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Milan Cathedral, Duomo di Milano in Italian, or Metropolitan Cathedral-Basilica of the Nativity of Saint Mary (Italian: Basilica cattedrale metropolitana di Santa Maria Nascente), is the cathedral church of Milan, Lombardy, Italy. Dedicated to the Nativity of St. Mary (Santa Maria Nascente), it is the seat of the Archbishop of Milan. The cathedral took nearly six centuries to complete: construction began in 1386, and the final details were completed in 1965. It is the largest church in the Italian Republic—the larger St. Peter's Basilica is in the State of Vatican City, a sovereign state—and one of largest in the world.
During the H3H Art Biennal I discovered the garden behind the walls of the Benedictine Sisters Convent. This was made possible by the sculpture/installation from Frank Havermans. He went through the concrete wall that surrounds this garden and also crossed over a deep ditch. Public assess was here never allowed before, in 100 years
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Which end to take?
In Dutch about the biënnale:
In English the website from Frank Haverman:
frankhavermans.space/project/h3h_ypb_gate-bridge/
Thank you for taken your time to visit me, comments or faves are always much appreciated!
The Roman Catholic Diocese of Albany(New York) announced that 33 worship sites will be closed due to demographics and shortage of priests.
The h3h biennial “A Deeper Shade of Soul” will take place from June 21 to Aug. 3, 2025.
This tree tent I saw at the at h3h biënnale Oosterhout in 2023.
From the website www.h3hbiennale.nl/kunstenaars/dre-wapenaar/
"Studio Dré Wapenaar works at the interface of architecture, design and sculpture. Sculpture is the base. Working with sculptures, presented in a three-dimensional context, is dealing with people turning around the work and being confronted with it. In working with tents and pavilions this movement is enlarged towards people turning and twisting around each other as well. Tents, with the universal language they speak, are an excellent means to understand at least something of the chemistry between people.”
Website of Dré Wapenaar himself:
Thank you for taken your time to visit me, comments or faves are always much appreciated!
A landmark of Kanyakumari very closely associated with the mainstream Catholic faith in India.The church is constructed following the model of ancient Gothic Art and culture. The length of the Church is 153 feet, breadth 53 feet and height of the main tower is 153 feet. This entire dimension depicts the beads of the Holy Rosary. There are 12 towers in the church which depict 12 disciples of Jesus Christ. Our Lady of Ransom is the Patron of the congregation in Spain which redeemed the Christians from the Muslim invasion in the year 1218. The people of Kanniyakumari combined the name Ransom with Delight and call their patron Alangara Upakara Matha. Please view large
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NETHERLANDS
Utrecht, founded by Romans in 47 b. C. to protect an important strategic position, due to the Rhine river; it's among the first netherland cities having embraced the catholic faith.
Saint Benedict of Nursia (c. 480–547) is known as the Father of Western Monasticism and the founder of the Benedictine Order. His Rule of Saint Benedict shaped the spiritual, cultural, and intellectual life of Europe for centuries, teaching a balanced path of prayer, work, and community life rooted in Christ. Benedict’s emphasis on humility, obedience, and stability created a spiritual tradition that continues to inspire countless men and women who dedicate their lives to God in monasteries across the world.
At Chilworth Abbey, the Benedictine spirit is still alive today, expressed through the rhythm of the Divine Office, silence, and hospitality. A place of prayer and peace, the Abbey stands as a witness to Benedict’s vision: that in all things, God may be glorified.
Ya que me hicieron pasar un tremendo día de calor y sudor lo menos que puedo hacer es subir algunas de las que hice, a unos les gustara lo que significa y a otros no, pero de todo tiene que haber.
Stage 17: Thursday, June 9, Cuneo - Pinerolo, 254 km
major ascents: Madeleine, Vars, Izoard, Montgenèvre, Sestriere
1. Fausto Coppi: 9hr 19min 55sec (4 minute bonus)
2. Gino Bartali @ 11min 52sec...
In 1949, the 32nd Giro d'Italia started on May 21 in Palermo. He finished on June 12 in Monza. This Giro was won by the Italian Fausto Coppi. GINO BARTALI, rijdend voor Team Bartali-Gardiol would be second at 23 minutes. In the following Tour de France, Bartali would also finish second after the unapproachable Coppi.
In his 19-year professional career, Gino Bartali (1914-2000) has 168 victories. He has worn the yellow jersey in the Tour de France for 23 days. In the Giro d'Italia he wore the pink jersey for 50 days.
Bartali won the Giro three times (1936, 1937, 1946) and the Tour de France twice (1938, 1948).
Bartali had the following nicknames: the Silent, the Pious, the Mystic or the Monk, because of his intense profession of the Catholic faith and the Nordist of Tuscany because of his native region of Tuscany. Bartali was always portrayed in a different light: champion of simplicity, of snobbery, of tolerance or of tyranny. Bartali had countless tifosi (fans).
A great champion!
(picture, unknown source)
VII ESTACIÓN. EL CIRINEO AYUDA A LLEVAR LA CRUZ.- Cofradía del Dulce Nombre de Jesús Nazareno - León
Obra : Anónimo. Siglo XVII
La Semana Santa española que desde diferentes puntos de España participaron en el Vía Crucis que se celebró el viernes a las 19.30 en Madrid, con motivo de la llegada de Benedicto XVI, en la jornada mundial de la juventud (JMJ2011 - WYD11)
Situado desde la Plaza de Colón, pasando por Recoletos hasta finalizar el camino en Plaza Cibeles, los pasos reflejarán la Pasión de Cristo
El Papa emplea concretamente dos unidades, llevan en funcionamiento desde que los estrenase en 2002 el papa Juan Pablo II , y Benedicto XVI decidió que siguiera en funcionamiento. En sus 19 años de servicio han podido visitar países de los cinco continentes. Sus placas de matrícula rezan SCV y SCV 1, correspondiéndose con las siglas de Stato della Citta del Vaticano.
Anglican Shrine of Our Lady of Walsingham, Norfolk
In 1061 Richeldis de Faverches had a vision of the BVM in which she was led in spirit to Nazareth. She was shown the house where the Archangel Gabriel appeared to the BVM , and was asked to build a replica in Walsingham to serve as a perpetual memorial of the Annunciation. She was promised that 'Whoever seeks my help there will not go away empty-handed.' The simple wooden house that Richelda built soon became the focus of special devotion to Our Lady. The 'Holy House' was later encased in stone to protect it from the elements.
Afterwards her son Geoffrey granted "to God and St Mary and to Edwy his clerk the chapel of our Lady" which his mother had founded with the intention that Edwy should found a priory here. In 1153, the Augustinian Canons founded a Priory to care for the spiritual needs of the pilgrims. Their magnificent Priory Church was added in the 15c . Only the ruin of the Priory arch remains www.flickr.com/gp/52219527@N00/h95aT6 and archaeology has placed the site of the 'Holy House' in its shadow.
Walsingham became one of the foremost shrines of medieval Christendom. Among the pilgrims to the 'Holy House' were many royal visitors. Henry III in 1226, Edward I (11 times), Edward II in 1315, Edward III in 1361, Richard II in 1383, Edward IV in 1469, Henry VI in 1487 (and many other times) and Henry VIII in 1511 with his wife Catherine of Aragon, in thanksgiving for the birth of his son, Prince Henry (who died soon after).
In 1340, the Slipper Chapel was built at Houghton St Giles, a mile outside Walsingham. This was the final 'station' chapel on the way to Walsingham. It was here that pilgrims would remove their shoes to walk the final 'Holy Mile' to the Shrine barefoot.
The image of Our Lady developed much later and so from the earliest days the primary focus had been this humble home. It was to this little wooden chapel that generations of pilgrims made their way,
On 1st January 1511 Catherine of Aragon gave birth to a boy to great rejoicing, most of all by his father Henry Vlll who on the 11th travelled to Walsingham to give thanks, Erasmus describes what Henry would have experienced - The Virgin's milk was kept on the high altar, solidified like "powered chalk, tempered with white of egg" , and protected by a crystal vial. The custodian wearing a linen vestment with a stole round his neck, prostrated himself in adoration before offering the vial to be kissed. The pilgrim knelt on the lowest step of the altar and reverently touched the relic with his lips. The then custodian held out a board "like those used in Germany by toll collectors on bridges" for the cash offering. Henry offered £1. 13s 4d. Sadly the baby died on the 23rd February - Henry never returned here
Visiting in 1513, Erasmus also wrote "When you look in you would say it is the abode of saints, so brilliantly does it shine with gems, gold and silver ... Our Lady stands in the dark at the right side of the altar ... a little image, remarkable neither for its size, material or workmanship."
However by 1514 a visitation of Bishop Nicke revealed that the prior was leading a scandalous life and that, among many other things, he treated the canons with insolence and brutality; the canons themselves frequented taverns and were quarrelsome. The prior, William Lowth, was removed and by 1526 some decent order had been restored.
Henry VIII ordered the dissolution of the monasteries and in 1538 the Priory was closed, the 'Holy House' burned to the ground and the statue of Our Lady taken to "Chelsea by London and their publicly burnt". The priory destruction was supervised by local landowner, Sir Roger Townshend. By that time it was famous and its fall symbolic as it had become one of the greatest religious centres in England and Europe, together with Glastonbury and Canterbury.
The buildings were looted and largely destroyed, but the memory of it was less easy to eradicate. Sir Roger wrote to Cromwell in 1564 that a woman of nearby Wells had declared that a miracle had been done by the statue after it had been carried away to London. He had the woman put in the stocks on market day to be abused by the village folk but concluded "I cannot perceyve but the seyd image is not yett out of the sum of ther heddes."
The site of the priory with the churchyard and gardens was granted by the Crown to Thomas Sydney. All that remained of it was the gatehouse, the chancel arch and a few outbuildings
In 1921 Rev Alfred Hope Patten 1885-1958 www.flickr.com/gp/52219527@N00/1p53Y4 became vicar of Great and Little Walsingham with St Giles' Houghton. He is best known for his restoration of the Anglican Shrine of Our Lady of Walsingham. Within months of arriving he had a statue of Our Lady of Walsingham modelled on the medieval priory's seal www.flickr.com/gp/52219527@N00/27TRkx and placed it in the parish's main church, St Mary's. He also started Marian devotions in his church and - aided by the League of Our Lady (later the Society of Mary) - the first pilgrimages from London. As the number of pilgrims to the site increased, the Holy House and its covering chapel were built, and dedicated in 1931 and the statue was moved to it. The chapel was extended in 1938 to form the current Anglican shrine On his death he was buried in the churchyard of St Mary's. www.findagrave.com/cgi-bin/fg.cgi?page=pv&GRid=158173...
Every night at 6pm the many intercessions from all over the world are presented before the shrine
www.walsinghamanglican.org.uk/the_shrine/the_story_so_far...
The Metropolitan Museum of Art, NYC
by navema
Oil on canvas.
Picasso in The Metropolitan Museum of Art: April 27, 2010–August 15, 2010
This striking painting is one of Picasso's most moving pictures from his Blue Period, so named for the blue coloration that permeated his work at the time (autumn 1901-mid-1904). Frequently he depicted solitary figures set against almost empty backgrounds, the blue palette imparting a mood of melancholy and desolation to images that suggest unhappiness and dejection, poverty, despondency, and despair. Most prevalent among his subjects were the old, the destitute, the blind, the homeless, and the otherwise underprivileged outcasts of society.
The Blind Man's Meal, painted in Barcelona in the autumn of 1903, summarizes the stylistic characteristics of Picasso's Blue Period: rigorous drawing, simple hieratic compositions and forms, and of course, a blue tonality. The composition presents a forlorn figure seated at a frugal repast. In a letter, preserved in the Barnes Collection in Merion, Pennsylvania, Picasso gives a very precise description of the composition: "I am painting a blind man at the table. He holds some bread in his left hand and gropes with his right hand for a jug of wine." An empty bowl and a white napkin complete the still life on the table. The man's slightly contorted figure, long thin El Greco-like hands, unadorned surroundings, and his blindness make his disenfranchised condition all the more poignant. The highlights on his face and neck, hands, bread, and napkin put the figure in relief against the austere background.
The painting is not merely a portrait of a blind man; it is also Picasso's commentary on human suffering in general. The meager meal of bread and wine invites references to the figure of Christ and the principal dogma of Catholic faith, whereby bread and wine represent Christ's body and blood, sacramental associations that Picasso as a Spaniard would have known. Additionally, the work elicits affinities to Picasso's own situation at the time, when, impoverished and depressed, he closely identified with the unfortunates of society.
BLUE PERIOD
By the end of 1901, in works such as Self-portrait (1901), Picasso had adopted a predominantly blue palette and shed his motifs of their earlier sardonic social vision. From this time until 1904, known as the Blue Period, his imagery focused on outcasts, beggars and invalided prostitutes, the latter based on observations made at the prison of St Lazare in Paris. He produced his first sculptures: a modeled figure, Seated Woman (1901), and two bronze facial masks, Blind Singer and Head of a Picador with a Broken Nose (both 1903). One of the most important works of the period, however, was a painting, La Vie (1903), a complex Symbolist allegory that evolved through numerous sketches. From X-rays it is known to have been painted over Last Moments and to have undergone several revisions. Its synthesis and layering of references rule out a fixed reading. Autobiography is embedded in the male figure, which was begun as a self-portrait but later given the features of Casagemas; the iconically stiff composition, compressed space and enigmatic gestures, however, evoke a more general significance.
Picasso returned in April 1904 to Paris, where he settled in a studio at le Bateau-lavoir and soon surrounded himself with a ‘Parisian family’. From this time he made France his home. He was introduced to the poet and critic André Salmon by Max Jacob, and in the autumn he met Guillaume Apollinaire. He began a liaison at this time with Fernande Olivier, whose features were given to many of his female figures during the next few years. His first important etching, The Frugal Meal (1904), was typical of Blue Period paintings such as The Blind Man’s Meal (1903) in its subject-matter of a gaunt, impoverished couple in spartan surroundings. The end of the Blue Period was marked by an exhibition in October 1904 at the Berthe Weill gallery of 12 works from the previous three years.
ABOUT THE ARTIST:
Pablo Picasso (25 October 1881 – 8 April 1973) was a Spanish-born painter, sculptor, draughtsman, printmaker, decorative artist and writer, active in France. He dominated 20th-century European art and was central in the development of the image of the modern artist. Episodes of his life were recounted in intimate detail, his comments on art were published and his working methods recorded on film. Painting was his principal medium, but his sculptures, prints, theatre designs and ceramics all had an impact on their respective disciplines. Even artists not influenced by the style or appearance of his work had to come to terms with its implications.
With Georges Braque Picasso was responsible for Cubism, one of the most radical re-structurings of the way that a work of art constructs its meaning. During his extremely long life Picasso instigated or responded to most of the artistic dialogues taking place in Europe and North America, registering and transforming the developments that he found most fertile. His marketability as a unique and enormously productive artistic personality, together with the distinctiveness of his work and practice, have made him the most extensively exhibited and discussed artist of the 20th century.
ABOUT THE EXHIBIT:
This landmark exhibition was the first to focus exclusively on works by Pablo Picasso (Spanish, 1881–1973) in the Museum's collection. It featured three hundred works, including the Museum's complete holdings of paintings, drawings, sculptures, and ceramics by Picasso—never before seen in their entirety—as well as a selection of the artist's prints. The Museum's collection reflected the full breadth of the artist's multi-sided genius as it asserted itself over the course of his long and influential career.
Notable for its remarkable constellation of early figure paintings, which include the commanding At the Lapin Agile (1905) and the iconic portrait of Gertrude Stein (1906), the Museum's collection also stands apart for its exceptional cache of drawings, which remain relatively little known, despite their importance and number. The key subjects that variously sustained Picasso's interest—the pensive harlequins of his Blue and Rose periods, the faceted figures and tabletop still lifes of his cubist years, the monumental heads and classicizing bathers of the 1920s, the raging bulls and dreaming nudes of the 1930s, and the rakish cavaliers and musketeers of his final years—are amply represented by works ranging in date from a dashing self-portrait of 1900 (Self-Portrait "Yo") to the fanciful Standing Nude and Seated Musketeer painted nearly seventy years later.
Vintage 1940s photo of a young Hungarian girl in First Communion attire, kneeling beside a table with religious items.