Christmas, also known as Nativity, refers to the accounts of the birth of Jesus mainly based on the Gospels of Matthew and Luke. Traditionally, scenes of Nativity, portray the Holy Family in the stable at Bethlehem. The Christ child is represented lying in a manger or upon the straw, whilst Virgin Mary kneels in adoration before Him. In some scenes Virgin Mary is represented lying next to Jesus. Joseph is portrayed standing at one side. The scene also includes depictions of an ox and a donkey, usually in the background, gazing quietly at the scene in front of them.

Some Nativity scenes depict one or more angels who proclaim Jesus as the savior for all people, and portrayals of shepherds who come to adore Him. There are also scenes representing the wise men (The Maggi ) who, after following a star, arrive to Bethlehem to bring gifts to Jesus.

Link to the "Christmas scenes" set

Manuscript title: Book of Hours

Origin: Paris (France)

Period: 15th century

Image source: Luzern, Zentral- und Hochschulbibliothek, P 6 4°, f. 75v – Book of Hours (www.e-codices.unifr.ch/en/zhl/P0006-4/75v)

Un codice a barre è un insieme di elementi grafici a contrasto elevato che possono essere letti da un sensore a scansione per restituire informazioni.

E' un sistema molto efficace per classificare e vendere varie cose.

E se l'immagine di un oggetto, come un libro per esempio, potesse improvvisamente filtrare tra le stringhe del suo stesso codice?

Da questa idea nasce Bar Code project.

Piccolo esperimento grafico.

Come sempre ogni consiglio è ben accetto!

Buoni scatti a tutti! ^_^

www.monasteriodesanmillan.com/yuso/codices.html

Leonardo da Vinci (1452-1519) profile of a young woman

(1505-1510) black pencil - Codice Atlantico - Ambrosiana Library / Pinacoteca Milano

Il Codice Atlantico

Il Codice Atlantico è la più vasta raccolta al mondo di disegni e scritti autografi di Leonardo da Vinci ed è conservato sin dal 1637 presso la Veneranda Biblioteca Ambrosiana di Milano, una delle prime biblioteche al mondo aperte al pubblico.

Esso è composto da 1119 fogli che abbracciano la vita intellettuale di Leonardo per un periodo di oltre quarant’anni – dal 1478 al 1519 – spaziando tra i temi più disparati: da schizzi e disegni preparatori per opere pittoriche a ricerche di matematica, astronomia e ottica, da meditazioni filosofiche a favole e ricette gastronomiche, fino a curiosi e avveniristici progetti di marchingegni come pompe idrauliche, paracadute e macchine da guerra.

Codex Atlanticus

The Codex Atlanticus consists of 1119 sheets and was donated in 1637 to the Biblioteca Ambrosiana, founded by Cardinal Federico Borromeo in 1609 and one of the first public libraries in the world. Basically Leonardo’s entire life as an artist and a scientist appears in this extraordinary collection, which covers a time frame that goes from 1478, when Leonardo was still working in his native Tuscany, to 1519, when he died in France. The folios deal with various subjects ranging from mechanics to hydraulics, from studies and sketches for paintings to mathematics and astronomy, from philosophical meditations to fables, all the way to curious inventions such as parachutes, war machineries and hydraulic pumps.

Manuscript title: Breviarium basileense

Manuscript summary: This breviary was meant for use in the diocese of Basel. There are still partially visible traces of coats of arms that were painted on ff. 33r, 41r, 129r and 279r and were later erased; these allow the codex to be attributed to Arnold of Rotberg, Bishop of Basel from 1451 to 1458. His successor, Jean de Venningen (1458-1478) noted on f. 5r the repurchase of the manuscript from Porrentruy Castle on June 29th 1461.

Origin: Porrentruy, Switzerland

Period: 15th century

Image source: Porrentruy, Bibliothèque cantonale jurassienne, Ms. 22: Breviarium basileense (www.e-codices.unifr.ch/en/list/one/bcj/0022).

El monasterio tiene tres claustros. El primero tiene columnas jónicas, el segundo tiene decoraciones de Correggio y el tercero, conocido como Claustro de San Benito, tiene frescos de principios del siglo XVI.

La biblioteca asociada cuenta con manuscritos y códices que atestiguan la actividad amanuense de los monjes locales. Los manuscritos llegaron aquí desde el monasterio de Santa Giustina de Padua sin decoraciones, y aquí fueron decorados por Damiano da Moile, Francino da Moile y, a partir de 1492, da Michele da Genova.

El monasterio cuenta también con una antigua tienda de comestibles, documentada desde 1201. Sus dependencias incluyen la Abadía de Santa Maria della Neve en Torrechiara.

es.wikipedia.org/wiki/San_Giovanni_Evangelista_(Parma)

The Benedectine monastery is on the left of the church entrance. It is a large complex with a chapter-house, a refectory, and three cloisters. The first, St. John Cloister (1537), has Ionic columns; the second, the Chapter Cloister (1500), has decorations by Correggio and the third, known as the Cloister of St. Benedict, has early 16th-century frescoes.

The associated library has manuscript and codexes testifying the amanuensis activity of the local monks. The manuscripts arrived here from the monastery of Santa Giustina in Padua without decorations, and here were decorated by Damiano da Moile, Francino da Moile and, starting from 1492, da Michele da Genova.

The monastery has also an ancient grocery, documented since 1201. Its dependences include the Abbey of Santa Maria della Neve at Torrechiara.

en.wikipedia.org/wiki/San_Giovanni_Evangelista,_Parma

Manuscript title: Breviarium basileense

Manuscript summary: This breviary was meant for use in the diocese of Basel. There are still partially visible traces of coats of arms that were painted on ff. 33r, 41r, 129r and 279r and were later erased; these allow the codex to be attributed to Arnold of Rotberg, Bishop of Basel from 1451 to 1458. His successor, Jean de Venningen (1458-1478) noted on f. 5r the repurchase of the manuscript from Porrentruy Castle on June 29th 1461.

Origin: Porrentruy, Switzerland

Period: 15th century

Image source: Porrentruy, Bibliothèque cantonale jurassienne, Ms. 22: Breviarium basileense (www.e-codices.unifr.ch/en/list/one/bcj/0022).

Built during the reign of Doge Francesco Foscari. It was here that the precious codices which Petrarch and Cardinal Bessarion had left to the Republic were housed before the building of the Biblioteca Marciana. Thereafter, in 1532, it was decided to use this chamber for the voting procedures required by various state appointments, hence its present name. ( info by Shay Tressa )

The decor dates from 1578 to 1615. The richly decorated ceiling was designed by the painter-cartographer Cristoforo Sorte and depicts Venetian naval victories in the East and the conquest of Padua in 1405.

The walls are decorated with various military victories over the period 809 to 1656; Andrea Vicentino's rendering of The Battle of Lepanto in 1571 is particularly striking.

It may seem strange that a room destined to be used for voting purposes has a decor which exalts military might rather than political wisdom; but the whole scheme was carried out just after that victory at Lepanto, at a time when Venice's pride in its arms was at its greatest.

The frieze under the ceiling continues the series of portraits of doges, while one of the shorter walls is decorated with a Last Judgement. Painted by Jacopo Palma il Giovane between 1594 and 1595, this could be seen as linked with the Paradiso in the Hall of the Great Council.

The Voting Chamber ends with a majestic triumphal arch. The work of Andrea Tirali, this was raised to commemorate Doge Francesco Morosini Peloponnesiaco, who died in 1694 during the successful campaign in which Venice took control of the Peloponnese from the Turks.

Amalfi Campania Italia©2014 All rights reserved

Nikon coolpix p 7100

Fotosketcher oil painting mix lively

Amalfi è un comune italiano di 5.173 abitanti della provincia di Salerno in Campania. Dal 1997, la Costiera amalfitana, che prende nome da Amalfi, è stata dichiarata dall'Unesco Patrimonio dell'Umanità. Amalfi per la sua connotazione geografica unica si propone al turista come luogo incantato e di difficile fruizione. Tutte le spiagge, fatto salvo quelle ubicate nel fronte cittadino, sono raggiungibili attraverso lunghe scalinate o via mare. In entrambi i casi si tratta di una esperienza unica dove il punto di contatto è la natura. La sua fondazione viene fatta risalire ai Romani (il suo stemma reca la scritta Descendit ex patribus romanorum). A partire dal IX secolo, prima (in ordine cronologico) fra le repubbliche marinare, rivaleggiò con Pisa, Venezia e Genova per il controllo del Mar Mediterraneo.Il Codice Marittimo di Amalfi, meglio noto col nome di Tavole amalfitane, ebbe una grande influenza fino al XVII secolo.Amalfi raggiunse il proprio massimo splendore nell'XI secolo, dopodiché iniziò una rapida decadenza: nel 1131 fu conquistata dai Normanni e nel 1135 e 1137 saccheggiata dai pisani. Nel 1343, poi, una tempesta con conseguente maremoto distrusse gran parte della città.

Amalfi is a town and comune in the province of Salerno, in the region of Campania, Italy, on the Gulf of Salerno. It lies at the mouth of a deep ravine, at the foot of Monte Cerreto (1,315 metres, 4,314 feet), surrounded by dramatic cliffs and coastal scenery. The town of Amalfi was the capital of the maritime republic known as the Duchy of Amalfi, an important trading power in the Mediterranean between 839 and around 1200.In the 1920s and 1930s, Amalfi was a popular holiday destination for the British upper class and aristocracy.Amalfi is the main town of the coast on which it is located, named Costiera Amalfitana (Amalfi Coast), and is today an important tourist destination together with other towns on the same coast, such as Positano, Ravello and others. Amalfi is included in the UNESCO World Heritage Sites

Manuscript title: Silver Book of the Land

Manuscript summary: On 86 leaves of parchment, the Silver Book of the Land contains the statutes of the entire region of Appenzell. It is an assemblage of older legal texts; at a later time more recent statutes were added to it. Following the division of the region of Appenzell that took place in 1597, the book became the property of the Canton of Appenzell Innerrhoden and remained valid into the 19th century. Rich decorations consisting of miniatures and initials indicate the great importance attributed to this volume.

Origin: Appenzell (Switzerland)

Period: 16th century

Image source: Appenzell, Landesarchiv Appenzell Innerrhoden, E.10.02.01.01: Silver Book of the Land (www.e-codices.unifr.ch/en/list/one/laai/E-10-02-01-01)

Gulstream III N921MG s/n 308 - codice 3970109, Anno di Costruzione: 1981, Proprietà: Emsi Aviation LLC - Tampa (Florida- USA).

Volo privato

Aircraft Gulfstream III N921MG (Gulfstream American Corp.), S/N 308 - 3970109, Year manifactured: 1981, 2 engines Rolls Roys, Owned by:Emsi Aviation,

City: Tampa (Fl - Usa).

Private flight

Immagine vista in “TrasportoPubblico/PublicTransport Group”

Christmas, also known as Nativity, refers to the accounts of the birth of Jesus mainly based on the Gospels of Matthew and Luke. Traditionally, scenes of Nativity, portray the Holy Family in the stable at Bethlehem. The Christ child is represented lying in a manger or upon the straw, whilst Virgin Mary kneels in adoration before Him. In some scenes Virgin Mary is represented lying next to Jesus. Joseph is portrayed standing at one side. The scene also includes depictions of an ox and a donkey, usually in the background, gazing quietly at the scene in front of them.

Some Nativity scenes depict one or more angels who proclaim Jesus as the savior for all people, and portrayals of shepherds who come to adore Him. There are also scenes representing the wise men (The Maggi ) who, after following a star, arrive to Bethlehem to bring gifts to Jesus.

Link to the "Christmas scenes" set

Manuscript title: Pierre le Fruitier, called Salmon, Traictés de Pierre Salemon a Charles VI roy de France [Dialogues, second version]

Origin: Paris (France)

Period: 15th century

Image source: Genève, Bibliothèque de Genève, Ms. fr. 165, f. 44r – Pierre le Fruitier, called Salmon, Traictés de Pierre Salemon a Charles VI roy de France [Dialogues, second version] (www.e-codices.unifr.ch/en/bge/fr0165/44r)

Jose Tudela es el nombre del primer investigador que lo presento en el un Congreso Internacional de Americanistas.

Es un un documento pictográfico colonial de la primera mitad del siglo XVI, confeccionado con papel europeo y formato in quarto, que fue

pintado escribas indígenas y comentado años después en escritura alfabética por un occidental. Su origen se sitúa en el Centro de México.

Star-Lord

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25 de Janeiro de 2014!

PARABÉNS SÃO PAULO, 460 anos!!

***

Abençoado e Lindo Fim de Semana aos meus Queridos Amigos

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Blessed and Beautiful Weekend to my Dear Friends

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Week-end Heureux et belle pour mes chers amis

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Fin de semana Bienaventurado y hermoso para mis queridos amigos

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Beato e Bella Fine settimana per i miei cari amici

Celisa

Manuscript title: Silver Book of the Land

Manuscript summary: On 86 leaves of parchment, the Silver Book of the Land contains the statutes of the entire region of Appenzell. It is an assemblage of older legal texts; at a later time more recent statutes were added to it. Following the division of the region of Appenzell that took place in 1597, the book became the property of the Canton of Appenzell Innerrhoden and remained valid into the 19th century. Rich decorations consisting of miniatures and initials indicate the great importance attributed to this volume.

Origin: Appenzell (Switzerland)

Period: 16th century

Image source: Appenzell, Landesarchiv Appenzell Innerrhoden, E.10.02.01.01: Silver Book of the Land (www.e-codices.unifr.ch/en/list/one/laai/E-10-02-01-01)

Un hórreo é unha construción destinada a gardar e conservar os alimentos afastados da humidade e dos animais para mantelos nun estado óptimo para o seu consumo.Caracterízase por manterse sobreelevado sobre pés, co fin de evitar a entrada de humidade e animais dende o chan e por permitir a ventilación a través de rañuras nas paredes perimétricas.

O antropólogo polaco Eugeniusz Frankowsky, en 1918, rexistra o uso de celeiros aéreos na Península Ibérica, rexión dos Alpes, península escandinava, área dos Balcáns, África subsahariana, Persia, sueste asiático, Xapón, península de Kamchatka e área do estreito de Bering, empregados para a conservación do cereal. A especificidade do hórreo como tipoloxía reside na súa ligazón co cultivo do millo e á súa maduración e secado en zonas de clima atlántico. O uso do hórreo está estendido por boa parte do norte da Península Ibérica, con especial abundancia na rexión costeira noroeste, en áreas nas que a pronta chegada dun inverno longo, frío e húmido obriga a facer colleitas temperás.

A primeira referencia documentada da existencia de hórreos no actual territorio español atópase nun documento do ano 800 relativo á fundación do mosteiro de Taranco, no Val de Mena, na actual provincia de Burgos. Tal documento rexistra doazóns de gando, terras e edificios, entre eles "hedificavimus ibi domicilia, cellarios, orreos, torcularibus, cortinis, ortos, molinis, manzanares, vineis

Gonzalo de Berceo, no século XII, evocando un milagre de San Millán de la Cogolla, fala duns artesáns que constrúen un hórreo de madeira.

Haberá que agardar ata o século XIII para atopar a primeira representación gráfica dun hórreo, concretamente no Códice Rico ou Códice T-1-1 da biblioteca do mosteiro de San Lorenzo de El Escorial, que contén as Cantigas de Santa María, atribuídas a Afonso X o Sabio. A cantiga que leva o número CLXXXVII está adornada cunha miniatura (lámina 203, miniatura 1.262) que representa dous hórreos góticos con porta en arco de ferradura no penal, e a lenda do milagre da Virxe.

A consolidación do hórreo como tipoloxía producirase a partir dos cambios producidos pola introdución do cultivo do millo no século XVII, que desprazará o paínzo como alimento primario das clases populares, sobre todo en Galicia e Asturias. Os celeiros aéreos existentes maniféstanse capaces de asumir a conservación do novo cereal, necesitado de ventilación e secura para ser apto para a moenda.

O hórreo foi unha construción auxiliar indispensable na vida campesiña do norte húmido peninsular, e en pleno uso ata a chegada da crise do sistema agrario tradicional. A súa boa adecuación a unhas necesidades climáticas moi específicas fixo que fose adoptado en áreas moi diferentes do norte húmido, con certas adaptacións formais segundo as zonas.

Deste xeito, aínda que baixo diferentes denominacións e tipoloxías, atopamos hórreos en Galicia, norte de Portugal, Asturias, provincia de León, Cantabria, País Vasco e Navarra. Estímase que se conservan en Galicia 30.000 hórreos, 10.000 en Asturias, 400 en León, 32 en Cantabria, 23 en Navarra e cantidades case testemuñais no País Vasco, alén dun número indeterminado de espigueiros en Portuga.

Hórreo galego.

O uso do hórreo esténdese por toda Galicia, coa soa excepción dalgunhas zonas do sueste raiano. Tamén se emprega, sen grandes variacións formais, no occidente asturiano e na rexión portuguesa do Minho, onde é chamado espigueiro, canastro ou caniço. En Galicia recibe diferentes nomes segundo a zona: hórreo ou hórrio no centro-norte, cabazo no noroeste da Coruña, cabozo no norte de Lugo, canastro na zona sur, máis raramente canasto, cabaceiro entre o centro e o nordeste de Ourense, igual na mesma dirección en Lugo, pero mesturado con formas máis pechadas (cabeceiro, cabeceira, cabaceira), canizo entre a ría de Vigo e o río Miño, piorno no Salnés, cabana máis no interior, paneira no Morrazo, orno ou órneo no cabo do Morrazo, hórreo ou horro os de tipo asturiano no este de Lugo;

Algún dos hórreos galegos é Monumento Histórico-Artístico, como o da reitoral de Santa Comba de Carnota, construído en 1768, ou a agrupación de hórreos de Combarro.

Hórreo

Na Galipedia, a Wikipedia en galego.

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Leonardo da Vinci (1452-1519) Optical studies and drawing of a dog

(1485-1490) pen and brown ink) - Codice Atlantico - Ambrosiana Library / Pinacoteca Milano

Il Codice Atlantico

Il Codice Atlantico è la più vasta raccolta al mondo di disegni e scritti autografi di Leonardo da Vinci ed è conservato sin dal 1637 presso la Veneranda Biblioteca Ambrosiana di Milano, una delle prime biblioteche al mondo aperte al pubblico.

Esso è composto da 1119 fogli che abbracciano la vita intellettuale di Leonardo per un periodo di oltre quarant’anni – dal 1478 al 1519 – spaziando tra i temi più disparati: da schizzi e disegni preparatori per opere pittoriche a ricerche di matematica, astronomia e ottica, da meditazioni filosofiche a favole e ricette gastronomiche, fino a curiosi e avveniristici progetti di marchingegni come pompe idrauliche, paracadute e macchine da guerra.

Codex Atlanticus

The Codex Atlanticus consists of 1119 sheets and was donated in 1637 to the Biblioteca Ambrosiana, founded by Cardinal Federico Borromeo in 1609 and one of the first public libraries in the world. Basically Leonardo’s entire life as an artist and a scientist appears in this extraordinary collection, which covers a time frame that goes from 1478, when Leonardo was still working in his native Tuscany, to 1519, when he died in France. The folios deal with various subjects ranging from mechanics to hydraulics, from studies and sketches for paintings to mathematics and astronomy, from philosophical meditations to fables, all the way to curious inventions such as parachutes, war machineries and hydraulic pumps.

The reading room originally had 38 desks in the centre, arranged in two rows, to which the valuable codices were chained according to subject matter.[note 34] Between the windows were imaginary portraits of great men of Antiquity, the 'philosophers', each originally accompanied by an identifying inscription.[136] Similar portraits were located in the vestibule. Over time, however, these paintings were moved to various locations within the library and eventually, in 1763, to the Doge's Palace in order to create the wall space necessary for more bookshelves.[137] As a result, some were lost along with all of the identifying inscriptions. The ten that survive were returned to the library in the early nineteenth century and integrated with other paintings in 1929.[124] Of the 'philosophers', only Diogenes by Tintoretto has been credibly identified.[138][note 35]

circular painting in set in gilded ceiling

Battista Franco, Actaeon and Diana and grotesques

The ceiling of the reading room is decorated with 21 roundels, circular oil paintings, by Giovanni de Mio, Giuseppe Salviati, Battista Franco, Giulio Licinio, Bernardo Strozzi, Giambattista Zelotti, Alessandro Varotari, Paolo Veronese, and Andrea Schiavone. They are inserted into a gilded and painted wooden framework along with 52 grotesques by Battista Franco.[139] The roundels by Bernardo Strozzi and Alessandro Varotari are replacements from 1635 of earlier roundels, respectively by Giulio Licinio and Giambattista Zelotti, which were irreparably damaged by water infiltrations.[140] The original roundels were commissioned in 1556.[note 36]

Although the original seven artists were formally chosen by Sansovino and Titian,[122] their selection for an official and prestigious commission such as the library was indicative of the ascendancy of the Grimani and of those other families within the aristocracy who maintained close ties with the papal court and whose artistic preferences consequently tended towards Mannerism as it was developing in Tuscany, Emilia, and Rome.[141][142] The artists were mostly young and innovative. They were primarily foreign-trained and substantially outside the Venetian tradition in their artistic styles, having been influenced by the trends in Florence, Rome, Mantua, and Parma, particularly by the work of Michelangelo, Giulio Romano, and Parmigianino. To varying degrees, the roundels that they produced for the ceiling of the reading room are consequently characterized by the emphasis on line drawing, the greater sculptural rigidity and artificial poses of the figures, and the overall dramatic compositions. They nevertheless show the influence of the Venetian painting tradition in both the colouring and brushwork. ( Wikipedia ) --- --- --- It is rare to find the room this empty as it is usually filled with special temporay exhibits.

Christmas, also known as Nativity, refers to the accounts of the birth of Jesus mainly based on the Gospels of Matthew and Luke. Traditionally, scenes of Nativity, portray the Holy Family in the stable at Bethlehem. The Christ child is represented lying in a manger or upon the straw, whilst Virgin Mary kneels in adoration before Him. In some scenes Virgin Mary is represented lying next to Jesus. Joseph is portrayed standing at one side. The scene also includes depictions of an ox and a donkey, usually in the background, gazing quietly at the scene in front of them.

Some Nativity scenes depict one or more angels who proclaim Jesus as the savior for all people, and portrayals of shepherds who come to adore Him. There are also scenes representing the wise men (The Maggi ) who, after following a star, arrive to Bethlehem to bring gifts to Jesus.

Link to the "Christmas scenes" set

Manuscript title: Book of Hours of Jean de Gingins

Origin: Paris (France)

Period: 15th century

Image source: Chavannes-près-Renens, Archives cantonales vaudoises, P Château de La Sarraz H 50, f. 234v – Book of Hours of Jean de Gingins (www.e-codices.unifr.ch/en/acv/P-Sarraz-H-0050/234v)

Manuscript title: Jean Thenaud, Introduction to the Kabbalah, dedicated to King Francis I

Manuscript summary: This parchment manuscript contains the mystic text of the Kabbala in cursive script, illustrated with numerous highly colorful drawings with allegorical, cosmological, and liturgical themes.

Origin: Geneva (Switzerland)

Period: 16th century

Image source: Genève, Bibliothèque de Genève, Ms. fr. 167: Jean Thenaud, Introduction to the Kabbalah, dedicated to King Francis I (www.e-codices.unifr.ch/en/list/one/bge/fr0167).

In the Museum of America in Madrid. Ficus bark paper, coated and painted. Mayan culture.

En el museo de America de Madrid. Papel de corteza de ficus, estucado y pintado. Cultura Maya.

Manuscript title: Jean Thenaud, Introduction to the Kabbalah, dedicated to King Francis I

Manuscript summary: This parchment manuscript contains the mystic text of the Kabbala in cursive script, illustrated with numerous highly colorful drawings with allegorical, cosmological, and liturgical themes.

Origin: Geneva (Switzerland)

Period: 16th century

Image source: Genève, Bibliothèque de Genève, Ms. fr. 167: Jean Thenaud, Introduction to the Kabbalah, dedicated to King Francis I (www.e-codices.unifr.ch/en/list/one/bge/fr0167).

The reading room originally had 38 desks in the centre, arranged in two rows, to which the valuable codices were chained according to subject matter.[note 34] Between the windows were imaginary portraits of great men of Antiquity, the 'philosophers', each originally accompanied by an identifying inscription.[136] Similar portraits were located in the vestibule. Over time, however, these paintings were moved to various locations within the library and eventually, in 1763, to the Doge's Palace in order to create the wall space necessary for more bookshelves.[137] As a result, some were lost along with all of the identifying inscriptions. The ten that survive were returned to the library in the early nineteenth century and integrated with other paintings in 1929.[124] Of the 'philosophers', only Diogenes by Tintoretto has been credibly identified.[138][note 35]

circular painting in set in gilded ceiling

Battista Franco, Actaeon and Diana and grotesques

The ceiling of the reading room is decorated with 21 roundels, circular oil paintings, by Giovanni de Mio, Giuseppe Salviati, Battista Franco, Giulio Licinio, Bernardo Strozzi, Giambattista Zelotti, Alessandro Varotari, Paolo Veronese, and Andrea Schiavone. They are inserted into a gilded and painted wooden framework along with 52 grotesques by Battista Franco.[139] The roundels by Bernardo Strozzi and Alessandro Varotari are replacements from 1635 of earlier roundels, respectively by Giulio Licinio and Giambattista Zelotti, which were irreparably damaged by water infiltrations.[140] The original roundels were commissioned in 1556.[note 36]

Although the original seven artists were formally chosen by Sansovino and Titian,[122] their selection for an official and prestigious commission such as the library was indicative of the ascendancy of the Grimani and of those other families within the aristocracy who maintained close ties with the papal court and whose artistic preferences consequently tended towards Mannerism as it was developing in Tuscany, Emilia, and Rome.[141][142] The artists were mostly young and innovative. They were primarily foreign-trained and substantially outside the Venetian tradition in their artistic styles, having been influenced by the trends in Florence, Rome, Mantua, and Parma, particularly by the work of Michelangelo, Giulio Romano, and Parmigianino. To varying degrees, the roundels that they produced for the ceiling of the reading room are consequently characterized by the emphasis on line drawing, the greater sculptural rigidity and artificial poses of the figures, and the overall dramatic compositions. They nevertheless show the influence of the Venetian painting tradition in both the colouring and brushwork. ( Wikipedia ) --- --- --- It is rare to find the room this empty as it is usually filled with special temporay exhibits.

gli ultimi aggiustamenti al regolamento….

In the Museum of America in Madrid. Ficus bark paper, coated and painted. Mayan culture.

En el museo de America de Madrid. Papel de corteza de ficus, estucado y pintado. Cultura Maya.

Alitalia A320 – 214 Codice Registrazione EI -IKB “Wolfang Amadeus Mozart” (Anno di costruzione: 2000) sulla pista di rullaggio di Milano Linate e diretto a Brindisi Casale.

Alitalia A320 – 214 Registration: EI – IKB “Wolfang Amadeus Mozart” (Year of Construction: 2000) taking off from Milan Linate airport to Brindisi Casale.

en.wikipedia.org/wiki/Alitalia

it.wikipedia.org/wiki/Alitalia

en.wikipedia.org/wiki/Etihad_Airways

it.wikipedia.org/wiki/Etihad_Airways

Università Tecnica

Codice immobile: 17445 piazza di Carlo VI d'Asburgo 12-13

Comunità catastale: Wieden. Questo complesso comprendendo diversi cortili sul versante meridionale della piazza di Carlo VI d'Absburgo è stato costruito in diverse tappe del XIX e all'inizio del XX secolo. L'edificio principale monumentale è dato ritmo per avancorpi scoperti da una mansarda con un grosso ordine ionico e si trova tra la chiesa di San Carlo Borromeo e la scuola Protestante. Fu costruito da Josef Schemerl nel 1816-1818, il blocco trasversale ad est dietro è stata aggiunta nel 1821. Nel 1836-1839, le ale furono aggiunte attorno ai due cortili principali di Joseph Mauritius Stummer. Nel 1867 e nel 1894 furono ingrandite ale, nel 1907 l'ala verso la viuzza di Carlo fu costruito da Karl König. Il decoro plastico è stato progettato da Josef Klieber, l'arredamento della sala per banchetti deriva da Peter Nobile.

Technical University

Property ID: 17445 Charles square 12-13

Cadastral community: Wieden. This construction complex comprising several courts on the southern edge of the Charles square was built in several steps in the 19th and early 20th century. The monumental main building is given rhythm by avant-corps with a great Ionic order these ones roofed over by a mansard roof and lies between the church of Charles Borromeo and the Protestant school. It was built by Josef Schemerl in 1816-1818, the eastward transverse block was added in 1821. In 1836-1839, the tracts around the two manin courtyarts were added of Joseph Mauritius Stummer. In 1867 and 1894 tracts were set up, in 1907 the tract toward Charles alley was built by Karl König. The sculptural décor was designed by Josef Klieber, the furnishings of the Banqueting hall stem from Peter Nobile.

Technische Universität

Objekt ID: 17445 Karlsplatz 12-13

Katastralgemeinde: Wieden. Dieser mehrhöfige Baukomplex am Südrand des Karlsplatzes wurde in mehreren Schritten im 19. und frühen 20. Jahrhundert erbaut. Das monumentale Hauptgebäude wird von mansarddachüberhöhten Risaliten mit großer ionischer Ordnung rhythmisiert und liegt zwischen Karlskirche und evangelischer Schule. Es wurde 1816-1818 von Josef Schemerl erbaut, der Quertrakt östlich dahinter kam 1821 dazu. 1836-1839 wurde die Trakte um die beiden Haupthöfe von Joseph Mauritius Stummer hinzugefügt. 1867 und 1894 wurde Trakte aufgestockt, 1907 wurde der Trakt zur Karlsgasse hin von Karl König erbaut. Der plastische Dekor stammt von Josef Klieber, die Ausstattung des Festsaales von Peter Nobile.

de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...

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Crested caracaras are believed to be the species historically portrayed as the “Sacred Eagle” in Aztec codices and in Florentine Codex. This has made Crested Caracara the national bird of Mexico

An opportunist, hunting and scavenging in a variety of ways. Often hunts by flying low, taking small animals by surprise. Flies along highways early in morning, searching for road kills. May steal food from other birds. May scratch on the ground for insects, or dig up turtle eggs.

Their Diet in general consist of Carrion, small animals. Feeds on a wide variety of smaller creatures, either captured alive or found dead. Diet includes rabbits, ground squirrels, skunks, various birds (plus their eggs and young), frogs, snakes, lizards, turtles, young alligators, fish, large insects.

I found this one perched on a fence post at Dinner Island Ranch in Hendry County, Florida.

Alitalia A320 – 214 Codice Registrazione EI -IKB “Wolfang Amadeus Mozart” (Anno di costruzione: 2000) sulla pista di rullaggio di Milano Linate e diretto a Brindisi Casale.

Sullo sfondo Linate Paese

Alitalia A320 – 214 Registration: EI – IKB “Wolfang Amadeus Mozart” (Year of Construction: 2000) runs along the taxiway at Milan Linate airport and directed to Brindisi Casale.

On the background, the buildings of Linate town

www.planespotters.net/Production_List/Airbus/A320/1226,EI...

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Según la tradición, a principios del siglo IX se descubrió el cuerpo del Apóstol Santiago en el campo que actualmente ocupa la catedral. El templo original fue destruido en una batalla (razzia para los arabes) de Almanzor, por lo que en 1075, durante el obispado del Obispo Diego Peláez, se construyó el actual, concluyéndose hacia 1128 gracias al impulso dado por el Obispo Gelmírez y don Raimundo de Borgoña. Intervinieron como arquitectos, según el Códice Calixtino, Bernardo «el Viejo» y Roberto en la primera etapa, el maestro Esteban, el maestro Mateo, escultor y autor del Pórtico de la Gloria, y Bernardo «el joven», en la segunda.

El templo pertenece a la idea de gran iglesia de peregrinación, que se caracteriza por tener planta de cruz latina y una nave lateral continua que rodea a la nave principal. Esta nave lateral que permite a los peregrinos recorrer toda la iglesia sin interrumpir el culto. Tiene tribuna, crucero, girola y capillas absidales. La nave central se cubre con una bóveda de cañón y las laterales con bóveda de arista. Tuvo nueve torres, dos en cada fachada y tres en el crucero. De traza medieval, recibe adiciones en tiempos renacentistas y barrocos.

Cada una de sus fachadas forma con sus respectivas plazas magníficos conjuntos urbanísticos. Entre ellas, la Plaza del Obradoiro fue realizada por Casas Novoa en 1740 (siglo XVIII); asimismo barroca es la de la Azabachería, obra de Ferro Caaveiro y Fernández Sarela, modificada por Ventura Rodríguez; la de Platerías, construida por el Maestro de Platerías en 1103 (siglo XII); y sobre todo, el Pórtico de la Gloria, obra cumbre de la escultura románica concluido por el Maestro Mateo en 1188 (siglo XII).

Consta de tres arcos de medio punto, el central dividido por parteluz, donde se encuentra la figura del propio maestro mirando al interior del templo.

En las jambas, los Apóstoles y profetas mantienen sacras conversaciones. En el tímpano, el Salvador rodeado por los cuatro Evangelistas.

Entre sus capillas, la mayor guarda el sepulcro del Apóstol Santiago. Al lado se encuentra el célebre «Botafumeiro», gran incensario del siglo XIX.

+ info: www.wikipedia.org

La foto no es muy buena "técnicamente" pero me gusta la imagen que ofrece y me trae buenos recuerdos de una noche con buena compañía.

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According to legend, the apostle Saint James the Greater brought the Message of Christ to the Celts in the Iberian Peninsula. In 44 AD he was beheaded in Jerusalem. His remains were later brought back to Galicia, Spain. Following Roman persecutions of Spanish Christians, his tomb was abandoned in the 3rd century. Still according to legend, this tomb was rediscovered in 814 AD by Pelayo, a hermit, after witnessing strange lights in the night sky. Bishop Theodemir of Iria recognized this as a miracle and informed the Asturian king Alfonso II (791-842). The king ordered the construction of a chapel on the site. Legend has it that the king became the first pilgrim to this shrine. This was followed by a first church in 829 AD and again in 899 AD by a pre-Romanesque church, at the order of king Alfonso III of León, causing the gradual development of a major place of pilgrimage. In 997 this early church was reduced to ashes by Al-Mansur Ibn Abi Aamir (938-1002), army commander of the caliph of Córdoba, Spain. The gates and the bells, carried by Christian captives to Córdoba, were added to the Aljama Mosque. When Córdoba was taken by king Ferdinand III of Castile in 1236, these same gates and bells were then transported by Muslim captives to Toledo, to be inserted in the cathedral Santa Maria.

Construction of the present cathedral began in 1075 under the reign of Alfonso VI of Castile (1040-1109) and the patronage of bishop Diego Peláez. It was built according to the same plan as the monastic brick church of Saint Sernin in Toulouse, probably the greatest Romanesque edifice in France. It was built mostly in granite. Construction was halted several times and, according to the Liber Sancti Iacobi, the last stone was laid in 1122. But by then, the construction of the cathedral was certainly not finished. The cathedral was consecrated in 1128 in the presence of king Alfonso IX of Leon.

According to the Codex Calixtinus the architects were "Bernard the elder, a wonderful master", his assistant Robertus Galperinus and, later possibly, "Esteban, master of the cathedral works". In the last stage "Bernard, the younger" was finishing the building, while Galperinus was in charge of the coordination. He also constructed a monumental fountain in front of the north portal in 1122.

The church became an episcopal see in 1075 and, due to its growing importance as a place of pilgrimage, it was soon raised to an archiepiscopal see by pope Urban II in 1100. A university was added in 1495.

The cathedral has been embellished and expanded between the 16th and the 18th century.

+ info: www.wikipedia.org

Manuscript title: Silver Book of the Land

Manuscript summary: On 86 leaves of parchment, the Silver Book of the Land contains the statutes of the entire region of Appenzell. It is an assemblage of older legal texts; at a later time more recent statutes were added to it. Following the division of the region of Appenzell that took place in 1597, the book became the property of the Canton of Appenzell Innerrhoden and remained valid into the 19th century. Rich decorations consisting of miniatures and initials indicate the great importance attributed to this volume.

Origin: Appenzell (Switzerland)

Period: 16th century

Image source: Appenzell, Landesarchiv Appenzell Innerrhoden, E.10.02.01.01: Silver Book of the Land (www.e-codices.unifr.ch/en/list/one/laai/E-10-02-01-01)

Manuscript title: The four Latin Gospels

Manuscript summary: This remarkable manuscript, created in the 9th century in the Rhineland, contains the text of the four Gospels in their Latin version, written in Carolingian minuscule. The manuscript is decorated with, among others, two initials embellished with interlace and with canonical tables presented in arcades in vivid colors.

Origin: Rhineland (Germany)

Period: 9th century

Image source: Genève, Bibliothèque de Genève, Ms. lat. 6: The four Latin Gospels

(www.e-codices.unifr.ch/en/list/one/bge/lat0006)

www.odisea2008.com

Cortesía de: The Royal Library - National Library of Denmark And Copenhage University Library

Referencia post:

www.odisea2008.com/2013/02/manuscritos-medievales.html

Morse Code

_3004576BW View on Black

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© All rights reserved

Alitalia A319 - 111 Codice EI-IMX in decollo da Milano Linate per Roma Fiumicino.

Il Codice di Registrazione EI identifica la nazionalità irlandese e, in questo caso, indica un aereo in leasing di proprietà della Società Aircraft Purchase Fleet Limited (APFL) con sede in Dublino (Irlanda).

Alitalia A319 - Code 111 EI-IMX taking off from Milan Linate to Rome Fiumicino.

The Registration Code (EI) identifies the Irish nationality and, in this case, identifies an aircraft in leasing service owned by the Company Aircraft Purchase Fleet Limited (APFL) based in Dublin (Ireland)

REpresentacion de la cancha del juego de pelota.

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Leonardo da Vinci (1452-1519) three drawings of a female face

(1510) pen and brown ink, black pencil - Codice Atlantico - Ambrosiana Library / Pinacoteca Milano

Il Codice Atlantico

Il Codice Atlantico è la più vasta raccolta al mondo di disegni e scritti autografi di Leonardo da Vinci ed è conservato sin dal 1637 presso la Veneranda Biblioteca Ambrosiana di Milano, una delle prime biblioteche al mondo aperte al pubblico.

Esso è composto da 1119 fogli che abbracciano la vita intellettuale di Leonardo per un periodo di oltre quarant’anni – dal 1478 al 1519 – spaziando tra i temi più disparati: da schizzi e disegni preparatori per opere pittoriche a ricerche di matematica, astronomia e ottica, da meditazioni filosofiche a favole e ricette gastronomiche, fino a curiosi e avveniristici progetti di marchingegni come pompe idrauliche, paracadute e macchine da guerra.

Codex Atlanticus

The Codex Atlanticus consists of 1119 sheets and was donated in 1637 to the Biblioteca Ambrosiana, founded by Cardinal Federico Borromeo in 1609 and one of the first public libraries in the world. Basically Leonardo’s entire life as an artist and a scientist appears in this extraordinary collection, which covers a time frame that goes from 1478, when Leonardo was still working in his native Tuscany, to 1519, when he died in France. The folios deal with various subjects ranging from mechanics to hydraulics, from studies and sketches for paintings to mathematics and astronomy, from philosophical meditations to fables, all the way to curious inventions such as parachutes, war machineries and hydraulic pumps.

Manuscript title: Breviarium basileense

Manuscript summary: This breviary was meant for use in the diocese of Basel. There are still partially visible traces of coats of arms that were painted on ff. 33r, 41r, 129r and 279r and were later erased; these allow the codex to be attributed to Arnold of Rotberg, Bishop of Basel from 1451 to 1458. His successor, Jean de Venningen (1458-1478) noted on f. 5r the repurchase of the manuscript from Porrentruy Castle on June 29th 1461.

Origin: Porrentruy, Switzerland

Period: 15th century

Image source: Porrentruy, Bibliothèque cantonale jurassienne, Ms. 22: Breviarium basileense (www.e-codices.unifr.ch/en/list/one/bcj/0022).

Please don't use my images on websites, blogs or other media without my explicit permission - rr.restifo@gmail.com. © All rights reserved.