View allAll Photos Tagged Preventing
Web Link :
advancedhomewellness.com/advanced-home-enemas-conquer-can...
Product Links:
advancedhomewellness.com/product-tag/home-enema/
advancedhomewellness.com/product/the-perfect-enema-bag-ki...
advancedhomewellness.com/product/the-healthandyogatm-enem...
advancedhomewellness.com/product/oxy-oxc-magnesium-peroxi...
advancedhomewellness.com/product/doterra-oregano-essentia...
Conquer Candida, Beat the Flu, Strengthen Your Immune System and Prevent Early Aging with Advanced Home Enemas
You’ve Never Brushed Your Teeth Before?!?
Imagine for a moment what the inside of your mouth would look like if you had never brushed your teeth.
Its kind of a frightening thought, isn’t it?!
Learn why brushing your teeth isn’t the only important hygiene practice to adopt and how learning to do home enemas can help you beat infections, strengthen your immune system, slow the aging process…. and even improve your smile.
You’ve Never Brushed Your Teeth Before?!?
Imagine for a moment what the inside of your mouth would look like if you had never brushed your teeth. Its kind of a frightening thought, isn’t it?!
And yet that is the reality for most people… except it’s even worse than that.
You see, our intestinal lining is basically identical to the skin lining inside our mouths, and if we had never brushed our teeth, our mouths would be covered in a tough yellow and white lining of fungus and yeast, as well as many other colorful bacteria colonies.
This is exactly the case in millions of people’s colons across America and the world, because in modern times, the simple practices that maintain basic levels of colon hygiene are mostly ignored and overlooked.
But this wasn’t always the case.
Around the turn of 1900, enemas were considered a foundation for recovery from almost any illness, and an enema or colonic was one of the first procedures performed in hospitals across the United States, and throughout the developed world.
Enemas had been widely used throughout the world for thousands of years before they were standard procedure in US hospitals around the turn of the century.
The phrase “good health resides in the gut” dates back to Hippocrates in ancient Greece, who is known as the Father of Medicine., and modern science now provides ample evidence to support his hypothesis.
Cutting-edge research into the Human Microbiome shows many direct connections between our intestinal health and brain function, mood & emotional state, energy levels and general immune response.
Due to the widespread use of pharmaceutical antibiotics in modern times, this simple and effective practice has fallen almost entirely out of custom. I especially find it ironic that enemas are not even practiced in hospitals and clinic for acute and chronic intestinal infections, when this would clearly be the best way to “apply directly” to an infection, and the more convenient, yet highly problematic solution of broad-spectrum pharmaceutical antibiotics, is almost always prescribed instead.
So to my mind it seems clear that we have allowed our value for convenience to override our need for both safety and effectiveness. In the quest for convenience, we have become dependent on harmful pharmaceutical drugs and have lost touch with the classical knowledge of how to combat illness our selves.
Based on my research and experience, I strongly believe that regularly practicing home enemas is an essential component of effective personal hygiene, just like regularly brushing one’s teeth. Really its even more important than brushing our teeth, because our mouth is not where the primary foundation of our health and wellness resides.
Perhaps its simply because we can see inside our mouths so easily that we focus so much on keeping our mouths clean and our teeth well brushed. Then this same logic would then make it very easy to ignore cleaning our colon. But just because we can’t see inside our colon doesn’t mean it’s not extremely important to keep clean!
You know, it’s a sort of like cleaning the back corners of your fridge. It can be all too easy to ignore, but if you don’t clean it regularly then you will eventually have something rotting in there. This will not only make your whole fridge stink, but it will also affect all of the food in your fridge as the rotting bacteria spreads. And the exact same thing is true inside your colon.
Web Link :
advancedhomewellness.com/advanced-home-enemas-conquer-can...
Product Links:
advancedhomewellness.com/product-tag/home-enema/
advancedhomewellness.com/product/the-perfect-enema-bag-ki...
advancedhomewellness.com/product/the-healthandyogatm-enem...
advancedhomewellness.com/product/oxy-oxc-magnesium-peroxi...
advancedhomewellness.com/product/doterra-oregano-essentia...
Conquer Candida, Beat the Flu, Strengthen Your Immune System and Prevent Early Aging with Advanced Home Enemas
You’ve Never Brushed Your Teeth Before?!?
Imagine for a moment what the inside of your mouth would look like if you had never brushed your teeth.
Its kind of a frightening thought, isn’t it?!
Learn why brushing your teeth isn’t the only important hygiene practice to adopt and how learning to do home enemas can help you beat infections, strengthen your immune system, slow the aging process…. and even improve your smile.
You’ve Never Brushed Your Teeth Before?!?
Imagine for a moment what the inside of your mouth would look like if you had never brushed your teeth. Its kind of a frightening thought, isn’t it?!
And yet that is the reality for most people… except it’s even worse than that.
You see, our intestinal lining is basically identical to the skin lining inside our mouths, and if we had never brushed our teeth, our mouths would be covered in a tough yellow and white lining of fungus and yeast, as well as many other colorful bacteria colonies.
This is exactly the case in millions of people’s colons across America and the world, because in modern times, the simple practices that maintain basic levels of colon hygiene are mostly ignored and overlooked.
But this wasn’t always the case.
Around the turn of 1900, enemas were considered a foundation for recovery from almost any illness, and an enema or colonic was one of the first procedures performed in hospitals across the United States, and throughout the developed world.
Enemas had been widely used throughout the world for thousands of years before they were standard procedure in US hospitals around the turn of the century.
The phrase “good health resides in the gut” dates back to Hippocrates in ancient Greece, who is known as the Father of Medicine., and modern science now provides ample evidence to support his hypothesis.
Cutting-edge research into the Human Microbiome shows many direct connections between our intestinal health and brain function, mood & emotional state, energy levels and general immune response.
Due to the widespread use of pharmaceutical antibiotics in modern times, this simple and effective practice has fallen almost entirely out of custom. I especially find it ironic that enemas are not even practiced in hospitals and clinic for acute and chronic intestinal infections, when this would clearly be the best way to “apply directly” to an infection, and the more convenient, yet highly problematic solution of broad-spectrum pharmaceutical antibiotics, is almost always prescribed instead.
So to my mind it seems clear that we have allowed our value for convenience to override our need for both safety and effectiveness. In the quest for convenience, we have become dependent on harmful pharmaceutical drugs and have lost touch with the classical knowledge of how to combat illness our selves.
Based on my research and experience, I strongly believe that regularly practicing home enemas is an essential component of effective personal hygiene, just like regularly brushing one’s teeth. Really its even more important than brushing our teeth, because our mouth is not where the primary foundation of our health and wellness resides.
Perhaps its simply because we can see inside our mouths so easily that we focus so much on keeping our mouths clean and our teeth well brushed. Then this same logic would then make it very easy to ignore cleaning our colon. But just because we can’t see inside our colon doesn’t mean it’s not extremely important to keep clean!
You know, it’s a sort of like cleaning the back corners of your fridge. It can be all too easy to ignore, but if you don’t clean it regularly then you will eventually have something rotting in there. This will not only make your whole fridge stink, but it will also affect all of the food in your fridge as the rotting bacteria spreads. And the exact same thing is true inside your colon.
empty hardboiled egg on a fork (to prevent putting off the candle). After shooting I gave the Eggshell to our cat to play with, and the soot that the candle caused to the egg stuck to the cat's forehead for a week.
The second week of camp was so much fun and the hot weather didn’t prevent us from enjoying all the wonderful activities. To honor this week’s theme, “Celebrate America,” the campers enjoyed making hand print flag t-shits. Check online for really cute pictures. The children also decorated sandwich cookies with red, white and blue sprinkles. Yum!
This week in Ceramics, The Willows learned how to pound out the clay into circles to make their hand or foot prints. The children were excited to meet, Billy or Rosie, the ponies and all were smiling while riding. Also, the children continued to master their techniques in swimming and can’t wait to demonstrate their skills on visiting day next week. In Woodcraft, the children had fun painting and coloring their wall organizers, All the campers had a terrific time in Mini-Golf, Soccer, Dance, Gymnastics and Tennis and each child has found his/her favorite activities.
We are looking forward to seeing everyone on Friday July 11th for our visiting day. Remember to label everything your child brings to camp.
Have a great weekend!
For more information on the Willows at Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows/
THIS IS MY STRATEGY FOR NOT GETTING THE "MEXICAN FLU".
I THINK I'LL FOLLOW IT FOR A FEW DAYS, JUST FOR PREVENTION YOU KNOW!!!
ESTA ES MI ESTRATEGIA PARA NO ADQUIRIR LA INFLUEZA HUMANA.
CREO QUE LA VOY A SEGUIR POR UNOS DIAS, YA SABES, POR PREVENCION!.
Je Je
Web Link :
advancedhomewellness.com/advanced-home-enemas-conquer-can...
Product Links:
advancedhomewellness.com/product-tag/home-enema/
advancedhomewellness.com/product/the-perfect-enema-bag-ki...
advancedhomewellness.com/product/the-healthandyogatm-enem...
advancedhomewellness.com/product/oxy-oxc-magnesium-peroxi...
advancedhomewellness.com/product/doterra-oregano-essentia...
Conquer Candida, Beat the Flu, Strengthen Your Immune System and Prevent Early Aging with Advanced Home Enemas
You’ve Never Brushed Your Teeth Before?!?
Imagine for a moment what the inside of your mouth would look like if you had never brushed your teeth.
Its kind of a frightening thought, isn’t it?!
Learn why brushing your teeth isn’t the only important hygiene practice to adopt and how learning to do home enemas can help you beat infections, strengthen your immune system, slow the aging process…. and even improve your smile.
You’ve Never Brushed Your Teeth Before?!?
Imagine for a moment what the inside of your mouth would look like if you had never brushed your teeth. Its kind of a frightening thought, isn’t it?!
And yet that is the reality for most people… except it’s even worse than that.
You see, our intestinal lining is basically identical to the skin lining inside our mouths, and if we had never brushed our teeth, our mouths would be covered in a tough yellow and white lining of fungus and yeast, as well as many other colorful bacteria colonies.
This is exactly the case in millions of people’s colons across America and the world, because in modern times, the simple practices that maintain basic levels of colon hygiene are mostly ignored and overlooked.
But this wasn’t always the case.
Around the turn of 1900, enemas were considered a foundation for recovery from almost any illness, and an enema or colonic was one of the first procedures performed in hospitals across the United States, and throughout the developed world.
Enemas had been widely used throughout the world for thousands of years before they were standard procedure in US hospitals around the turn of the century.
The phrase “good health resides in the gut” dates back to Hippocrates in ancient Greece, who is known as the Father of Medicine., and modern science now provides ample evidence to support his hypothesis.
Cutting-edge research into the Human Microbiome shows many direct connections between our intestinal health and brain function, mood & emotional state, energy levels and general immune response.
Due to the widespread use of pharmaceutical antibiotics in modern times, this simple and effective practice has fallen almost entirely out of custom. I especially find it ironic that enemas are not even practiced in hospitals and clinic for acute and chronic intestinal infections, when this would clearly be the best way to “apply directly” to an infection, and the more convenient, yet highly problematic solution of broad-spectrum pharmaceutical antibiotics, is almost always prescribed instead.
So to my mind it seems clear that we have allowed our value for convenience to override our need for both safety and effectiveness. In the quest for convenience, we have become dependent on harmful pharmaceutical drugs and have lost touch with the classical knowledge of how to combat illness our selves.
Based on my research and experience, I strongly believe that regularly practicing home enemas is an essential component of effective personal hygiene, just like regularly brushing one’s teeth. Really its even more important than brushing our teeth, because our mouth is not where the primary foundation of our health and wellness resides.
Perhaps its simply because we can see inside our mouths so easily that we focus so much on keeping our mouths clean and our teeth well brushed. Then this same logic would then make it very easy to ignore cleaning our colon. But just because we can’t see inside our colon doesn’t mean it’s not extremely important to keep clean!
You know, it’s a sort of like cleaning the back corners of your fridge. It can be all too easy to ignore, but if you don’t clean it regularly then you will eventually have something rotting in there. This will not only make your whole fridge stink, but it will also affect all of the food in your fridge as the rotting bacteria spreads. And the exact same thing is true inside your colon.
El Presidente Municipal Enrique Alfaro acompañado por el Comisario General de la Policía Preventiva, Salvador Caro Cabrera, presiden la entrega de Segways y nuevas unidades a la Comisaría de la Policía Preventiva Municipal
english
is a city in the southwest of Galicia, the southernmost population of the province of Pontevedra (Spain).
Geography
Communicates with Portugal by the natural boundary of the Minho River to the southeast, the Atlantic Ocean to the west and with the city of El Rosal in the north. It is accessible by road from Tuy PO-552 and from Bayonne, and from Caminha ferry. It is located 50 km from Vigo and Santiago de Compostela 120.
The altitude at sea level does not prevent the Monte Santa Tecla and Mount Earthy rise to 314 m and 350 m respectively, allowing excellent views, especially from Mount Santa Tecla where you can enjoy the mouth of the Minho River, Atlantic Ocean and the mountains of Portugal and Galicia.
Beaches
Due to its geographical location and the confluence of the River Minho and the Atlantic Ocean, presents a wealth of beaches. Include O Muiño beaches, located at the mouth of the Rio Minho, and after leaf, which is the continuation of this, by duality water. When the tide they are salt water, and when low, freshwater, so you can enjoy the benefits of both, although its opening to the ocean becomes significantly colder. These beaches are usually sports like swimming, skimboarding and kitesurfing among others. Apart from these there are other beaches as Fedorento large area or which are only salt water.
History
The history of the town of La Guardia is largely conditioned by its privileged geographic location. Strategic place with abundant natural resources ideal for human settlement and political friction between states.
The early history of La Guardia begins with the first human remains found in the area. Specifically were in different terraces that form the Minho river valley where, on the 10000 to. C., began to settle small groups of primitive men, on the slopes of Monte key that reaches the river. Hominids were expanded through the valley and the nearby coast, areas favorable for subsistence.
The next chapter was in Neolithic times, between 5000 to. C. and 2000 a. C., which is found in various places an improvement of the stone industry. The most characteristic feature of this period are the petroglyphs, carved on the stones with schematic drawings with valuable documentary about the life of this period.
Between 2000 and 1000 a. C. we find the bronze culture in which this mineral is manipulated to make, after appropriate casting, a wide range of objects. In these years also date the first contact by sea with Mediterranean cultures, first the Phoenicians and then Greeks.
During the first millennium BC consolidated the Iron Age would determinant manifestation military culture. No doubt, this was the period of greatest splendor in the history of La Guardia and give it plenty of debris samples, especially in the abundance of forts: Santa Tecla, A Forca, O Castro and A Bandeira. Among them is the first cited, dating from the first century. C. to the first century, located near the top of the mountain, is one of the most significant of the Galician-Roman Culture of Galicia.
The culture of the forts was diluted with increasing Romanization. Residents were leaving and the beginning to settle in the valleys to farm. From Roman remains found in the center of the population, in the place of Saa, in O Castro and paint. Then came the V century conquest of the Swabians that would prolong the Roman welfare.
In the early Middle Ages by the Bajo Minho Christian religious communities settled in various monasteries, with the first contingent administrative concerning the bishop of Tuy. In times of reconquest and repopulation after several, the monarch Alfonso II granted the hunting ground of the mouth of the Minho to Count de Sotomayor.
From the twelfth century, La Guardia was under the shelter of the Cistercian monks who were placed in Oya. Among his papers is given a good account of the thriving commercial life that had the town. A period that will be the urban layout similar to other seaside towns like Bayonne or Noya Galicia, with a triangle-shaped walls, with one side towards the sea and the vertex opposite the church. In late medieval parish church expands to accommodate population growth.
The demographic issue will be decisive in the sixteenth century with the arrival of several pandemics that cause a loss in population. Licensed by Philip II, the Sotomayor promote a convent of Benedictine religious community independent of the parent company of San Paio of Antealtatres de Compostela.
The seventeenth century will be crucial for the history of La Guardia due to pressures arising warring of the Thirty Years War. They built the Castle of Santa Cruz, a garrison conquered by the Portuguese in 1665. With the win La Guardia belonged to the Kingdom of Portugal for three years. From that time also is a small fort located on a small island in the mouth of the harbor, a construction that was called Atalaya, protagonist of the shield element of the villa.
Português
O Português que irão ler abaixo foi traduzido a partir do tradutor do google.
é uma cidade no sudoeste da Galiza, a população sul da província de Pontevedra (Espanha).
Geografia
Comunica-se com Portugal pela fronteira natural do rio Minho para o sudeste, o Oceano Atlântico a oeste e com a cidade de El Rosal, no norte. É acessível por estrada a partir de Tuy PO-552 e de Bayonne e do ferry Caminha. Ele está localizado a 50 km de Vigo e Santiago de Compostela 120.
A altitude ao nível do mar não impede que o Monte Santa Tecla e Monte aumento Earthy a 314 m e 350 m, respectivamente, permitindo excelentes vistas, especialmente do Monte de Santa Tecla, onde pode desfrutar da foz do rio Minho, Oceano Atlântico e as montanhas de Portugal e da Galiza.
Praias
Devido à sua localização geográfica e da confluência do rio Minho e do Oceano Atlântico, apresenta uma riqueza de praias. Incluem praias O Muino, localizado na foz do Rio Minho, e depois de folha, que é a continuação desta, pela água dualidade. Quando a maré são de água salgada, e quando baixa, de água doce, para que você possa desfrutar dos benefícios de ambos, embora a sua abertura para o oceano torna-se significativamente mais frio. Estas praias são geralmente esportes como natação, skimboard e kitesurf entre outros. Para além destes, existem outras praias como Fedorento grande área ou que estejam apenas água salgada.
História
A história da cidade de La Guardia é em grande parte condicionada pela sua localização geográfica privilegiada. Lugar estratégico com abundantes recursos naturais ideais para assentamentos humanos e atrito político entre os Estados.
O início da história de La Guardia começa com os restos humanos encontrados primeiro na área. Especificamente estavam em diferentes terraços que formam o rio Minho vale onde, no 10000 a. C., começou a instalar pequenos grupos de homens primitivos, nas encostas do Monte chave que chega ao rio. Os hominídeos foram ampliados através do vale e da costa perto, áreas favoráveis para a subsistência.
O capítulo seguinte foi no período neolítico, entre 5000 a. C. e 2000 a. C., que é encontrado em vários locais de uma melhoria da indústria da pedra. O traço mais característico deste período são as pinturas rupestres, esculpidas nas pedras com desenhos esquemáticos com documentário valiosas sobre a vida deste período.
Entre 2000 e 1000 a. C. encontramos a cultura de bronze em que o mineral é manipulado para fazer, após a moldagem adequada, uma vasta gama de objectos. Nestes anos também data do primeiro contato por mar com as culturas do Mediterrâneo, primeiro os fenícios e gregos, em seguida.
Durante o primeiro milênio aC consolidou a cultura da Idade do Ferro seria manifestação determinante militar. Sem dúvida, este foi o período de maior esplendor na história de La Guardia e dar-lhe a abundância de amostras de detritos, principalmente na abundância de fortes: Santa Tecla, A Forca, O Castro e A Bandeira. Entre eles está o primeiro citado, que data do primeiro século. C. ao primeiro século, localizado no topo da montanha, é um dos mais significativos da cultura galaico-romana de Galiza.
A cultura dos fortes foi diluída com Romanization crescente. Moradores estavam saindo eo início de resolver nos vales para a fazenda. De Roman permanece encontrada no centro da população, no lugar de Saa, em O Castro e pintura. Depois veio a conquista do século V dos suevos que prolongar o bem-estar romano.
No início da Idade Média por parte das comunidades religiosas cristãs Bajo Minho estabeleceram em vários mosteiros, com o primeiro contingente administrativo sobre o bispo de Tuy. Em tempos de reconquista e repovoamento depois de vários, o monarca Alfonso II concedeu o terreno de caça da boca do Minho ao Conde de Sotomayor.
A partir do século XII, La Guardia estava sob o abrigo dos monges cistercienses que foram colocados em Oya. Entre seus papéis é dado boa conta de a vida próspera comercial que teve a cidade. Um período que será o traçado urbano semelhante a outras cidades do litoral, como Bayonne ou Galiza Noya, com paredes em forma de triângulo, com um lado para o mar e o oposto vértice da igreja. Na paróquia medieval igreja se expande para acomodar o crescimento populacional.
A questão demográfica será decisivo no século XVI, com a chegada de várias pandemias que causam uma perda de população. Licenciado por Filipe II, o Sotomayor promover um convento de comunidade religiosa beneditina independente da empresa-mãe de São Paio de Antealtatres de Compostela.
O século XVII será crucial para a história de La Guardia, devido a pressões decorrentes beligerantes da Guerra dos Trinta Anos. Eles construíram o Castelo de Santa Cruz, uma guarnição conquistada pelos Português em 1665. Com a vitória de La Guardia pertencia ao Reino de Portugal por três anos. A partir desse momento, também é um pequeno forte situado em uma pequena ilha na entrada do porto, uma construção que foi chamado de Atalaya, protagonista do elemento protetor da vila.
In Afghanistan, the U.S. Army Corps of Engineers is building water, power, and transportation projects as well as Afghan National Security Forces facilities to enable security and stability in the nation.
Did you know though, construction remains one of the most dangerous industries in the world?
The best defense against near misses or worse is prevention through education, training and awareness. When an accident, incident, or near miss occurs at a district job site, Geronimo Gomez, (left) a safety and occupational health specialist with the USACE Transatlantic Afghanistan District, investigates; identifying all the possible factors in his pursuit to determine the causes resulting in the unfortunate event, eliminate hazards and prevent future accidents. Also photographed is Lt. Col. John Connor, South Area Office officer in charge.
A mind, like a home, is furnished by its owner, so if one's life is cold and bare he can blame none but himself. -Louis L'Amour
May we always remember to nourish our minds (and our souls) to prevent decay in our lives, and may we furnish ourselves always with love and kindness...
It's never been so easy to prevent food waste at your home. Food waste is everyone’s problem. Let's prevent it with the help of our free app!!
Phuc An commune, researchers inspect forage grass planted on sloping land with cassava to prevent soil erosion. The grasses can then be fed to cattle. Credit: Georgina Smith / CIAT. For more information contact g.smith[at]cgiar.org
Spencer Chandra Herbert, MLA for Vancouver West-End, on behalf of David Eby, Attorney General and Minister Responsible for Housing, announces that new legislative changes, if passed, will build on the Province’s work to give British Columbians more security by extending the rent freeze to Dec. 31, 2021.
Learn more: news.gov.bc.ca/releases/2021AG0026-000360
UNICEF and Partners took to the streets of Conakry today to combat the Ebola outbreak with information on how to keep families safe and to prevent the spread we distributed soap and chlorine.
Napier grass is planted by farmers to prevent soil erosion in the Kenya's Tana River Basin. The Tana River watershed is Kenya's life blood. CIAT and partners are exploring ecosystems trade-offs to benefit both the environment and improve farmer incomes and livelihoods. Read the full story here: bit.ly/11xEk3F
Credit: ©2014CIAT/GeorginaSmith
Please credit accordingly and leave a comment when you use a CIAT photo.
For more info: ciat-comunicaciones@cgiar.org
History
Great Wall of the Qin Dynasty
Great Wall of the Han Dynasty
Great Wall of the Ming Dynasty
Map of the whole wall constructions
The Chinese were already familiar with the techniques of wall-building by the time of the Spring and Autumn Period, which began around the 8th century BC. During the Warring States Period from the 5th century BC to 221 BC, the states of Qi, Yan and Zhao all constructed extensive fortifications to defend their own borders. Built to withstand the attack of small arms such as swords and spears, these walls were made mostly by stamping earth and gravel between board frames. Qin Shi Huang conquered all opposing states and unified China in 221 BC, establishing the Qin Dynasty. Intending to impose centralized rule and prevent the resurgence of feudal lords, he ordered the destruction of the wall sections that divided his empire along the former state borders. To protect the empire against intrusions by the Xiongnu people from the north, he ordered the building of a new wall to connect the remaining fortifications along the empire's new northern frontier. Transporting the large quantity of materials required for construction was difficult, so builders always tried to use local resources. Stones from the mountains were used over mountain ranges, while rammed earth was used for construction in the plains. There are no surviving historical records indicating the exact length and course of the Qin Dynasty walls. Most of the ancient walls have eroded away over the centuries, and very few sections remain today. Later, the Han, Sui, Northern and Jin dynasties all repaired, rebuilt, or expanded sections of the Great Wall at great cost to defend themselves against northern invaders.
The Great Wall concept was revived again during the Ming Dynasty following the Ming army's defeat by the Oirats in the Battle of Tumu in 1449. The Ming had failed to gain a clear upper-hand over the Manchurian and Mongolian tribes after successive battles, and the long-drawn conflict was taking a toll on the empire. The Ming adopted a new strategy to keep the nomadic tribes out by constructing walls along the northern border of China. Acknowledging the Mongol control established in the Ordos Desert, the wall followed the desert's southern edge instead of incorporating the bend of the Huang He.
Photograph of the Great Wall in 1907
Unlike the earlier Qin fortifications, the Ming construction was stronger and more elaborate due to the use of bricks and stone instead of rammed earth. As Mongol raids continued periodically over the years, the Ming devoted considerable resources to repair and reinforce the walls. Sections near the Ming capital of Beijing were especially strong.[7]
During 1440s-1460s, the Ming also built a so-called "Liaodong Wall". Similar in function to the Great Wall (whose extension it, in a sense, was), but more basic in construction, the Liaodong Wall enclosed the agricultural heartland of the Liaodong province, protecting it potential incursions by Jurched-Mongol Oriyanghan from the northwest and the Jianzhou Jurchens from the north. While stones and tiles were used in some parts of the Liaodong Wall, most of it was in fact simply an earth dike with moats on both sides.[8]
Towards the end of the Ming Dynasty, the Great Wall helped defend the empire against the Manchu invasions that began around 1600. Under the military command of Yuan Chonghuan, the Ming army held off the Manchus at the heavily fortified Shanhaiguan pass, preventing the Manchus from entering the Chinese heartland. The Manchus were finally able to cross the Great Wall in 1644, when the gates at Shanhaiguan were opened by Wu Sangui, a Ming border general who disliked the activities of rulers of the Shun Dynasty. The Manchus quickly seized Beijing, and defeated the newly founded Shun Dynasty and remaining Ming resistance, to establish the Qing Dynasty.
Under Qing rule, China's borders extended beyond the walls and Mongolia was annexed into the empire, so construction and repairs on the Great Wall were discontinued.
Notable areas
An area of the sections of the Great Wall at Jinshanling
The following three sections are in Beijing municipality, which were renovated and which are regularly visited by modern tourists today.
* "North Pass" of Juyongguan pass, known as the Badaling. When used by the Chinese to protect their land, this section of the wall has had many guards to defend China’s capital Beijing. Made of stone and bricks from the hills, this portion of the Great Wall is 7.8 meters (25.6 ft) high and 5 meters (16.4 ft) wide.
* "West Pass" of Jiayuguan (pass). This fort is near the western edges of the Great Wall.
* "Pass" of Shanhaiguan. This fort is near the eastern edges of the Great Wall.
* One of the most striking sections of the Ming Great Wall is where it climbs extremely steep slopes. It runs 11 kilometers (7 mi) long, ranges from 5 to 8 meters (16–26 ft) in height, and 6 meters (19.7 ft) across the bottom, narrowing up to 5 meters (16.4 ft) across the top. Wangjinglou is one of Jinshanling's 67 watchtowers, 980 meters (3,215 ft) above sea level.
* South East of Jinshanling, is the Mutianyu Great Wall which winds along lofty, cragged mountains from the southeast to the northwest for approximately 2.25 kilometers (about 1.3 miles). It is connected with Juyongguan Pass to the west and Gubeikou to the east.
* 25 km west of the Liao Tian Ling stands of part of Great wall which is only 2~3 stories high. According to the records of Lin Tian, the wall was not only extremely short compared to others, but it appears to be silver. Archeologists explain that the wall appears to be silver because the stone they used were from Shan Xi, where many mines are found. The stone contains extremely high metal in it causing it to appear silver. However, due to years of decay of the Great Wall, it is hard to see the silver part of the wall today.
Another notable section lies near the eastern extremity of the wall, where the first pass of the Great Wall was built on the Shanhaiguan (known as the “Number One Pass Under Heaven”), the first mountain the Great Wall climbs. Jia Shan is also here, as is the Jiumenkou, which is the only portion of the wall that was built as a bridge. Shanhaiguan Great Wall is called the “Museum of the Construction of the Great Wall”, because of the Meng Jiang-Nu Temple, built during the Song Dynasty.
Characteristics
The Great Wall on an 1805 map
Before the use of bricks, the Great Wall was mainly built from Earth or Taipa, stones, and wood.
During the Ming Dynasty, however, bricks were heavily used in many areas of the wall, as were materials such as tiles, lime, and stone. The size and weight of the bricks made them easier to work with than earth and stone, so construction quickened. Additionally, bricks could bear more weight and endure better than rammed earth. Stone can hold under its own weight better than brick, but is more difficult to use. Consequently, stones cut in rectangular shapes were used for the foundation, inner and outer brims, and gateways of the wall. Battlements line the uppermost portion of the vast majority of the wall, with defensive gaps a little over 30 cm (one foot) tall, and about 23 cm (9 inches) wide.
Condition
The Great Wall at Mutianyu, near Beijing
The Great Wall in fog
While some portions north of Beijing and near tourist centers have been preserved and even reconstructed, in many locations the Wall is in disrepair. Those parts might serve as a village playground or a source of stones to rebuild houses and roads.[9] Sections of the Wall are also prone to graffiti and vandalism. Parts have been destroyed because the Wall is in the way of construction.[10] No comprehensive survey of the wall has been carried out, so it is not possible to say how much of it survives, especially in remote areas. Intact or repaired portions of the Wall near developed tourist areas are often frequented by sellers of tourist kitsch.
More than 60 kilometres (37 mi) of the wall in Gansu province may disappear in the next 20 years, due to erosion from sandstorms. In places, the height of the wall has been reduced from more than five meters (16.4 ft) to less than two meters. The square lookout towers that characterize the most famous images of the wall have disappeared completely. Many western sections of the wall are constructed from mud, rather than brick and stone, and thus are more susceptible to erosion.[11]
Fires in commercial kitchens are a typical event and can have devastating consequences for businesses. According to UK government insights, over half of all fires attended to by the fire administrators include cooking hardware, with a hefty portion of these happening in restaurants, canteens, hotel kitchens and fast food outlets.
There is a high fire chance related with proficient cooking environment, as the potential for accidents is incredible in a quick paced, highly pressured environment. Join this with high volumes of combustible cooking oil, naked flares, and heat sources—and you have a formula for disaster. However, if you happen to own a restaurant, there is precautions you and your staff can follow to ensure the safety from a fire outbreak. Such have been enlisted below to aid the safety of both customers and workers.
Get the full article now:
Dispositifs d’article
5.5 pouces IPS OGS écran capacitif, 1920×1080 pixels
Cpu: MTK6752 Octa core, 1.7 GHz gpu: Mali-T760
Android 4.4 os, 2 GB RAM + 16 GB ROM
Double carte SIM double veille, Micro Sim slot
...
telephone.pascherenchine.com/products/prevente-5-5-polega...
Dans le cadre du grand plan d’appui aux communes carencées et déficitaires en logement social, Pierre Bédier, Président du Conseil départemental des Yvelines, a signé, mercredi 19 décembre, avec la commune du Pecq et la Communauté d’agglomération Saint Germain Boucles de Seine, un protocole permettant l’acquisition, par le Département, d’un immeuble résidentiel privé pour proposer 90 nouveaux logements sociaux, en partenariat avec l’Etablissement Public Foncier d’Île-de-France et Les Résidences Yvelines Essonne. © CD78/C.BRINGUIER
In the closed position before a person hits it.
A short selection of photos showing a device that could be fitted on large vehicles to stop people going under the front wheels of a bus or lorry.
An idea from the mid 1930s
When hit by a person, the spring device releases a guard that stops the victim been taken under the wheels, although the person is pushed for a few feet until the bus stops and there will be injuries, it prevents the body from any crushing.
In 1930 the official figures show that 1,685 children under 14 years of age were killed on British roads, had this invention been in use it might have been less.
You can find more natural sleeplessness remedies to prevent insomnia at www.naturogain.com/product/natural-cures-insomnia/
Dear friend, in this video we are going to discuss about the natural sleeplessness remedies to prevent insomnia. Aaram capsules are the best natural sleeplessness remedies that treat insomnia by promoting mental relaxation and by providing hormonal balance for sleep.
If you liked this video, then please subscribe to our YouTube Channel to get updates of other useful health video tutorials. You can also find us on Facebook, Twitter and Google+.
Google+: plus.google.com/+NaturoGainSupport/
Facebook: www.facebook.com/naturogain
Twitter: twitter.com/naturogain
Pinterest: www.pinterest.com/naturogain/
Natural Sleeplessness Remedies To Prevent Insomnia
from Trois Primitifs
by J.-K. Huysmans
Translated by Robert Baldick
Phaidon Press Ltd., 1958
MATTHIAS GRÜNEWALD, the painter of the Cassel Crucifixion which I described in Là-bas and which is now in the Karlsruhe Museum, has fascinated me for many years. Whence did he come, what was his life, where and how did he die? Nobody knows for certain; his very name has been disputed, and the relevant documents are lacking; the pictures now accepted as his work were formerly attributed in turn to Albrecht Dürer, Martin Schongauer and Hans Baldung Grien, while others which he never painted are conceded to him by countless handbooks and museum catalogues...
It is not to Mainz, Aschaffenburg, Eisenach, or even to Isenheim, whose monastery is dead, that we must go to find Grünewald's works, but to Colmar, where the master displays his genius in a magnificent ensemble, a polyptych composed of nine pieces.
There, in the old Unterlinden convent, he seizes on you the moment you go in and promptly strikes you dumb with the fearsome nightmare of a Calvary. It is as if a typhoon of art had been let loose and was sweeping you away, and you need a few minutes to recover from the impact, to surmount the impression of awful horror made by the huge crucified Christ dominating the nave of this museum, which is installed in the old disaffected chapel of the convent.
The scene is arranged as follows:
In the centre of the picture a gigantic Christ, of disproportionate size if compared with the figures grouped around him, is nailed to a cross which has been roughly trimmed so that patches of bare wood are exposed here and there; the transverse branch, dragged down by the hands, is bent as in the Karlsruhe Crucifixion into the shape of a bow. The body looks much the same in the two works: pale and shiny, dotted with spots of blood, and bristling like a chestnut-burr with splinters that the rods have left in the wounds; at the ends of the unnaturally long arms the hands twist convulsively and claw the air; the knees are turned in so that the bulbous knee-caps almost touch; while the feet, nailed one on top of the other, are just a jumbled heap of muscles underneath rotting, discoloured flesh and blue toe-nails; as for the head, it lolls on the bulging, sack-like chest patterned with stripes by the cage of the ribs. This crucified Christ would be a faithful replica of the one at Karlsruhe if the facial expression were not entirely different. Here, in fact, Jesus no longer wears the fearful rictus of tetanus; the jaw is no longer contracted, but hangs loosely, with open mouth and slavering lips.
Christ is less frightening here, but more humanly vulgar, more obviously dead. In the Karlsruhe panel the terrifying effect of the trismus, of the strident laugh, served to conceal the brutishness of the features, now accentuated by this imbecile slackness of the mouth. The Man-God of Colmar is nothing but a common thief who has met his end on the gallows.
That is not the only difference to be noted between the two works, for here the grouping of the figures is also dissimilar. At Karlsruhe the Virgin stands, as usual, on one side of the cross and St. John on the other; at Colmar the traditional arrangement is flouted, and the astonishing visionary that was Grünewald asserts himself, at once ingenious and ingenuous, a barbarian and a theologian, unique among religious painters.
On the right of the cross there are three figures: the Virgin, St. John and Magdalen. St. John, looking rather like an old German student with his peaky, clean-shaven face and his fair hair falling in long, dry wisps over a red robe, is holding in his arms a quite extraordinary Virgin, clad and coifed in white, who has fallen into a swoon, her face white as a sheet, her eyes shut, her lips parted to reveal her teeth. Her features are fine and delicate, and entirely modern; if it were not for the dark green dress which can be glimpsed close to the tighdy clenched hands, you might take her for a dead nun; she is pitiable and charming, young and beautiful. Kneeling in front of her is a little woman who is leaning back with her hands clasped together and raised towards Christ. This oldish, fair-haired creature, wearing a pink dress with a myrtle-green lining, her face cut in half below the eyes by a veil on a level with the nose, is Magdalen. She is ugly and ungainly, but so obviously inconsolable that she grips your heart and moves it to compassion.
On the other side of the picture, to the left of the cross, there stands a tall, strange figure with a shock of sandy hair cut straight across the forehead, limpid eyes, a shaggy beard, and bare arms, legs and feet, holding an open book in one hand and pointing to Christ with the other.
This tough old soldier from Franconia, with his camel-hair fleece showing under a loosely draped cloak and a belt tied in a big knot, is St. John the Baptist. He has risen from the dead, and in order to explain the emphatic, dogmatic gesture of the long, curling forefinger pointed at the Redeemer, the following inscription has been set beside his arm: Illum oportet crescere, me autem minui. 'He must increase, but I must decrease.'
He who decreased to make way for the Messiah, who in turn died to ensure the predominance of the Word in the world, is alive here, while He who was alive when he was defunct, is dead. It seems as if, in coming to life again, he is foreshadowing the triumph of the Resurrection, and that after proclaiming the Nativity before Jesus was born on earth, he is now proclaiming that Christ is born in Heaven, and heralding Easter. He has come back to bear witness to the accomplishment of the prophecies, to reveal the truth of the Scriptures; he has come back to ratify, as it were, the exactness of those words of his which will later be recorded in the Gospel of that other St. John whose place he has taken on the left of Calvary--St. John the Apostle, who does not listen to him now, who does not even see him, so engrossed is he with the Mother of Christ, as if numbed and paralysed by the manchineel of sorrow that is the cross.
So, alone in the midst of the sobbing and the awful spasms of the sacrifice, this witness of the past and the future, standing stolidly upright, neither weeps nor laments: he certifies and promulgates, impassive and resolute. And at his feet is the Lamb of the World that he baptized, carrying a cross, with a stream of blood pouring into a chalice from its wounded breast.
Thus arranged, the figures stand out against a background of gathering darkness. Behind the gibbet, which is planted on a river bank, there flows a stream of sadness, swift-moving yet the colour of stagnant water; and the somewhat theatrical presentation of the drama seems justified, so completely does it harmonize with this dismal setting, this gloom which is more than twilight but not yet night. Repelled by the sombre hues of the background, the eye inevitably turns from the glossy fleshtints of the Redeemer, whose enormous proportions no longer hold the attention, and fastens instead upon the dazzling whiteness of the Virgin's cloak, which, seconded by the vermilion of the apostle's clothes, attracts notice at the expense of the other parts, and almost makes Mary the principal figure in the work.
That would spoil the whole picture, but the balance, about to be upset in favour of the group on the right, is maintained by the unexpected gesture of the Precursor, who in his turn seizes your attention, only to direct it towards the Son.
One might almost say that, coming to this Calvary, one goes from right to left before arriving at the centre.
This is undoubtedly what the artist intended, as is the effect produced by the disproportion between the various figures, for Grünewald is a master of pictorial equilibrium and in his other works keeps everything in proportion. When he exaggerated the stature of his Christ he was trying to create a striking impression of profound suffering and great strength; similarly he made this figure more than usually remarkable in order to keep it in the foreground and prevent it from being completely eclipsed by the great patch of white that is the Virgin.
As for her, it is easy to see why he gave her such prominence, easy to understand his predilection for her--because never before had he succeeded in painting a Madonna of such divine loveliness, such super-human sorrow. Indeed, it is astonishing that she should appear at all in the rebarbative work of this artist, so completely does she differ from the type of individual he has chosen to represent God and his saints.
His Jesus is a thief, his St. John a social outcast, his Precursor a common soldier. Even assuming that they are nothing more than German peasants, she is obviously of very different extraction; she is a queen who has taken the veil, a marvellous orchid growing among weeds.
Anyone who has seen both pictures--the one at Karlsruhe and the one at Colmar--will agree that there is a clear distinction between them. The Karlsruhe Calvary is better balanced and there is no danger of one's attention wandering from the principal subject. It is also less trivial, more awe-inspiring. You have only to compare the hideous rictus of its Christ and the possibly more plebeian but certainly less degraded face of its St. John with the coma of the Colmar Christ and the world-weary grimace of the disciple for the Karlsruhe panel to appear less conjectural, more penetrating, more effective, and, in its apparent simplicity, more powerful; on the other hand, it lacks the exquisite white Virgin and it is more conventional, less novel and unexpected. The Colmar Crucifixion introduces a new element into a scene treated in the same stereotyped fashion by every other painter; it dispenses with the old moulds and discards the traditional patterns. On reflexion, it seems to be the more imposing and profound of the two works, but it must be admitted that introducing the Precursor into the tragedy of Golgotha is more the idea of a theologian and a mystic than of an artist; here it is quite likely that there was some sort of collaboration between the painter and the purchaser, a commission described in the minutest detail by Guido Guersi, the Abbot of Isenheim, in whose chapel this picture was placed.
That, incidentally, was still the normal procedure long after the Middle Ages. All the archives of the period show that when contracting with image-carvers and painters--who regarded themselves as nothing more than craftsmen--the bishops or monks used to draw a plan of the proposed work, often even indicating the number of figures to be included and explaining their significance; there was accordingly only limited scope for the artist's own initiative, as he had to work to order within strictly defined bounds.
But to return to the picture, it takes up the whole of two wood panels which, in closing, cut one of Christ's arms in two, and, when closed, bring the two groups together. The back of the picture (for it has two faces on either side) has a separate scene on each panel: a Resurrection on one and an Annunciation on the other. Let me say straight away that the latter is bad, so that we can have done with it.
The scene is an oratory, where a book painted with deceptive realism lies open to reveal the prophecy of Isaiah, whose distorted figure, topped with a turban, is floating about in a corner of the picture, near the ceiling; on her knees in front of the book we see a fair-haired, puffy-faced woman, with a complexion reddened by the cooking-stove, pouting somewhat peevishly at a great lout with a no less ruddy complexion who is pointing two extremely long fingers at her in a truly comical attitude of reproach. It must be admitted that the Precursor's solemn gesture in the Crucifixion is utterly ridiculous in this unhappy imitation, where the two fingers are extended in what looks like insolent derision. As for the curly-wigged fellow himself, with that coarse, fat, red face you would take him for a grocer rather than an angel, if it were not for the sceptre he is holding in one hand and the green-and-red wings stuck to his back. And one can but wonder how the artist who created the little white Virgin could possibly represent Our Lord's Mother in the guise of this disagreeable slut with a smirk on her swollen lips, all rigged up in her Sunday best, a rich green dress set off by a bright vermilion lining.
But if this wing leaves you with a rather painful impression, the other one sends you into raptures, for it is a truly magnificent work--unique, I would say, among the world's paintings. In it Grünewald shows himself to be the boldest painter who has ever lived, the first artist who has tried to convey, through the wretched colours of this earth, a vision of the Godhead in abeyance on the cross and then renewed, visible to the naked eye, on rising from the tomb. With him we are, mystically speaking, in at the death, contemplating an art with its back to the wall and forced further into the beyond, this time, than any theologian could have instructed the artist to go. The scene is as follows:
As the sepulchre opens, some drunks in helmet and armour are knocked head over heels to lie sprawling in the foreground, sword in hand; one of them turns a somersault further off, behind the tomb, and lands on his head, while Christ surges upwards, stretching out his arms and displaying the bloody commas on his hands.
This is a strong and handsome Christ, fair-haired and brown-eyed, with nothing in common with the Goliath whom we watched decomposing a moment ago, fastened by nails to the still green wood of a gibbet. All round this soaring body are rays emanating from it which have begun to blur its outline; already the contours of the face are fluctuating, the features hazing over, the hair dissolving into a halo of melting gold. The light spreads out in immense curves ranging from bright yellow to purple, and finally shading off little by little into a pale blue which in turn merges with the dark blue of the night.
We witness here the revival of a Godhead ablaze with life: the formation of a glorified body gradually escaping from the carnal shell, which is disappearing in an apotheosis of flames of which it is itself the source and seat.
Christ, completely transfigured, rises aloft in smiling majesty; and one is tempted to regard the enormous halo which encircles him, shining brilliantly in the starry night like that star of the Magi in whose smaller orb Grünewald's contemporaries used to place the infant Jesus when painting the Bethlehem story--one is tempted to regard this halo as the morning star returning, like the Precursor in the Crucifixion, at night: as the Christmas star grown larger since its birth in the sky, like the Messiah's body since his Nativity on earth.
Having dared to attempt this tour de force, Grünewald has carried it out with wonderful skill. In clothing the Saviour he has tried to render the changing colours of the fabrics as they are volatilized with Christ. Thus the scarlet robe turns a bright yellow, the closer it gets to the light--source of the head and neck, while the material grows lighter, becoming almost diaphanous in this river of gold. As for the white shroud which Jesus is carrying off with him, it reminds one of those Japanese fabrics which by subtle gradations change from one colour to another, for as it rises it takes on a lilac tint first of all, then becomes pure violet, and finally, like the last blue circle of the nimbus, merges into the indigo-black of the night.
The triumphant nature of this ascension is admirably conveyed. For once the apparently meaningless phrase 'the contemplative life of painting' takes on a meaning, for with Grünewald we enter into the domain of the most exalted mysticism and glimpse, through the simulacra of colour and line, the well-nigh tangible emergence of the Godhead from its physical shell.
It is here, rather than in his horrific Calvaries, that the undeniable originality of this prodigious artist is to be seen.
This Crucifixion and this Resurrection are obviously the Colmar Museum's brightest jewels, but the amazing colourist that was Grünewald did not exhaust the resources of his art with these two pictures; we shall find more of his work, this time stranger yet less exalted, in another double-faced diptych which also stands in the middle of the old nave.
It depicts, on one side the Nativity and a concert of angels, on the other a visit from the Patriarch of the Cenobites to St. Paul the Hermit, and the temptation of St. Anthony.
In point of fact, this Nativity, which is rather an exaltation of the divine Motherhood, is one with the concert of angels, as is shown by the utensils, which overlap from one wing to the other and are cut in two when the panels are brought together.
The subject of this dual painting is admittedly obscure. In the left-hand wing the Virgin is seen against a distant, bluish landscape dominated by a monastery on a hill--doubtless Isenheim Abbey; on her left, beside a crib, a tub and a pot, a fig-tree is growing, and a rose-tree on her right. Fair-haired, with a florid complexion, thick lips, a high, bare brow and a straight nose, she is wearing a blue cloak over a carmine-coloured dress. She is not the servant-girl type, and has not come straight from the sheep-pen like her sister in the Annunciation, but for all that she is still just an honest German woman bred on beer and sausages: a farmer's wife, if you like, with servant-girls under her who look like the Mary of that other picture, but nothing more. As for the Child, who is very lifelike and very skilfully portrayed, he is a sturdy little Swabian peasant, with a snub nose, sharp eyes, and a pink, smiling face. And finally, in the sky above Jesus and Mary and below God the Father, who is smothered in clouds of orange and gold, swarms of angels are whirling about like scattered petals caught in a shower of saffron sunbeams.
All these figures are completely earthbound, and the artist seems to have realized this, for there is a radiance emanating from the Child's head and lighting up the Mother's fingers and face. Grünewald obviously wanted to convey the idea of divinity by means of these gleams of light filtering through the flesh, but this time he was not bold enough to achieve the desired effect: the luminous glow fails to conceal either the vulgarity of the face or the coarseness of the features.
So far, in any event, the subject is clear enough, but the same cannot be said of the complementary scene on the right-hand wing.
Here, in an ultra-Gothic chapel, with gold-scumbled pinnacles bristling with sinuous statues of prophets nestling among chicory, hop, knapweed and holly leaves, on top of slender pillars entwined by plants with singularly jagged leaves and twisted stems, are angels of every description, some in human form and others appearing simply as heads fitted into haloes shaped like funeral wreaths or collarettes: angels with pink or blue faces, angels with multicoloured or monochrome wings, angels playing the angelot or the theorbo or the viola d'amore, and all of them, like the pasty-faced, unhealthy-looking one in the foreground, gazing in adoration at the great Virgin in the other wing.
The effect is decidedly odd, but even odder is the appearance, beside these pure spirits and between two of the slender columns in the chapel, of another, smaller Virgin, this time crowned with a diadem of red-hot iron, who, her face suffused with a golden halo, her eyes cast down and her hands joined in prayer, is kneeling before the other Virgin and the Child.
What is the significance of this strange creature, who evokes the same weird impression as the girl with the cock and the money-pouch in Rembrandt's Night Watch--a girl likewise nimbed with a gentle radiance? Is this phantom queen a diminutive St. Anne or some other saint? She looks just like a Madonna, and a Madonna is what she must be. In painting her Grünewald has clearly tried to reproduce the light effect which blurs the features of Christ in his Resurrection, but it is difficult to see why he should do so here. It may be, of course, that he wanted to represent the Virgin, crowned after her Assumption, returning to earth with her angelic retinue to pay homage to that Motherhood which was her supreme glory; or, on the other hand, she may still be in this world, foreseeing the celebration of her triumph after her painful life among us. But this last hypothesis is promptly demolished by Mary's unheeding attitude, for she appears to be completely unaware of the presence of the winged musicians, and intent only on amusing the Child. In fact, these are all unsupported theories, and it would be simpler to admit that we just do not understand. I need only add that these two pictures are painted in loud colours which are sometimes positively shrill to make it clear that this faery spectacle presented in a crazy Gothic setting leaves one feeling vaguely uncomfortable.
As a refreshing contrast, however, one can always linger in front of the panel showing St. Anthony talking with St. Paul; it is the only restful picture in the whole series, and one is already so accustomed to the vehemence of the others that one is almost tempted to find it too unexciting, to consider it too anodyne.
In a rural setting that is all bright blue and moss green, the two recluses are sitting face to face: St. Anthony curiously attired, for a man who has just crossed the desert, in a pearl-grey cloak, a blue robe and a pink cap; St. Paul dressed in his famous robe of palms, which has here become a mere robe of rushes, with a doe at his feet and the traditional raven flying through the trees to bring him the usual hermit's meal of a loaf of bread.
In this picture the colouring is quiet and delicate, the composition superb: the subject may have put a certain restraint upon Grünewald, but he has lost none of the qualities which make him a great painter. To anyone who prefers the cordial, expected welcome of a pleasing picture to the uncertainties of a visit to some more turbulent work of art, this wing will undoubtedly seem the nicest, soundest and sanest of them all. It constitutes a halt in the man's mad gallop--but only a brief halt, for he sets off again almost at once, and in the next wing we find him giving free rein to his fancy, caracolling along dangerous paths, and sounding a full fanfare of colours--as violent and tempestuous as he was in his other works.
The Temptation of St. Anthony must have given him enormous pleasure, for this picture of a demons' sabbath waging war on the good monk called for the most convulsive attitudes, the most extravagant forms and the most vehement colours. Nor was he slow to grasp this opportunity of exploiting the droller side of the supernatural. But if there is extraordinary life and colour in the Temptation, there is also utter confusion. Indeed, the picture is in such a tangle that it is impossible to distinguish between the limbs of the various devils, and one would be hard put to it to say which paw or wing beating or scratching the Saint belonged to which animal or bird.
The frantic hurly-burly in which these creatures are taking part is none the less captivating for that. It is true that Grünewald cannot match the ingenious variety and the very orderly disorder of a Bruegel or a Hieronymus Bosch, and that there is nothing here to compare with the diversity of clearly delineated and discreetly insane larvae which you find in the Fall of the Angels in the Brussels Museum: our painter has a more restricted fancy, a more limited imagination. He gives us a few demons' heads stuck with stags' antlers or straight horns, a shark's maw, and what appears to be the muzzle of a walrus or a calf; the rest of his superall belong to the bird family, and with arms in place of feet look like the offspring of empuses that have been covered by angry cocks.
All these escapees from an infernal aviary are clustered excitedly around the anchorite, who has been thrown on his back and is being dragged along by his hair. Looking rather like a Dutch version of Father Becker with his flowing beard, St. Anthony is screaming with fear, trying to protect his face with one hand, and in the other clutching his stick and his rosary, which are being pecked at furiously by a hen wearing a carapace in lieu of feathers. The monstrous creatures are all closing in for the kill; a sort of giant parrot, with a green head, crimson arms, yellow claws and grey-gold plumage, is on the point of clubbing the monk, while another demon is pulling off his grey cloak and chewing it up, and yet others are joining in, swinging rib-bones and frantically tearing his clothes to get at him.
Considered simply as a man, St. Anthony is wonderfully lifelike in gesture and expression; and once you have taken your fill of the whole dizzy scramble, you may notice two thought-provoking details which you overlooked at first, hidden as they seem to be in the bottom corners. One, in the right-hand corner, is a sheet of paper on which a few lines are written; the other is a weird, hooded creature, sitting quite naked beside the Saint, and writhing in agony.
The paper bears this inscription: Ubi eras Jhesu bone, ubi eras, quare non affuisti ut sanares vulnera mea?--which can be translated as: 'Where were you, good Jesus, where were you? And why did you not come and dress my wounds?'
This plaint, doubtless uttered by the hermit in his distress, is heard and answered, for if you look right at the top of the picture you will see a legion of angels coming down to release the captive and overpower the demons.
It may be asked whether this desperate appeal is not also being made by the monster lying in the opposite corner of the picture and raising his weary head heavenwards. And is this creature a larva or a man? Whatever it may be, one thing is certain: no painter has ever gone so far in the representation of putrefaction, nor does any medical textbook contain a more frightening illustration of skin disease. This bloated body, moulded in greasy white soap mottled with blue, and mamillated with boils and carbuncles, is the hosanna of gangrene, the song of triumph of decay!
Was Grünewald's intention to depict a demon in its most despicable form? I think not. On careful examination the figure in question is seen to be a decomposing, suffering human being. And if it is recalled that this picture, like the others, comes from the Anthonite Abbey of Isenheim, everything becomes clear. A brief account of the aims of this Order will, I think, suffice to explain the riddle. The Anthonite or Anthonine Order was founded in the Dauphiné in 1093 by a nobleman called Gaston whose son was cured of the burning sickness through the intercession of St. Anthony; its raison d'être was the care of people suffering from this type of disease. Placed under the Rule of St. Augustine, the Order spread rapidly across France and Germany, and became so popular in the latter country that during Grünewald's lifetime, in 1502, the Emperor Maximilian I granted it, as a mark of esteem, the right to bear the Imperial arms on its escutcheon, together with the blue tau which the monks themselves were to wear on their black habit.
Now there was at that time an Anthonite abbey at Isenheim which had already stood there for over a century. The burning sickness was still rife, so that the monastery was in fact a hospital. We know too that it was the Abbot of Isenheim, or rather, to use the terminology of this Order, the Preceptor, Guido Guersi, who commissioned this polyptych from Grünewald.
It is now easy to understand the inclusion of St. Anthony in this series of paintings. It is also easy to understand the terrifying realism and meticulous accuracy of Grünewald's Christ-figures, which he obviously modelled on the corpses in the hospital mortuary; the proof is that Dr. Richet, examining his Crucifixions from the medical point of view, states that 'attention to detail is carried to the point of indicating the inflammatory halo which develops around minor wounds'. Above all, it is easy to understand the picture--painted from life in the hospital ward--of that hideous, agonized figure in the Temptation, which is neither a larva nor a demon, but simply a poor wretch suffering from the burning sickness.
It should be added that the written descriptions of this scourge which have come down to us correspond in every respect with Grünewald's pictorial description, so that any doctor who wants to know what form this happily extinct disease took can go and study the sores and the affected tissues shown in the painting at Colmar.
Two doctors have given their attention to this figure: Charcot and Richet. The former, in Les Syphilitiques dans l'art, sees it above all as a picture of the so--called 'Neapolitan disease'; the latter, in L'Art et la Médecine, hesitates between a disease of that type and leprosy.
The burning sickness, also known as holy fire, hell fire and St. Anthony's fire, first appeared in Europe in the tenth century, and swept the whole continent. It partook of both gangrenous ergotism and the plague, showing itself in the form of apostems and abscesses, gradually spreading to the arms and legs, and after burning them up, detaching them little by little from the torso. That at least is how it was described in the fifteenth century by the biographers of St. Lydwine, who was afflicted with the disease. Dom Félibien likewise mentions it in his History of Paris, where he says of the epidemic which ravaged France in the twelfth century: 'The victims' blood was affected by a poisonous inflammation which consumed the whole body, producing tumours which developed into incurable ulcers and caused thousands of deaths.'
What is certain is that not a single remedy proved successful in checking the disease, and that often it was cured only by the intercession of the Virgin and the saints.
The Virgin's intervention is still commemorated by the shrine of Notre-Dame des Ardents in Picardy, and there is a well-known cult of the holy candle of Arras. As for the saints, apart from St. Anthony, people invoked St. Martin, who had saved the lives of a number of victims gathered together in a church dedicated to him; prayers were also said to St. Israel, Canon of Le Dorat, to St. Gilbert, Bishop of Meaux, and finally to Geneviève. This was because, one day in the reign of Louis the Fat when her shrine was being carried in solemn procession around the Cathedral of Paris, she cured a crowd of people afflicted with the disease who had taken refuge in the basilica, and this miracle caused such a stir that, in order to preserve the memory of it, a church was built in the same city under the invocation of Sainte-Geneviève des Ardents; it no longer exists, but the Parisian Breviary still celebrates the Saint's feast-day under that name.
But to return to Grünewald, who, I repeat, has clearly left us a truthful picture of a victim of this type of gangrene, the Colmar Museum also contains a predella Entombment, with a livid Christ speckled with flecks of blood, a hard-faced St. John with pale ochre-coloured hair, a heavily veiled Virgin and a Magdalen disfigured by tears. However, this predella is merely a feeble echo of Grünewald's great Crucifixions: it would be astounding, seen on its own in a collection of canvases by other painters, but here it is not even astonishing.
Mention must be made as well of two rectangular wings: one depicting a little bandy-legged St. Sebastian larded with arrows; the other--a panel cited by Sandrart--St. Anthony holding the Tau, the crozier of his Order--a St. Anthony so solemn and so thoughtful that he can even ignore the demon busily breaking window-panes behind him. And that brings us to the end of our review of this master-painter's works. You take leave of him spellbound for ever. And if you look for his origins you will look in vain, for none of the painters who preceded him or who were his contemporaries resembles him.
One can perhaps discern a certain foreign influence in Grünewald's work; as Goutzwiller points out in his booklet on the Colmar Museum, it is possible to see a reminiscence or a vague imitation of the contemporary Italian landscape manner in the way in which he plans his settings and sprinkles his skies with blue. Had he travelled in Italy, or had he seen pictures by Italian masters in Germany--perhaps at Isenheim itself, since the Preceptor Guido Guersi, to judge by his name, hailed from beyond the Alps? No one knows; but in any event, the very existence of this influence is open to question. It is, in fact, by no means certain that this man who anticipates modern painting, reminding one sometimes of Renoir with his acid colours and of the Japanese with his skilful nuances, did not arrange his landscapes without benefit of memories or copies, painting them from nature as he found them in the countryside of Thuringia or Swabia; for he could easily have seen the bright bluish backcloth of his Nativity in those parts. Nor do I share Goutzwiller's opinion that there is an unmistakable 'Italian touch' in the inclusion of a cluster of palm-trees in the picture of the two anchorites. The introduction of this type of tree into an Oriental landscape is so natural and so clearly called for by the subject that it does not imply any outside suggestion or influence. In any event, if Grünewald did know the work of foreign artists, it is surprising that he should have confined himself to borrowing their method of arranging and depicting skies and woods, while refraining from copying their technique of composition and their way of painting Jesus and the Virgin, the angels and the saints.
His landscapes, I repeat, are definitely German, as is proved by certain details. These may strike many people as having been invented to create an effect, to add a note of pathos to the drama of Calvary, yet in fact they are strictly accurate. This is certainly true of the bloody soil in which the Karlsruhe cross is planted, and which is no product of the imagination. Grünewald did much of his painting in Thuringia, where the earth, saturated with iron oxide, is red; I myself have seen it sodden with rain and looking like the mud of a slaughter-house, a swamp of blood.
As for his human figures, they are all typically German, and he owes just as little to Italian art when it comes to the arrangement of dress fabrics. These he has really woven himself, and they are so distinctive that they would be sufficient in themselves to identify his pictures among those of all other painters. With him we are far removed from the little puffs, the sharp elbows and the short frills of the Primitives; he drapes his clothes magnificently in flowing movements and long folds, using materials that are closely woven and deeply dyed. In the Karlsruhe Crucifixion they have something about them suggestive of bark ripped from a tree: the same harsh quality as the picture itself. At Colmar this impression is not so pronounced, but they still reveal the multiplicity of layers, the slight stiffness of texture, the ridges and the hollows which are the hallmark of Grünewald's work; this is particularly true of Christ's loincloth and St. John the Baptist's cloak.
Here again he is nobody's pupil, and we have no alternative but to put him down in the history of painting as an exceptional artist, a barbarian of genius who bawls out coloured prayers in an original dialect, an outlandish tongue.
His tempestuous soul goes from one extreme to another, restless and storm-tossed even during moments of deliberate repose; but just as it is deeply moving when meditating on the episodes of the Passion, so it is erratic and well-nigh baroque when reflecting on the joys of the Nativity. The truth is that it simpers and stammers when there is no torturing to be done, for Gruenwald is the painter of tombs rather than cribs, and he can only depict the Virgin successfully when he makes her suffer. Otherwise he sees her as red-faced and vulgar, and there is such a difference between his Madonnas of the sorrowful mysteries and his Madonnas of the joyful mysteries that one wonders whether he was not following an aesthetic system, a scheme of intentional antitheses.
It is, indeed, quite likely that he decided that the quality of divine Motherhood would only come out clearly under the stress of the suffering endured at the foot of the cross. This theory would certainly fit in with the one he adopted whenever he wished to glorify the divine nature of the Son, for he always painted the living Christ as the Psalmist and Isaiah pictured him--as the poorest and ugliest of men--and only restored his divine appearance to him after his Passion and death. In other words, Grünewald made the ugliness of the crucified Messiah the symbol of all the sins of the world which Christ took upon himself, thus illustrating a doctrine which was expounded by Tertullian, St. Cyprian, St. Cyril, St. Justin and countless others, and which was current for a good part of the Middle Ages.
He may also have been the victim of a technique which Rembrandt was to use after him: the technique of suggesting the idea of divinity by means of the light emanating from the very face that is supposed to represent it. Admirable in his Resurrection of Christ, this secretion of light is less convincing when he applies it to the little Virgin in the Angelic Concert and completely ineffective when he uses it to portray the fundamentally vulgar Child in the Nativity.
He probably placed too much reliance on these devices, crediting them with an efficacy they could not possess. It should, indeed, be noted that, if the light spinning like an artificial sun around the risen Christ suggests to us a vision of a divine world, it is because Christ's face lends itself to that idea by its gentle beauty. It strengthens rather than weakens the significance and effect of that huge halo, which in turn softens and enhances the features, veiling them in a mist of gold.
Such is the complete Grünewald polyptych in the Colmar Museum. I do not intend to deal here with those paintings attributed to him which are scattered among other art-galleries and churches, and which for the most part are not his work. I shall also pass over the Munich St. Erasmus and St. Maurice, which, if it must be accepted as his work, is cold and uncharacteristic; I shall even set aside the Fall of Jesus, which like the famous Crucifixion has been transferred from Cassel to Karlsruhe, and which is undoubtedly genuine. It shows a blue-clad Christ on his knees, dragging his cross, in the midst of a group of soldiers dressed in red and executioners dressed in white with pistachio stripes. He is gritting his teeth and digging his fingernails into the wood, but his expression is less of suffering than of anger, and he looks like a damned soul. This, in short, is a bad Grünewald.
Confining myself therefore to the brilliant, awe-inspiring flower of his art, the Karlsruhe Crucifixion and the nine pieces at Colmar, I find that his work can only be defined by coupling together contradictory terms.
The man is, in fact, a mass of paradoxes and contrasts. This Orlando furioso of painting is forever leaping from one extravagance to another, but when necessary the frenzied demoniac turns into a highly skilled artist who is up to every trick of the trade. Though he loves nothing better than a startling clash of colours, he can also display, when in good form, an extremely delicate sense of light and shade--his Resurrection is proof of that--and he knows how to combine the most hostile hues by gently coaxing them together with adroit chromatic diplomacy.
He is at once naturalistic and mystical, savage and sophisticated, ingenuous and deceitful. One might say that he personifies the fierce and pettifogging spirit of the Germany of his time, a Germany excited by the ideas of the Reformation. Was he involved, like Cranach and Dürer, in that emotional religious movement which was to end in the most austere coldness of the heart, once the Protestant swamp had frozen over? I cannot say-- though he certainly lacks nothing of the harsh fervour and vulgar faith which characterized the illusory springtide of the early sixteenth century. For me, however, he personifies still more the religious piety of the sick and the poor. That awful Christ who hung dying over the altar of the Isenheim hospital would seem to have been made in the image of the ergotics who prayed to him; they must surely have found consolation in the thought that this God they invoked had suffered the same torments as themselves, and had become flesh in a form as repulsive as their own; and they must have felt less forsaken, less contemptible. It is easy to see why Grünewald's name, unlike the names of Holbein, Cranach and Dürer, is not to be found in the account-books or the records of commissions left by emperors and princes. His pestiferous Christ would have offended the taste of the courts; he could only be understood by the sick, the unhappy and the monks, by the suffering members of Christ.
Journée de sensibilisation de masse sur la prévention de l’exploitation et de l’abus sexuels. 5eme Ardt. Bangui, le 30 août 2017
Photo UN/ Dany Balepe
Diaper rash is perhaps one of the most common irritants that plague mothers and children both. It is form of inflammation and rash around the diaper area and is characterized by red tender skin. The baby can be irritable and cries as when changed. Diaper rash can look and feel alarming but generally clears up with home remedies and rarely needs medical intervention. But as the saying goes, prevention is better than cure.
To know more: figohoney.com/preventing-a-diaper-rash/
Prevent Child Abuse Kentucky Blue Ribbon Reception. April 13, 2009. Berry Hill Mansion, Frankfort KY.
Prevent Child Abuse Kentucky Blue Ribbon Reception. April 13, 2009. Berry Hill Mansion, Frankfort KY.
PACOIMA - A quick response by the Los Angeles Fire Department prevented injury or structure damage, when vegetation caught fire adjacent to the southbound Golden State (I-5) Freeway near Paxton Street on January 24, 2020.
LAFD Incident 012420-1671
© Photo by Rick McClure
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk