View allAll Photos Tagged COMPLACENCE
Since ancient age, man has always been fascinated with fire thereby creating it out from stones..
Thru modern age,fire can be created in a flick of a switch..
It is when we work hard for it that legacy is created
And anything out of pure luck and complacence is unmemorable
The first fire from pure hard work is always ignited even when the flames mellow down
Happy fiery Friday my friends!
Yay to a high of 80's weekend
here!
on explore april 24,2009 Front Page (6th FP) #20
With the D, the E, the F, the I, the A, the N, the C, the E
Mind of a revolutionary, so clear the lane
The finger to the land of the chains
WHAT?! The "land of the free?"
Whoever told you that is your enemy!
Now something must be done
About vengeance, a badge and a gun
Cause I'll rip the mic, rip the stage, rip the system
I was born to Rage Against 'em!
Now action must be taken
We don't need the key, we'll BREAK IN!!
“It cannot be seen, cannot be felt,
Cannot be heard, cannot be smelt,
It lies behind stars and under hills,
And empty holes it fills,
It comes first and follows after,
Ends life, kills laughter.”
― J.R.R. Tolkien, The Hobbit
Change is constant and ever evolving, ever confusing
Complacence is a variable and we have our hands on it
Compassion and Care is an infinite commodity we all wish for
I ask of you: Are you my master?
Artoria Pendragon, King of Knights and Savior of Britain. Beloved and respected by her people, she would be remembered as the fairest and most noble of all Britain rulers. But her own success brought the seeds of envy and dispute over her throne seat. Complacence, dissent and hate would sprout amongst her once loyal fellow Knights of the Round Table. Merlin’s apocrypha say that, when she passed away in the aftermath of the battle of Camlann, she did it burdened by the weight of grief. Grief for killing her own blood? Yes, for sure. But also, grief for her powerlessness, watching her own noble ideals fade away. Those very same ones that she spent her whole life striving for.
Let me to introduce you to Artoria Pendragon. Saber-class servant during the 4th and 5th Holy Grail Wars, and most popular Fate character ever. This armor-clad lady packs some serious punch, so better if you don’t mess with her.
Lamuney is hardly couple of hours away from Thansing, the earlier campsite & happens to be the easiest stretch of the day & lulls you into complacence for the toughest grind of the summit night to the Goechala View Point.
Mount Kanchanjunga, the world's third hihest mountain at 8584 meters looms large over the lamuney camp & I have yet to see a prettier campsite. The Prek Chu river, which originates from the Kanchanjunga glacier, serpentines along the autumn tainted shrubs on the trek & makes its way further down the valley to make a lifeline for the Sikkim state.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Wedding banquet - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Council of the gods - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Venus, Ceres and Juno - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Council of the gods - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Wedding banquet - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Love and Juppiter - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Love and the three graces - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
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self–absorbed
: only caring about and interested in yourself
absorbed in one's own thoughts, activities, or interests
egoistic (also egoistical), egomaniacal, egotistic (or egotistical), narcissistic, self-absorbed, self-centered, self-concerned, self-infatuated, self-interested, self-involved, selfish, self-loving, self-obsessed, self-oriented, self-preoccupied, self-regarding, self-seeking, self-serving, solipsistic
narcissism
egoism, egocentrism
self love of or sexual desire for one's own body
egocentricity, egocentrism, egomania, egotism, egoism, navel-gazing, self-centeredness, self-concern, self-interest, self-involvement, selfishness, selfness, self-preoccupation, self-regard
egotism
excessive use of the first person singular personal pronoun
b : the practice of talking about oneself too much
an exaggerated sense of self-importance : conceit
amour propre, bighead, complacency, conceit, conceitedness, ego, egotism, complacence, pomposity, pompousness, pride, pridefulness, self-admiration, self-assumption, self-conceit, self-congratulation, self-esteem, self-glory, self-importance, self-love, self-opinion, self-satisfaction, smugness, swelled head, swellheadedness, vaingloriousness, vainglory, vainness, vanity
self-admiration
pompous
excessively elevated or ornate
having or exhibiting self-importance : arrogant
relating to or suggestive of pomp or splendor : magnificent
assumptive, bumptious, cavalier, chesty, haughty, highfalutin (also hifalutin), high-and-mighty, high-handed, high-hat, huffish, huffy, imperious, important, lofty, lordly, masterful, overweening, peremptory, arrogant, presuming, presumptuous, pretentious, self-asserting, self-assertive, sniffy, stiff-necked, supercilious, superior, toplofty (also toploftical), uppish, uppity
pretentious
making usually unjustified or excessive claims (as of value or standing)
b : expressive of affected, unwarranted, or exaggerated importance, worth, or stature
making demands on one's skill, ability, or means
affected, high-minded, la-di-da (also la-de-da or lah-de-dah or lah-dee-dah or lah-di-dah), ostentatious, snippy
grandiose
characterized by affectation of grandeur or splendor or by absurd exaggeration
impressive because of uncommon largeness, scope, effect, or grandeur
august, baronial, epic, gallant, glorious, grand, heroic (also heroical), Homeric, imperial, imposing, magnific, magnificent, majestic, massive, monumental, noble, proud, regal, royal, splendid, stately
arrogant
exaggerating or disposed to exaggerate one's own worth or importance often by an overbearing manner
showing an offensive attitude of superiority : proceeding from or characterized by arrogance
assumptive, bumptious, cavalier, chesty, haughty, highfalutin (also hifalutin), high-and-mighty, high-handed, high-hat, huffish, huffy, imperious, important, lofty, lordly, masterful, overweening, peremptory, presuming, presumptuous, pretentious, self-asserting, self-assertive, sniffy, stiff-necked, supercilious, superior, toplofty (also toploftical), uppish, uppity
proud, arrogant, haughty, lordly, insolent, overbearing, supercilious, disdainful mean showing scorn for inferiors. proud may suggest an assumed superiority or loftiness arrogant implies a claiming for oneself of more consideration or importance than is warranted haughty suggests a consciousness of superior birth or position lordly implies pomposity or an arrogant display of power insolent implies contemptuous haughtiness overbearing suggests a tyrannical manner or an intolerable insolence supercilious implies a cool, patronizing haughtiness disdainful suggests a more active and openly scornful superciliousness
pompous
excessively elevated or ornate
having or exhibiting self-importance : arrogant
vanity
: the quality of people who have too much pride in their own appearance, abilities, achievements, etc. : the quality of being vain
something (such as a belief or a way of behaving) which shows that you have too much pride in yourself, your social status, etc.
something that is vain, empty, or valueless
the quality or fact of being vain
inflated pride in oneself or one's appearance : conceit
complacence
self intoxicated
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Wedding banquet - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Wedding banquet - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Wedding banquet - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Venus and Love - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Wedding banquet - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
self–absorbed
: only caring about and interested in yourself
absorbed in one's own thoughts, activities,image or interests
egoistic (also egoistical), egomaniacal, egotistic (or egotistical), narcissistic, self-absorbed, self-centered, self-concerned, self-infatuated, self-interested, self-involved, selfish, self-loving, self-obsessed, self-oriented, self-preoccupied, self-regarding, self-seeking, self-serving, solipsistic
narcissism
egoism, egocentrism
: love of or sexual desire for one's own body
egocentricity, egocentrism, egomania, egotism, egoism, navel-gazing, self-centeredness, self-concern, self-interest, self-involvement, selfishness, selfness, self-preoccupation, self-regard
egotism
excessive use of the first person singular personal pronoun
b : the practice of talking about oneself too much
: an exaggerated sense of self-importance : conceit
amour propre, bighead, complacency, conceit, conceitedness, ego, egotism, complacence, pomposity, pompousness, pride, pridefulness, self-admiration, self-assumption, self-conceit, self-congratulation, self-esteem, self-glory, self-importance, self-love, self-opinion, self-satisfaction, smugness, swelled head, swellheadedness, vaingloriousness, vainglory, vainness, vanity
self-admiration
pompous
excessively elevated or ornate
: having or exhibiting self-importance : arrogant
: relating to or suggestive of pomp or splendor : magnificent
assumptive, bumptious, cavalier, chesty, haughty, highfalutin (also hifalutin), high-and-mighty, high-handed, high-hat, huffish, huffy, imperious, important, lofty, lordly, masterful, overweening, peremptory, arrogant, presuming, presumptuous, pretentious, self-asserting, self-assertive, sniffy, stiff-necked, supercilious, superior, toplofty (also toploftical), uppish, uppity
pretentious
making usually unjustified or excessive claims (as of value or standing)
b : expressive of affected, unwarranted, or exaggerated importance, worth, or stature
: making demands on one's skill, ability, or means
affected, high-minded, la-di-da (also la-de-da or lah-de-dah or lah-dee-dah or lah-di-dah), ostentatious, snippy
grandiose
characterized by affectation of grandeur or splendor or by absurd exaggeration
: impressive because of uncommon largeness, scope, effect, or grandeur
august, baronial, epic, gallant, glorious, grand, heroic (also heroical), Homeric, imperial, imposing, magnific, magnificent, majestic, massive, monumental, noble, proud, regal, royal, splendid, stately
arrogant
exaggerating or disposed to exaggerate one's own worth or importance often by an overbearing manner
: showing an offensive attitude of superiority : proceeding from or characterized by arrogance
assumptive, bumptious, cavalier, chesty, haughty, highfalutin (also hifalutin), high-and-mighty, high-handed, high-hat, huffish, huffy, imperious, important, lofty, lordly, masterful, overweening, peremptory, presuming, presumptuous, pretentious, self-asserting, self-assertive, sniffy, stiff-necked, supercilious, superior, toplofty (also toploftical), uppish, uppity
proud, arrogant, haughty, lordly, insolent, overbearing, supercilious, disdainful mean showing scorn for inferiors. proud may suggest an assumed superiority or loftiness arrogant implies a claiming for oneself of more consideration or importance than is warranted haughty suggests a consciousness of superior birth or position lordly implies pomposity or an arrogant display of power insolent implies contemptuous haughtiness overbearing suggests a tyrannical manner or an intolerable insolence supercilious implies a cool, patronizing haughtiness disdainful suggests a more active and openly scornful superciliousness
pompous
excessively elevated or ornate
: having or exhibiting self-importance : arrogant
vanity
: the quality of people who have too much pride in their own appearance, abilities, achievements, etc. : the quality of being vain
: something (such as a belief or a way of behaving) which shows that you have too much pride in yourself, your social status, etc.
something that is vain, empty, or valueless
: the quality or fact of being vain
: inflated pride in oneself or one's appearance : conceit
complacence
www.youtube.com/watch?v=n9bt8QldjPc
Don't be fooled by me.
Don't be fooled by the face I wear
for I wear a mask, a thousand masks,
masks that I'm afraid to take off,
and none of them is me.
Pretending is an art that's second nature with me,
but don't be fooled,
for God's sake don't be fooled.
I give you the impression that I'm secure,
that all is sunny and unruffled with me, within as well
as without,
that confidence is my name and coolness my game,
that the water's calm and I'm in command
and that I need no one,
but don't believe me.
My surface may seem smooth but my surface is my mask,
ever-varying and ever-concealing.
Beneath lies no complacence.
Beneath lies confusion, and fear, and aloneness.
But I hide this. I don't want anybody to know it.
I panic at the thought of my weakness exposed.
That's why I frantically create a mask to hide behind,
a nonchalant sophisticated facade,
to help me pretend,
to shield me from the glance that knows.
[ ...]
Who am I, you may wonder?
I am someone you know very well.
For I am every man you meet
and I am every woman you meet.
......
Please Hear What I'm Not Saying.
Charles C. Finn
September 1966
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) - Zeus and Love - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
[little one don’t be a fool
i’m a wreck when I look mighty
in euphoria I’m bruised
in confusion next I’m lightning
in complacence I am small
through oblivion I charge
when I’m not leading anyone
open and frayed
when you can see that I’m unsure
out on my way
i’m only pure when I get lost
and you’re only needing
when you’re finding that I’m not]
[chris cornell, euphoria morning 1999]
Huh!
Yeah, were comin back then with another bombtrack
Think ya know what its all about
Huh!
Hey yo, so check this out
Yeah!
Know your enemy!
Come on!
Born with insight and a raised fist
A witness to the slit wrist, thats with
As we move into 92
Still in a room without a view
Ya got to know
Ya got to know
That when I say go, go, go
Amp up and amplify
Defy
Im a brother with a furious mind
Action must be taken
We dont need the key
Well break in
Something must be done
About vengeance, a badge and a gun
cause Ill rip the mike, rip the stage, rip the system
I was born to rage against em
Fist in ya face, in the place
And Ill drop the style clearly
Know your enemy...know your enemy!
Yeah!
Hey yo, and dick with this...uggh!
Word is born
Fight the war, fuck the norm
Now I got no patience
So sick of complacence
With the d the e the f the I the a the n the c the e
Mind of a revolutionary
So clear the lane
The finger to the land of the chains
What? the land of the free?
Whoever told you that is your enemy?
Now something must be done
About vengeance, a badge and a gun
cause Ill rip the mike, rip the stage, rip the system
I was born to rage against em
Now action must be taken
We dont need the key
Well break in
Ive got no patience now
So sick of complacence now
Ive got no patience now
So sick of complacence now
Sick of sick of sick of sick of you
Time has come to pay...
Know your enemy!
Come on!
Yes I know my enemies
Theyre the teachers who taught me to fight me
Compromise, conformity, assimilation, submission
Ignorance, hypocrisy, brutality, the elite
All of which are american dreams
Rage Against The Machine, they are tentatively reformed and putting on shows.
Raphael (1483-1520) and workshop (Giulio Romano - Giovanni da Udine (for floral frescoes and festoons) - Raffaelino del Colle - Giovan Francesco Penni) Wedding banquet - Loggia di Amore e Psiche (about 1518) - Villa Farnesina - Rome
La Loggia, situata nel piano terreno e composta da cinque archi che sono attualmente chiusi da vetrate protettive, prende il nome dalla decorazione ad affresco dipinta nel 1518 sulla volta dalla scuola di Raffaello su disegni del maestro, dove si raffigurarono episodi ispirati all’Asino d’oro di Apuleio, della favola di di Amore e Psiche, già impiegata nel Quattrocento per immagini di argomento nuziale.
La loggia serviva da palcoscenico per le feste e le rappresentazioni teatrali organizzate dal proprietario.
Per dare un carattere festoso e spettacolare all’ambiente, Raffaello trasformò la volta della Loggia d’ingresso in una pergola, come se i pergolati e i padiglioni del giardino si fossero prolungati all’interno della Villa in ricchi festoni. Al centro due finti arazzi : il sontuoso Convito degli Dei, in cui la fanciulla ingiustamente perseguitata viene infine accolta nel consesso divino, e Le nozze di Amore e Psiche, culmine simbolico dell’intero ciclo.
Tuttavia, è da ricordare che l’impianto generale dell’affresco e l’ideazione delle singole scene e figure si devono alla geniale intuizione di Raffaello, ma agli affreschi lavorarono spesso numerosi artefici della sua bottega, tra cui Giovan Francesco Penni, Giulio Romano e Giovanni da Udine, autore, in particolare, dell’esuberante trionfo dei festoni di fiori e frutta.
The Loggia takes its name from the decoration frescoed on the vault by Raphael and his workshop in 1518. The frescos represent episodes from the fable of Psyche, narrated in Apuleiu’s Golden Ass, which had already been used in the fifteenth century for nuptial imagery.
The loggia was also used as a stage for celebrations and theatrical performances organised by Agostino himself.
To give the space a festive and theatrical feel to it, Raphael also transformed the vault of the Loggia into a pergola, adorned with magnificent hanging festoons, as though the greenery of the gardens had invaded the Villa itself. In the centre he designed two fictive tapestries which depict the concluding scenes: the splendid Council of the Gods, where the unjustly persecuted girl is finally received by the gods with divine complacence, and the Marriage of Cupid and Psyche, the symbolic culmination of the entire cycle.
However, although the general layout of the cycle and planning of the individual scenes and figures are attributed to the intuitive genius of Raphael (proven by a number of autographic sketches), the actual completion of the designs into frescos was carried out by his numerous workshop assistants, including Giovanni Francesco Penni, Giulio Romano and Giovanni da Udine. The latter, in particular, was the creator of the exuberant triumphal festoons.
Scaring Jane here with a story so horrible it will drag your eyeballs right off your face and send them into orbit around your head. As if that weren't enough it will lengthen your ears and make your tongue poke out of your nostrils. So put a paper bag over your head and bite your fingers in silence as I recite to you a fearsome little tale I like to call,
Paranormal Shenanigans!
One day a nice couple living in a nice house in a nice suburb made a mistake. It was a mistake anyone could make. It was the man of the couple who made the mistake. His name was Lucas and here is what he did. He bought cameras and set them up all over the house to film anything weird that might be happening. This is an obvious thing not to do and yet Lucas did it.
On the first night of recording, nothing happened.
On the second night of recording, the camera showed Lucas getting up to pee.
On the third night of recording, nothing happened.
On the fourth night of recording, the pots and pans in the kitchen all moved one centimetre to the left.
On the fifth night of recording, the pots and pans in the kitchen all moved one centimetre back to the right.
On the sixth night of recording, the couch cushions all changed places.
On the seventh night of recording, the fridge door opened and a single egg floated slowly out of the fridge, through the downstairs rooms, up the stairs and smashed itself open over Lucas' head.
Lucas and his girlfriend, Kelly, were not too happy when they reviewed the footage. Kelly told Lucas that it was all his fault for setting up the cameras and this was true.
So the next day Lucas came home to find Kelly sitting on the couch with a priest, a psychic and a demonologist. That sounds like a joke where a priest, a psychic and a demonologist walk into a bar, and the priest says, "I don't believe in spirits, but I'll take a small whisky," and the psychic says, "I do believe in spirits, and yours look delicious," and the demonologist says "Begone spirits from this place!" and suddenly all the bartender's bottles are empty and in a rage he smashes off the end of one, jumps over the counter and glasses the demonologist in the face. Sorry, that was a very violent joke.
So our boy Lucas was not too happy to see all of these people in his house, and that's before he got the bad news.
"Son," said the priest, "your house was built over an old graveyard, and the rotting bodies and restless spirits of the dead are writhing around right under your feet."
"Also," said the psychic, "your house used to be a lunatic asylum run by Doctor Rick the Tormentor -- he used to do guest spots on Oprah but they never really caught on. He performed ghastly experiments on his patients and they are wandering around the place seeking revenge."
"But really," said the demonologist, "all that is as nothing. because a powerful demon dressed as a nun has latched onto your armpits and it will follow you from house to house until you die and follow it back to hell."
"Why is the demon dressed as a nun?" enquired Lucas.
"Well some demons aren't too fond of tight trousers, they like a breeze around their nether regions. Some of them keep their faces down there so they feel it's for the best. Then a wimple hides demon pimples!" explained the demonologist glibly.
Lucas was getting a little bored by all the exposition, backstory and fashion commentary that the three experts were spouting.
"Well, what should we do about it?" he said.
"If you want to wait until your girlfriend turns a rusty shade of purple in the face and you find her hanging upside down from the ceiling at four in the morning, caressing your sleeping face with her long forked tongue, you could call me in to do an exorcism at the usual fee: four cans of Guinness, a quart of whisky and two hundred dollars," said the priest.
"If you want to wait until your girlfriend gets lost in another dimension and can only communicate through the television, I can come over and ask her to go towards the light," said the psychic.
"If you want to wait until your girlfriend becomes fully possessed by the demon nun and her body parts creak and twist in all the wrong directions and her mouth gets too wide and has double the regular amount of teeth and her eyes shine in the dark like glowing coals, I might be able to get her a spot on reality TV," said the demonologist.
"Wait a hot second," said Kelly, who had begun to feel very annoyed, "Why is the awful stuff all going to happen to me? He's the one who bought the cameras."
"Sorry honey," said the psychic, "that's just the way it is. And now if you'll excuse me I have to run out to my car and vomit hot tacks."
"It is God's will," my child," said the priest. "And since the room has suddenly become full of flies, I must hasten out before they all crawl up my nose."
"The demon doesn't want me here," said the demonologist, looking around the room.
"That's the first sensible thing I've heard about the demon in this whole conversation," said Lucas.
So when the three experts had all left, the demonologist slamming the door rather hard behind him, Lucas found himself alone with his angry girlfriend.
"I forbid you to have cameras all around the house," said Kelly, clenching her fists, "or to do anything at all that might attract the attention of elementals, entities or the unquiet dead".
"Sure, honey," said Lucas, and as soon as she had gone into the kitchen to make herself a smoothie, he whipped out a Ouija board from his trousers and asked it, "Is anyone or anything in the house with us? Do you want to make contact? Can I help you out in any way at all?"
The Ouija board quickly spelled out, "YES," "YES," and "MAYBE, HA HA HA" before bursting into flames. Kelly came into the room with her smoothie and was not pleased to find Lucas putting out a small fire on the coffee table.
So Kelly called up her mother and told her to come and over right away, which she did while Lucas sat sulkily in the den watching football and thinking up new and unpleasant mother-in-law jokes.
Now Kelly's mother was called Hecate Pandemonia which should have been a clue to something or other, especially as she had originally been named Lula-Jo Spettlehatch. However some ladies of a certain age get a little dramatic from time to time so Kelly had disregarded the name change. Great was her surprise, therefore, when Hecate said to her: "You have been a disappointing daughter to me child, I wanted you to have a son and then a daughter so that some demon could possess your daughter, get sick of her, remove her head and then possess your son, and then when he gets married he'll have a daughter who will marry the demon when she's a little girl and when she grows up they'll have a son who will grow up to be a politician, or the Antichrist, if there's any difference."
"You have to stop trying to run my life, Mother," said Kelly, typing "coping with narcissistic mothers" into a search engine.
"Don't you want to do what Mummy tells you?" said Hecate. "Because even if you don't, I can compel you."
"You and whose army?" said Kelly with a yawn, glancing out the window only to see an army of naked chanting women of a certain age whose bodies were all painted over with arcane red symbols, and under whose bare ragged-clawed feet plants were withering.
"That army," said Hecate with a touch of complacence.
So then Kelly made a vaguebook post talking about narcissists in the family and how she'd have to be the better person. Lucas came out of his den to complain about naked elderly woman scratching their long nails down the windowpanes. One had cut off the head of a sparrow with garden shears.
"So sick of my mother's tedious Boomer friends," wrote Kelly on social media.
Hecate looked at her and suddenly Kelly found herself running around frantically, only she was on all fours instead of upright, and she was on the ceiling instead of the floor, and then she started banging her head on the trapdoor up into the attic.
Squinting up at her, Lucas said, "Well I'll be darned, looks like the priest and the demonologist were right". So he pulled down the ladder and opened the trapdoor, but the attic was empty except for a partly-burnt picture of Kelly as a child, a few decapitated heads and some more elderly naked people. Oh and his old gardening socks that he hadn't seen in a long time.
"Well I guess we are really gearing up for the grand finale now," said Lucas, coming down from the attic as Kelly floated in the air in front of him, arms extended, upside-down with her hair all hanging down, and started singing Katy Perry's "Roar", only in Latin. Loud thumping footsteps resounded throughout the house and blood-red clawprints appeared on the floor. Lucas went to the kitchen to get some flour and threw it around in the air until a ten-foot tall demon, covered in flour, appeared in the middle of the living-room. Hecate knelt down in worship and the elderly naked chanting was loud outside the house.
"Sorry, just popped back in to get my glasses," said the psychic who had just popped in. "Oh my. I'll just pop out again, shall I, because I predict that somebody's about to be strangled or bent in half and I'm really hoping it won't be me."
Unfortunately just at that moment the camera footage cut out and the camera was later found in the empty house, which was a bit of a mess to be honest due to the burnt coffee-table, bloody clawprints and flour scattered around everywhere. There was no trace found of Kelly, Lucas or Kelly's mother, although police were kept busy rounding up elderly naked chanting people for some days afterwards.
Now it's true that a little girl called Madison who lived two houses down woke up her whole family one night, screaming that she had seen Lucas' bent-in-half body scuttle across her ceiling and disappear into her closet. And that a young woman called Harriet who lived around the corner saw Kelly's bloated, strangled face in the mirror every time she tried to brush her teeth. And that old Mrs Dodson in the nursing home annoyed the staff with senile ramblings about a woman called Hecate who whispered in Mrs Dodson's ear every Sunday at 7 in the evening, and she whispered some terrible things, oh boy. And that a little boy called Noah who lived across the street had begun to cut the heads off sparrows with garden shears. If the psychic had known about it she would have called it a "diffused haunting" and written it up in her next book. If the priest had known about it he'd have crossed himself and had another whisky. If the demonologist had known about it he'd quietly have booked himself a flight out of town because some stuff you just don't mess with.
If the real estate agent had known about it she wouldn't have sold the house to a nice family with three kids (two boys and a girl) and a cute dog.
But none of them knew about it because the only one who knows about it is YOU who are reading these words.
So what are you going to do about it?
Scaring Jane signing off and wishing you sweet dreams and a Happy Hallowe'en!
Church of St Thomas, Apostle & Martyr, Somercotes Derbyshire built of brick and stone, consisting of chancel and nave, it seats 450
The guide says this is an Anglo-Catholic parish, which places a high importance on all seven Sacraments, and worship which reflects "the beauty of holiness". Regular Sunday School during the Parish Mass, and Beavers, Cubs, Rainbows, Brownies and Guides meet in the Hall beside the church.
Somercotes was, until 1835, part of the parish of Alfreton and the parish Church was St. Martin of Tours. As the population of the area began increased many in the congregation who lived in Riddings and Somercotes found the travelling to Alfreton unsatisfactory, and after a campaign to have their own parish and church, the ecclesiastical parish of Riddings was created in 1835 and the newly built Church of St. James opened. However by the mid-19c, the population of Somercotes was becoming much larger than Riddings and it was then necessary to establish a Chapel of Ease under the direction of St. James.
The present church started lie as a Wesleyan Chapel built in 1849 , near which was a tract of land which could be utilised as a burial ground. Dissensions had arisen in the Wesleyan community and the members agreed to sell this chapel to the church wardens of Riddings for a sum of £400.
It was then adapted for Anglican worship om 1952 when a stone chancel was added to the existing brick built square chapel , paid for by subscription, assisted by a grant from the Incorporated Church Building Society & the receipt of a £800 donation from Thomas Haden Oakes J.P. of Riddings House who also financed the chancel east stained glass window.
Consecration of the church took place on 22nd July 1854 "Divine service commenced at 11 o’clock, the Lord Bishop and the clergy walking in procession at that hour from the west door to the communion table, repeating alternately the 24th Psalm. The service of consecration was performed by the Lord Bishop of Lichfield, Dr Lonsdale, assisted by the Rev. T. Lund, the prayers and lessons being read by the Rev. J. Mee. The Bishop selected for his text the 25th chapter of Numbers, and the 12th and 13th verses: ‘Wherefore say, behold I give unto him my covenant of peace; and he shall have it and his seed after him, even the covenant of an everlasting priesthood; because he was zealous for his God, and made an atonement for the children of Israel.’ A collection was made, amounting to £34 17s 4d. The musical portion of the service was very efficiently performed by the Riddings choir. On the conclusion of the service, the Lord Bishop, with the clergy, proceeded round the adjoining burial ground, and consecrated it.”
The building was restored in 1878
As the population of Somercotes continued to increase more pressure was placed on the accommodation and In 1887 further modifications were made in order to increase the capacity which resulted in its temporary closure. It re-opened at the beginning of October that year, in time for Harvest Festival celebrations. The Derbyshire Advertiser & Journal reported "an outer porch has been erected, and pitch pine seats for the choir placed in the chancel. By this means the church will seat a greater number of persons. Crowded congregations were present at each service, and collections were taken to defray the cost.”
For many years the ministrations at this church were carried out under the supervision of the Vicar of Riddings until 1892, when the Rev. B. Davies was placed as Curate-in-Charge here.
The movement to support both the new church and the establishment of their own parish gathered pace and funds were raised through collections, bazaars, afternoon teas and dances, as well as substantial donations
The new parish was founded in 1898 , Rev. Mahony becoming its first vicar The parishioners contribution was £1000 which was raised through functions, events & donations.. The old church only accommodated about 270, and a new church was absolutely necessary. The Ecclesiastical Commissioners agreed to the rebuilding of a new larger church . Over £4000 was needed.
On 22nd of August 1901, the Vicar and churchwardens were empowered to take down the nave, and build a new one with north and south aisles, south porch, and vestries for clergy and choir. Plans were drawn up by Mr. Percy H. Currey, of Derby,. The amount of the contract was £3912, with c £120 needed for chancel alterations. With other expenses it is estimated that the total outlay will reach about £4300.
When completed it would accommodate 412 worshippers.
The new nave is 57ft. long and the width of the nave and the aisles is 48ft. The nave is seated with chairs, and the pulpit, font and choir seat etc. are those which were formerly in use at the old church.
In October 1902 the Bishop of Southwell consecrated the new church. There was a large congregation. The Choir and the clergy entered by the south door, and the congregation joined in singing “All people that on Earth do dwell”. This Vicar presented the Bishop with the petition for consecration, which he handed to the registrar, who read it aloud. The Bishop, having assented to it, he and the clergy, preceded by the churchwardens with their wand of office, walked in procession through the church repeating the 24th Psalm. The Vicar then presented the deeds of conveyance and endowment to the Bishop, who laid it on the Alter. The Bishop afterwards delivered the sentence of consecration, which was read by the registrar and signed by the Bishop, who ordered it to be registered in the Registry of the Diocese. The Rev. F. C. Mahony then conducted a short-ended evening service, the lessons being read by the Rev. C. Harrison and the Vicar. The Bishop gave an address, in the course of which he said that though the war was not desirable he ventured to think that it had produced many lessons which would make for the advancement and the prosperity of the nation, which had been awakened out of its lethargy and its sleep, to a point of thoughtfulness, progress and enthusiasm. There was a need for the nation to wake up in intellectual things, in educational things and secular things. As a nation they were called upon to work. They had reached a point of contentment and self-complacence, when they were not willing to work the hours they once did, and which they were once proud of doing. Just now there was a movement which concerned them all. Years ago their forefathers had fought for religious education, which now appeared to be attacked. Religion was one of the fundamentals of the greatness of the Empire. Were they to lose that religious aspect of their education? There was a need for waking up from sleeping in order to maintain the spirit in the schools. An offertory was taken for the building fund and the sum of £33.7s.10d was the result. The choir rendered capable musical help, under the direction of Mr. E. Moore, the organist being Mr. S. Marriott.
After the service there was a tea in the National Schools, which was attended by over 100 people.
In 1945 electric lighting was installed in the church.
Sadly on the night of the 30th January 1980, the church was devastated by a fire that gutted the roof and destroyed the organ. The damage was estimated at £200,000. It is ironic that the year prior to the fire the congregation had raised £10,000 to install new lighting and heating etc and the main aim of the refurbishment was for fire prevention. The insurance did not cover the total cost of repairs and additional money had to be raised to meet the total cost. The Derbyshire Times Extra, of 12th February 1980 reported: “Although St. Thomas’ Church is insured, thousands of pounds still need to be raised. Examination of the building revealed that a new base needed to be laid, and this is not covered by insurance. An appeal fund has been launched and letters are being sent to pubs, shops and places of employment in the area, in a bid to raise the money needed”
The flames of the fire were so fierce that they could be seen as far away as Swanwick. Many local people recalled the fire and the bravery of the congregation who formed a human chain, while the fire burned, to rescue as many of the furnishings as they could. The parish worked hard to raise funds for the rebuilding took over a year, during which the Parish Hall was used for Sunday morning services. The Church finally re-opened at Easter in 1981.
"Did Nature supplement what man advanced? Did she complete what he began? With equal complacence she saw his misery, his meanness, and his torture. That dream, of sharing, completing, of finding in solitude on the beach an answer, was then but a reflection in a mirror, and the mirror itself was but the surface glassiness which forms in quiescence when the nobler powers sleep beneath? Impatient, despairing yet loth to go (for beauty offers her lures, has her consolations), to pace the beach was impossible; contemplation was unendurable; the mirror was broken."
— Virginia Woolf (To the Lighthouse)
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Don't be fooled by me.
Don't be fooled by the face I wear
For I wear a mask, a thousand masks,
Masks that I'm afraid to take off
And none of them is me.
Pretending is an art that's second nature with me,
but don't be fooled,
for God's sake don't be fooled.
I give you the impression that I'm secure,
that all is sunny and unruffled with me,
within as well as without,
that confidence is my name and coolness my game,
that the water's calm and I'm in command
and that I need no one,
but don't believe me.
My surface may be smooth but
my surface is my mask,
ever-varying and ever-concealing.
Beneath lies no complacence.
Beneath lies confusion, and fear, and aloneness.
But I hide this. I don't want anybody to know it.
I panic at the thought of my weakness exposed.
That's why I frantically create a mask to hide behind,
a nonchalant sophisticated facade,
to help me pretend,
to shield me from the glance that knows.
But such a glance is precisely my salvation,
my only hope, and I know it.
That is, if it is followed by acceptance,
If it is followed by love.
It's the only thing that can liberate me from myself
from my own self-built prison walls
from the barriers that I so painstakingly erect.
It's the only thing that will assure me
of what I can't assure myself,
that I'm really worth something.
But I don't tell you this. I don't dare to. I'm afraid to.
I'm afraid you'll think less of me,
that you'll laugh, and your laugh would kill me.
I'm afraid that deep-down I'm nothing
and that you will see this and reject me.
So I play my game, my desperate, pretending game
With a façade of assurance without
And a trembling child within.
So begins the glittering but empty parade of masks,
And my life becomes a front.
I tell you everything that's really nothing,
and nothing of what's everything,
of what's crying within me.
So when I'm going through my routine
do not be fooled by what I'm saying.
Please listen carefully and try to hear what I'm not saying,
what I'd like to be able to say,
what for survival I need to say,
but what I can't say.
I don't like hiding.
I don't like playing superficial phony games.
I want to stop playing them.
I want to be genuine and spontaneous and me
but you've got to help me.
You've got to hold out your hand
even when that's the last thing I seem to want.
Only you can wipe away from my eyes
the blank stare of the breathing dead.
Only you can call me into aliveness.
Each time you're kind, and gentle, and encouraging,
each time you try to understand because you really care,
my heart begins to grow wings --
very small wings,
but wings!
With your power to touch me into feeling
you can breathe life into me.
I want you to know that.
I want you to know how important you are to me,
how you can be a creator--an honest-to-God creator --
of the person that is me
if you choose to.
You alone can break down the wall behind which I tremble,
you alone can remove my mask,
you alone can release me from the shadow-world of panic,
from my lonely prison,
if you choose to.
Please choose to.
Do not pass me by.
It will not be easy for you.
A long conviction of worthlessness builds strong walls.
The nearer you approach me
the blinder I may strike back.
It's irrational, but despite what the books may say about man
often I am irrational.
I fight against the very thing I cry out for.
But I am told that love is stronger than strong walls
and in this lies my hope.
Please try to beat down those walls
with firm hands but with gentle hands
for a child is very sensitive.
Who am I, you may wonder?
I am someone you know very well.
For I am every man you meet
and I am every woman you meet.
~ By Charles C. Finn
“Said one oyster to a neighboring oyster, "I have a very great pain within me. It is heavy and round and I am in distress." And the other oyster replied with haughty complacence, "Praise be to the heavens and to the sea, I have no pain within me. I am well and whole both within and without." At that moment a crab was passing by and heard the two oysters, and he said to the one who was well and whole both within and without, "Yes, you are well and whole; but the pain that your neighbor bears is a pearl of exceeding beauty".” - Kahlil Gibran
Note:
Claudiney is one among 15.000 lost children still roaming the streets of São Paulo.
Photo by Jason
Transformation: The Reluctant Journey
by Dr. Richard Leslie Parrott, The Reluctant Journey
Meet Dr. Richard Leslie Parrott
Everyone faces a reluctant journey:
A wounded vet looks at the pain-filled path toward uncertain healing.
A young schoolteacher discovers the terrors of the first year.
A retiree faces uncertain years in an uncertain era.
A college graduate examines the hardships of finding work.
An angry son knows he should make amends with his parents.
A couple’s call to full-time ministry means life will change forever.
A mother holds a baby with Down syndrome and considers the future.
An addict knows she needs help, but the way forward is hard and long.
A new believer discovers resistance and ridicule at his fresh faith.
A wealthy business owner struggles with the call to give sacrificially.
An agnostic battles her doubts as she desires to believe.
An employee in a toxic organization determines to live true to Christ.
Parents hurting with a prodigal child struggle to know what to do next.
A complacent Christian feels the prod to move into a deeper life with Christ.
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The Savior’s Struggle
The reluctant journey is the struggle our Lord validated in the prayer He taught His disciples:
Lead us not into temptation, but deliver us from evil. — Matthew 6:13
We repeat the words so easily and debate them so intellectually that we miss the deep, spiritual dynamic that these ten words carry. “Lead us not into temptation” voices a cry from the soul, a lament in the heart, as we gaze on the path ahead and tremble. We trust, but we know there is risk. God’s promise is sure, but there will certainly be pain. Hope and fear fold into one another like colors in the finest marble. The reluctant journey is a calling and will test everything about us.
Put yourself in the sandals of Moses, who when summoned by God to return to Egypt and confront Pharaoh said,
Please, Lord, God I beg You to send Your message through someone else, anyone else. — Exodus 4:13
Isaiah responded to his call with confidence and obedience; yet when he understood the message he was to deliver, he cried out,
How long, Lord? — Isaiah 6:11
The Psalms lament the reluctant journey:
There’s no way out of here; no one cares about of the state of my soul. — Psalm 142:4
And
I only asked, ‘When I stumble on the narrow path, don’t let them boast or celebrate my failure’. — Psalm 38:16
Our Lord’s prayer for His disciples became our Lord’s personal lament in the Garden of Gethsemane. He knew the reluctant journey; it was before Him:
He took Peter, James, and John with Him; and as they left the larger group behind, He became distressed and filled with sorrow.
JESUS: My heart is so heavy; I feel as if I could die. Wait here for Me, and stay awake to keep watch. He walked on a little farther. Then He threw Himself on the ground and prayed for deliverance from what was about to come.
JESUS: Abba, Father, I know that anything is possible for You. Please take this cup away so I don’t have to drink from it. But whatever happens, let Your will be done — not Mine. — Mark 14:33–36
Jesus takes the journey with us
The Partners Prayer
We also pray, “Deliver us from evil” (Matthew 6:13). When confronted with God’s full demand on our lives, we experience a bit of foot-dragging, hesitation, and caution. Your personal trail of reluctance may involve moving from...
Guilt to confession
Wound to healing
Resentment to forgiveness
Complacence to surrender
Self-focus to sacrifice
Sorrow to new life
Sinner to saint
The spiritual challenge is daunting. Imagine unpacking your gear at the base camp of Mount Everest as you look at the climb ahead of and above you. Put yourself on a beach in Normandy with a plan to take the plunge and swim to the White Cliffs of Dover. The spiritual calling of God is formidable. Oh yes, we may declare our unwavering commitment before the assembly of believers. Yet, tucked in the shadows of the soul, we are squeamish, guarded, and circumspect. We will make the journey, but we are going to ask if it is at all possible for the cup to be removed.
We struggle with the wish that God might eliminate the journey and put us in the jet stream to heaven! Where did we develop the false impression that following Jesus was a stress-free boulevard? Jesus does not promise to save us from the struggle. Neither does Jesus abandon us in the struggle. First, Jesus has blazed the trail. He made the journey and conquered the journey.
Though He was in the form of God, He chose not to cling to equality with God; But He poured Himself out to fill a vessel brand new; a servant in form and a man indeed. The very likeness of humanity, He humbled Himself, obedient to death — a merciless death on the cross! — Philippians 2:6-8
Second, Jesus takes the journey with us. He leads the way and calls us to partner with Him, to join Him as His allies, companions, and joint-heirs.
God’s Spirit confirms in our spirits that we are His children. If we are God’s children, that means we are His heirs along with the Anointed, set to inherit everything that is His. If we share with His sufferings, we know that we will ultimately share in His glory. — Romans 8:16–17
We enter the struggle with Him. He continues the battle through us. Therefore,
adopt the mind-set of Jesus the Anointed. Live with His attitude in your hearts. — Philippians 2:5
As in any partnership, you must take up your responsibility.
Continue to work out your salvation, with great fear and trembling, because God is energizing you so that you will desire and do what always pleases Him. — Philippians 2:12–13
The reluctant journey is God’s way to transform us and bring His transformation to the world. We are to called to “shine like stars across the land” (Philippians 2:15). And so, more than once, we heave a sigh, return to our purpose, and give all to God again.
Whatever happens, let Your will be done — not Mine. — Mark 14:36
The purpose of the reluctant journey is to spread the light of God.
The God who spoke light into existence, saying, ‘Let light shine from the darkness,’ is the very One who sets our hearts ablaze to shed light on the knowledge of God’s glory revealed in the face of Jesus. — 2 Corinthians 4:6
The call rings with inspiration and challenge.
The next verse begins with the catch but. But there will be struggle as well as strength. There will be pain as well as power. There will be shame as well as the glory of God’s presence. The purpose of the partnership in suffering is revealed.
But this beautiful treasure is the contained in us — cracked pots made of earth and clay — so that the transcendent character of this power will be clearly seen as coming from God and not from us. — 2 Corinthians 4:7
Make the verse personal: God places His treasure, the Spirit of Jesus (Acts 16:7; Philippians 1:19), in you. Yet, you have faults, flaws, and failures. Surely it is the wrong setting for such a diamond, yet, that is the point. Attention is drawn to the glittering light rather than the humble setting. You are evidence, the verification, the proof, and the living reminder of God’s work in the world. And God answers our prayer; He leads us and delivers us.
We are cracked and chipped from our afflictions on all sides, but we are not crushed by them. We are bewildered at times, but we do not give in to despair. We are persecuted, but we have not been abandoned. We have been knocked down, but we are not destroyed. We always carry around in our bodies the reality of the brutal death of and suffering of Jesus. As a result, His resurrection life rises and reveals its wondrous power in our bodies as well. — 2 Corinthians 4:8–10
The reluctant journey of Christ, His brutal death and suffering, is alive and at work in us. His death was a direct confrontation with the unholy trinity: sin, death, and the Devil. His work continues in us. We are His partners in the continuing battle. Thus, His resurrected life shines out through us.
Excerpted from The Reluctant Journey: Fulfilling God's Purpose For You by Dr. Richard Leslie Parrott, Thomas Nelson.
"Word is born
Fight the war, fuck the norm
Now I got no patience
So sick of complacence
With the D the E the F the I the A the N the C the E
Mind of a revolutionary
So clear the lane
The finger to the land of the chains
What? The land of the free?
Whoever told you that is your enemy?
Now something must be done
About vengeance, a badge and a gun
'Cause I'll rip the mike, rip the stage, rip the system
I was born to rage against 'em
Now action must be taken
We don't need the key
We'll break in
I've got no patience now
So sick of complacence now
I've got no patience now
So sick of complacence now
Sick of sick of sick of sick of you
Time has come to pay...
Know your enemy!
Come on!
Yes I know my enemies
They're the teachers who taught me to fight me
Compromise, conformity, assimilation, submission
Ignorance, hypocrisy, brutality, the elite
All of which are American dreams" -RATM
"I've got to expose hypocrisy in my own self. The consciousness of my own self, before I ever stand up and speak for other individuals who are trying to be the same."
“Inside me, I think that an animal goes through a lot of pain in the whole cycle of death in the slaughterhouse; just living to be killed. That whole situation is really messed up for animals, growing up in those little cooped-up pens. I just don't think its worth eating that animal. I think animals should be free. There's so much other food out there that doesn't have to involve you in that cycle of pain and death.”
"And there were men in this country who gave us the power to think critically again. There were men in this country who rose up and lifted there minds out of the choices and lifted there minds up and showed all of us that we are individuals who can use our mind and our spirit to fight a hypocritical and brutal system.used in spirit to speak to all of us regardless of color, regardless of up bringing, and regardless of class and showed us all that this is a country that for 500 years has murdered, and enslaved, and stolen our land, and kept us from seeing ourselves as who we truly are."
"It is important for me, as a popular artist, to make clear to the governments of the United States and Mexico that despite the strategy of fear and intimidation to foreigners, despite their weapons, despite their immigration laws and military reserves, they will never be able to isolate the Zapatista communities from the people in the United States."
"This next song goes out to those who still believe that there is an american dream. And still believe that within that dream there is something called freedom. It is time to fucking wake up, and begin to truly think for ourselves, and find new sources of information... otherwise - things like what's happening in the persian gulf will continue. They will be able to make decisions for you, unless you fucking wake up, and take that veil of complacence from your eyes, and fucking begin to remove the bullet from your head."
"When I say no more lies...I'm telling you that we're not hear to celebrate this lie that is Christmas. With images of Santa, this prosperous white man, bringing presents and good hope to the communities of our countries is a fat lie. And is one installed only to legitimize the falsehood which is white supremecy. So no more lies...no more lies…"
"For hundreds of years America has sent people into the fuckin Middle East in the name of freedom, in the name of democracy and have murdered innocent women and children to rape, conquer and divide them of there resources. Today the situation still stands and people are still being murdered in the name of freedom. Wake up to your powers as an individual and speak out and act against fucking imperialistic actions like this."
"Check it out, check it out. Apparently just before this concert, there was some friends of ours in an organization called "The Friends and Family of Mumia Abu-Jamal". And somebody that came out here to pass out some information were sweated for wearing this very t-shirt right here (Zack points to his shirt and it has a picture of Mumia in cuffs and it say's "Free Mumia Abu-Jamal" underneath it). Now apparently it wasn't one of the promoters, and it wasn't some security guard, and I'm not going to make any assumptions but we're not nieve enough to think that there aren't members of the intelligence community right here in this fucking crowd who wanna prevent you from understanding why Mumia Abu-Jamal should be free. So let this be a message to you mister whoever the fuck you are and whoever they think they are. You're not going to intimidate us, and your not going to intimidate anyone in here from becoming a part of the movement to free Mumia Abu-Jamal. Yes. So in the back over here there's a table setup, and any of you can go over there and pick up as much information as you want. You should really check that shit out. Please do."
Too addicted to..
...this maddening pace
...complacence in comfort
...opulent splendour
...oddities of diversity
...disparities in fortune
to relinquich my urban existence..
barely any time left
to perceive my soul tiring
..needing replenishment
until I experience
the Bliss in my Rural Repose...
Poem by Vidhya T
"Don't be fooled by me. Don't be fooled by the face I wear. For I wear a thousand masks, masks that I am afraid to take off and none of them are me. Pretending is an art that's second nature with me, but don't be fooled. For God's sake don't be fooled. I give the impression that I am secure, that all is sunny and unruffled with me, within as well as without, that confidence is my name and coolness my game; that the waters are calm and I am in command, and that I need no one. But don't believe me, please. My surface may seem smooth, but my surface is my mask, ever-varying and ever-concealing 'Neath this lies no complacence. Beneath dwells the real me in confusion, in fear, and aloneness. But I hide this. I don't want anybody to know. I panic at the thought of my weakness and fear of being exposed. That is why I frantically create a mask to hide behind; a nonchalant, sophisticated facade, to help me pretend, to shield me from the glance that knows. But such a glance is precisely my salvation. My only salvation. And I know it. That is, if it is followed by acceptance, if it is followed by love. It is the only thing that will assure me of what I can't assure myself, that I am worth something. But, I don't tell you this. I don't dare. I am afraid to. I am afraid your glance will not be followed by acceptance and love. I am afraid you will think less of me, that you will laugh at me, and that you will see this and reject me. So I play my game, my desperate game, with a facade of assurance without, and a trembling child within. And so begins the parade of masks, and my life becomes a front. I idly chatter to you in the suave tones of surface talk. I tell you everything that is really nothing, and nothing of what is everything, of what is crying within me; So when I am going through my routine do not be fooled by what I am saying. Please listen carefully and try to hear what I am not saying. What I would like to be able to say, what for survival I need to say, but I can't say. I dislike hiding, Honestly! I dislike the superficial game I am playing, the phony game. I would really like to be genuine and spontaneous, and me, but you have got to help me. You have got to hold out your hand, even when that is the last thing I seem to want. Only you can wipe away from my eyes that blank stare of breathing death. Only you can call me into aliveness. Each time you try to understand and because you really care, my heart begins to grow wings, very small wings, very feeble wings, but wings. With your sensitivity and sympathy, and your power of understanding, you can breathe life into me. I want you to know that. I want you to know how important you are to me, how you can be the creator of the person that is me if you choose to. Please choose to. You alone can break down the wall behind which I tremble, you alone can remove my mask. You alone can release me from my shadow world of panic and uncertainty; From my lonely person. Do not pass me by. Please . . . do not pass me by. It will not be easy for you; a long conviction of worthlessness builds strong walls. The nearer you approach me, the blinder I strike back. I fight against the very thing I cry out for. But I am told that love is stronger than walls, and in this lies my hope. Please try to beat down those walls with firm hands, but with gentle hands for a child is very sensitive. Who am I, you may wonder? I am someone you know very well. For I am every man you meet and I am every woman you meet. _________________Charles C. Finn"
dedicated to Mo Dogskill