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During Holy Week I have been thinking a lot about Judas (as you do!), and I love Ann Lewin's poem "Judas Restored". Perhaps on the day between Good Friday and Easter Sunday Jesus wasn't safely in the tomb? Perhaps he was busy restoring Judas, and many others who feel they are beyond redemption?!
Puppet representing the traitor disciple who after being carried through the streets of the villages is hanged.
Monigote que representa al discípulo traidor que luego de ser llevado por las calles de los pueblos es ahorcado
St Martin’s Church in Zillis, Canton Graubünden, CH
The earliest preserved, figuratively painted wooden ceiling in Europe can be seen above the nave of St Martin's Church in Zillis. Today only three other painted ceilings from the Middle Ages remain: they are located in Hildesheim (St Michael's), in Peterborough Cathedral and in Dadesjo (Sweden). The Swedish church in Sodra Rada was destroyed by fire in 2001.
The ceiling paintings in Zillis demonstrate such a rich variety of form and contents as is only found in great works of art.
And so today the ceiling serves to illustrate the Gospel, Sunday for Sunday, from spring to autumn. In winter the parishioners do without heating in the church for the sake of the paintings and hold their services in the parish hall. Only funeral services and the school Christmas celebrations on Christmas Eve take place in the moderately heated church during the cold season.
St Martin's Church is situated below the historic centre of Zillis. At first, the church possibly stood directly above the wide bed of the Hinterrhein River. Zillis is one of the two settlements nestling at the bottom of the Schams Valley (Romansh: Val Schons), an inner-Alpine valley basin, through which a route has traversed the Alps at least since the Roman era. It used to link Bregenz with Milan, Lake Constance with Lakes Como and Maggiore. The Schams is the secondhighest section of the Hinterrhein Valley. It lies directly south of the Viamala Gorge, which on the northern side of the Alpine ridge represented the main obstacle on the route from Chur over the Splugen Pass to Chiavenna, resp. over the San Bernardino Pass to Bellinzona and Locarno. Throughout all the centuries Zillis occupied a very peripheral position on the inner border of the Alps, but was always on a route connecting the major settlements flanking the Alpine ridge.
THE PAINTED CEILING
THE CONCEPT OF THE PAINTED CEILING
The Zillis ceiling comprises 153 painted panels. They are slotted into longitudinal battens, which until 1938 were attached to the ceiling beams by long nails. Cross-battens are inserted between the painted panels as a connecting link, forming a regular grid. Doubled longitudinal and cross-battens accentuate the junctions of the grid, creating the shape of the cross.
The ceiling is enhanced by a meander frieze which was created at the same time; the greater part of the frieze was restored in 1938-1940. In the frieze we see female busts, representing the Classical sybils, whose prophesies were taken fro(ll late Antiquity onwards as a reference to the Advent of Christ.
The 153 panels are arranged as on a medieval map of the world. There is a border representing the ocean surrounding the Continent, on which the Life of Christ and the legend of St Martin are portrayed.
The border
At the edges of the ceiling, resp. on the borders of the world, swim mythical fish-tailed creatures; there are even some manned boats and music-making sirens on a continuous band of wavy lines, which represent the sea in a simplified and abstract form. Only the angels sounding their horns in the corners, marked as the south wind Auster and the north wind Aquilo, stand on firm land.
The inner cycle
On the interior fields, i.e. the Continent, the Life of Christ is depicted on 98 panels. One half describes Christ's childhood and youth, the other half recounts his miracles, his teaching and Passion. The individual scenes frequently continue over several successive panels. Each half has seven rows with seven panels. The last row of the interior panels is dedicated to the church patron St Martin.
The choir is the best place from which to view the first half of the cycle portraying the Life of Christ. Since the 1940 rearrangement the visitor has been able to «read» the pictures like a text from this vantage point, in rows running from left to right. The cycle begins with a gallery of Christ's ancestors, the Kings of the Old Testament, and the personifications of Synagogue and Ecclesia. The story of Christ's Life begins with the Annunciation of the Blessed Virgin, followed by Joseph's Dream, the Visitation and the four panels on the Nativity.
15 panels describe the Journey of the Three Magi. This is followed by the Purification and the the Presentation of the Infant Jesus in the Temple, the Flight into Egypt and the Massacre of the Innocents in Bethlehem, the Miracle of the Clay Pigeons, the 72-year-old Jesus in the Temple and the Sermons of St John the Baptist.
The second part of the Christological cycle begins with the Baptism of Christ and the Temptation by the Devil. These are followed by cases of miraculous Healings: in addition to the Wedding Feast in Cana and the Raising of Lazarus, we see the Healing of physically and mentally sick persons. The mentally disturbed were considered to be possessed by demons. After the miracles follow the Teachings of Jesus, the Transfiguration on Mount Tabor, the Entry into Jerusalem and the Expulsion of the Moneychangers from the Temple, the Last Supper, the MOunt of Olives, the Betrayal by Judas, Christ before Pilate, the Mocking of Christ and the Crowning with Thorns.
The cycle then breaks off. There is no consensus among researchers on whether this was, in fact, the original end of the cycle or if the Crucifixion and the Rising from the Dead were formerly depicted on the north wall of the nave or in the former Romanesque choir.
The last seven panels of the interior fields describe episodes from the life of St Martin, commencing with the Sharing of the Cloak, probably the best-known element of the legend. This is followed by the Consecration and the Miracle of the Raising from the Dead. The conclusion comprises three panels on St Martin's Encounter with a King who pretended to be Jesus but turned out to be the Devil.
As mentioned above, the panels were rearranged on the ceiling in 1940, the 1938 sequence having been described by experts as «absurd» und «unsystematic». An attempt to reconstruct the original order, based on the sequence of the pictures before 1938, gives the following results: the panels were arranged to be read by following the rows in an S-shaped order. In the centre of the ceiling there was the depiction of Christ's Baptism; in front of this, the scenes with St John the Baptist; behind, the four panels on the Temptation of Christ by the Devil.
During the Reformation the sequence of the panels was probably altered. In the cycle depicting the Life of St Martin, the consecration scene was removed from the central axis. The sermons of St John the Baptist and the Temptation of Christ by the Devil disappeared from the central row and were replaced by the cases of miraculous healing and depictions of Christ's teachings. From the 16th century until 1938 the Expulsion of the Moneychangers from the Temple, as a symbol of one of the Reformation's main tenets, was set in the centre of the ceiling replacing Christ's Baptism.
Brussels.
Strolling in Sobieski park and the Florist’s Gardens
Just a short walk from the Domaine Royal de Laeken (Royal Estate of Laeken), these gardens are the result of Leopold II's wishes. This majestic leafy-green area extended the Stuyvenberg Estate. In 1999, a public park was created there. The different gardens which now make up the park reinterpret the historic nature of the site and give it a refined modernity, whilst meeting the strictest environmental standards. As the highpoint of the visit, the balconies emphasise the sweeping view that stretches from Notre-Dame de Laeken to the Palais de Justice (law courts)
"Reclining at table with his disciples, Jesus was deeply troubled and testified,
“Amen, amen, I say to you, one of you will betray me.”
The disciples looked at one another, at a loss as to whom he meant.
One of his disciples, the one whom Jesus loved,
was reclining at Jesus’ side.
So Simon Peter nodded to him to find out whom he meant.
He leaned back against Jesus’ chest and said to him,
“Master, who is it?”
Jesus answered,
“It is the one to whom I hand the morsel after I have dipped it.”
So he dipped the morsel and took it and handed it to Judas,
son of Simon the Iscariot.
After Judas took the morsel, Satan entered him."
– John 13:21-26, which is part of today's Gospel for the Tuesday of Holy Week.
Detail from a mosaic of the Last Supper in St Aloysius' church in Glasgow.
Who's John Galt ? (The light was ebbing, [...])
Qui suis-je donc ? (L'écrivain de la nuit.)
De quel droit se permettre ce rapprochement ?
J'extraie ce dessin d'un microfilm sur La Chanson de Juan Asensio, livre à l'étoile des vernis de Charles Congdon recouvrant le grand écrit (d'un seul tenant dans les sources résurgentes des fragments de la nuit) dont l'incandescente matité défibrille le cours lointainement sanguin d'un coeur veiné, aplati, que l'hymne intérieur rencontre en son point d'écrasement, plus fine des surfaces qui montre à qui veut voir (et même à ceux qui ne veulent pas, le volume courbant les rayons de la bibliothèque par sa présence toujours étrange), sous un mince clapet indécelable, la circulation de mille lectures dans les battements d'une veille profonde.
Le roman de Ayn Rand, assez mal partiellement commenté sur la Wikipédia originale et ses rejetons traduits (mais c'est le jeu de cette encyclopédie, les auteurs dits conservateurs ne sont pas tous paranoïaques), est beaucoup plus que la bible d'un objectivisme, un chant à la rationalité pure et dure, on peut le lire d'une autre manière, très certainement poétique, l'arbre moteur de sa narration ne laissant rien perdre du couple de son histoire dans l'immature d'un irréfragable descriptif à thèse, la monstruosité d'un théorème pneumatique sculpté de tétines épaisses, en dépit d'une longueur machinalement propice aux déperditions de toutes sortes.
L'idée de Dieu est sans cesse présente, son chapitre Either/Or étant une allusion transparente à Kierkegaard (tout comme son personnage de Ragnar Danneskjöld, plus proche du philosophe danois que de Hans d'Islande malgré ce qu'elle put en dire elle-même, peut-être ?, Ted Nielsen également), derrière l'écrivain pourfendeur des prêtres de la planification se cache la femme que l'immolation de l'homme par l'homme (résultat de l'instrumentalisation de théories visant son bonheur exclusif) révulse.
Juan Asensio, pleinement au fait de la connaissance scientifique, navigateur de la nuit héroïque, sait que tout holisme a des yeux, que du têtard à Buzz Aldrin dans sa cabine autour de la lune, l'hypothèse du Christ est une intimation que chaque humain peut considérer sans perdre l'estime du monde, au contraire, qui a lu La Chanson reconnaît que Dieu est de loin plus facétieux trappeur que le Diable en personne dans sa course à délivrer les humains de l'attention portée par eux à tous les concepts attrape-lourdauds de la Création.
L'Américaine glose l'âme et l'esprit à de nombreuses reprises, tout comme le Français.
Une scène -- splendidement décrite -- à la lecture du roman de Rand ne pourra que parler aux lecteurs d'Asensio lorsqu'ils seront les témoins d'un voyage au coeur des collines du Wisconsin, arrière-pays délabré, le Wild North (où l'on rencontre peut-être des gnous, en anglais cela se dit Wildebeest, la bête sauvage en néerlandais, `Gnu en langue du peuple San, ex-merveilleux Bochimans de notre français, le nom de la photographie s'appelle "Le Goût du Gnou" à l'origine), fait en voiture par Rearden et Dagny.
Leur arrivée par des chemins de poussière, en plein thorax écroulé, à l'épicentre délavé d'un entrelacs d'os de ce qui fut jadis une ville industrielle, ("un site fantôme, vent squelette dans les trouées du toit de l'usine, structures des cheminées bouffées par le temps, seule la fumée de fermentation des ruines s'échappant du conduit pouvait laisser croire en une chance de retrouver en l'état la désolation, encore pour quelques instants aériens intacte, le lendemain matin.
Plus haut sur la route se tenait une ancienne école qui ressemblait à un crâne avec ses fenêtres aux orbites creusées, des filaments de ce qui paraissait des cheveux encore collés à la façade, comme des trames de fils électriques"), me fit me souvenir du rêve de Juan-le-narrateur, (le lecteur est comme un drone au-dessus du conteur, l'image que j'emploie appartiendra au registre de la modernité la plus convenue mais elle dit à sa façon ce que vit celui qui lit, aigle hurleur silencieux observant les jonctions Rhône-Saône, contemplant leur diffluence qu'avale le sud formant delta, celui qui espère avoir encore un peu d'argent en poche lorsque le pilote du fleuve de la nuit le portera à contre-courant vers le péage de la Seine, à l'inimitable goût, osmophore de molécules d'eau que les saumons de l'Allier nous envient depuis le berceau) et de son éprouvante montée vers le château de la croix aux quatre monticules, une levée que l'on jurait depuis les lointains dessinée dans un crâne hiérosolymitain.
Je tape cette légende à l'occasion de l'inauguration de la présidence américaine.
Aucune des autorités du quatrième pouvoir qui professent l'analyse n'accordait à ce genre de maverick new-yorkais la moindre chance d'accéder au fauteuil du bureau ovale alors que le livre de Rand percutait de toute la longueur de son canon esthétique depuis au moins cinq ans en librairie et sur Amazon.us.
Les insultes antiaméricaines vont refleurir, l'aimable chevalier sortant à chandails lilas ou lapis-lazuli mènera la lutte du Bien, entre deux danses mondaines et trois parcours de golf, Madison et Jefferson et même Jackson peuvent mourir sur leurs deux oreilles, le Parti démocrate n'est pas prêt de renaître à la civilité demain. Une civilité dont n'est pas dépourvu Trump lorsqu'il abandonne son manque de discipline, seul moyen pour lui de sortir de l'habituel contre-narratif dont il est et sera l'objet.
Silencio.
La Chanson de Judas Iscariote que j'avais lue pour la première fois en août dernier, et qu'un célèbre blog littéraire traitant du sujet me donna l'envie de reprendre récemment, est bien entendu autre chose encore.
Un livre inouï.
La fourrure du furet de lecteur se gonfle un peu lorsqu'il croit reconnaître dans tel petit extrait -- qu'il fut mis au défi de percer à jour -- l'acte de Canetti, puis se rétracte gentiment le plastron lorsqu'il sait à qui il doit de l'avoir lu ou relu peu de temps avant.
Hymnes et fragments de Novalis dans un coin noir de sa tête, l'animal poursuit la lecture.
He raised his hand and over the desolate earth he traced in space the sign of the dollar, vide fiduciaire, douleur à l'antre, vol à l'aine de trente billes de corail rouge, l'ultime parole de l'iscariote occidental John Galt rejoint-elle le principe d'un tout autre argent, pas seulement symbolique, dont Juan Asensio rappelle la saxigrage brillance ?
ce triptyque est la dernière photo de la semaine érotique.
This triptic wil be the last shot of this erotic week.
Fitzwilliam Museum, Trumpington Street, Cambridge
Artist unknown, English, C1470. Panels from a rood screen, provenance unknown, probably East Anglian.
Judas Iscariot kisses Jesus Christ in front of the Roman soldiers in the Garden of Gethsemane, to identify him as the one to be arrested. Christ is already bound. On the right, Peter returns his sword to its sheath having cut off the ear of the high priest's servant. Out of shot, the servant lies on the floor with his severed ear.
The soldiers in this alabaster depiction of the Betrayal of Christ by Judas are all depicted in bascinets with aventails; some can be seen wearing hour-glass gauntlets, hip-belts and jupons. We might see an early sallet on the soldier second to the upper right wearing another garment instead of a jupon.
The soldier on the extreme right below also wears this style of sallet and besagews on the armpits.
It's very difficult to date this panel, since the Nottingham workshops producing these panels often made use of the same scenes and styles for years, being hugely popular throughout Europe.
Nevertheless, the armour and fashion can be dated around 1430 (in some details even earlier), based on stylistical grounds. But mind you, a much later date might also be possible.
Compare this panel with a contemporary (later?) one in the V&A: www.flickr.com/photos/roelipilami/31248403330/in/album-72...
Pictures taken at TEFAF 2019, Maastricht, Netherlands.
I find myself to be fascinated by the blossoms of this Judas Tree, or Cercis siloquastrum, with these lovely pink flowers early in the Spring and which are deciduous shrubs or small trees with heart-shaped leaves and clusters of bright pink pea-flowers opening before or with the leaves. Followed by flattened, deep purple pods.
C. siliquastrum is a bushy, deciduous small tree. Leaves to 10cm in width, broadly heart-shaped. Flowers rosy-pink, pea-shaped, in clusters on the older wood. Fruit a conspicuous flattened purplish pod to 12cm in length
Native to E Mediterranean
An actor performing a monologue on Judas pain. Great performance at El Corralon de San Jose at Old San Juan
Brussels.
Strolling in Sobieski park and the Florist’s Gardens
Just a short walk from the Domaine Royal de Laeken (Royal Estate of Laeken), these gardens are the result of Leopold II's wishes. This majestic leafy-green area extended the Stuyvenberg Estate. In 1999, a public park was created there. The different gardens which now make up the park reinterpret the historic nature of the site and give it a refined modernity, whilst meeting the strictest environmental standards. As the highpoint of the visit, the balconies emphasise the sweeping view that stretches from Notre-Dame de Laeken to the Palais de Justice (law courts)
Fungi (Auricularaceae family) / August, Habersham Co., Georgia, USA / Copyright ©2017 by William Tanneberger - All Rights Reserved.
Judas's Ear fungus (Auricularia auricular)
Clarkesville, Georgia (Soque River - Pitts Park)