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September 27 Homage Creation Site search Google

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Toutes les recherches et les photos ci-jointes obtenus via l'Internet

27 septembre Hommage création de sites de recherche Google

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Celisa

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.

Manuscript title: Antiphonarium

Manuscript summary: Antiphonary from the Franciscan Monastery of Fribourg, dated 1488 according to the colophon f. 214v. Drolleries are drawn in the margins and by the initials. The manuscript contains a miniature (f. 14v, birth of Christ) and beautiful initials (flowers, fruit, zucchini), attributed to the Master of the Breviary of Jost of Silenen.

Origin: Fribourg, Franciscan Monastery

Period: 15th century

Image source: Fribourg/Freiburg, Couvent des Cordeliers/Franziskanerkloster, Ms. 6: Antiphonarium

(www.e-codices.unifr.ch/en/list/one/fcc/0006)

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In the night between 9 and 10 July 1943, the Allies landed in Sicily, an event that marked a decisive chapter for the fate of the Second World War: the operation was intended to open a front in continental Europe, invade and defeat Italy, was called in code "Operation Husky". The Anglo-American army, with its ships and landing craft (totally 2800 units), with its 150 thousand men, with its 600 tanks, with its 1,000 cannons, appeared in front of the Sicilian coasts during the night: it consisted of two units, the US 7th Army commanded by General Patton, and the British 8th Army commanded by General Montgomery. The British sector landed on the eastern coast, between Noto, Pachino, Portopalo, while the American sector landed between Licata and Scoglitti, a coastal belt comprising the Gulf of Gela.

This premise to describe the places of my photographs, made between Gela and Licata, partly on those same beaches that saw the formidable landing of men and vehicles during the Second World War (not without bloodshed), often thinking of how places so beautiful they were the scene of tragic events about 77 years ago. A little regret of mine I was not being able to photograph a large American landing craft underwater, sunk about 500 meters from the coast, no more than 6-7 meters deep: it is about 20 years that I "go to find it" with free diving, and every time I see it I always feel a great emotion (sooner or later I will have to decide to get with me an underwater camera). I revisited (every time it is always a great emotion) the bunkers and casemates present on the whole stretch (and beyond) Licata-Gela, in some of them I entered inside, while in others the presence of earth made exploration impossible internal.

In the town of Licata I always feel strong emotions going for a stroll, especially in the oldest part of the town in its historic center: I saw the Black Christ, which is located inside the Mother Church, the Black Christ according to legend miraculously escaped the fire of the church started by the Saracens who, allied with the French, sacked Licata on 11 July 1553, claiming many victims; the wood did not burn but was only blackened by the flames, the faithful shouted a miracle, in reality it is very likely, as it was in use at the time, that instead the statue of Christ was carved on a dark wood; it is also said that the Saracens used incendiary arrows to burn the statue, the crucifix was however pierced by arrows by the Saracens, three are seen stuck in his body, an arrow is present just above the left eye, the original arrows were removed in followed by Maltese settlers and replaced with silver arrows. Wandering aimlessly, I found in the oldest part of the city, literally hidden from view behind a group of houses, a cave (unfortunately abandoned) that was certainly inhabited in ancient times (early Christian era?) Composed of two rooms and a central column, with small indentations carved into it, I imagine to be able to store objects. Licata is also characterized by being a country where many stray dogs live, I have never seen skeletonized dogs, a sign that the population to some extent takes care of them. Characteristic in Licata, on the other hand as in many Sicilian villages, to see men, most of them a little older, sitting together to converse in the small squares, perhaps outside their respective clubs, always in shaded areas sheltered of the summer heat wave.

My next photos, divided into groups, will have as their theme the town of Licata, and its beaches.

Most of the photos are confused-blurry-blurred-imprecise-indecisive ... the Anglo-Saxon term that encompasses with a single word this photographic genre is "blur", these photos were made in the shooting phase, deliberately lengthening the exposure, and not as an effect created subsequently, in retrospect, in the post-production phase.

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Nella notte tra il 9 e il 10 luglio 1943, avvenne lo sbarco degli Alleati in Sicilia, evento che segnò un capitolo determinante per le sorti della Seconda guerra mondiale: l’operazione aveva lo scopo di aprire un fronte nell’Europa continentale, invadere e sconfiggere l’Italia, venne chiamata in codice “Operazione Husky”. L'armata anglo-americana, con le sue navi e mezzi da sbarco (in toto 2800 unità), con i suoi 150 mila uomini, con i suoi 600 carri armati, con i suoi 1.000 cannoni, si presentò davanti alle coste siciliane durante la notte: essa era composta da due unità, la 7a Armata statunitense comandata dal generale Patton, e l’8° Armata britannica comandata dal generale Montgomery. Il settore britannico sbarcò sulla fascia costiera più ad oriente, tra Noto, Pachino, Portopalo, mentre il settore statunitense sbarcò tra Licata e Scoglitti, fascia costiera comprendente il golfo di Gela.

Questa premessa per descrivere i luoghi delle mie fotografie, realizzate tra Gela e Licata, in parte su quelle stesse spiagge che hanno visto il formidabile sbarco di uomini e mezzi durante la seconda guerra mondiale (non senza spargimento di sangue), ripensando spesso a come luoghi così belli siano stati scenario di eventi tragici circa 77 anni addietro. Un mio piccolo rammarico è stato il non poter fotografare sott’acqua un grosso mezzo navale da sbarco americano, affondato a circa 500 metri dalla costa, a non più di 6-7 metri di profondità: sono circa 20 anni che “lo vado ritrovare” con immersioni in apnea, ed ogni volta che lo vedo provo sempre una grande emozione (dovrò decidermi prima o poi a procurarmi una macchina fotografica subacquea). Ho rivisitato (ogni volta è sempre una grande emozione) i bunker e le casematte presenti su tutto il tratto (ed oltre) Licata-Gela, in alcuni di essi sono entrato dentro, mentre in altri la presenza di terra ha reso impossibile l’esplorazione interna.

Nel paese di Licata provo sempre forti emozioni andando a zonzo, soprattutto nella parte più antica del paese nel suo centro storico: ho rivisto il Cristo Nero, che si trova all’interno della Chiesa Madre, il Cristo Nero secondo la leggenda scampò miracolosamente all’incendio della chiesa appiccato dai Saraceni che, alleati coi Francesi, saccheggiarono Licata l’11 luglio 1553, mietendo tante vittime; il legno non bruciò ma venne solamente annerito dalle fiamme, i fedeli gridarono al miracolo, in realtà è molto probabile, come era in uso all’epoca, che invece la statua del Cristo fu scolpita su di un legno scuro; si narra anche che i saraceni usarono frecce incendiarie per bruciarne la statua, il crocifisso fu comunque trafitto dalle frecce dai saraceni, se ne vedono tre conficcate nel suo corpo, una freccia è presente poco sopra l’occhio sinistro, le frecce originali furono tolte in seguito dai coloni Maltesi e sostituite con frecce d’argento. Girovagando senza una meta precisa, ho trovato nella parte più antica della città, letteralmente nascosta alla vista dietro un gruppo di case, una grotta (purtroppo abbandonata) che anticamente fu certamente abitata (epoca paleocristiana ?) composta da due camere ed una colonna centrale, con delle piccole rientranze scavate al suo interno, immagino per potervi riporre degli oggetti. Licata è anche caratterizzata per essere un paese nel quale vivono molti cani randagi, non ho visto mai cani scheletriti, segno che la popolazione in qualche misura si prende cura di loro. Caratteristico a Licata, d'altronde come in tantissimi paesi siciliani, vedere gli uomini, la maggior parte un po’ più anziani, seduti insieme a conversare nelle piccole piazze, magari al di fuori dei rispettivi circoli, sempre in zone d’ombra al riparo della canicola estiva.

Le mie prossime foto, divise in gruppi, avranno come tema il paese di Licata, e le sue spiagge.

La maggior parte delle foto sono confuse-mosse-sfocate-imprecise-indecise...il termine anglosassone che racchiude con una sola parola questo genere fotografico è "blur", queste foto sono state così realizzate in fase di scatto allungando volutamente i tempi di esposizione, e non come un effetto creato successivamente, a posteriori, in fase di post-produzione.

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AIR BERLIN BOEING B737 – 7K5 Codice di Registrazione D-AHXG volo n. AB8431 (volo codeshare Alitalia AZ7142) in decollo da Milano Linate per Berlino Tegel (TXL).

AIR BERLIN BOEING B737 – 7K5 Registration D-AHXG flight AB8431 (flights operated in Codeshare with Alitalia AZ7142) taking off from Milan Linate to Berlin Tegel (TXL).

www.planespotters.net/Production_List/Boeing/737/35140,D-...

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).

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: Florence (Italy)

Period: 15th century

Image source: Genève, Bibliothèque de Genève, Comites Latentes 54: Book of hours

(www.e-codices.unifr.ch/en/list/one/bge/cl0054)

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A story of Taormina: this story of mine tries to evoke a sad, dark period in the history of Taormina (and Sicily-Italy), which starts from the date of 09 July 1943, the day in which there was Operation Husky, the name in code of the Allied landing in Sicily. This landing (it was expected, but no one knew where) was preceded: by a meticulous work of misdirection (managing to make the Nazi-Fascist enemy believe that it would take place in Sardinia), by an alliance between the USA State and the mafia (which should have facilitated the penetration of the Allies in the island), from the occupation of the Sicilian islands of Pantelleria and Lampedusa, from a systematic and incessant aerial bombardment on cities and strategic points of Sicily. The landing (preceded by a launch of paratroopers, which the strong wind dispersed on a 100 km front), took place in the night between 09 and 10 July on the southern and south-eastern coast of Sicily, with the 7th US Army of General Patton (who then headed for Palermo), and the British 8th Army of General Montgomery (who went to Messina), the Canadian army also participated in the mission, the aim was to close the present on the island Nazi-fascist militias with an encirclement . The morning, again on 09 July 1943, was a date destined to be sadly remembered for Taormina, it was in turmoil, the citizens were preparing to celebrate its patron saint San Pancrazio, at 12.30 a first modest bombing took place by two RAF Spitfires coming from the sea, which, after strafing the railway station below, threw some bombs over the Hotel San Domenico, and some incendiary bombs (phosphorus bombs?) in the valley below the hotel, probably for signal the target with a fire, in fact a second terrible bombing took place at 16.30 / 17.00 by the American four-engines airplanes, which, hitting the southern part of Taormina (near Porta Catania, Piazza Duomo) caused numerous victims among civilians (it was then said about 90-100 victims), while the German military did not suffer many losses, because the bombs (perhaps due to the strong wind) only partially hit their targets , they hit the train station, the San Domenico hotel (home to a garrison of German soldiers) was only minimally hit, Casa Cuseni (where important German military commanders stayed there) was not hit; it was also said that another sensitive target destined to be hit was the German radio repeater present on the castle of Castelmola. After the bombing it was said that ... in Taormina there was a "secret collaborator" of the Allies (it was known who he was, he was married to a wealthy American heiress woman), who would communicate the sensitive points to be hit; it was said that ... among the aviators who bombed Taormina there was a grandson of Lady Florence Trevelyan Trevelyan (see my story about the Lady) who was on holiday in Taormina before the war, intentionally "wrong aim" by dropping part of the bombs in the valley without doing damage, so as not to hit the population; it was said that ... San Pancrazio had not defended his fellow citizens, the martyrdom took place on the day of his feast! (for many years San Pancrazio was punished, the devotees of Taormina did not celebrate him), but the opposite was also said ... it was he who raised the wind by directing the bombs towards the valley, greatly reducing the number of victims: during his party , on July 9, with the statue of San Pancrazio, the procession stops in the two places where there were many victims, in silence, in their memory, the sad notes of a trumpet are heard: a very painful story for all, after the first bombing at 12.30, mother Giuseppina decided to send a telegram to her husband Giovannino, engaged on the front in Greece (or in Albania) to reassure him that she and their two children were well, so she decided to go to the post office (taking behind Bernardino and Adelaide, he would never have left them alone), while they were walking along Corso Umberto towards the post office, several people on the run shouted at her to run away from the town, to get to safety, but mother Giuseppina was thinking of her husband and that telegram for him, they arrived in the vicinity of Porta Catania (near the post office, a short distance from the Hotel San Domenico) when the second deadly bombardment arrived, they found all three of them in the lifeless rubble hugging each other (my father when he told me this story his words choked in his throat, and his eyes became red swollen with tears).

Postscript: I took the photographs of the feast of San Pancrazio in Taormina on 9 July of this year 2022; the photographs of the German casemates were taken between Licata and Gela, where the Americans landed (the British moved further east); the last photo was taken on a Licata beach which was certainly affected by the landing, since on the seabed at about 10 meters deep and about 500 meters from the shore, lies a large American landing craft lying on the sand (opposite, on the beach, there was a German casemate, now it is gone); the photo of the tomb of mother Giuseppina (she was 34 years old), and her two children, Adelaide (5 years old) and Bernardino (11 years old), was taken in the cemetery of Taormina, in the section where lies the people of Taormina who died under the bombing of the day of San Pancrazio of '43.

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Una storia di Taormina: questo mio racconto tenta di rievocare un triste, buio periodo della storia di Taormina (e della Sicilia-Italia), che parte dalla data del 09 luglio del 1943, giorno nel quale ci fu l’Operazione Husky, il nome in codice dello sbarco degli Alleati in Sicilia. Questo sbarco (lo si attendeva, ma non si sapeva dove) fu preceduto da parte degli Alleati: da un minuzioso lavoro di depistaggio (riuscendo a far credere al nemico nazi-fascista che esso sarebbe avvenuto in Sardegna), da un’alleanza tra gli USA e la mafia (che avrebbero dovuto facilitare la penetrazione degli Alleati nell’isola), dall’occupazione delle isole siciliane di Pantelleria e Lampedusa, da un sistematico ed incessante bombardamento aereo su città e punti strategici della Sicilia. Lo sbarco (preceduto da un lancio di paracadutisti, che il forte vento disperse su di un fronte di 100 km), avvenne nella notte tra il 09 ed il 10 di luglio sulla costa meridionale e sud-orientale della Sicilia, con la 7a armata USA del generale Patton (che poi si diresse verso Palermo), e l’8a armata britannica del generale Montgomery (che andò verso Messina), partecipava alla missione anche l’esercito Canadese, lo scopo era di chiudere con un accerchiamento le milizie nazi-fasciste presenti sull’isola. La mattina, sempre del 09 di Luglio del 1943, fu per Taormina una data destinata ad essere tristemente ricordata, Taormina era in fermento, la cittadinanza si preparava a festeggiare il suo santo patrono San Pancrazio, alle ore 12,30 avvenne un primo modesto bombardamento da parte di due Spitfire della RAF provenienti dal mare, che, dopo aver mitragliato la stazione ferroviaria sottostante, lanciarono qualche bomba sopra l’Hotel San Domenico, e qualche bomba incendiaria (bombe al fosforo?) nel vallone sotto l’albergo, probabilmente per segnalare l’obiettivo con un incendio, infatti un secondo terribile bombardamento avvenne alle ore 16,30/17,00 da parte dei quadrimotori americani, che, colpendo la parte sud di Taormina (nei pressi di Porta Catania, piazza Duomo) causarono numerosissime vittime tra i civili (si disse allora circa 90-100 vittime), mentre i militari tedeschi non ebbero molte perdite, perché le bombe (forse a causa del forte vento) centrarono solo in parte i loro obiettivi, colpirono la stazione ferroviaria, l’albergo San Domenico (sede di una guarnigione di militari tedeschi) fu colpito solo in minima parte, Casa Cuseni (qui vi alloggiavano importanti comandanti militari tedeschi) non fu colpita; si disse anche che un altro obiettivo sensibile destinato ad essere colpito era il ripetitore radio tedesco presente sul castello di Castelmola. Dopo il bombardamento si disse che…a Taormina c’era un “collaboratore segreto” degli Alleati (si seppe chi era, era sposato con una ricca donna ereditiera americana), che avrebbe comunicato i punti sensibili da colpire; si disse che …tra gli aviatori che bombardarono Taormina c’era un nipote di Lady Florence Trevelyan Trevelyan (vedi il mio racconto sulla Lady) il quale prima della guerra veniva in vacanza a Taormina, volutamente avrebbe “sbagliato mira” sganciando parte delle bombe nella vallata senza fare danni, per non colpire la popolazione; si disse che …San Pancrazio non aveva difeso i suoi concittadini, il martirio avvenne proprio il giorno della sua festa ! (per tanti anni San Pancrazio fu messo in castigo, i Taorminesi non lo festeggiarono), ma si disse pure il contrario…fu lui ad alzare il vento dirigendo le bombe verso la vallata, riducendo di molto il numero delle vittime: ogni anno, durante la sua festa del 9 luglio, la processione con la statua di San Pancrazio, si ferma nei due luoghi ove vi furono molte vittime, in silenzio, in loro memoria, si ascoltano le tristi note di una tromba: una storia dolorosissima per tutte, dopo il primo bombardamento delle 12,30, mamma Giuseppina decise di inviare un telegramma a suo marito Giovannino, impegnato sul fronte in Grecia (od in Albania) per rassicurarlo che lei ed i loro due figli stavano bene, decise così di andare all’ufficio postale (portandosi dietro Bernardino ed Adelaide, mai li avrebbe lasciati soli), mentre percorrevano il Corso Umberto verso la posta, diverse persone in fuga le gridavano di scappare via dall’abitato, di mettersi in salvo, però mamma Giuseppina pensava a suo marito ed a quel telegramma, arrivarono così nelle vicinanze di Porta Catania (vicino l’ufficio postale, a poca distanza dall’Hotel San Domenico) quando arrivò il secondo micidiale bombardamento, li ritrovarono sotto le macerie senza vita tutti e tre abbracciati tra loro (mio padre quando mi raccontava questa storia le sue parole gli si strozzavano in gola, e gli occhi diventavano rossi gonfi di lacrime).

P.S. le fotografie della festa di San Pancrazio di Taormina le ho realizzate il 9 luglio di quest’anno 2022; le fotografie delle casematte tedesche sono state realizzate tra Licata e Gela, ove avvenne lo sbarco degli americani (gli inglesi sbarcarono più ad est); l’ultima foto è stata realizzata su di una spiaggia di Licata che certamente fu interessata dallo sbarco, poiché sul fondo marino a circa 10 metri di profondità ed a circa 500 metri dal bagnasciuga, giace un grosso mezzo da sbarco americano adagiato sulla sabbia (di fronte, sulla spiaggia, c’era una casamatta tedesca, ora non c’è più); la foto della tomba di mamma Giuseppina (34 anni), e dei suoi due figli, Adelaide (5 anni) e Bernardino (11 anni), è stata realizzata nel cimitero di Taormina, nella sezione ove sono sepolti i Taorminesi morti sotto il bombardamento del giorno di San Pancrazio del ‘43.

Manuscript title: 12th Century Breviary from the monastery of Disentis

Manuscript summary: This is a collection of liturgical works from the monastery of Disentis, written in the second half of the 12th century, most likely around 1200. In sequence, the volume contains a calendar (pp. 2-13), a psalter (pp. 15-90) and a hymnary (pp. 91-110), a (mixed) capitulary and collectarium (pp. 116-186), as well as an antiphonary, a lectionary, and a homiliary (pp. 203-638). Highlights from the point of view of manuscript decoration include the initial “B” at the beginning of the psalter (p. 15) and a picture of the crucifixion (p. 89). This breviary is one of the very few surviving medieval manuscripts from the monastery of Disentis. The manuscript came to Kempten around 1300; as early as the 15th century, the Disentis Breviary was held in the Abbey Library of St. Gall.

Origin: Disentis Monastery (Switzerland)

Period: 1150/1200

Image source: St. Gallen, Stiftsbibliothek, Cod. Sang. 403: 12th Century Breviary from the monastery of Disentis (www.e-codices.ch/en/list/one/csg/0403)

Manuscript title: Cycle of miniatures

Manuscript summary: This cycle of miniatures from the first half of the 12th century is the work of two artists. The cycle was bound after having already been cut to create a volume; it is likely that it originally preceded a psalter.

Origin: Muri ? (Switzerland)

Period: 12th century

Image source: Sarnen, Benediktinerkollegium, Cod. membr. 83, f. 6r – Cycle of miniatures (www.e-codices.unifr.ch/en/bks/membr0083/6r)

Manuscript title: Manuscript summary: At the beginning of the 17th century, a book of black magic was published, attributed to the mythical Faust and known by the title Höllenzwang. The library in Weimar owned a manuscript of this text, which Goethe was aware of. In 1949 Martin Bodmer was able to purchase a similar manuscript. This document, which is difficult to date, is written in cabalistic signs and, according to a German gloss, contains a series of magic spells for exorcists, which can be used in particular to call up the seven evil spirits.

Origin: Cologny? (Switzerland)

Period: middle of 18th century

Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 66: Doktor Fausts Dreifacher Höllenzwang (e-codices.unifr.ch/en/list/one/fmb/cb-0066).

Manuscript title: Codex Testeriano Bodmer

Manuscript summary: Testeriano denotes catechism manuscripts in a pictographic script attributed to the Franciscan friar and missionary Jacobo de Testera (16th century). Writing had already developed in 12th century Central America as a mixture of ideograms, pictograms and phonetic symbols, but the original handwritten witnesses thereof were destroyed in the Spanish Conquest in the 16th century. In order to communicate with the indigenous population, Christian missionaries later adopted this writing system, but they invented many symbols since the goal was to communicate a new, Christian content. For instance, three crowned heads represent the Trinity and thus God, while two crowned heads with key and sword represent the apostles Peter and Paul. The manuscript is read from left to right across both pages; different parts are separated by decorative vertical vignettes. The manuscript contains several short prayers (among them pp. 1v-2r Persignum, 2v-4r Ave Maria, 4v-8r Credo) and a long prayer (pp. 27v-35r) which represents a repetition of the Christian doctrine.

Origin: Mexico

Period: 16th century

Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 905: Codex Testeriano Bodmer (www.e-codices.unifr.ch/en/list/one/fmb/cb-0905).

Trasversale...

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Codice Ufficiale HT MMS76

Ever thought of flipping through e-codices manuscript pages on your iPad or iPhone? As of June 2013, all e-codices manuscripts can be viewed in their entirety in an app for iPhone and iPad, available for free at: bit.ly/e-codicesApp

Some of the things you can do with the app:

- Search and browse almost 1,000 manuscripts, including selected highlights

- Bookmark single pages within manuscripts

- Bookmark manuscripts and build your own library („MyCodices“)

- Download entire manuscripts and view them offline

Prof. Christoph Flüeler, director of e-codices, explains why he thinks an app for digitized manuscripts is important:

„Nowadays, most manuscript scholars own and travel with a smartphone. Even though the possibilities to use an iPhone are seemingly endless, this personal digital assistant is hardly used for scholarly work in the Humanities yet. Our goal was to take full advantage of these possibilities and create a mobile application that would serve as a scholarly working tool.“

And what does Christoph like best about the new app? „I can access the full range of manuscripts on e-codices and create my own library under MyCodices with which I can work offline, when I don’t have an internet connection, such as on an airplane or at a remote location. But I also like the playful component: browsing through a manuscript on the iPad is simply fun.“ (taken from: e-codices Newsletter June 2013, Issue N° 11).

The e-codices iPhone and iPad app was developed by Jérémie Blaser and Rafael Schwemmer for text & bytes LLC and e-codices, and is available on the App Store for free. If you find the app useful, please consider making a donation to support the development of future updates and improvements.

Video: Rromir Imami

Music: "Countryside" - scottwills

KBR is the national scientific library and collects all Belgian publications. The institution preserves, manages and studies more than 8 million documents, a rich cultural and historical heritage.

KBR provides access to all information in its collections, facilitates research and offers a broad cultural experience.

We have a lot to offer, more than ‘just books’. That is why today, the Royal Library of Belgium becomes KBR. A unique and inspiring place with a wealth of outstanding knowledge – all protected and made accessible for you.

Historically, KBR is a contraction of two names in two different languages: Koninklijke Bibliotheek and Bibliothèque royale. In the past, a number of different names have been used to denote KBR: Albertine, La Royale, BR, KBR, KB, Royal Library and so on.

With KBR as the name of the brand, we resolve the naming problem in all languages and clear up any uncertainty about the structure (KBR is more than just a library).

The Manuscripts Department contains approximately 35,000 manuscripts, including 4,500 medieval codices, which makes KBR’s collection one of the 10 largest in the world. Since the Middle Ages, this collection has been regarded as one of the most prestigious libraries in the Western world.

A large part of the original collection consists of the former Library of the Dukes of Burgundy.

The collection dates back to Philip the Bold and was continued by his successors, John the Fearless and Philip the Good. At the time of Charles the Bold’s death, the collection already contained as many as 950 volumes, of which around 270 are held in the Manuscripts Department in Brussels while another 120 can be found elsewhere in Europe.

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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).

Manuscript title: Book of hours

Manuscript summary: This precious book of hours was made in Florence around 1470-1480. Its rich and elegant illumination is due to the close circle of the most famous florentine miniaturist of his time, Francesco d’Antonio del Chierico. The same hand is responsible for the major illuminations at the beginning of the various sections as well the initials in the text. The flourished initials are of great elegance. A partly erased coat of arms on the opening leaf indicates that the book of hours was made for the wedding of a male member of the Serristori family. The manuscript entered in the collection of the present owner in 1970 and it was deposited at the Bibliothèque de Genève as part of Comites Latentes.

Origin: Florence (Italy)

Period: 15th century

Image source: Genève, Bibliothèque de Genève, Comites Latentes 54: Book of hours (www.e-codices.unifr.ch/en/list/one/bge/cl0054).

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).

Todas as Pesquisas e Fotos anexas obtidas via Internet

10 de Setembro Homenageamos Gustavo Kuerten, Guga do Brasil

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All Researches and accompanying photos obtained via the Internet

September 10 We honor Gustavo Kuerten, Guga of Brazil

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Toutes les recherches et les photos ci-jointes obtenus via l'Internet

Septembre 10 Nous honorons Gustavo Kuerten, Guga du Brésil

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***

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YOUTUBE

www.youtube.com/watch?v=Ce7t5FyfYOI

Celisa

Manuscript title: Manuscript summary: At the beginning of the 17th century, a book of black magic was published, attributed to the mythical Faust and known by the title Höllenzwang. The library in Weimar owned a manuscript of this text, which Goethe was aware of. In 1949 Martin Bodmer was able to purchase a similar manuscript. This document, which is difficult to date, is written in cabalistic signs and, according to a German gloss, contains a series of magic spells for exorcists, which can be used in particular to call up the seven evil spirits.

Origin: Cologny? (Switzerland)

Period: middle of 18th century

Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 66: Doktor Fausts Dreifacher Höllenzwang (e-codices.unifr.ch/en/list/one/fmb/cb-0066).

Codice colonial

"Il concetto resta estraneo per te se non hai il codice" cit. KaosOne Spray + paint on wall, 2014 Rome #misterpepsy and #danieletozzi together.

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: Breviarium canonicorum regularium monasterii sanctae crucis mortariensis

Origin: Lombardy (Italy)

Period: 15th century

Image source: Solothurn, Zentralbibliothek, Cod. S 378, p. 25v – Breviarium canonicorum regularium monasterii sanctae crucis mortariensis (www.e-codices.unifr.ch/en/zbs/S-0378/25v)

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 from Paris

Origin: Paris/Tours (France)

Period: 15th century

Image source: Utopia, armarium codicum bibliophilorum, Cod. 101, f. 63r – Book of hours from Paris (www.e-codices.unifr.ch/en/list/one/utp/0101)

Después de la conquista solo cuatro códices, sobrevivieron, tres de la cultura maya, el Dresden, el de Paris y este y todos se encuentran en Europa. El cuarto códice que sobrevivió es el códice de Huichapan, que se resguarda en la biblioteca del INAH.

Manuscript title: Manuscript summary: At the beginning of the 17th century, a book of black magic was published, attributed to the mythical Faust and known by the title Höllenzwang. The library in Weimar owned a manuscript of this text, which Goethe was aware of. In 1949 Martin Bodmer was able to purchase a similar manuscript. This document, which is difficult to date, is written in cabalistic signs and, according to a German gloss, contains a series of magic spells for exorcists, which can be used in particular to call up the seven evil spirits.

Origin: Cologny? (Switzerland)

Period: middle of 18th century

Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 66: Doktor Fausts Dreifacher Höllenzwang (e-codices.unifr.ch/en/list/one/fmb/cb-0066).

Aer Lingus Airbus A320-214 con Codice di Registrazione EI - DVN in decollo da Milano Linate per Dublino (DUB). Volo EI433.

Aer Lingus Airbus A320-214 Registration Code EI-DVN taking off from Milan Linate to Dublin (DUB). Flight EI433

www.flightradar24.com/data/airplanes/ei-dvn/#4b79379

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).

Abençoada e Linda Quinta-Feira aos meus Queridos Amigos

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Blessed and Beautiful Thursday to my Dear Friends

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Heureux et Belle jeudi pour mes chers amis

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Bienaventurado y hermoso Jueves a mis queridos amigos

***

Beato e Bella Giovedi ai miei cari amici

Celisa

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: Cistercian Gradual (Winter Part)

Origin: Prague (Czech Republic)

Period: 15th century

Image source: Luzern, Zentral- und Hochschulbibliothek, P.19.fol.: Cistercian Gradual (Winter Part)

(www.e-codices.unifr.ch/en/zhl/0019/22v)

Manuscript title: Sefirat ha-Omer (Counting of the Omer) and other prayers

Manuscript summary: The Counting of the Omer is the ritual counting of the 49 days between Passover and Shavuot, the Feast of Weeks. In this manuscript, these days and their corresponding numbers, are inscribed in 49 quatrefoils. F. 18r shows a menorah with the seven verses of Psalm 67 inscribed in microsript on the seven arms of the candelabrum. The scribe Baruch ben Schemaria from Brest-Litovsk (Belarus) created this manuscript in Amsterdam in 1795 for Aaron ben Abraham Prinz, of Alkmaar in the Netherlands, as noted on the title page. The drawing on f. 1r, a page of calligraphic decoration, depicts the giant Samson as Atlas, since, according to rabbinical tradition, he was endowed with superhuman strength.

Origin: Amsterdam (The Netherlands)

Period: 18th century

Image source: Zürich, Braginsky collection, B28: Sefirat ha-Omer (Counting of the Omer) and other prayers (www.e-codices.unifr.ch/en/list/one/bc/b-0028).

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)

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: Jean de Mandeville, Antichrist (Travels of Sir John Mandeville) - with illustrations

Origin: Upper Rhine (?)

Period: 15th century

Image source: St. Gallen, Stiftsarchiv (Abtei Pfäfers), Cod. Fab. XVI, p. 29r – Jean de Mandeville, Antichrist (Travels of Sir John Mandeville) - with illustrations (www.e-codices.unifr.ch/en/ssg/0016/29r)

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)

Todas as Pesquisas e Fotos anexas obtidas via Internet

03 de Abril Homenageamos o Dia do Atuário, Brasil

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All Research and Photos accompanying obtained via the Internet

April 3 We honor the Day of the Actuary, Brazil

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Toutes les recherches et photos accompagnant obtenus via l'Internet

3 avril, nous honorons la Journée de l'actuaire, le Brésil

***

***

***

YOUTUBE

www.youtube.com/watch?v=Ce7t5FyfYOI

www.avaaz.org/po/save_the_amazon_brazil/?vl

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: Graduale

Origin: Fribourg (Switzerland)

Period: about 14th century

Image source: Fribourg/Freiburg, Couvent des Cordeliers/Franziskanerkloster, Ms. 9: Graduale (www.e-codices.unifr.ch/en/list/one/fcc/0009)

This is an image of fol. 42r from University of Pennsylvania LJS 419: Erbario, from Italy, dated to 14--.

LJS 419 is an illustrated herbal with three styles of illustration: one group of illustrations following medieval conventions, sometimes with fantastic elements such as human faces, on recto pages through most of the manuscript; another, rougher but more generally somewhat more naturalistic group in ink outline, on verso pages or added alongside earlier color illustrations; and a third group of naturalistic color illustrations of plants including roots, leaves, flowers and fruit on verso pages. Approximately a quarter of the illustrations are accompanied by notes on medicinal properties and preparations of the plants, written in the same ink as the ink outline illustrations, mostly in Italian (the Italian usage suggests the text was written in the Veneto), but occasionally in Latin or a mix of both languages; the notes are written around and sometimes over the illustrations.

Access this manuscript at openn.library.upenn.edu/Data/LJSchoenbergManuscripts/html....

OPenn is a website that offers easy access to free cultural works from Penn Libraries and other institutions. Access these collections and learn more at openn.library.upenn.edu.

Metadata is copyright ©2015 University of Pennsylvania Libraries and is licensed under a Creative Commons Attribution 4.0 International License.

www.themorgan.org/exhibitions/defaultExhibOnline.asp

www.odisea2008.com

Referencia post:

www.odisea2008.com/2012/02/el-libro-de-horas-negro.html

Manuscript title: Book of hours

Manuscript summary: This precious book of hours was made in Florence around 1470-1480. Its rich and elegant illumination is due to the close circle of the most famous florentine miniaturist of his time, Francesco d’Antonio del Chierico. The same hand is responsible for the major illuminations at the beginning of the various sections as well the initials in the text. The flourished initials are of great elegance. A partly erased coat of arms on the opening leaf indicates that the book of hours was made for the wedding of a male member of the Serristori family. The manuscript entered in the collection of the present owner in 1970 and it was deposited at the Bibliothèque de Genève as part of Comites Latentes.

Origin: Florence (Italy)

Period: 15th century

Image source: Genève, Bibliothèque de Genève, Comites Latentes 54: Book of hours (www.e-codices.unifr.ch/en/list/one/bge/cl0054).

Manuscript title: Biblia latina (Vulgata), Part 1: Genesis to Psalms

Manuscript summary: Latin Bible, designed as a pandect (i.e. in one volume), following the recension of Alcuin of York. Several copies of these Alcuin Bibles, manufactured in the scriptorium of St. Martin of Tours, have survived; with their finely graded hierarchy of scripts and harmonious proportions, they are considered monuments of Carolingian book production.

Origin: Tours, Abbey St. Martin (France)

Period: 9th century

Image source: Bern, Burgerbibliothek, Cod. 3: Biblia latina (Vulgata), Part 1: Genesis to Psalms

(www.e-codices.unifr.ch/en/list/one/bbb/0003)

Manuscript title: Codex Testeriano Bodmer

Manuscript summary: Testeriano denotes catechism manuscripts in a pictographic script attributed to the Franciscan friar and missionary Jacobo de Testera (16th century). Writing had already developed in 12th century Central America as a mixture of ideograms, pictograms and phonetic symbols, but the original handwritten witnesses thereof were destroyed in the Spanish Conquest in the 16th century. In order to communicate with the indigenous population, Christian missionaries later adopted this writing system, but they invented many symbols since the goal was to communicate a new, Christian content. For instance, three crowned heads represent the Trinity and thus God, while two crowned heads with key and sword represent the apostles Peter and Paul. The manuscript is read from left to right across both pages; different parts are separated by decorative vertical vignettes. The manuscript contains several short prayers (among them pp. 1v-2r Persignum, 2v-4r Ave Maria, 4v-8r Credo) and a long prayer (pp. 27v-35r) which represents a repetition of the Christian doctrine.

Origin: Mexico

Period: 16th century

Image source: Cologny, Fondation Martin Bodmer, Cod. Bodmer 905: Codex Testeriano Bodmer (www.e-codices.unifr.ch/en/list/one/fmb/cb-0905).

Manuscript title: Evronot ("Rules for Calculation of the Calendar")

Manuscript summary: This manuscript contains an Evronot ("Rules for Calculation of the Calendar"). Many so-called Sifre evoronot ("Books of calculation") emerged in the 17th and 18th centuries. They can be taken as a reaction to the Gregorian calendar, introduced in 1582. Such manuscripts often depict the biblical Issachar, one of Jacob’s sons, on or near a ladder; as an attribute, he holds an hourglass in his hand. This manuscript has two such miniatures; above the first of which there is also an illustration of a waning and a waxing moon with a human face and stars. The title page depicts an ornamental architectural arch. At the end of the book, there is the familiar motif of Moses seated at a table holding the Tablets of the Law.

Origin: Germany

Period: 17th century

Image source: Zürich, Braginsky Collection, B247: Evronot ("Rules for Calculation of the Calendar") (www.e-codices.unifr.ch/en/list/one/bc/b-0247)