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Esta obra de bronce de 1824 de Francois-Joseph Bosio se titula "Hércules luchando contra Aqueloo transformado en una serpiente". Representa a un Hércules desnudo agarrando una serpiente gigante con su mano izquierda cuando está a punto de golpear a la criatura con una gran roca en su mano derecha.
Le monument est composé d'une statue équestre en bronze représentant le roi de France Louis XIV, habillé à la façon d'un empereur romain, monté sur un cheval cabré. Ce groupe repose sur un piédestal conçu par l'architecte Jean-Antoine Alavoine, orné sur ses faces dextre et senestre par deux bas-reliefs en bronze, Le Passage du Rhin et Institution de l'ordre royal et militaire de Saint-Louis en 1693, réalisés par François-Joseph Bosio.
The monument is composed of a bronze equestrian statue representing the king of France Louis XIV, dressed in the manner of a Roman emperor, mounted on a prancing horse. This group is based on a pedestal designed by the architect Jean-Antoine Alavoine, adorned on its dexter and sinister sides by two bronze bas-reliefs, The Passage du Rhin and Institution of the Royal and Military Order of St. Louis in 1693 , made by François-Joseph Bosio.
Le monument est composé d'une statue équestre en bronze représentant le roi de France Louis XIV, habillé à la façon d'un empereur romain, monté sur un cheval cabré. Ce groupe repose sur un piédestal conçu par l'architecte Jean-Antoine Alavoine, orné sur ses faces dextre et senestre par deux bas-reliefs en bronze, Le Passage du Rhin et Institution de l'ordre royal et militaire de Saint-Louis en 1693, réalisés par François-Joseph Bosio.
The monument is composed of a bronze equestrian statue representing the king of France Louis XIV, dressed in the manner of a Roman emperor, mounted on a prancing horse. This group is based on a pedestal designed by the architect Jean-Antoine Alavoine, adorned on its dextral and sinister sides by two bronze bas-reliefs, The Passage du Rhin and Institution of the Royal and Military Order of St. Louis in 1693 , made by François-Joseph Bosio.
An old view across the Palm House pond.
Surrounded by a fountain the sculpture in the centre of the Palm House pond depicts Hercules & Achelous (Bronze) by Sculptor Francois Joseph Bosio (1768 - 1845) was acquired by King George IV in 1826 and given to Royal Botanic Gardens, Kew by Her Majesty The Queen in 1963.
In the background is Kew’s Palm House is the most important surviving Victorian iron and glass structure in the world. It was designed by Decimus Burton and engineered by Richard Turner to accommodate the exotic palms being collected in early Victorian times. It was built between 1844 and 1848.
Royal Botanic Gardens, Kew, London
A view across the Palm House pond.
Surrounded by a fountain the sculpture in the centre of the Palm House pond depicts Hercules & Achelous (Bronze) by Sculptor Francois Joseph Bosio (1768 - 1845) was acquired by King George IV in 1826 and given to Royal Botanic Gardens, Kew by Her Majesty The Queen in 1963.
Royal Botanic Gardens, Kew, London
A view across the Palm House pond.
Surrounded by a fountain the sculpture in the centre of the Palm House pond depicts Hercules & Achelous (Bronze) by Sculptor Francois Joseph Bosio (1768 - 1845) was acquired by King George IV in 1826 and given to Royal Botanic Gardens, Kew by Her Majesty The Queen in 1963.
Royal Botanic Gardens, Kew, London
I Corni Bruciati salendo alla Capanna Bosio in Val Torreggio. Bel giro ad anello ripartendo da dove avevo finito in marzo.
I restart from three.
Alpine ring tour, restarting from where I finished in March.
Pure ecstasy.
👋😎🌲📷
All rights reserved © Nick Outdoor Photography
A view across the Palm House pond.
Surrounded by a fountain the sculpture in the centre of the Palm House pond depicts Hercules & Achelous (Bronze) by Sculptor Francois Joseph Bosio (1768 - 1845) was acquired by King George IV in 1826 and given to Royal Botanic Gardens, Kew by Her Majesty The Queen in 1963.
Royal Botanic Gardens, Kew, London
A view across the Palm House pond.
Surrounded by a fountain the sculpture in the centre of the Palm House pond depicts Hercules & Achelous (Bronze) by Sculptor Francois Joseph Bosio (1768 - 1845) was acquired by King George IV in 1826 and given to Royal Botanic Gardens, Kew by Her Majesty The Queen in 1963.
Royal Botanic Gardens, Kew, London
"FLICKR LOUNGE" "WEEKEND THEME"
Weekend Theme (Week 45) ~ Rule of Odds
Esta es una de mis canciones favoritas de siempre, melancolica, nostalgica, pero nos hace reflexionar sobre lo importante que son nuestros seres cercanos y queridos. Es una balada de la banda de rock Argentina Soda Stereo, La canción en ritmo de vals compás de 3/4, en la que la voz de Gustavo Cerati y su guitarra acústica sólo son acompañadas por el bajo de Zeta Bosio y un teclado.
TE PARA TRES.
Las tazas sobre el mantel
La lluvia derramada
Un poco de miel
Un poco de miel
No basta
El eclipse no fue parcial
Y cegó nuestras miradas
Te vi que llorabas
Te vi que llorabas
Por él
Te para tres
Un sorbo de…
La letra evoca el momento en que Gustavo Cerati, junto con su madre Lilian y su padre Juan José, debe enfrentarse a la noticia de la enfermedad de este último, un cáncer terminal que le ocasionaría la muerte un par de años después (1992). La canción relata cómo vivió Gustavo esa situación tan dolorosa. Su madre confesó que éste es su tema preferido.
___________________
This is one of my all-time favorite songs, melancholic, nostalgic, but it makes us reflect on how important our near and dear ones are. It is a ballad by the Argentine rock band Soda Stereo, The song in a 3/4 measure waltz rhythm, in which Gustavo Cerati's voice and his acoustic guitar are only accompanied by Zeta Bosio's bass and a keyboard.
The cups over the table cloth
Spilled rain...
A touch of honey
A touch of honey
Is never enough
The Eclipse wasn’t partial
And blinded our sight
I saw you cried
I saw you cried
For him
Tea for three
A gulp of distraction
Looking to decipher us
There’s nothing better
There’s nothing better
That fits
Tea for three...
The lyrics evokes the moment when Gustavo Cerati, together with his mother Lilian and his father Juan José, must face the news of the latter's illness, a terminal cancer that would cause his death a couple of years later (1992). The song tells how Gustavo lived that painful situation. His mother confessed that this is his favorite subject.
Le monument a été érigé à l'initiative du maréchal Soult, pour commémorer la distribution des croix de la Légion d'Honneur à la grande armée le 16 août 1805 par l'Empereur Napoléon Ier. Il a été inauguré en 1841. La statue de Houdon a été remplacée après destruction par une oeuvre de Bosio, détruite également. Aujourd'hui, c'est une oeuvre de Stenne qui est en place.
Sur le socle de la statue (non visible sur la photo) est gravé dans le marbre noir le testament de Louis XVI.
Œuvre offerte par la duchesse d'Angoulême fille aînée de Louis XVI et Marie-Antoinette seule rescapée de la terreur.
Les deux soubassements furent offert par la duchesse d'Angoulême en 1834/35.
On the base of the statue (not visible on the photo) is engraved in black marble the will of Louis XVI.
This work was offered by the Duchess of Angoulême, the eldest daughter of Louis XVI and Marie-Antoinette, the only survivor of the Terror.
The two bases were donated by the Duchess of Angouleme in 1834/35.
Hercules and Achelous
Sculptor: François Joseph Bosio, cast by Charles Crozatier, 1826.
This statue captures Hercules wrestling with the river god Achelous. Both Hercules and Achelous were suitors to the nymph Deianeira. To overcome Hercules, Achelous changed first into a serpent, then into a bull, but was ultimately defeated. Queen Elizabeth II gave this statue to Kew in 1963.
IMG_7791r1
The Place des Victoires is a circular place in Paris, located a short distance northeast from the Palais Royal and straddling the border between the 1st and the 2nd arrondissements. The Place des Victoires is at the confluence of six streets: Rue de la Feuillade, Rue Vide Gousset, Rue d'Aboukir, Rue Étienne Marcel, Rue Croix-des-Petits-Champs, and Rue Catinat.
At the center of the Place des Victoires is an equestrian monument in honor of King Louis XIV, celebrating the Treaties of Nijmegen concluded in 1678-79. In 1828, the restored Bourbon king, Charles X, commissioned the current equestrian statue, which was sculpted by François Joseph Bosio in imitation of the famous Bronze Horseman. Louis XIV, dressed as a Roman emperor, sits on a proud horse rearing on its hind legs. An iron fence encircles the twelve-meter-high monument.
(source: Wikipedia)
Hercule combattant Achéloüs métamorphosé en serpent
Bronze fondu en 1824
François-Joseph BOSIO (1768 - 1845)
Musée du Louvre - Paris`
Sculpteur François Joseph, baron Bosio.
Monaco, 1768 – Paris, 1845.
Charles X est intéressé par les Antiquités et veut créer un musée royal. En 1826, le roi décida de créer une division égyptienne au Louvre confiée à Champollion, qui parvint à l'installer au rez-de-chaussée de la Cour carrée. Champollion fut soutenu par le roi malgré ses opinions républicaines et fut nommé conservateur de la division des monuments égyptiens et orientaux du musée Charles-X le 15 mai 1826.
Champollion. La voie des Hiéroglyphes. Exposition au Louvre -Lens.
A steel tree on a concrete base, representing the olive tree of the South, a new sculpture (2021) in the Nice landscape.
EOS 5D Mark II © 2015, monsieurlazarophotographies. Photos are copyrighted. All rights reserved. Pictures can not be used without explicit permission by the creator.
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Paris - Jardin des Tuileries - Arc de Triomphe du Carrousel -
The Arc de Triomphe du Carrousel
General information
Type: Triumphal arch
Location: Paris, France
Construction started: 1806
Completed: 1808
Design and construction
Architect Charles Percier, Pierre François Léonard Fontaine
Not to be confused with Arc de Triomphe de l'Étoile.
The Arc de Triomphe du Carrousel (pronounced: [aʁk də tʁijɔ̃f dy kaʁusɛl]) is a triumphal arch in Paris, located in the Place du Carrousel. It was built between 1806 and 1808 to commemorate Napoleon's military victories of the previous year. The more famous Arc de Triomphe de l'Étoile, across from the Champs Élysées, was designed in the same year; it is about twice the size and was not completed until 1836.
History
Designed by Charles Percier and Pierre François Léonard Fontaine, the arch was built between 1806 and 1808 by the Emperor Napoleon I, on the model of the Arch of Constantine (312 AD) in Rome, as a gateway of the Tuileries Palace, the Imperial residence. The destruction of the Tuileries Palace during the Paris Commune in 1871, allowed an unobstructed view west towards the more famous Arc de Triomphe.
It was originally surmounted by the famous horses of Saint Mark's Cathedral in Venice, which had been captured in 1798 by Napoleon. In 1815, following the Battle of Waterloo and the Bourbon restoration, France ceded the quadriga to the Austrian empire which had annexed Venice under the terms of the Congress of Vienna. The Austrians immediately returned the statuary to Venice. The horses of Saint Mark were replaced in 1828 by a quadriga sculpted by Baron François Joseph Bosio, depicting Peace riding in a triumphal chariot led by gilded Victories on both sides. The composition commemorates the Restoration of the Bourbons following Napoleon's downfall.
The Arc du Carrousel inspired the design of Marble Arch, constructed in London between 1826 and 1833.
Geography
The Arc de Triomphe du Carrousel is at the eastern end of Paris Axe historique ("historic axis"), a nine-kilometre-long linear route which dominates much of the northwestern quadrant of the city. It is, in effect, the backbone of the Right Bank.
Looking west, the arch is perfectly aligned with the obelisk in the Place de la Concorde, the centerline of the grand boulevard Champs-Élysées, the Arc de Triomphe at the Place de l'Étoile, and, although it is not directly visible from the Place du Carrousel, the Grande Arche de la Défense. Thus, the axis begins and ends with an arch. When the Arc du Carrousel was built, however, an observer in the Place du Carrousel was impeded from any view westward. The central part of the Palais des Tuileries intervened to block the line of sight to the west. When the Tuileries was burned down during the Paris Commune in 1871, and its ruins were swept away, the great axis, as it presently exists, was opened all the way to the Place du Carrousel and the Louvre.
From Wikipedia, the free encyclopedia
GO TO VISIT BRAZIL.
Au coucher de soleil, le fameux Quadrige de la Basilica Cattedrale di San Marco, Piazza San Marco, Venise, Italie.
Aussi appelé « Quadrige de Constantinople, il est formé de quatre chevaux de bronze placés au-dessus du portail central et représente le butin, le plus précieux aux yeux des Vénitiens, tiré du sac de Constantinople (Istanbul moderne) en 1204 par les croisés. Ces chevaux avaient jusque-là composé un magnifique quadrige qui ornait l'hippodrome de Byzance. On estime aujourd'hui qu'ils ne sont pas antérieurs au 2e siècle.
Bonaparte s'empare de Venise à la suite de la première campagne d'Italie. Avant d'évacuer Venise, les Français procèdent à l'enlèvement des chevaux de Saint-Marc pour les faire transporter à Paris. Ils doivent y figurer comme "monuments des sciences et des arts". Pendant dix-sept ans les chevaux restent à Paris. D'abord entreposés aux Invalides, ils sont ensuite disposés sur quatre piliers de la grille qui entoure la cour des Tuileries. En 1808, ils viennent couronner l'arc de triomphe du Carrousel édifié à la gloire des armées napoléoniennes par Percier et Fontaine. Restitués en 1815, à la chute de l'Empire, les chevaux reprennent leur place à Venise, sur le portique de Saint-Marc. Pour les remplacer sur l'arc de triomphe du Carrousel, Charles X confie au sculpteur Bosio la réalisation d'un nouveau quadrige. Infos tirées du site: histoire-image.org/fr/etudes/presence-chevaux-venise-pari...
Située sur la place Saint-Marc, dans le quartier de San Marco qui lui doivent leur nom, la Basilica Cattedrale di San Marco est la plus importante basilique de Venise. Construite en 828, reconstruite après l'incendie qui ravagea le palais des Doges en 976, elle est, depuis 1807, la cathédrale du patriarche de Venise. Elle est située sur la place Saint-Marc, dans le quartier de San Marco qui lui doivent leur nom.
Fondée peu après 528 par des réfugiés fuyant l'invasion lombarde, Venise fut la capitale pendant onze siècles, de 697-1797 de la république de Venise. Devenue aujourd’hui capitale de la Vénétie et située au milieu de la lagune vénète, entre les estuaires du Pô et du Piave, Venise est renommée pour cet emplacement exceptionnel ainsi que pour son architecture et son patrimoine culturel, qui lui ont valu en 1987 une inscription au patrimoine mondial de l'UNESCO (WHL-394).
This is one of my favorite spot to shoot the skyline from North Avenue Beach.
Featured in Chicagoist Extra Extra 12/04/11 and Gapers Block Rearview 12-06-11
Model: Genny
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
Flos passionis
The 'Passion flower' (Flos passionis) acquired its name from descriptions of its flower parts supplied in the Seventeenth Century by Spanish priests in South America, known at that time as the 'New Spain'. It was known by the Spanish as "La Flor de las cinco Llagas" or the 'The Flower With The Five Wounds.' 'Passionis' refers to (Christ's) suffering. The parts were interpreted from drawings and dried plants by Giacomo Bosio, a churchman and historian, in Rome (1609), as representing various elements of the Crucifixion.
Symbolism
The five petals and five sepals are the ten disciples less Judas & Peter. The corona filaments are the crown of thorns. The five stamen with anthers match the five sacred wounds & the three stigma the nails. This symbolism is not universal however, in Japan it is sometimes known as 'The Clock-faced Plant' and apparently has recently been adopted as as symbol for homosexual Japanese youths.
Victory Over the North, executed by Astyanax-Scaevola Bosio, adorns the interior northwest pillar of Arc de Triomphe de l'Étoile. Seated at the centre, ictory holds a tablet on which she has inscribed: "Austerlitz/Iéna/Friedland and Ulm/Wagram and Eylau." Positioned at her right and left, four genies shoulder long garlands whose ends pill over with fruit.
The Arc de Triomphe stands in the centre of the Place Charles de Gaulle, also known as the Place de l'Étoile (Star Square). Designed by Jean Chalgrin between 1806 and 1836, the 51 meter high, 45-meter wide monument is the second largest triumphal arch in existence. It honors those who fought for France, particularly during the Napoleonic Wars.
Model: Alisa
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission
Nel torrente Torreggio, vicino al Rifugio Bosio
Available on Getty:
www.gettyimages.com/detail/foto/huge-serpentinite-boulder...
A 2077 mt ecco l'Alpe Mastabbia lungo la seconda tappa dell' Alta Via della Valmalenco, che dal Rifugio Bosio arriva sino al passo Ventina.
I finally breathe
Along a stretch of the High Route of Valmalenco. 2nd stage.
From here, Alpe Mastabbia offers a beautiful view of Bernina group. Free of dangers, it is extraordinarily varied and suggestive, as well as rich in ethnographic and naturalistic interest (talc quarries, soapstone quarries, mountain pastures).
All rights reserved © Nick Outdoor Photography
Part of my Paris set: www.flickr.com/photos/doctony/sets/72157602768996050/show...
The Arc de Triomphe du Carrousel is a triumphal arch in Paris, France. It is located on the Place du Carrousel, just to the west of the Louvre.
Designed by Charles Percier and Pierre Léonard Fontaine, the arch was made between 1806-1808 by the Emperor Napoleon I on the model of the Arch of Septimius Severus in Rome. It was commissioned to commemorate France's military victories in 1805.
It was originally surmounted by the famous horses of Saint Mark's Cathedral in Venice, captured by Napoleon, but these were returned there in 1815. They were replaced by a quadriga sculpted by Baron François Joseph Bosio, depicting Peace riding in a triumphal chariot, led by gilded Victories on either side; the composition commemorates the Restoration of the Bourbons following Napoleon's downfall.
(from Wikipedia)
en passant par l'Arc du Triomphe du Carrousel
en.wikipedia.org/wiki/Arc_de_Triomphe_du_Carrousel#/media...
en.wikipedia.org/wiki/Arc_de_Triomphe_du_Carrousel#/media...
Molo sud del porto di San Benedetto del Tronto - Marche
Foto scattata su pellicola 135 mm.+ scanner film.
South pier of the port of San Benedetto del tronto - Marche - Italy
Photo take on film 135 mm.
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
Carnevale.
Carnival.
Castiglion Fibocchi - Arezzo - Italy
www.flickr.com/photos/andreabosio/sets/72157615165860105/
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
Olive tree sculpture L'Oulivié by sculptor Laurent Bosio in Place du Palais de Justice in old town Nice.
Pl. du Palais de Justice, 06300 Nice, Côte d'Azur, France
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
Principesse, orchi, fate, guerrieri, elfi.... ma in quale mondo sono capitato?
Princesses, ogres, fairies, warlike, elves... but in which world I have happened?
Festa dell'unicorno 2009 - Vinci (Firenze)
Unicorn day 2009 - Vinci (Florence) - Italy
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
La cupola di Firenze del Brunelleschi, vista dall'interno di Palazzo Vecchio, dal Salone dei 500.
The dome in Florence of the Brunelleschi, seen by the inside of Old Building from the Saloon of the 500.
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
Henri IV enfant
François-Joseph Bosio, sculpteur (Monaco, 1768- Paris, 1845)
Charles-Nicolas Odiot, fondeur (Paris, 1789- Paris, 1869)
Louis-Claude-Ferdinand Soyer, ciseleur (Paris, 1785-Paris, 1854)
Argent
Musée du Louvre
1824
H : 1,25m ; L : 0,42m
Le sculpteur Bosio représente Henri de Navarre, le fondateur, en 1589, de la dynastie des Bourbons, encore enfant et âgé d’une dizaine d’années. Cette statue en argent, datée de 1824, est une commande destinée au roi de France Louis XVIII (1815-1824), 1er Bourbon à retrouver son trône depuis la fin de la monarchie en 1792 suivie par la mise à mort de Louis XVI en 1793. Ce portrait rétrospectif, en pied, du jeune Henri IV vêtu comme les gentilshommes de la cour du roi Valois Charles IX (1570-1574), met en valeur l’assurance et l’aisance du jeune prince, la main gauche tenant fermement le pommeau de son épée, les traits du visage exprimant une certaine détermination. Effigie de propagande, l’utilisation de l’image du fondateur de la dynastie devait valoriser celle des Bourbons (de la période appelée « la Restauration » (1815-1830)) après la Révolution et l’Empire napoléonien, en rappelant leur passé glorieux et en jouant sur la popularité dont Henri IV jouissait au début du 19ème siècle.
Bosio s’est inspiré d’un tableau attribué alors à François II Bunel (1522-1599) Henri IV, roi de France (1553-1614) aujourd’hui conservé au musée national de Château de Versailles (MV 3282), pour réaliser une œuvre qui se rattache par sa dimension familière au style Troubadour. Commande du roi Louis XVIII, la statue lui est présentée inachevée le 25 août 1824, jour de la fête du roi. Elle est placée dans le cabinet royal au palais des Tuileries. Le succès est tel que Bosio reçoit commande de deux marbres, l’un pour Versailles, l’autre pour la chambre d’Henri IV au château de Pau. Il fait aussi fondre douze bronzes. Mais c’est avec les réductions du fondeur Ferdinand Barbedienne (1810-1892) que le modèle se diffuse auprès du grand public. Œuvre la plus copiée sous la Restauration (1815-1830), elle témoigne de l’engouement pour le premier Bourbon.
Exposition Théâtre du pouvoir, Musée du Louvre
Du 27 septembre 2017 au 2 juillet 2018
Petite Galerie, aile Richelieu
"L’art et le pouvoir politique ont toujours noué des liens étroits, comme le révèle la nouvelle exposition de la Petite Galerie. Pour sa troisième saison, l’espace dédié à l’éducation artistique et culturelle du Louvre s’intéresse ainsi aux codes de représentation du pouvoir politique, depuis l’Antiquité jusqu’à nos jours.
Mettant en scène des œuvres du Louvre et celles de grandes institutions culturelles françaises, l’exposition présente aussi bien des figures du prince « guerrier », « bâtisseur » ou « héroïsé », en référence aux modèles antiques, que des objets symbolisant la puissance.
Le parcours montre tout d’abord comment les images sont utilisées pour légitimer le pouvoir, notamment à travers la figure d’Henri IV qui fait l’objet d’une étude particulière, ou quelques célèbres portraits de monarques et d’empereurs comme Louis XVI ou Napoléon. Des objets emblématiques de la monarchie, tels que les regalia, objets du sacre des rois de France, sont également mis en avant. La dernière partie met enfin en lumière les ruptures historiques et iconographiques nées avec la Révolution française."
IMG_7487r
The original column was started in 1806 at Napoleon's direction and completed in 1810. It was modelled after Trajan's Column, to celebrate the victory of Austerlitz; its veneer of 425 spiralling bas-relief bronze plates was made out of cannon taken from the combined armies of Europe, according to his propaganda (the usual figure given is hugely exaggerated: 180 cannon were actually captured at Austerlitz.) These plates were designed by the sculptor Pierre-Nolasque Bergeret and executed by a team of about 30 sculptors including Jean-Joseph Foucou, Louis-Simon Boizot, François Joseph Bosio, Lorenzo Bartolini, Claude Ramey, François Rude, Corbet, Clodion, Julie Charpentier, and Henri-Joseph Ruxthiel. A statue of Napoleon by Antoine-Denis Chaudet was placed on top of the column. Napoleon is depicted dressed in Roman attire, bare-headed, crowned with laurels, holding a sword in his right hand and a globe surmounted with a statue of Victory (as in Napoleon as Mars the Peacemaker) in his left hand.
During the Paris Commune in 1871, the painter Gustave Courbet, president of the Federation of Artists and elected member of the Commune, who had previously expressed his dismay that this monument to war was located on the Rue de la Paix, proposed that the column be disassembled and preserved at the Hôtel des Invalides. His project as proposed was not adopted, though on 12 April 1871 legislation was passed authorizing the dismantling of the imperial symbol. When the column was taken down on 16 May its bronze plates were preserved. After employing a series of ropes and quarry workers, observers saw that the statue...
...fell over on the heap of sand prepared for it, with a mighty crash.
After the suppression of the Paris Commune by Adolphe Thiers, the decision was made to rebuild the column with the statue of Napoléon restored at its apex. For his role in the Commune, Courbet was condemned to pay the costs of rebuilding the monument, estimated at 323,000 francs, in yearly installments of 10,000 francs. Unable to pay, Courbet went into self-imposed exile in Switzerland, the French government seized and sold the artist's paintings for a minor amount, and Courbet died in exile in December 1877. In 1874 meanwhile, the column was re-erected at the center of Place Vendôme with a copy of the original statue on top. An inner staircase leading to the top is no longer open to the public.
La Passiflora caerulea est une plante grimpante de la famille des Passifloraceae, originaire d'Amérique du Sud (Argentine du Nord, Brésil, Bolivie, Paraguay).
Pour les missionnaires espagnols, la morphologie de la fleur rappelait les instruments de la Passion du Christ. Cette symbolique a été popularisée par les écrits d'un frère hospitalier de Rome, Giacomo Bosio en 1610.
Les vrilles symbolisent les fouets de la flagellation ;
Les dix pétales et sépales représentent dix des douze apôtres
La centaine de filets disposés en cercle fait allusion à la couronne d'épines ;
Les trois stigmates et les cinq anthères rappellent les trois clous et les cinq plaies.
Cf. Wikipédia
La passiflore est reconnue pour ses nombreuses vertus thérapeutiques. Elle est principalement utilisée comme anxiolytique naturel reconnu pour ses propriétés relaxantes et sédative, cette plante aide à combattre l'insomnie et favorise un sommeil réparateur.
Cf. Herboristerie du Valmont
Les vertus médicinales de la passiflore :
Ce sont les vertus apaisantes et calmantes des feuilles et fleurs qui font la renommée de la passiflore en phytothérapie. En cas d'insomnie, de manifestation d'anxiété et de tous types de nervosité, qui peuvent s'accompagner de troubles physiques comme les palpitations ou les troubles digestifs, la passiflore peut s'avérer efficace.
cf. Le Monde
Stockholm.
Foto (analogica) scattata su pellicola 35 mm. con una Canon 300N + scanner.
Photo (analog) take on film 35 mm. with a Canon 300N + scanner.
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
Il mondo in una mano. Bolla di sapone al Carnevale di Castiglion Fibocchi - Arezzo
The world in a hand. Soap's bubble to the Carnival of Castiglion Fibocchi - Arezzo
www.flickr.com/photos/andreabosio/sets/72157615165860105/
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
I due opposti infiniti.
The two opposite infinites.
All rights reserved © Andrea Bosio
Please don't use this image on websites, blogs or other media without my explicit permission.
Riflessi sull'acqua del porto dii San Benedetto del Tronto - Marche
Foto scattata su pellicola 135 mm.
Reflections on the port of of San Benedetto del Tronto - Marche - Italy
Photo take on film 135 mm.
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