenge Francis to single combat multiple times. In addition to the Holy Roman Empire, Charles personally ruled Spain, Austria, and a number of smaller possessions neighbouring France. He was thus a constant threat to Francis I's kingdom.
Francis I attempted to arrange an alliance with Henry VIII at the famous meeting at the Field of Cloth of Gold on 7 June 1520, but despite a lavish fortnight of diplomacy they failed to reach an agreement. Francis I and Henry VIII both shared the dreams of power and chivalric glory; however their relationship featured intense personal and dynastic rivalry. Francis I was driven by his intense eagerness to retake Milan, despite the strong opposition of other powers. Henry VIII was likewise determined to recapture northern France, which Francis I could not allow.
However, the situation was grave; Francis I had to face not only the whole might of Western Europe, but also the internal hostility in form of Charles III de Bourbon, a capable commander who fought alongside Francis I as his constable at the great battle of Marignano, but defected to Charles V after his conflict with Francis I's mother over inheritance of Bourbon estates. Despite all this, the Kingdom of France still held the balance of power in its favour. Nevertheless, the defeat suffered from the cataclystic battle of Pavia on 24 February 1525, during part of the continuing Italian Wars known as the Four Years' War upheaved the political ground of Europe. He was actually taken prisoner: Cesare Hercolani injured his horse, and Francis I himself was subsequently captured by Charles de Lannoy. Some claims he was captured by Diego Dávila, Alonso Pita da Veiga, and Juan de Urbieta, from Guipúzcoa. For this reason, Hercolani was named "Victor of the battle of Pavia". Zuppa alla Pavese was supposedly invented on the spot to feed the captive king after the battle.
Francis I was held captive morbidly in Madrid. In a letter to his mother, he wrote, "Of all things, nothing remains to me but honour and life, which is safe." This line has come down in history famously as "All is lost save honour." Francis I was compelled to make major concessions to Charles in the Treaty of Madrid (1526), signed on 14 January, before he was freed on 17 March. An ultimatum from Ottoman Sultan Suleiman to Charles additionally played a role in his release. Francis I was forced to surrender any claims to Naples and Milan in Italy. Francis I was forced to recognised the independence of the Duchy of Burgundy, which had been part of France since the death of Charles the Bold in 1477. And finally, Francis I was betrothed to Charles' sister Eleanor. Francis I returned to France in exchange for his two sons, Francis and Henry, Duke of Orléans, the future Henry II of France, but once he was free he revoked the forced concessions as his agreement with Charles was made under duress. He also proclaimed that the agreement was void because his sons were taken hostage with the implication that his word alone could not be trusted. Thus he firmly repudiated it. A renewed alliance with England enabled Francis to repudiate the treaty of Madrid.
Francis persevered in his rivalry against Charles and his intent to control Italy. By the mid-1520s, Pope Clement VII wished to liberate Italy from foreign domination, especially that of Charles, so he allied with Venice to form the League of Cognac. Francis joined the League in May 1526, in the War of the League of Cognac of 1526–30. Francis' allies proved weak, and the war was ended by the Treaty of Cambrai (1529; "the Peace of the Ladies", negotiated by Francis’ mother and Charles’ aunt).The two princes were released, and Francis married Eleanor.
On 24 July 1534, Francis, inspired by the Spanish tercios and the Roman legions, issued an edict to form seven infantry Légions of 6,000 troops each, of which 12,000 of 42,000 were arquebusiers, testifying to the growing importance of gunpowder. The force was a national standing army, where any soldier could be promoted on the basis of vacancies, were paid wages by grade and granted exemptions from the taille and other taxes up to 20 sous, a heavy burden on the state budget.
After the League of Cognac failed, Francis concluded a secret alliance with the Landgrave of Hesse on 27 January 1534. This was directed against Charles on the pretext of assisting the Duke of Württemberg to regain his traditional seat, from which Charles had removed him in 1519. Francis also obtained the help of the Ottoman Empire and after the death of Francesco II Sforza, ruler of Milan, renewed the contest in Italy in the Italian War of 1536–1538. This round of fighting, which had little result, was ended by the Truce of Nice. The agreement collapsed, however, which led to Francis' final attempt on Italy in the Italian War of 1542–1546. Francis I managed to hold off the forces of Charles and Henry VIII. Charles was forced to sign the Treaty of Crépy because of his financial difficulties and conflicts with the Schmalkaldic League.
Kenroku-en Gardens & Kanazawa Castle, Kanazawa, Japan
Kenroku-en (兼六園, Six Attributes Garden), located in Kanazawa, Ishikawa, Japan, is an old private garden associated with Kanazawa Castle. Along with Kairaku-en and Kōraku-en, Kenroku-en is one of the Three Great Gardens of Japan.
Kenroku-en was developed from the 1620s to the 1840s by the Maeda clan, the daimyōs who ruled the former Kaga Domain.
While the date of initial development of the garden that would be become known as Kenroku-en is rather unclear, one version of the garden's origins can perhaps be marked by the completion of the Tatsumi water channel in 1632 by Maeda Toshitsune, the third daimyō of the powerful Maeda clan and ruler of the Kaga Domain from 1605 to 1639, as this feature would be later incorporated into creating the garden's twisting waterways in 1822.
The garden is located outside the gates of Kanazawa Castle where it originally formed the outer garden, and covers 114,436.65 m² (over 25 acres). It began in 1676 when the 5th daimyō Maeda Tsunanori moved his administration to the castle and began to landscape a garden in this vicinity. This garden was, however, destroyed by fire in 1759.
The garden was named by Matsudaira Sadanobu at the request of Narinaga. Its name was derived from the "Chronicles of the Famous Luoyang Gardens" (洛陽名園記), a book by the Chinese poet Li Gefei (李格非), and stands for the six attributes of a perfect landscape: spaciousness, seclusion, artifice, antiquity, waterways, and panoramas.
Kanazawa
Kanazawa (金沢市 Kanazawa-shi) is a city located in Ishikawa Prefecture, Japan. As of 1 January 2018, the city had an estimated population of 466,029 in 203,271 households. The total area of the city was 468.64 square kilometres (180.94 sq mi). It is the capital of Ishikawa Prefecture.
Kanazawa is located in north-western Ishikawa Prefecture in the Hokuriku region of Japan and is bordered by the Sea of Japan to the west and Toyama Prefecture to the east. The city sits between the Sai and Asano rivers. The eastern portion of the city is dominated by the Japanese Alps. Parts of the city are within the borders of the Hakusan National Park. Kanazawa has a humid continental climate (Köppen Cfa) characterized by hot and humid summers and cold winters with heavy snowfall. Average temperatures are slightly cooler than those of Tokyo, with means approximately 4 °C (39 °F) in January, 12 °C (54 °F) in April, 27 °C (81 °F) in August, 17 °C (63 °F) in October, and 7 °C (45 °F) in December. The minimum temperature on record was −9.4 °C (15.1 °F) on January 27, 1904, with a maximum of 38.5 °C (101.3 °F) standing as a record since September 8, 1902. The city is distinctly wet, with an average humidity of 73% and 193 rainy days in an average year. Precipitation is highest in the autumn and winter; it averages more than 250 millimetres (10 in)/ month November through January when the Aleutian Low is strongest, but it is above 125 millimetres (4.9 in) every month of the year.
The area around Kanazawa was part of ancient Kaga Province. The name "Kanazawa" (金沢, 金澤), which literally means "marsh of gold", is said to derive from the legend of the peasant Imohori Togoro (literally "Togoro Potato-digger"), who was digging for potatoes when flakes of gold washed up. The well in the grounds of Kenroku-en known as 'Kinjo Reitaku' (金城麗澤) to acknowledge these roots. The area where Kanazawa is was originally known as Ishiura, whose name is preserved at the Ishiura Shrine near the Kenrokuen Gardens.
During the Muromachi period, as the powers of the central shōguns in Kyoto was waning, Kaga Province came under the control of the Ikkō-ikki, followers of the teachings of priest Rennyo, of the Jōdo Shinshū sect, who displaced the official governors of the province, the Togashi clan, and established a kind of theocratic republic later known as "The Peasants' Kingdom". Their principal stronghold was the Kanazawa Gobo, on the tip of the Kodatsuno Ridge. Backed by high hills and flanked on two sides by rivers, it was a natural fortress, around which a castle town developed. This was the start of what would become the city of Kanazawa.
An extract from Praying with Icons
The Vladimir Mother of God
One of the most frequently painted of all icons reminds us of the love that binds Mary and Jesus to each other, and also of the connection between Mary and ourselves, for we too are her children. There are numerous variations, but all of them show Christ in his mother's arms with their faces pressed together. One of her hands holds him, the other draws our attention to him, a motion reinforced by the gentle tilt of her head. There is a subdued sense of apprehension in Mary's face, as if she can already see her son bearing the cross, while Christ seems to be silently reassuring his mother of the resurrection.
This is one of the icons attributed to the Gospel author Luke. While we know of no surviving icon painted by his hand with certainty, according to tradition the original of this icon was his.
The most famous version of the icon, the Vladimir Mother of God, was given by the Church in Constantinople to the Russian Church in 1131. Every movement and use of the Vladimir icon has been chronicled ever since. It was in Kiev until that city was destroyed by the Golden Horde. From there, in 1155, it went to the city of Vladimir in the north. In 1395 the icon moved once again, this time to Moscow, a river town that had grown to be the chief city of Russia.
At present the icon is in a church adjacent to Moscow's Tretyakov Gallery, where it was housed through the Soviet period. On one occasion, during an attempted coup in 1993, it was taken out of the museum by the head of the Russian Orthodox Church, Patriarch Alexei, and used to bless the city -- the kind of action long associated with this icon. Even when it was housed in the museum, it was not unusual to see people in fervent prayer as they stand before this battered image. (There are many good printed reproductions of the Vladimir icon, but nothing I have seen does justice to the original. Partly this is because the surface of the icon, having suffered much damage, reveals level upon level of the overpainting of those who restored the icon over the centuries. We see portions of earlier painting in one area, later retouching in others. The rough terrain of the icon's surface is lost in prints.)
In some versions of the icon -- the Vladimir prototype is one -- Mary appears to be looking toward the person praying before the icon, in others her gaze is slightly off to the side, but in either case her eyes have an inward, contemplative quality. "The Virgin's eyes," Henri Nouwen comments, "are not curious, investigating or even understanding, but eyes which reveal to us our true selves." [Henri Nouwen, Behold the Beauty of the Lord: Praying with Icons (Notre Dame, IN: Ave Maria Press, 1987), p 36.]
Invariably, Christ's attention is directed to his mother. Always there is the detail of Christ's bare feet, a vivid symbol of his physical reality: he walked among us, leaving his footprints on the earth.
In some versions of the icon there is an additional detail of love, the arm of Christ around his mother's neck. This too is in the Vladimir prototype.
In contrast to Renaissance religious paintings with a similar subject, we notice in the icon that while Christ is an infant in size, his body's proportions are those of a man; a baby's head would be much larger. This is intentional. The noble face we see pressed against Mary's cheek is the Lord of Creation and the Glory of God. He wears adult clothing, a tunic and coat woven from gold, the color iconography uses for the imperishable and all that is associated with the Kingdom of God. In these details the icon reveals the real identity of the son of Mary.
Over her dress, Mary wears a dark shawl which circles her head, has a golden border, and is ornamented with three stars (one is hidden by Christ's body) symbolizing her virginity before and after her son's birth. At the same time they suggest that heaven has found a place in her.
The icon's triangular composition not only emphasizes the stillness of the two figures and gives the icon an immovable solidity but is a reminder of the presence of the Holy Trinity in all things.
The center of the composition is at the level of Mary's heart. A much used Orthodox prayer declares, "Beneath your tenderness of heart do we take refuge, O Mother of God." As anyone discovers in coming to know the Mother of God, her heart is as spacious as heaven.
In any version of the icon of the Mother of God of Tenderness, the Vladimir icon being only the most famous example, we see Mary's perfect devotion, a devotion so absolute that God finds in her the person who can both give birth to himself and who will ever after serve as the primary model of Christ-centered wholeness -- the woman whom all generations will regard as blessed. In her assent to the angelic invitation, Mary said not only on behalf of herself and all her righteous ancestors but for all generations, "Yes, Lord, come!" Through her all humanity gives birth to Jesus Christ, and through Christ she becomes our mother.
Because the icon portrays the profound oneness uniting Mary and Jesus, it is a eucharistic icon: in receiving the Body of Christ, we too hold Christ, and are held by Christ.
In the Gospel, we hear Mary praised for having given birth to Jesus and having nursed him. Christ responds by remarking on what is still more important about his mother and all who follow him wholeheartedly: "Rather blessed are they who hear the word of God and keep it." [Luke 11:28] She who gave birth to the Word of God also keeps it eternally.
It was at Mary's appeal that Christ performed his first miracle, changing water into wine at the marriage feast at Cana, and at Cana that we hear her simple appeal to each person who would follow her son: "Do whatever he tells you." [John 2:5] These few words would serve well as another name for this icon.
Praying with Icons web page: jimandnancyforest.com/2005/01/praying-with-icons/
Since 1978, solar irradiance has been measured by satellites. These measurements indicate that the Sun's radiative output has not increased since 1978, so the warming during the past 30 years cannot be attributed to an increase in solar energy reaching the Earth.
Climate models have been used to examine the role of the Sun in recent climate change.Models are unable to reproduce the rapid warming observed in recent decades when they only take into account variations in solar output and volcanic activity. Models are, however, able to simulate the observed 20th century changes in temperature when they include all of the most important external forcings, including human influences and natural forcings.
Another line of evidence against the Sun having caused recent climate change comes from looking at how temperatures at different levels in the Earth's atmosphere have changed. Models and observations show that greenhouse warming results in warming of the lower atmosphere (called the troposphere) but cooling of the upper atmosphere (called the stratosphere). Depletion of the ozone layer by chemical refrigerants has also resulted in a strong cooling effect in the stratosphere. If the Sun were responsible for observed warming, warming of both the troposphere and stratosphere would be expected.
Global warming and climate change are terms for the observed century-scale rise in the average temperature of the Earth's climate system and its related effects.Multiple lines of scientific evidence show that the climate system is warming. Although the increase of near-surface atmospheric temperature is the measure of global warming often reported in the popular press, most of the additional energy stored in the climate system since 1970 has gone into ocean warming. The remainder has melted ice, and warmed the continents and atmosphere.[4][a] Many of the observed changes since the 1950s are unprecedented over decades to millennia.Scientific understanding of global warming is increasing. The Intergovernmental Panel on Climate Change (IPCC) reported in 2014 that scientists were more than 95% certain that global warming is being caused mostly by increasing concentrations of greenhouse gases and other human (anthropogenic) activities.[6][7][8] Climate model projections summarized in the report indicated that during the 21st century the global surface temperature is likely to rise a further 0.3 to 1.7 °C (0.5 to 3.1 °F) for their lowest emissions scenario using stringent mitigation and 2.6 to 4.8 °C (4.7 to 8.6 °F) for their highest.[9] These findings have been recognized by the national science academies of the major industrialized nations[10][b] and are not disputed by any scientific body of national or international standing.Future climate change and associated impacts will differ from region to region around the globe.] Anticipated effects include warming global temperature, rising sea levels, changing precipitation, and expansion of deserts in the subtropics. Warming is expected to be greatest in the Arctic, with the continuing retreat of glaciers, permafrost and sea ice. Other likely changes include more frequent extreme weather events including heat waves, droughts, heavy rainfall, and heavy snowfall; ocean acidification; and species extinctions due to shifting temperature regimes. Effects significant to humans include the threat to food security from decreasing crop yields and the abandonment of populated areas due to flooding.[Possible societal responses to global warming include mitigation by emissions reduction, adaptation to its effects, building systems resilient to its effects, and possible future climate engineering. Most countries are parties to the United Nations Framework Convention on Climate Change (UNFCCC),[19] whose ultimate objective is to prevent dangerous anthropogenic climate change.[20] The UNFCCC have adopted a range of policies designed to reduce greenhouse gas emissions and to assist in adaptation to global warming. Parties to the UNFCCC have agreed that deep cuts in emissions are required,[27] and that future global warming should be limited to below 2.0 °C (3.6 °F) relative to the pre-industrial level.
The name "Damascus" is attributed by some scholars to Damaskos, son of Hermes, who is said to have lived in this area and given it his name. Others attribute the name to the myth of Askos or that of Damas, who accompanied Dionysias, and offered him a skene (skin) thus the name "Damaskene". While others believe that the origin of the name came from Damakina, the wife of the god of water. Linguistically analysed, some feel that the name "Damascus" was derived from " The Water Land".
THE HISTORY OF DAMASCUS
Damascus is as old as history itself. In ancient times the significance of its location contributed to the rise of a small village with a temple. At the end of the 2nd millennium Rezon the Aramean leader established his kingdom in Damascus. He was well known for defending the whole area and uniting the Arab Aramean kingdoms. In 732 B.C. the Assyrians took power untill 605 B.C., when Damascus went under Chaldean rule. In 538 B.C. the Akhemaeans ruled over Damascus area. During this period the geographer Estrabon mentions Damascus as the most famous city in the west of Asia. When Nabateans, under the rule of Al-Hareth III rose to power (87 B.C.) they made Damascus their Capital. In 105 A.D. the Romans destroyed the Nabatean kingdom, and established a Roman state with Bosra as its capital.
After the Roman Empire dissension, Damascus like the other parts of Syria, Came under the rule of the Byzantine Empire during which the influence of the Ghassanites increased.
In 635 A.D. the Arab Moslems took over damascus from the Byzantines, and it became the capital of the first Arab state at the time of the Omayyads. This marked the beginning of its golden epoch, and for a whole century it was the center of the young Islamic Empire. The Omayyads took a genuine intrest in building up the city, organizing its souqs and districts, improving its water supply, and erecting palaces and hospitals in its various parts.
Following the decline and fall of the Omayyads, 749 A.D. Damscus went through different periods: Abbassid, Tolonian, Ikhshidian, Fatemite, Ayyoubite, Mamluk, ottoman and the French Colonization seeing prosperity sometimes, and suffering neglect and deterioration other times.
DAMASCUS MUSEUMS
The National Museum of Damascus, with artistic and scientific items exhibited.
The National Museum of the Arts and popular Tradtions of Syria.
The Historical Museum of Damascus in Khaled Al-Azem palace.
The museum of Epigraphy.
The Military Museum.
Damascus Museum of Agriculture.
Damascus Internatinal Fair (sptember, every year).
Damascus Flower Show. (May, every year).
DAMASCUS MARKETS
Damascus is quite famous for its popular markets:
Al-Hamidieh Souq: one of the most famous and attractive souqs in the world with its constant show of traditional arts. It begins near the Damascus Ayyyoubite Citadel and ends at the Large Gate of the Omayyad Mosque.
Madhat Basha Souq: reminds one with the Biblical story of St. Paul, St. Hananya and the Straight road.
Al-Buzurieh Souq:Famouse for its eastren spices and the local confectionaries.
The Handicradts Souq: in the small Al-Takya building, contains all of Syria's most famous handicrafts: Glass-blowing, wood carving, carpet and textile weaving, articles made from Damascene silk, and hand made silver and gold jewelleries.
Al-Salihieh Souq.
CAFES & BATHS
Avariety of small cafes dot the city of Damascus. In Nawfara square east of Omayyad Mosque, there are many popular cafes to satisfy the tourist's need for relaxation and fun. They are famous for offering delicious and aromatic tea and coffe, soft drinks and the Nargileh (Water pipe)for smoking.
Nureddin popular bath is one of the most famous in Damascus. Many other baths are scattered in different areas ( Hammam al-Ward, Hammam Al-Malek al-Dhaher, etc..)
HISTORICAL & ARCHAEOLOGICAL SITES
The Ayoubite Citadel of Damascus: The strength and silence of the Citadel generate a feeling of the epics of steadfastness against the tatars, the Crusaders and the Mongols.
The Wall of Damascus and its Ramparts: Ancient Damascus was surrounded completely by the city wall; parts of which can still be seen near Bab Sharqi, Bab Tuma and Bab Kissan. Glimpses of the ramparts that supported the city wall can also be seen.
Bab Sharqi: This was the most important Bab (gate) of the ancient Damascus and it is characterized by its beautiful architecture.
Tetrapil Archway: This Archway is midway between Bab Sharqi and Bab Jabieh, near Al-Maryamyah Church.
Ancient Damascus Palaces: Al-Azem Palace, Khaled Al-Azem House, Al-Siba'i House, Jabri House, Nizam House and Naasan Palace are all fine examples which indicate that ancient Syrians considered one's home, one's paradise. The desire to creat a personal paradise inspired them to build beautiful homes embellished with drawings, decorations, water fountains, larg yards, trees and flowers. These lovely homes are made visually more attractive by entering from narrow lanes into open, sunny, green court yards.
RELIGIOUS BUILDINGS
The Omayyad Mosque of Damascus: This wonder of architecture which dates back to Al-walid Ibn Abdel Malek (705-715), is characterized by its width, high walls and the beauty of its three minarets and dome. The mosaic panels, one of the treasuers of the building, are made of colored and gilded glass rather than stone. Set between two pillars is the Tomb of St. John the Baptist, a domed shrine. The visitor can also visit the Omayyad Mosque Museum and have a look at the relics of the temple of Jupiter the Damascene and the tomb of saladin that lies north to the mosque.
Al Takya Al Sulaymanya: This building is especially famous for the beauty of its dome, symmetry of its two graceful minarets, the organization of its floors, the width of its pool and the multitude of flowers.
Hanania Chapel: This ancient church is particularly fascinating to visitors because of its connection with the story of St. Paul and his conversion to christianity through the help of Hanania.
St. Paul's Church: Bab Kissan, near Bab Shrqi, was changed into a church in memory of St. Paul's leaving Damascus through this gate.
Al-Maryamyah Cathedral: (The Cathedral of Virgin Mary), located near the Tetrapil Archway on Straight Street, this is one of the most beautiful and ancient churches of Damascus. Many people enjoy listening to its lovely hymns and taking a quiet time for prayer.
Other Locations of Intrest: The mosque of Al-Sheik Muhiddin Pasha in Salihiyeh; Darwish Pasha Mosque, noted for its wonderful marbel; Al-Sinanieh mosque, distinguished for its minaret covered with green marble; Al-Tayrouzi mosque in Bab Srijeh, with marble decorated walles; Murad Pasha mosque, located in suwaiqa on Midan Road, featuring a beautiful dome and saiyida Raqiya mosque; located in Al-Amara.
QUARTERS OF ANCIENT DAMASCUS
Located within the old city Wall, this area is characterized by relatively narrow lanes and locally beautiful architecture. Strolling down these lanes adds a new dimension to the visitor's enjoyment of the Old City.
Through the centuries, visitors have described Damascus in many different ways. Whatever words one chooses to describe her, there is little doubt that it leaves an indelible mark on the heart and imagination. Damascus becomes more than just another city visited, she becomes a friend.
تَعِبَ الكلامُ من الكلامِ…
1 -
لم يبقَ عندي ما أقولُ.
لم يبقَ عندي ما أقولُ.
تعبَ الكلاَمُ من الكَلامِ…
وماتَ في أحداق أعيُننَا النخيلُ…
شَفَتايَ من خَشَبٍ…
ووجهُكِ مُرْهَقٌ
والنَهْدُ… ما عَادَت تُدَقُّ لهُ الطُبولُ!!
- 2 -
لم يبقَ عندي ما أقولُ.
الثلجُ يسقطُ في حديقتنا
ويسقطُ من مشاعِرنا…
ويسقُط من اصابعنا…
ويسقطُ في الكُؤوسِ
وفي النبيذِ…
وفي السريرِ
فأينَ هوَ البديلُ؟!
- 3 -
لم يبقَ عندي ما أقولُ.
يَبسَت شرايينُ القصيدة…
وانتهى عصرُ الرتابةِ… والصبابةِ…
وانتهى العُمرُ الجميلُ!…
- 4 -
الشِعرُ غادرني
فلا بحرٌ بسيطٌ… أو خفيفٌ… أو طويلُ…
والحب غادرني
فلا قمرٌ…
ولا وترٌ…
ولا ظِلُّ ظليلُ…
- 5 -
لم يبقَ عندي ما أقولُ.
لم يبقَ في الميدان فُرسانٌ…
ولا بقيتْ خُيُولُ…
فالجِنسُ صعبٌ…
والوصُولُ الى كُنوزِكِ مُستحيلُ!!…
والنهدُ يقتُلُني…
ويزعمُ أنه الطرفُ القتيلُ!!
والموجُ يرفعني… ويرميني… كثورٍ هائجٍ…
فلأيِّ ناحيةٍ أميلُ؟؟
ماذا سيبقى من حصانِ الحُبِّ…
لو ماتَ الصهيلُ؟؟
- 6 -
لم يبقَ شيءٌ في يدي…
هربت عصافيرُ الطفولةِ من يدي…
هربت حبيباتي…
وذاكرتي…
وأَقلامي…
وأُوراقي…
وأقفرتِ الشواطئ… والحقولُ…
- 7 -
لم يبقَ عندي ما أقولُ
طارَ الحمامُ من النوافذِ هارباً…
والريش سافرَ… والهديلُ…
ضاعت رسائلنا القديمةُ كلها…
وتناثرت أوراقُها.
وتناثرت أشواقُها.
وتناثرت كلماتها الخضراءُ في كلّ الزوايا…
فبكى الغمامُ على رسائلنا…
كما بكتِ السنابلُ…
والجداولُ…
والسُهُولُ…
- 8 -
عيناكِ تاريخانِ من كحلٍ حجازيٍ…
ومن حُزنٍ رماديٍ…
ومن قلقٍ نسائيٍ…
فكيف يكونُ، سيّدتي الرحيلُ…
إنّي أفرُّ الى أمامي دائماً…
فهل ابتعادي عنكٍ، سيدتي وصُولُ؟…
ماذا سأفعلُ كيف أفكّ سلاسِلي؟
لا الشِعرُ يجديني… ولا تُجدي الكحولُ!!…
- 9 -
لم يبقَ شيءٌ في يدي.
كلُّ البُطولاتِ انتهت…
والعنترياتُ انتهت…
ومعاركُ الإعرابِ… والصرفِ… انتهت…
لا ياسمينُ الشام يعرفُني
ولا الأنهارُ. والصفصافُ… والأهدابُ… والخدُّ الأسيلُ…
وأنا أحدِّقُ في الفراغِ…
وفي يدَيكِ…
وفي أحاسيسي…
فيغمرُني الذُهولُ…
- 10 -
أرجوُ السماحَ…
إذا جلستُ على الأريكة مُحبطاً.
ومُشتتاً…
ومُبعثراً…
أرجُو سماحكِ…
إن نسيتُ بلاغتي…
لم يبقَ من لُغَةِ الهوى إلا القليلُ!!
(لندن 15 آذار (مارس) 1997)
طَعَنُوا العُرُوبةَ في الظلام بخنجرٍ
- 1 -
لا تَسأليني،
يا صديقةُ، مَنْ أنا؟
ما عُدْتُ أعرفُ…
- حينَ اكتُبُ -
ما أُريدُ…
رَحلتْ عباءَاتٌ غزَلتُ خُيُوطَها…
وتَمَلمَلَت منّي
العُيُون السُودُ…
لا الياسمينُ تجيئُني أخبارُهُ…
أمَّا البَريدُ…
فليسَ ثَمَّ بَريدُ…
لم يَبقَ في نَجدٍ… مكانٌ للهوى
أو في الرَصَافَةِ…
طائرٌ غِرِّيدُ…
- 2 -
العَالَمُ العربيُّ…
ضَيَّعَ شعرَهُ… وشُعُورهُ…
والكاتبُ العربيُّ…
بينَ حُرُوفِهِ… مَفْقُودُ!!
- 3 -
الشعرُ، في هذا الزمانِ…
فَضِيحةٌ…
والحُبُّ، في هذا الزمانِ…
شَهيدُ…
- 4 -
ما زالّ للشِعر القديمِ
نضارةٌ…
أما الجديدُ…
فما هناكَ جديدُ!!
لُغةٌ… بلا لُغةٍ…
وجوقُ ضفادعٍ…
وزوابعُ ورقيّةٌ
ورُعُودُ
هم يذبحونَ الشِعرَ…
مثل دجاجةٍ…
ويُزّورونَ…
وما هناكَ شهودُ!!
- 5 -
رحلَ المُغنون الكِبارُ
بشعرِنا…
نفي الفرزدقُ من عشيرتهِ
وفرَّ لبيدُ!!
- 6 -
هل أصبحَ المنفى
بديلَ بيُوتنا؟
وهل الحمامُ، مع الرحيلِ…
سعيدُ؟؟
- 7 -
الشعرُ… في المنفى الجميلِ…
تحرّرٌ…
والشِعرُ في الوطنِ الأصيلِ…
قيودُ!!…
- 8 -
هل لندنٌ…
للشعرِ، آخرُ خيمةٍ؟
هل ليلُ باريسٍ…
ومدريدٍ…
وبرلينٍ…
ولُوزانٍ…
يبدّدُ وحشتي؟
فتفيضُ من جسدي
الجداولُ…
والقصائدُ…
والورودُ؟؟…
- 9 -
لا تسأليني…
يا صديقةُ: أين تبتدئ الدموعُ…
وأين يبتدئ النشيدُ؟
أنا مركبٌ سكرانُ…
يُقلعُ دونَ أشرعةٍ
ويُبحرُ دون بُوصلةٍ…
ويدخُلُ في بحار الله مُنتحراً…
ويجهلُ ما أرادَ… وما يريدُ…
- 10 -
لا تسأليني عن مخازي أُمتي
ما عدتُ أعرفُ – حين أغضبُ -
ما أُريدُ…
وإذا السيوفَ تكسرت أنصالُها
فشجاعةُ الكلماتِ… ليس تُفيدُ…
- 11 -
لا تسأليني…
من هو المأمونُ… والمنصورُ؟
أو من كان مروانٌ؟
ومن كانَ الرشيدُ؟
أيامَ كان السيفُ مرفوعاً…
وكان الرأسُ مرفوعاً…
وصوتُ الله مسموعاً…
وكانت تملأ الدنيا…
الكتائبُ… والبنودُ…
واليومَ، تختـــجلُ العروبة من عروبتنا…
وتختجلُ الرجولةُ من رجولتنا…
ويختجلُ التهافتُ من تهافتنا…
ويلعننا هشامٌ… والوليدُ!
- 12 -
لا تسأليني…
مرةً أخرى… عن التاريخ…
فهو إشاعةُ عربيةٌ…
وقصاصةٌ صحفيةٌ…
وروايةٌ عبثية…
لا تسألي، إن السّؤَالَ مذلةٌ…
وكذا الجوابُ مذلةٌ…
نحنُ انقرضنا…
مثل أسماكِ بلا رأسٍ…
وما انقرضَ اليهودُ!!
- 13 -
أنا من بلادٍ…
كالطحينِ تناثرَت…
مِزَقاً…
فلا ربٌّ… ولا توحيدُ…
تغزو القبائلُ بعضها بشهيةٍ
كبرى…
وتفترسُ الحُدودَ… حدودُ!!
- 14 -
أنا من بلادٍ…
نكّست راياتها…
فكتابُها التوراةُ… والتلمودُ…
- 15 -
هل في أقاليم العروبةٍ كُلّها…
رجلٌ سَوِيُّ العقلِ…
يجرؤ ان يقول: أنا سعيدُ؟؟…
- 16 -
لا تسأليني من أنا؟
أنا ذلك الهِندي…
قد سرقوا مزارعهُ…
وقد سرقوا ثقافته…
وقد سرقوا حضارتهُ…
فلا بقيت عظامٌ منهُ…
أو بقِيت جُلودُ!!…
- 17 -
أنيابُ أمريكا
تغوصُ بلحمِنا…
والحِسُّ في أعماقنا مفقودُ…
- 18 -
نتقبلُ (الفيتو)…
ونلثمُ كفَّها…
ومتى يثورُ على السياطِ عبيدُ؟؟
- 19 -
والآن جاؤوا من وراء البحرِ…
حتى يشربُوا بترولنا…
ويبدّدوا أموالنا…
ويُلوّثوا أفكارنا…
ويُصدِّروا عُهراً الى أولادنا…
وكأننا عربٌ هنودُ!!
- 20 -
لا تسأليني. فالسؤالُ إهانةٌ.
نيران اسرائيل تحرقُ أهلنا…
وبلادنا… وتُراثنا الباقي…
ونحنُ جليدُ!!
- 21 -
لا تسأليني، يا صديقةُ، ما أرى.
فالليلُ أعمى…
والصباحُ بعيدُ…
طعنوا العروبةَ في الظلام بخنجرٍ
فإذا هُمُ… بين اليهودِ يهودُ!!
(لندن 1 نيسان (ابريل) 97)
أنا قصِيدةُ حُبٍّ…
- 1 -
أنا مسؤولٌ… عن كلِّ قصيدةِ حُبٍّ كَتَبتُها…
ابتداءً من الوصول الى جَبَل طارقْ…
وانتهاءً بمغادرة (قصر الحمراءْ)…
مسؤولٌ عن سُيُوف (بني الأحمر)…
واحداً… واحداً…
وعن تنهُّداتهمْ… واحداً… واحداً…
- 2 -
أنا مسؤولٌُ عن هذا الوطن الجميلْ…
الذي رسَمْتُهُ مرةً بانتصاراتي…
ومرةً… بفتوحاتي… وأوسمتي…
ومرةً… بانكساراتي… ودُمُوعي…
- 3 -
أنا مئذنةُ حزينةٌ…
من مآذنِ قُرْطبهْ…
تُريدُ أن تعُودَ الى دمشقْ…
- 4 -
أنا تراثُ أمي… من الياسمينْ والخبّيزَهْ…
لا يزالُ ينكُشُ تحت ثيابي!!
- 5 -
أنا قصيدةُ حُبٍّ
كانتْ سَبَباً…
في سُقُوط العَرَب من الأندلسْ!!
- 6 -
أنا أوَّلُ البكاءْ…
وآخرُ البكاءْ…
- 7 -
أنا مجموعة من الأحزان…
يستعملها الرُهْبان لصنع شُمُوعهْم…
- 8 -
أنا في النهارْ…
سَيْفٌ من سُيُوف عبدالرحمن الداخِلْ…
وفي الليل، مَرْوَحةٌ من الريشْ…
في يد إحدى راقصات (الفلامِنْكُو)…
- 9 -
أنا موشَّحٌ أندلسيّ…
لم تكتُبْ ساحاتُ (الحَمْراء) أجملَ منه…
قيثارةٌ… تنتحِبُ
على صدر (غارثيا لُوركَا)…
- 10 -
أنا ياسمينةٌ تتسَّلَقُ صباحاً
على عباءة (أبي عبدالله الصغيْر)!!
- 11 -
أنا مجموعةٌ من المواويلْ…
تستعملُها جبالُ لبنانْ…
للتعبير عن بكائها…
- 12 -
أنا كلُّ أوجاع العالَمْ…
من جُولْييت غريكو…
الى بابلو نيرُودّا…
- 13 -
على شفتيكِ
أيتها الأندلسيّة…
أبحثُ عن خط الاستواءْ
وعن غابات إفريقيا…
وعن حبّ الهالْ…
والفلفلِ الأسودْ…
ونبيذ مالاغا…
وزرقة القلوع
على شاطئ (ماربيا)…
- 14 -
أنا مسؤولٌ…
عن (زمان الوصلِ بالأندلُسِ)…
وعن غَزَلياتِ (العبّاس بن الأحتَفْ…)
وعن كلّ وردةٍ حمراءْ…
تضعُها (الولاّدةُ بنتُ المستكْفي)…
على جبينها…
- 15 -
أنا مجموعةٌ من الدموْع…
تسبحُ من بلاد الشعرْ…
ولا يعرفُ أحدٌ…
في أيّ مكانٍ على شاطئ عُيُوني…
تصُبّ…
(سبتمبر 1997)
لو
- 1 -
لو أنكِ جئتِ… قبيل ثلاثين عاماً
الى موعدي المنتظَرْ…
لكانَ تغير وجهُ القَضَاءِ…
ووجهُ القَدَرْ…
- 2 -
لو أنكِ جئتِ… قبيل ثلاثينَ قرناً
لطرّزتُ بالكلماتِ يدْيَكِ…
وبللتُ بالماء وجهَ القَمرْ…
- 3 -
لو انكِ كنتِ حبيبةَ قلبي…
قبيل ثلاثين قرناً…
لزادت مياهُ البحورْ…
وزادَ أخضرارُ الشَجَرْ…
- 4 -
لو أنكِ كنتِ رفيقةَ دربي…
لفجرَّتُ من شفتيكِ الشُموسَ…
وأخرجتُ من بين نهديكِ…
ألفَ قَمرْ…
- 5 -
لو أنكِ كنتِ حبيبةَ قلبي
قُبيلَ ثلاثينَ قرناً…
تغيرَّ تاريخُ هذا البَلدْ…
فقبلكِ… ليس هناكَ نساءٌ.
وبعدَكِ…
ليس هناكَ أحدْ!!…
(أكتوبر 1997)
مُرَبّعات…
- 1 -
أنا مُرَّبعٌ…
يبحثُ منذُ القرنِ الأولْ
عن بقية أضلاعِهْ…
يبحثُ منذ بدايات التكوينْ…
عن صورة وجهِهْ…
يبحثُ منذُ بداياتِ النساءْ…
عن اسمِ امرأتِهِ الضائعةْ!!…
- 2 -
أنا المسيحُ عيسى بنُ مريمْ…
أبحثُ منذ تاريخ صَلبي
عن دمي… وجراحي… ومساميري!!
- 3 -
أنا في مربَّع، إسمُهُ أنتِ.
فلا أستطيعُ الهُروبَ الى امرأةٍ ثانيهْ…
أنا بين نهديكِ في مأزقٍ…
ولا أستطيعُ الخلاصَ من الهاويَهْ!!
- 4 -
أنا في مربَّعٍ اسمُهُ الشعرْ…
فلا أستطيعُ الذهابَ شمالاً…
ولا أستطيعُ الذهاب جنوباً…
وأعرف أنّي سأُقتَلُ بالضربة القاضية…
- 5 -
أنا شاعرٌ عربيّ… يمُوتُ…
على خنجر العشْق يوماً…
ويوماً… على خنجر القافية.
- 6 -
أنا في مربَّعٍِ، اسمهُ الأنوثة…
فأيُّ الجميلات تُفرجُ عنّي…
وليس هنالكَ لبنَى… ولا راويَهْ…
- 7 -
أنا في مربَّعٍ… اسمُهُ القصيدَة…
في أساورها تلبُسِني…
في خواتمها تحبسني…
في ضفائرها تحاصرني…
في قدَميْها تزيّنُ بي…
كخلاخيل الحرَّية!!
- 8 -
أنا في مربَّعٍ مفتوحٍ عليكْ…
من الجهات الأربَعْ…
من الشعر الأسود… الى الحَلَقِ الفضيّ
ومن الأصابع المرصعة بالنُجومْ…
الى الشامات التي لا عدَدَ لها…
- 9 -
أنا مربعٌ أخضرُ… في بحر عينيكِ…
وما زلتُ أُبحرُ…
ما زلتُ أغرقُ…
ما زلتُ أطفو… وأرسو…
وأجهلُ في أيّ وقتٍ…
يكونُ وصُولي…
الى رمل صدرِكِ… أيتها الغاليهْ…
- 10 -
أنا في مربعٍ… اسمُهُ الكتابة…
ولا أستطيعُ التحرّر منكِ…
ولا أستطيعُ التحررُ مني…
فأينَ يداكِ…
تُضيئان أياميَ الآتيةْ…
- 11 -
أحبكِ…
يا مَنْ ألملِمُ من شفتَيها
بقيّةَ أحلاميَ الباقيهْ…
- 12 -
أحبُّك…
يا ألفَ امرأةٍ في ثيابي…
ويا ألفَ بيتٍ من الشِعر…
يملأُ أوراقيَهْ…
(مارس 1998)
القصيدة الأخيرة(مقاطع)
ما تُراني أقولُ ليلةَ عُرسي؟
جَف وردُ الهوى، ونامِ السامر.
ما تُراني أقولُ يا أصدقائي
في زمانٍ تموتُ فيه المشاعر؟
لم يعد في فمي قصيدةُ حبٍ
سقطَ القلبُ تحت وقع الحوافِرْ
ألف شكرٍ لكم… فأنتم شراعي
وبحاري، والغالياتُ الجواهرْ
فأنا منكُمُ سرقتُ الأحاسيس
وعنكم أخذتُ لونَ المحاجِر
أنتم المبدعُونَ أجمل شِعري
وبغير الشعوب، ما طار طائر
فعلى صوتكُم أُدوزِنُ شعري
وبأعراسِكم أزفُّ البشائرْ.
* * *
أنزفُ الشعر، منذ خمسينَ عاماً
ليس سهلاً أن يصبحَ المرءُ شاعر
هذه مِهنةُ المجانين في الأرضِ
وطعمُ الجُنون طعمٌ باهِر…
أنزِفُ العشقَ والنساءَ بصمتٍ
هل لهذا الحزنِ الدمشقي آخر؟
لستُ أشكو قصيدةً ذبحتني
قدري أن أموت فوق الدفاتر
بي شيءٌ من عزة المُتنبي
وبقايا من نار مجنون عامرْ…
لم يكن دائماً فراشي حريراً
فلكم نمت فوق حدِّ الخناجرْ
فخذُوا شُهرتي التي أرهقتني
والإذاعاتِ كلَّها… والمنابرْ
وامنحوني صدراً أنامُ عليهِ
واصلُبوني على سواد الضفائر…
* * *
أنا من أُمّةٍ على شكل ناي
هي دوماً حُبلى بمليون شاعرْ
كلُّ أطفالنا يقولونَ شعراً
والعصافيرُ، والرُبى، والبيادرْ.
ما بنا حاجةٌ لمليونِ ديكٍ
نحنُ في حاجةٍ لمليونِ ثائرْ
تُطلِعُ الأرضُ شاعراً كلَّ قرنٍ
لا تباعُ الأشعارُ مثلَ السجائر…
هل سعِدنا بشعرنا أم شقينا
أم غفونا على رنين القياثِر؟
فانتصرنا يوماً ببحرٍ طويلٍ
وانهزمنا يوماً ببحر الوافرْ
Michelangelo
Apollo-David (unfinished)
Carrara marble
Museo Nazionale del Bargello, Florence (Sculture 1879 no. 121)
The pose of the languid, nude youth in this monumental sculpture, begun about 1530-34, results in a gentle serpentine pose (figura serpentinata), a much-admired design concept in Michelangelo’ art that conveys grace and quality of movement. The figure retains the attributes of both the god Apollo of Greek mythology and the biblical hero David. The ambiguity of subject matter is due to the unfinished state, an arrested metamorphosis not unusual in Michelangelo’s work. For example, a long rectangular prism blocked out on the back of his left shoulder suggests Apollo’s quiver of arrows, while the large, relatively spherical mass under his right foot was probably intended for the severed head and helmet of Goliath, the giant slain by David.
From the Placard: The Metropolitan Museum of Art, New York, NY
From the show Michelangelo: Divine Draftsman & Designer
Photo used on-line ( 8/25/2018)
arte.sky.it/2018/08/michelangelo-e-il-rinascimento-italia...
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Identify the Artist XI will begin on Sunday, February 11, 2018 and as usual run 10 weeks to the middle of April. Calendrical links are provided below.
Identify the Artist XI
Week 1 LENT (951 – 955) 2/11 – 2/15/2018
Week 2 MIRROR ( 956 – 960) 2/18 - 2/22/2018
Week 3 A ROOM WITH A VIEW ( 961 – 965) 2/25 – 3/1/2018
Week 4 LIPS (966 – 970 ) 3/4- 3/8/2018
Week 5 VENICE (971 -975) 3/11 – 3/15/2018
Week 6 Psychedelic Furs Greatest Hits Love My Way (976 -980) 3/19 – 3/22/2018
Week 7 DINING ROOM ( 981 – 985) 3/25 - 3/29/2018
Week 8 EASTER ( 986 – 990) 4/1/-4/5/2018
Week 9 INSIDE CHURCH ( 991-995) 4/8 – 4/12/2018
Week 10 PORTRAITS ( 996 – 1000) 4/15 – 4/19/2018
The 1st and 2nd place prizes will be a copy of the book: Photography at MoMA: 1960 to Now .
store.moma.org/books/moma-publications/photography-at-mom...
In addition to First and Second place prizes, there will be a mailed Art postcard (my choice) acknowledging their participation. Third through Fifth place will also receive an Art postcard.
The Rules of the Game:
Posting of a detail fragment of a work of art will take place sometime after 8:00 PM EST, five days a week (Sunday; Monday; Tuesday; Wednesday; Thursday. There are no IDs on Friday or Saturday)
Correct answers are allotted points in the following manner:
First correct respondent receives 6 points
Second: 5 points
third: 4 points
fourth: 3 points
fifth: 2 points
Each respondent after that receives 1 point, whether the artist named is correct or not.. 2 points will be awarded if there were not 5 awards.
Incorrect responses will be awarded at least one point (there is no penalty for guessing...actually encouraged). The opportunity to accrue points can only happen within a maximum of 24 hours. Once the full photograph of the work of Art is elevated and the artist identified, no additional scoring (for that work can occur). (In other words, regardless of pleas, points will not be awarded for a comment/ID made days after the posting) ( Also, 15 guesses does not generate 15 points...only 1 point )
A favorite of the photograph will also garnish 1 point ( only if nothing else is ventured by the participant,…1 point is not added to any other points awarded ).
A summary of scores for the top five positions will be published each Sunday, at the beginning of each set of five photographs.
Caveats / Understanding:
Postings may be held up due to circumstances beyond my control.
Delays in posting may occur each evening. ( sorry, no guarantee on 8:00 EST, I’m a working stiff in the finance industry and there are late nights at times. – usually month end btw ).
In addition, as most of you are aware, part of the clues for each identity is a “presence/absence” notation about whether the artist has been in a prior Identity Set. Because flickr’s new format doesn’t facilitate the reading of a long list of names in a “Set’s” overview/description, those lists are also available on request. If you send me an email address that can receive attachments, I will transmit an Windows based Excel sheet with the names of the artists and the number of their paintings/objects. ( Be sure to specify which format you would like: xlsx; xls; csv; txt – tab delimited – if you don’t specify the default is xlsx MS Office-10). ( non-windows participants should request txt).
Also, sorry for the bias the timing provides those in the Americas but no matter how I thought about it… I couldn’t come up with a plan to assist Europe and Asia.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Nature paintings by the female German naturalist and scientific illustrator, Maria Sibylla Merian (1647–1717). Merian had an interest in insects and the metamorphosis of the butterfly. She was one of the first European naturalists who observed insects directly and created beautifully detailed drawings of her subjects. We have digitally enhanced these biological and botanical paintings into high-resolution printable quality. They are free to download under the CC0 license.
Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1231815/maria-sibylla-merian-paintings-free-public-domain-biological-illustrations
【Geiko, November 25, 2018】
Geiko is Toshimana.
Shooting location is Ryuhonji Temple.
Photo by Hiroyuki Nunome.
【芸妓, 2018-11-25】
芸妓はとし真菜さんです。
撮影場所は立本寺。
Photo by Hiroyuki Nunome.
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If you use this image, please attribute it with a link 55maiko.net.
写真の転載について：写真の転載・使用は歓迎いたしますが、その際に必ず 55maiko.net へリンクいただくようお願いします。
Quote attributed to St Francis de Sales.
Daffodil seen a yard in the Irvington neighborhood of Portland, Oregon. I talked to the owner of the house. She said that this is a very early blooming variety of daffodil. I should have taken a photo of the whole yard because it was a sea of yellow. This one was growing out between two rocks.
Photo taken for Our Daily Challenge: Quoted.
Kenroku-en Gardens & Kanazawa Castle, Kanazawa, Japan
Kenroku-en (兼六園, Six Attributes Garden), located in Kanazawa, Ishikawa, Japan, is an old private garden associated with Kanazawa Castle. Along with Kairaku-en and Kōraku-en, Kenroku-en is one of the Three Great Gardens of Japan.
Kenroku-en was developed from the 1620s to the 1840s by the Maeda clan, the daimyōs who ruled the former Kaga Domain.
While the date of initial development of the garden that would be become known as Kenroku-en is rather unclear, one version of the garden's origins can perhaps be marked by the completion of the Tatsumi water channel in 1632 by Maeda Toshitsune, the third daimyō of the powerful Maeda clan and ruler of the Kaga Domain from 1605 to 1639, as this feature would be later incorporated into creating the garden's twisting waterways in 1822.
The garden is located outside the gates of Kanazawa Castle where it originally formed the outer garden, and covers 114,436.65 m² (over 25 acres). It began in 1676 when the 5th daimyō Maeda Tsunanori moved his administration to the castle and began to landscape a garden in this vicinity. This garden was, however, destroyed by fire in 1759.
The garden was named by Matsudaira Sadanobu at the request of Narinaga. Its name was derived from the "Chronicles of the Famous Luoyang Gardens" (洛陽名園記), a book by the Chinese poet Li Gefei (李格非), and stands for the six attributes of a perfect landscape: spaciousness, seclusion, artifice, antiquity, waterways, and panoramas.
Kanazawa
Kanazawa (金沢市 Kanazawa-shi) is a city located in Ishikawa Prefecture, Japan. As of 1 January 2018, the city had an estimated population of 466,029 in 203,271 households. The total area of the city was 468.64 square kilometres (180.94 sq mi). It is the capital of Ishikawa Prefecture.
Kanazawa is located in north-western Ishikawa Prefecture in the Hokuriku region of Japan and is bordered by the Sea of Japan to the west and Toyama Prefecture to the east. The city sits between the Sai and Asano rivers. The eastern portion of the city is dominated by the Japanese Alps. Parts of the city are within the borders of the Hakusan National Park. Kanazawa has a humid continental climate (Köppen Cfa) characterized by hot and humid summers and cold winters with heavy snowfall. Average temperatures are slightly cooler than those of Tokyo, with means approximately 4 °C (39 °F) in January, 12 °C (54 °F) in April, 27 °C (81 °F) in August, 17 °C (63 °F) in October, and 7 °C (45 °F) in December. The minimum temperature on record was −9.4 °C (15.1 °F) on January 27, 1904, with a maximum of 38.5 °C (101.3 °F) standing as a record since September 8, 1902. The city is distinctly wet, with an average humidity of 73% and 193 rainy days in an average year. Precipitation is highest in the autumn and winter; it averages more than 250 millimetres (10 in)/ month November through January when the Aleutian Low is strongest, but it is above 125 millimetres (4.9 in) every month of the year.
The area around Kanazawa was part of ancient Kaga Province. The name "Kanazawa" (金沢, 金澤), which literally means "marsh of gold", is said to derive from the legend of the peasant Imohori Togoro (literally "Togoro Potato-digger"), who was digging for potatoes when flakes of gold washed up. The well in the grounds of Kenroku-en known as 'Kinjo Reitaku' (金城麗澤) to acknowledge these roots. The area where Kanazawa is was originally known as Ishiura, whose name is preserved at the Ishiura Shrine near the Kenrokuen Gardens.
During the Muromachi period, as the powers of the central shōguns in Kyoto was waning, Kaga Province came under the control of the Ikkō-ikki, followers of the teachings of priest Rennyo, of the Jōdo Shinshū sect, who displaced the official governors of the province, the Togashi clan, and established a kind of theocratic republic later known as "The Peasants' Kingdom". Their principal stronghold was the Kanazawa Gobo, on the tip of the Kodatsuno Ridge. Backed by high hills and flanked on two sides by rivers, it was a natural fortress, around which a castle town developed. This was the start of what would become the city of Kanazawa.
In the summer of 1772 Zoffany set off for Florence with £300, letters of introduction and a commission from the Queen to paint highlights of the Grand Duke of Tuscany’s collection shown within the Tribuna of the Uffizi Palace. The inspiration for the commission could have been the Cabinet of Paintings (Royal Collection, now given to Formentrou), then attributed to Gonzales Coques, which hung in Queen Charlotte’s work-room at Kew. Progress was slow and painful: according to Lord Winchilsea, one of the sitters, the task was:
‘really one of the Most laborious undertakings I ever saw. For he not only Copies a great Many Pictures & Statues & the Room &c. which is a great deal to do, but even the Frames & every the most minute thing Possible the small bronzes, the Table &c. to make it be a compleat & exact representation of the Room.’ (letter to Lady Charlotte Finch, 2 January 1773)
It is clear that Zoffany had planned from the outset to introduce real people, as Horace Mann, was already mentioning ‘small figures (portraits) as spectators’ in August 1772 (Horace Mann letter to Horace Walpole, 25 August 1772). Fairly soon these spectators came to seem inappropriate: Mann wrote to Walpole on 23 August 1774:
‘The one-eyed German, Zoffany [Mann here alludes to the artist’s squint], who was sent by the King to paint a perspective view of the Tribuna in the Gallery, has succeeded amazingly well in many parts of that and in many portraits he has made here. The former is too much crowded with (for the most part) uninteresting portraits of English travellers then here.’
By the time the work was complete in 1777 and brought back to London in 1778 the error in judgement was generally acknowledged: Mann wrote again:
‘I told him often of the impropriety of sticking so many figures in it, and pointed out to him, the Great Duke and Dutchess, one or two of their children, if he thought the variety more pictoresque, and Lord Cowper. . . If what he said is true, that the Queen sent him to Florence to do that picture, and gave him a large sum for his journey, the impropriety of crowding so many unknown figures was still greater.’ (letter to Horace Walpole, 10 December 1779)
The Royal family took the same view: Joseph Farington reported in 1804 that:
‘The King spoke of Zoffany’s picture of the Florentine Gallery painted for him, & expressed wonder at Zoffany having done so improper a thing as to introduce the portraits of Sir Horace Man — Patch, & others. — He sd. The Queen wd. not suffer the picture to be placed in any of her apartments.’ (Diary for 15 December 1804)
Zoffany was certainly paid handsomely for the work and to cover his stay in Florence (though the actual sum is disputed) however he never again worked for the Royal Family. The painting hung briefly at Kew Palace and is recorded, with The Academicians at the Upper Library at Buckingham House in 1819.
A ‘tribune’ (tribuna in Italian) is the semicircular (or semi-polygonal) domed end of a basilican church; the Tribuna is the hexagonal domed room created in 1585-9 by Bernardo Buontalenti (1536-1608) at the Uffizi palace for the display of the masterpieces in the Medici collection. The idea of the space and the name was that the room (which originally had a single entrance) had the character of a chapel and formed a sort of Holy of Holies within the palace: indeed, it has remarkably similar shape and proportions to the much larger Capella dei Principi, Medicean funeral chapel begun in 1602, also with involvement of Buontalenti, next to the church of San Lorenzo in Florence. Both steep-domed hexagons are of course based on Brunelleschi’s cupola of Florence cathedral, completed in 1436. It is perhaps not a coincidence that George III favourite architect, William Chambers, had recently created two octagonal temples to the Muses: the Great Room at the Society of Arts in 1759; and the Octagon, one of the four rooms housing the King’s library at Buckingham House in 1766-7. It is tempting to suggest that Zoffany’s painting was intended for the over-mantel space visible in Stephanoff’s watercolour (Royal Collection), where the match of real and painted architecture would have been perfect.
The Tribuna was presented in this period as Europe’s most precious Wunderkammer, with a profusion of painting, sculpture, pietra dura and decorative arts, set against the already richly decorated surfaces of floor, walls and vault. In the words of Tobias Smollett (1721-71), ‘there is such a profusion of curiosities in this celebrated museum ... that the imagination is bewildered . . . a stranger of a visionary turn would be apt to fancy himself in a palace of the fairies, raised and adorned with the power of enchantment’ (Travels through France and Italy, letter 28, 5 February 1765). A comparison of Zoffany’s view with the contemporary drawings of Giuseppe Magni (Gabinetto dei Disegni, Uffizi, Florence) reveals that Zoffany’s is a substantially accurate record of the arrangement. There are two areas in which Zoffany has distorted or reinterpreted reality: he has adjusted the perspective of the interior; and he has taken liberties with the paintings he has chosen to include, often introducing works from the Pitti Palace or elsewhere in the Uffizi.
Zoffany’s viewpoint is slightly behind the centre of the room: (the central octagon of the floor pattern appears in the foreground). His field of vision includes a little less then three of the eight sections of the octagon, which would mean an angle of around 90 degrees. If he had carried this perspective through to its logical conclusion he would only have caught two of the four major sculptural groups placed in front of each alternate wall, instead of the four visible here. Moreover, almost all the objects and figures within the room, especially those in the foreground, should appear significantly larger than they do here: clearly if he had followed a geometrically literal regime he would never have been able to fit in so much or to have made so many interesting and intelligible groups. Instead, he has treated the ‘floor-show’ differently, adopting a perspective as if set in a cut-away model of the space, like a stage, and viewed from some way back in the auditorium. Evidently this aspect of the painting was also criticised: according again to Horace Mann ‘they found great fault in the perspective which, they say, is all wrong. I know that he was sensible of it himself, and tried to get assistance to correct it; but it was found impossible, and he carried it away as it was’ (letter to Horace Walpole, 10 December 1779).
In order to understand Zoffany’s perspective it is necessary to examine his other source of inspiration: the encyclopaedic paintings of Giovanni Paolo Panini (1692-1765). For example, Panini’s Modern Rome of 1757 (Metropolitan Museum of Art, New York) has some perspective, of course, but overridden by a clamour of surface of surface detail - a brilliance of colour, light and touch, across the entire canvas. Zoffany achieves exactly this brilliance, this refusal to subordinate, this determination that the spaces between things are as eye-catching as the things themselves. He deliberately creates a world where nothing quite sits quietly behind anything else; everything pushes itself forward. As a result, the painting has the slight unreality of an advent calendar, but also the effect of a jewel cabinet that needs to be explored systematically in order to reveal all its treasures. This effect was, again, not universally appreciated: when the Tribuna was exhibited at the Royal Academy in 1780, the Morning Post criticised ‘its want of keeping’, that is, its harmony of colours; the Morning Chronicle wrote that ‘this accurate picture has the same effect on the spectator which the gallery itself has on first entering it; the multitude of excellencies contained in it, dissipate our ideas, and it requires some time to arrange them before we can coolly examine the merit of any individual piece.’
The art displayed here and its arrangement (by Zoffany as well as the custodians of the Uffizi) clearly has the potential to provoke innumerable conversations: Zoffany seems to be more interested in suggesting a multitude of ideas than in providing a coherent programme. The Royal Academy catalogue of 1780 described the work as a ‘room in a gallery of Florence, called the Tribuna, in which the principal part is calculated to show the different styles of the several masters’. Zoffany not only imitates their styles, he arranges them so that the relationships between them can be appreciated. The great tradition of painting is dominated by ‘the divine’ Raphael, his figure of St John the Baptist ‘pointing upwards’ as if to suggest a heavenly source of inspiration. The same tradition is maintained through the reverend Bolognese school of Annibale Carracci (1560-1609) and Guido Reni (1575-1640), and the occasional Flemish artist such as Rubens. Zoffany invites us to play the familiar game of comparing painting and sculpture, ancient and modern: who is the most beautiful woman of all? Clearly Venus, but is it the modern painted Venus of Urbino or the antique sculpted Medici Venus? There is also some nationalism present: the Etruscan remains stress them importance of Tuscany; the Holbein portrait tries to bring England into the story.
For the last two hundred years Zoffany’s Tribuna has been hung near to his Academicians (Royal Collection), and there is evidence that they were originally conceived as a pair. They make a very effective contrast between creating and appreciating art; between back and front of house; the former with the dark, thinly painted character of a work-in-progress, the latter with the highest and more precious finish. Only two vignettes within the Tribuna tell of the labour of art: the easel, palette, knife, brushes and maul-stick at the right margin and the hammer, pliers and pile of nails in the centre. Zoffany evidently feels that all these grand tourists should learn how to stretch a canvas.
I attribute my lot in life largely due to Summer Camp (Camp Champions in particular) and Boy Scouts (after being raised right by my Parents of course).
Education certainly played an important role, but takes a *very* distant 4th place after Family/Camp/Scouts (in that order).
Why I, to-this-day, put priority on both my Boys going to Camp Champions and being involved with Boy Scouts.
School teaches the disciplines (Language, Maths, Science, Arts, etc...), at a cost towards conformity in the method of which it is taught ("the nail that sticks out gets hammered down").
Summer Camp on the other hand takes a Hammer to the nail and RAISES IT OUT OF THE WOOD just enough to teach the Campers that thinking outside the box is alright and even encouraged I.e. unleashes the (good) 'Inner Beast' in all of us...
...picture of Austin literally showing his Inner Beast at Dinner (it was Dance Night that evening and the theme was "Monster Mash"!) ;-)
Camp Champions, Texas.
Attributed to Charles François Grenier Lacroix (c.1700-1782) - A view of the Bay of Naples, from Mergellina, with Vesuvius in the distance
The budgerigar (Melopsittacus undulatus), also known as the common parakeet, shell parakeet or budgie (/ˈbʌdʒi/ BUJ-ee), is a small, long-tailed, seed-eating parrot. Budgies are the only species in the genus Melopsittacus. Naturally, the species is green and yellow with black, scalloped markings on the nape, back, and wings.[5] Budgies are bred in captivity with colouring of blues, whites, yellows, greys, and even with small crests. Juveniles and chicks are monomorphic, while adults are told apart by their cere colouring, and their behaviour.
The species is the only member of the genus Melopsittacus, which is the only genus in the Melopsittacini tribe.
The origin of the budgerigar's name is unclear. First recorded in 1805, budgerigars are popular pets around the world due to their small size, low cost, and ability to mimic human speech. They are likely the third most popular pet in the world, after the domesticated dog and cat. Budgies are nomadic flock parakeets that have been bred in captivity since the 19th century. In both captivity and the wild, budgerigars breed opportunistically and in pairs.
They are found wild throughout the drier parts of Australia, where they have survived harsh inland conditions for over five million years. Their success can be attributed to a nomadic lifestyle and their ability to breed while on the move. The budgerigar is closely related to lories and the fig parrots.
Etymology
Pair of budgerigars
Several possible origins for the name budgerigar have been proposed. One origin could be that budgerigar may be a mispronunciation or alteration of the Gamilaraay word gidjirrigaa (Aboriginal pronunciation: [ɡ̊iɟiriɡaː]) or gijirragaa from the Yuwaalaraay. Another possible origin is that budgerigar might be a modified form of budgery or boojery (Australian English slang for "good") and gar ("cockatoo"). While many references mention "good" as part of the meaning, and a few specify "good bird", it is quite possible that reports by those local to the region are more accurate in specifying the direct translation as "good food".
Alternative spellings include budgerygah and betcherrygah, the latter used by Indigenous people of the Liverpool Plains in New South Wales.
Alternative names for the budgerigar include the shell parrot or shell parakeet, the warbling grass parakeet, the canary parrot, the zebra parrot, the flight bird, and the scallop parrot. Although more often used as a common name for small parrots in the genus Agapornis, the name "lovebird" has been used for budgerigars, because of their habit of close perching and mutual preening, and their long term pair-bonds.
Taxonomy
Evolutionary history
parrots
Lories and lorikeets
Budgerigar
Fig parrots
genera Cyclopsitta & Psittaculirostris
... other parrots
Phylogenetic chart
The budgerigar was first described by George Shaw in 1805, and given its current binomial name by John Gould in 1840. The genus name Melopsittacus, from Ancient Greek, means "melodious parrot". The species name undulatus is Latin for "undulated" or "wave-patterned".
The budgerigar was once proposed to be a link between the genera Neophema and Pezoporus, based on the barred plumage. However, recent phylogenetic studies using DNA sequences place the budgerigar very close to the lories (tribe Loriini) and the fig parrots (tribe Cyclopsittini).
Description
Wild budgerigars average 18 cm (7 in) long,[6] weigh 30–40 grams (1.1–1.4 oz), 30 cm (12 in) in wingspan, and display a light green body colour (abdomen and rumps), while their mantles (back and wing coverts) display pitch-black mantle markings (blackish in fledglings and immatures) edged in clear yellow undulations. The forehead and face is yellow in adults. Prior to their adult plumage, young individuals have blackish stripes down to the cere (nose) in young individuals until around 3–4 months of age. They display small, iridescent blue-violet cheek patches and a series of three black spots across each side of their throats (called throat patches). The two outermost throat spots are situated at the base of each cheek patch. The tail is cobalt (dark-blue); and outside tail feathers display central yellow flashes. Their wings have greenish-black flight feathers and black coverts with yellow fringes along with central yellow flashes, which only become visible in flight or when the wings are outstretched. Bills are olive grey and legs blueish-grey, with zygodactyl toes.
In their natural Australian habitat, budgerigars are noticeably smaller than those in captivity. This particular parrot species has been bred in many other colours and shades in captivity (e.g. blue, grey, grey-green, pieds, violet, white, yellow-blue). Pet store individuals will commonly be blue, green, or yellow. Like most parrot species, budgerigar plumage fluoresces under ultraviolet light – a phenomenon possibly related to courtship and mate selection.
The upper half of their beaks is taller than the bottom half, covering the bottom when closed. The beak does not protrude much, due to the thick, fluffy feathers surrounding it, giving the appearance of a downward-pointing beak that lies flat against the face. The upper half acts as a long, smooth cover, while the bottom half is just about a half-sized cup-piece. These beaks allow the birds to eat plants, fruits, and vegetables.
The colour of the cere (the area containing the nostrils) differs between the sexes, being a lavender/baby blue in males, pale brownish/white (non breeding) to brown (breeding) in females, and pink in immature birds of both sexes (usually of a more even purplish-pink colour in young males). Some female budgerigars develop brown cere only during breeding time, which later returns to the normal colour. Young females can often be identified by a subtle, chalky whiteness that starts around the nostrils. Males that are either albino, lutino, dark-eyed clear or recessive pied (Danish pied or harlequin) retain the immature purplish-pink cere colour for their entire lives.
Behaviours and head shape also help indicate sex. Veterinarians can determine the sex of a bird by invasive examination or samples of blood, feather, or eggshell.
Mature males usually have a cere of light to dark blue, but in some particular colour mutations it can be periwinkle, lavender, purplish or pink – including dark-eyed clears, Danish pieds (recessive pieds) and inos, which usually display much rounder heads. The behaviour of males can distinguish them from females. Males are typically cheerful, extroverted, highly flirtatious, peacefully social, and very vocal.
Female ceres are pinkish while immature. As they age, they move from being beigeish or whitish outside breeding condition into brown (often with a 'crusty' texture) in breeding condition and usually display flattened backs of heads (right above the nape). Females are more dominant and less socially tolerant. This behavior is more pronounced around other females than with males.
Budgerigars have tetrachromatic colour vision, although all four classes of cone cells will not operate simultaneously unless under sunlight or a UV lamp. The ultraviolet spectrum brightens their feathers to attract mates. The throat spots in budgerigars reflect UV and can be used to distinguish individual birds. While ultraviolet light is essential to the good health of caged and pet birds, inadequate darkness or rest results in overstimulation.
Ecology
Budgerigars are nomadic and flocks move on from sites as environmental conditions change. Budgerigars are found in open habitats, primarily in scrublands, open woodlands, and grasslands of Australia. The birds are normally found in small flocks, but can form very large flocks under favourable conditions. The nomadic movement of the flocks is tied to the availability of food and water. Budgerigars have two distinct flight speeds which they are capable of switching between depending on the circumstance. Drought can drive flocks into more wooded habitat or coastal areas. They feed on the seeds of spinifex and grass, and sometimes ripening wheat.
Outside of Australia, the only long-term establishment of naturalised feral budgerigars is a large population near St. Petersburg, Florida. Increased competition for nesting sites from European starlings and house sparrows is thought to be a primary cause of the Florida population declining from the 1980s. The more consistent, year-round conditions in Florida significantly reduced their nomadic behaviour.
The species has been introduced to various locations in Puerto Rico and the United States.
Budgerigars feed primarily on grass seeds. The species also opportunistically depredates growing cereal crops and lawn grass seeds.[35] Due to the low water content of the seeds they rely on the availability of freshwater.
Behaviour
Breeding in the wild generally takes place between June and September in northern Australia and between August and January in the south, although budgerigars are opportunistic breeders and respond to rains when grass seeds become most abundant. Budgerigars are monogamous and breed in large colonies throughout their range. They show signs of affection to their flockmates by preening or feeding one another. Budgerigars feed one another by eating the seeds themselves, and then regurgitating it into their flockmate's mouth. Populations in some areas have increased as a result of increased water availability at farms. Nests are made in holes in trees, fence posts or logs lying on the ground; the four to six eggs are incubated for 18–21 days, with the young fledging about 30 days after hatching.
In the wild, virtually all parrot species require a hollow tree or a hollow log as a nest site. Because of this natural behaviour, budgerigars most easily breed in captivity when provided with a reasonable-sized nest box.
The eggs are typically one to two centimetres long and are pearl white without any colouration if fertile. Female budgerigars can lay eggs without a male partner, but these unfertilised eggs will not hatch. Females normally have a whitish tan cere; however, when the female is laying eggs, her cere turns a crusty brown colour. Certain female budgies may always keep a whitish tan cere or always keep a crusty brown cere regardless of breeding condition. A female budgerigar will lay her eggs on alternating days. After the first one, there is usually a two-day gap until the next. She will usually lay between four and eight eggs, which she will incubate (usually starting after laying her second or third) for about 21 days each. Females only leave their nests for very quick defecations, stretches and quick meals once they have begun incubating and are by then almost exclusively fed by their mate (usually at the nest's entrance). Females will not allow a male to enter the nest, unless he forces his way inside. Clutch size ranges from 6 to 8 chicks. Depending on the clutch size and the beginning of incubation, the age difference between the first and last hatchling can be anywhere from 9 to 16 days. At times, the parents may begin eating their own eggs due to feeling insecure in the nest box.
There is evidence of same-sex sexual behaviour amongst male budgerigars. It is originally hypothesised that they did this as a form of "courtship practice" so they were better breeding partners for females, however an inverse relationship exists between participation in same-sex behaviour and pairing success.
Chick health
Breeding difficulties arise for various reasons. Some chicks may die from diseases and attacks from adults. Other budgerigars (virtually always females) may fight over the nest box, attacking each other or a brood. Another problem may be the birds' beaks being under-lapped, where the lower mandible is above the upper mandible.
Most health issues and physical abnormalities in budgerigars are genetic. Care should be taken that birds used for breeding are active, healthy and unrelated. Budgerigars that are related or have fatty tumours or other potential genetic health problems should not be allowed to breed. Parasites (lice, mites, worms) and pathogens (bacteria, fungi and viruses), are contagious and thus transmitted between individuals through either direct or indirect contact. Nest boxes should be cleaned between uses.
Splay leg is a relatively common problem in baby budgerigars and other birds; one of the budgerigar's legs is bent outward, which prevents it from being able to stand properly and compete with the other chicks for food, and can also lead to difficulties in reproducing in adulthood. The condition is caused by young budgerigars slipping repeatedly on the floor of a nest box. It is easily avoided by placing a small quantity of a safe bedding or wood shavings in the bottom of the nest box. Alternatively, several pieces of paper may be placed in the box for the female to chew into bedding.
Development
Eggs take about 18–20 days before they start hatching. The hatchlings are altricial – blind, naked, unable to lift their head and totally helpless, and their mother feeds them and keeps them warm constantly. Around 10 days of age, the chicks' eyes will open, and they will start to develop feather down. The appearance of down occurs at the age for closed banding of the chicks.
They develop feathers around three weeks of age. (One can often easily note the colour mutation of the individual birds at this point.) At this stage of the chicks' development, the male usually has begun to enter the nest to help his female in caring and feeding the chicks. Some budgerigar females, however, totally forbid the male from entering the nest and thus take the full responsibility of rearing the chicks until they fledge.
Depending on the size of the clutch and most particularly in the case of single mothers, it may then be wise to transfer a portion of the hatchlings (or best of the fertile eggs) to another pair. The foster pair must already be in breeding mode and thus either at the laying or incubating stages, or already rearing hatchlings.
As the chicks develop and grow feathers, they are able to be left on their own for longer periods of time. By the fifth week, the chicks are strong enough that both parents will be comfortable in staying out of the nest more. The youngsters will stretch their wings to gain strength before they attempt to fly. They will also help defend the box from enemies, mostly with their loud screeching. Young budgerigars typically fledge (leave the nest) around their fifth week of age and are usually completely weaned between six and eight weeks old. However, the age for fledging, as well as weaning, can vary slightly depending on the age and the number of surviving chicks. Generally speaking, the oldest chick is the first to be weaned. Although it is logically the last one to be weaned, the youngest chick is often weaned at a younger age than its older sibling(s). This can be a result of mimicking the actions of older siblings. Lone surviving chicks are often weaned at the youngest possible age as a result of having their parents' full attention and care.
Hand-reared budgies may take slightly longer to wean than parent-raised chicks. Hand feeding is not routinely done with budgerigars, due to their small size and because young parent raised birds can be readily tamed.
Relationship with humans
Aviculture
The budgerigar has been bred in captivity since the 1850s. Breeders have worked to produce a variety of colour, pattern and feather mutations, including albino, blue, cinnamon-ino (lacewing), clearwing, crested, dark, greywing, opaline, pieds, spangled, dilute (suffused) and violet.
"English budgerigars", more correctly called "show" or "exhibition budgerigars", are about twice as large as their wild counterparts and have puffier head feathers, giving them a boldly exaggerated look. The eyes and beak can be almost totally obscured by these fluffy head feathers. English budgerigars are typically more expensive than wild-type birds, and have a shorter life span of about seven to nine years. Breeders of English budgerigars show their birds at animal shows. Most captive budgerigars in the pet trade are more similar in size and body conformation to wild budgerigars.
Budgerigars are social animals and require stimulation in the shape of toys and interaction with humans or with other budgerigars. Budgerigars, and especially females, will chew material such as wood. When a budgerigar feels threatened, it will try to perch as high as possible and to bring its feathers close against its body in order to appear thinner.
Tame budgerigars can be taught to speak, whistle and play with humans. Both males and females sing and can learn to mimic sounds and words and do simple tricks, but singing and mimicry are more pronounced and better perfected in males. Females rarely learn to mimic more than a dozen words. Males can easily acquire vocabularies ranging from a few dozen to a hundred words. Pet males, especially those kept alone, are generally the best speakers.
Budgerigars will chew on anything they can find to keep their beaks trimmed. Mineral blocks (ideally enriched with iodine), cuttlebone and soft wooden pieces are suitable for this activity. Cuttlebones also supply calcium, essential for the proper forming of eggs and bone solidity. In captivity, budgerigars live an average of five to eight years, but life spans of 15–20 years have been reported. The life span depends on breed, lineage, and health, being highly influenced by exercise and diet. Budgerigars have been known to cause "bird fancier's lung" in sensitive people, a type of hypersensitivity pneumonitis. Apart from a handful of illnesses, diseases of the species are not transmittable to humans.
Colour mutations
Main article: Budgerigar colour genetics
All captive budgerigars are divided into two basic series of colours; namely, white-based (blue, grey and white) and yellow-based (green, grey-green and yellow). Presently, at least 32 primary mutations (including violet) occur, enabling hundreds of possible secondary mutations (stable combined primary mutations) and colour varieties (unstable combined mutations).
Mimicry
Main article: Talking bird
Male specimens of budgerigars can be skilled at mimicking human speech.
Puck, a male budgerigar owned by American Camille Jordan, holds the world record for the largest vocabulary of any bird, at 1,728 words. Puck died in 1994, with the record first appearing in the 1995 edition of Guinness World Records.
In 2001, recordings of a budgerigar called Victor got some attention from the media. Victor's owner, Ryan B. Reynolds of Canada, stated Victor was able to engage in contextual conversation and predict the future. Although some believe the animal was able to predict his own death as was claimed, further study on the subject is difficult without the bird. As of 2001, the recordings still remain to be verified by scientific analysis. Critics argue Victor's speech in the recordings is not coherent enough to be determined as spoken in context.
The budgerigar "Disco" became Internet famous in 2013. As of 2023, Disco had been viewed over 24,198,346 times on his YouTube channel. Some of Disco's most repeated phrases included, "I am not a crook" and "Nobody puts baby bird in a corner!". Disco died in 2017.
In popular culture
Small bathing suits for men, commonly referred to as togs or "Speedos", are informally called "budgie smugglers" in Australia. The phrase is humorously based on the appearance of the tight-fitting cloth around the male's genitals looking like a small budgie. The phrase was officially added to the Oxford English Dictionary in 2016
“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.
Attributed to Alexandre Jean Noel (1752-1834) - A moonlit harbour scene
www.artnet.com/artists/alexandre-jean-noel/a-moonlit-harb...
Grade I listed historic cathedral.
"The Cathedral and Metropolitical Church of Saint Peter in York, commonly known as York Minster, is the cathedral of York, England, and is one of the largest of its kind in Northern Europe. The minster is the seat of the Archbishop of York, the third-highest office of the Church of England (after the monarch as Supreme Governor and the Archbishop of Canterbury), and is the mother church for the Diocese of York and the Province of York. It is run by a dean and chapter, under the Dean of York. The title "minster" is attributed to churches established in the Anglo-Saxon period as missionary teaching churches, and serves now as an honorific title. Services in the minster are sometimes regarded as on the High Church or Anglo-Catholic end of the Anglican continuum.
The minster, devoted to Saint Peter, has a very wide Decorated Gothic nave and chapter house, a Perpendicular Gothic quire and east end and Early English North and South transepts. The nave contains the West Window, constructed in 1338, and over the Lady Chapel in the east end is the Great East Window (finished in 1408), the largest expanse of medieval stained glass in the world. In the north transept is the Five Sisters Window, each lancet being over 53 feet (16.3 m) high. The south transept contains a rose window, while the West Window contains a heart-shaped design colloquially known as The Heart of Yorkshire.
A bishop of York was summoned to the Council of Arles in 314 indicating the presence of a Christian community in York at this time; however, archaeological evidence of Christianity in Roman York is limited. The first recorded church on the site was a wooden structure built hurriedly in 627 to provide a place to baptise Edwin, King of Northumbria. Moves toward a more substantial building began in the decade of the 630s. A stone structure was completed in 637 by Oswald and was dedicated to Saint Peter. The church soon fell into disrepair and was dilapidated by 670 when Saint Wilfrid ascended to the See of York. He repaired and renewed the structure. The attached school and library were established and by the 8th century were some of the most substantial in Northern Europe.
In 741, the church was destroyed in a fire. It was rebuilt as a more impressive structure containing thirty altars. The church and the entire area then passed through the hands of numerous invaders, and its history is obscure until the 10th century. There were a series of Benedictine archbishops, including Saint Oswald of Worcester, Wulfstan and Ealdred, who travelled to Westminster to crown William in 1066. Ealdred died in 1069 and was buried in the church.
The church was damaged in 1069 during William the Conqueror's harrying of the North, but the first Norman archbishop, Thomas of Bayeux, arriving in 1070, organised repairs. The Danes destroyed the church in 1075, but it was again rebuilt from 1080. Built in the Norman style, it was 111 m (364.173 ft) long and rendered in white and red lines. The new structure was damaged by fire in 1137 but was soon repaired. The choir and crypt were remodelled in 1154, and a new chapel was built, all in the Norman style.
The Gothic style in cathedrals had arrived in the mid 12th century. Walter de Gray was made archbishop in 1215 and ordered the construction of a Gothic structure to compare to Canterbury; building began in 1220. The north and south transepts were the first new structures; completed in the 1250s, both were built in the Early English Gothic style but had markedly different wall elevations. A substantial central tower was also completed, with a wooden spire. Building continued into the 15th century.
The Chapter House was begun in the 1260s and was completed before 1296. The wide nave was constructed from the 1280s on the Norman foundations. The outer roof was completed in the 1330s, but the vaulting was not finished until 1360. Construction then moved on to the eastern arm and chapels, with the last Norman structure, the choir, being demolished in the 1390s. Work here finished around 1405. In 1407 the central tower collapsed; the piers were then reinforced, and a new tower was built from 1420. The western towers were added between 1433 and 1472. The cathedral was declared complete and consecrated in 1472.
The English Reformation led to the looting of much of the cathedral's treasures and the loss of much of the church lands. Under Elizabeth I there was a concerted effort to remove all traces of Roman Catholicism from the cathedral; there was much destruction of tombs, windows and altars. In the English Civil War the city was besieged and fell to the forces of Cromwell in 1644, but Thomas Fairfax prevented any further damage to the cathedral.
Following the easing of religious tensions there was some work to restore the cathedral. From 1730 to 1736 the whole floor of the minster was relaid in patterned marble and from 1802 there was a major restoration. However, on 2 February 1829, an arson attack by Jonathan Martin inflicted heavy damage on the east arm. An accidental fire in 1840 left the nave, south west tower and south aisle roofless and blackened shells. The cathedral slumped deeply into debt and in the 1850s services were suspended. From 1858 Augustus Duncombe worked successfully to revive the cathedral. In 1866, there were six residentiary canonries: of which one was the Chancellor's, one the Sub-Dean's, and another annexed to the Archdeaconry of York.
During the 20th century there was more concerted preservation work, especially following a 1967 survey that revealed the building, in particular the central tower, was close to collapse. £2,000,000 was raised and spent by 1972 to reinforce and strengthen the building foundations and roof. During the excavations that were carried out, remains of the north corner of the Roman Principia (headquarters of the Roman fort, Eboracum) were found under the south transept. This area, as well as remains of the Norman cathedral, re-opened to the public in spring 2013 as part of the new exhibition exploring the history of the building of York Minster.
York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017 and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.
The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.
The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
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Attributed to the Walters Painter
Greek, Attic
ca. 470 BC
ceramic
Bearded trainer framed by young athletes.
El Señor Desmayado
Attributed to famous Bantyanon sculptor Ma. Piyano Carrabio
19th Century
FILIPINO. Bantayan Islands, Cebu.
Wood and polychromy.
Provenance:
The Rosita Rodriguez Arcenas Collection
Inherited by Mrs. Arcenas upon the death of her husband.
Descended in the family of Dr. Ramon V. Arcenas
The Arcenas Family of Bantayan Islands
Note 1: Rosita Rodriguez Arcenas is my aunt.
Rosita Arcenas is the daughter of Dr. Jose N. Rodriguez, the famous leprologist and director of San Lazaro Hospital during the 1940s thru the 1960s. Tala Leprosarium was subsequently renamed the Jose N. Rodriguez Memorial Hospital in his honor. His wife is famous Philippine feminist Nieves Hidalgo of Boac, Marinduque, whose sister, Pilar Hidalgo, was president of Centro Escolar University and was married to Gen. Vicente Lim. Former Philippine Central Bank Governor Jaime Laya is married to Alicia Sandoval, the niece of Nieves Rodriguez and Pilar Lim and daughter of their youngest sister, Concepcion Hidalgo Sandoval.
Rosita Rodriguez Arcenas was married to Dr. Ramon V. Arcenas, a famous physician from Cebu. Dr. Arcenas is now deceased.
Note 2: This photograph was taken from the Cebu Province official website at: www.cebu.gov.ph/listindex.asp?gset=99&wfunc=gallery
Note 3: This exhibition is attributed as "Bisayan" santos. I do not think these santos are all necessarily made in the Visayan Islands (although a majority of them probably were). Rather, the "Bisayan" attribution was give because these images were all found in the Visayan Islands and were assembled in Cebu.
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If you would like to read more about the Rosita Rodriguez Arcenas collection of Bisayan Santos, please visit the following discussion threads:
www.flickr.com/groups/primera-salida/discuss/721576299704...
www.flickr.com/groups/santos_images_of_faith/discuss/7215...
www.flickr.com/groups/hermosas/discuss/72157629970480138/
www.flickr.com/groups/35876748@N00/discuss/72157629970488...
The Stein Quadriptych was likely created in Bruges, and it has been attributed to Simon Bening and associates, ca. 1525-30. This collection of sixty-four miniatures is mounted in four panels, each in sets of sixteen miniatures per panel. The ensemble of miniatures was first cited in scholarly literature as the Stein Quadriptych because the earliest known owner of the collection was Charles Stein until 1886. The miniatures seem to have been dismantled at some point and then reassembled in these four panels. No texts have been found on the backs of these miniatures by the Walters Conservation Department. However, because it was normal practice for illuminated folios to be inserted into South Netherlandish prayer books without accompanying text on the back, the lack of textual evidence does not rule out the possibility that these miniatures were once part of a prayer book. Based on formal visual analysis and the use of color, however, these 64 miniatures appear to have been meant to be viewed as an ensemble. The recitation of prayers from a book or from memory may have been intended while the suppliant viewed the visual program.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
When using this photo, please attribute: * Photo by NEC Corporation of America with Creative Commons license.
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