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Guercino (Giovanni Francesco Barbieri - Cento, February 2, 1591 - Bologna, December 22, 1666) Saul tries to kill David with a spear (1646) oil on canvas 147 x 220 cm. National Gallery of Ancient Art of Barberini Palace, Rome
Excerpt from Wikipedia:
The Hundred Fountains were another celebrated marvel of the gardens in the Renaissance. They are located between the oval fountain and the Fontana di Rometta, and there are actually nearly three hundred spouts fed by three parallel canals, one above the other. Along the edge of the upper canal there are spouts in the form of lilies, the emblem of France, alternating with the d'Este eagle, boats and obelisks; all spraying water in a fan shape. The water is captured by the second canal, which feeds it into spouts in the form of masks, from which it reaches the lower canal.
The fountains were constructed between 1566 and 1577. The original alley of fountains had more decoration, including small boats alternating with terra cotta vases along the upper canal, planted with fruit trees; and the wall was decorated with sculptural plaques showing scenes from the Metamorphosis of Ovid. These deteriorated quickly and were largely removed or replaced. The wall is now so overgrown with vegetation that little of remaining decoration can be seen. It was restored in the 17th century, then abandoned for a long period, and finally restored again in 1930 to its present form. Like every other feature of the garden, canals and the hundred fountains had their part in the symbolic plan; they represented the aqueducts the Romans built to supply water to Rome. The Hundred Fountains have been celebrated in Italian art and literature, particularly in the Roman Elegies of Gabriele d'Annunzio.
To descend to the next level, there are stairs at either end – the elaborate fountain complex called the Rometta ("the little Rome") is at the far left – to view the full length of the Hundred Fountains on the next level, where the water jets fill the long rustic trough, and Pirro Ligorio's Fontana dell'Ovato ends the cross-vista. A visitor may walk behind the water through the rusticated arcade of the concave nymphaeum, which is peopled by marble nymphas by Giambattista della Porta. Above the nymphaeum, the sculpture of Pegasus recalls to the visitor the fountain of Hippocrene on Parnassus, haunt of the Muses.
This terrace is united to the next by the central Fountain of the Dragons, dominating the central perspective of the gardens, erected for a visit in 1572 of Pope Gregory XIII whose coat-of-arms features a dragon. The sound of this fountain was in contrast to a nearby Uccellario with artificial birds. Central stairs lead down a wooded slope to three rectangular fishponds set on the cross-axis at the lowest point of the gardens, terminated at the right by the water organ (now brought back into use) and Fountain of Neptune (belonging to the 20th century restorations).
Il minaccioso branco di lupi plasmato da Liu Ruowang, composto da ben cento fusioni in ferro, ciascuna del peso di 280 kg, sembra voler attaccare un impotente guerriero; è un’allegoria della risposta della natura alle devastazioni e al comportamento predatorio dell’uomo nei confronti dell’ambiente. Ed è, nel contempo, una riflessione sui valori della civilizzazione, sulla grande incertezza in cui viviamo oggi - resa ancor più evidente dai drammatici effetti del covid-19 – e sugli effettivi rischi di un annientamento irreversibile del mondo attuale. Lupi in arrivo rappresenta quindi una vera e propria critica nei confronti di un mondo votato all’autodistruzione e i lupi sono un appello disperato alla salvaguardia ambientale di tutto il pianeta.
The monumental installation occupies two prestigious spaces: Piazza Pitti and Piazza Santissima Annunziata, and wants to create connection and contrast with the idea of harmony typical of 15th century Humanism. The wolves indeed face two emblematic buildings of the Renaissance, Palazzo Pitti and the Spedale degli Innocenti, where the great Filippo Brunelleschi was able to show his conception of space, proportions and architectural rhythm.
The threatening pack of wolves shaped by Liu Ruowang - made up of 100 iron castings, each weighing 280 kg - is an allegory of nature's response to the ravages and predatory behavior of man towards environment. And it is, at the same time, a reflection on the values of civilization, on the great uncertainty in which we live today - made even more evident by the dramatic effects of covid-19 - and on the actual risks of an irreversible annihilation of the current world, apparently devoted to self-destruction.
My mother, sad bird
way to recognize the tree
with honest thunderstorms and pure breath
The one they hardly dragged to the window
all bone and persistence
I’m nobody! Who are you?
As men must see it forever afterwards
To talk about it
danger. The church portico has flour fluted
Oh, oh you will be sorry for that word
women have no wilderness in them
What do I want with you, giant?
among its dens and burrows, its clean stones
make my wings stick to my side sometimes
I was ten when they buried you
I knew Jack was looking for me. Stayed silent
He and his wife don’t touch
I am the sign who names you
for just one flower God exists, though he doesn’t exist
If I could linger on his lovely chest
nail your best eye to the star.
UNA CHITARRA, CENTO EMOZIONI
Ho l'immenso piacere di presentare una foto scattata da mio figlio Massimo, dallo stile personalissimo e molto lontano dal mio. Ma è proprio questa caratteristica che ha attirato il mio interesse perché è come scoprire un lato nascosto tra padre e figlio.
Mi auguro vivamente che questo sia un bell'inizio di collaborazione tra tutti e due....se son rose fioriranno.
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ONE GUITAR, ONE HUNDRED EMOTIONS
I have the immense pleasure of presenting a photo taken by my son Massimo, with a very personal style and very far from mine. But it is precisely this characteristic that has attracted my interest because it is like discovering a hidden side between father and son.
I sincerely hope that this is a good start of collaboration between both of us .... if they are roses they will bloom.
Immagine scattata con lo smartphone
Hundreds of fields speckle the northern Italian landscape south of the Po River in this satellite image.
Agriculture is one of the main economic uses of the Po Basin because of the fertile soils, and this image clearly shows a landscape dominated by fields.
Throughout Italy’s history, agricultural landowners would often divide their properties among their male heirs. Generation after generation, land would be further fragmented, resulting in the millions of small plots found across the country today.
Optical satellite imagery like this can be used to monitor agriculture and changing landscapes. Satellites can provide the information necessary to make informed decisions on agricultural management, including yield prediction, irrigation, planting, pricing and regional need for food assistance if a harvest is likely to fail.
At the very bottom of the image, foothills of the Apennine mountains appear dark green.
The city of Bologna is visible in the lower-right corner, and Modena can be seen on the left. Two roads cutting across the flat Po Valley provide a nearly straight route between the cities.
The city of Cento – which means ‘hundred’ in Italian – is located in the upper-right section of the image on the Reno river.
This image, captured by Japan’s ALOS satellite on 4 July 2010, was selected to mark the 100th regular edition of the Earth from Space video programme, which we launched in November 2011: www.esa.int/spaceinvideos/Videos/2014/04/Earth_from_Space...
Credit: JAXA/ESA