View allAll Photos Tagged Repousse
La ville de Sion fut occupée dès le néolithique (nécropole du Petit-Chasseur), mais elle semble avoir pris son essor surtout à l'époque celte.
Elle tire son nom actuel du latin Sedunum, lui-même dérivé de celui du peuple celte qui vivait là , les Sédunes (en latin : Sedunii). Ceux-ci construisirent sur le site de Sion un oppidum habituellement identifié avec le Drousomagos, signifiant peut-être marché de Drusus ou marché des buissons, cité par Ptolémée et qu'il situe en amont de Martigny.
Jusqu'à la fin de l'époque romaine, Sion reste dans l'ombre de Massongex puis de Martigny, alors appelée Octodure, qui ont l'avantage de se trouver sur la route stratégique du Grand-Saint-Bernard. Ce n'est qu'au Ve siècle, lorsque l'évêque y déplace le siège épiscopal, que la ville devient le centre socio-culturel de la région.
Dès 999, l'évêque de Sion devint comte du Valais. Le Moyen Âge et la Renaissance voient s'affronter, sur le terrain de l'unification du Valais et de la lutte de pouvoir, l'évêque et la Diète, qui siège aussi à Sion.
La ville de Sion fut détruite et pillée à plusieurs reprises jusqu'en 1475, date à laquelle les troupes savoyardes furent repoussées à ses portes lors de la bataille de la Planta.
La ville croît alors lentement jusqu'au terrible incendie de 1788. Elle est reconstruite, mais ses remparts sont abattus au XIXe siècle (il n'en reste aujourd'hui plus guère que la tour des Sorciers et la Tour de Guet).
Elle connaît un essor important avec l'arrivée du train.
Autour des années 1870 - 1872 le fameux écrivain Jules Verne est resté une période de sa vie à la rue de l'église nr. 7 en tant que locataire chez Pierre Heanni.
En 1968, la commune et le village de Bramois ont fusionné avec la municipalité de Sion.
Sion tenta à trois reprises d'obtenir les Jeux Olympiques d'hiver, mais fut trois fois le dauphin malheureux du vainqueur (Denver qui finalement refusa en 1976 au profit d'Innsbruck, Salt Lake City en 2002 et Turin en 2006).
Visit www.ilmaestroacquafresca.com/ to learn more about taking a course in Chasing and Repousse, and to find dates for where around the world courses will be held.
Panthera tigris sumatrae. En danger. Sumatra.
Ce tigre assez petit et coloré était encore très commun au XIXe siècle. Cette forme de l'espèce paraissait prospère jusqu'à la Seconde Guerre mondiale. Depuis, un braconnage intense a considérablement réduit ses effectifs. Elle s'est vue en outre repoussée vers d'étroites zones montagneuses à cause des déboisements et des défrichements qui appauvrissaient son aire naturelle. Elle ne subsisterait plus qu'à quelques centaines d'individus dans le centre et le sud de l'île. D'autre part, plusieurs centaines de tigres de Sumatra vivent en captivité.
Grande galerie de l'évolution, museum d'histoire naturelle.
www.thehandicrafts.net/shop/repousse/ascension/ fascinating engraving on silver plate, handmade item inspired from work of famous Julius Schnorr von Carolsfeld
Origin: France. Circa: 1850. Period: 19th Century. Antique French Louis Philippe period longcase clock with 8-day comtoise movement. Circa 1850s. The cherrywood case of this handsome clock was hand crafted with a doucine cornice over the dial case. It houses an enameled dial with Roman numerals and stamped brass hands indicating the hours and minutes as well as the days of the month. Pediment fronton of thin repousse depicts a basket overflowing with flowers. The simple, panelled lower case rests on shaped feet. All clocks in working order. Shop @ The HighBoy.
Small brooch made for women. Beautiful gold with
repoussé and filigree decoration; copper backplate. Located in the center of the golden star, there’s a dragon swirled within the gold. Overall dimensions: Diameter: 7.7 cm (3 1/16 in.) Women during the late 8th century, early 9th century wore these brooches to fasten their veils underneath their chin. This was also known to attract good luck and warn away evil.
'Night Swim' by Anastasia Gregoire, one of the very talented artists in #oxidizegallery. #metalsmith #jewelrydesign #repousse
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ricardoruiz92: So cool
Chasing and Repousse with Sarah Gascoigne. This looks like such an interesting tool. It's from the tools for the class at Tacoma Metal Arts. The instructor brings her tools, and lays them all out for us to mangle. She is so generous.
Bronze chariot inlaid with ivory, C6th BC
Bronze, ivory
Etruscan
The Acquisition
In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art. The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude. The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery.
The Form and Function of the Chariot
...The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger. The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.
The Materials of the Chariot
Although none of the substructure of the original chariot survives, except in one wheel, much information can be gleaned from details on the bronze pieces, other preserved chariots, and ancient depictions of chariots. Note that a chariot is represented on the proper left panel of the car. The preserved bronze elements of the car were originally mounted on a wooden substructure. The rails supporting the three main figural panels were made from a tree such as a yew or wild fig. The floor consisted of wooden slats. The wooden wheels were revetted with bronze, an exceptional practice probably reserved only for the most elaborate chariots. A bit of the preserved core has been identified as oak. The tires are of iron. The sections of the pole were mounted on straight branches. A major component of the original vehicle was leather applied to the wooden substructure. The connection of the pole to the car would have been reinforced by rawhide straps gathered beneath the boar's head, and the yoke would have been lashed to the pole. The upper end of the pole shows traces of the leather bands. In addition, all of the horses' harness was of leather. Moreover, rings of pigskin with the fat attached helped reduce friction between the moving parts of the wheels. The Monteleone chariot is distinguished not only by the extraordinary execution of the bronze panels but also by the inclusion of ivory inlays. The ivories, from both elephant and hippopotamus, are so fragmentary that only the tusks of the boar and the finials at the back of the car have been placed in their original positions. The remaining pieces are exhibited in a case on the south wall. A series of long narrow strips served as edging, perhaps around the panels of the car or on the underside of the pole. It is possible that other fragments filled the spaces between the figures in the central panel of the car. A major question concerning these adjuncts is the method of their attachment, requiring the use of an adhesive. Another question is whether the ivories were painted.
The Figures on the Chariot
The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses. The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull. The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car. While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
The Artistic Origin of the Chariot
The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation. The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services. Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.
The Reconstruction
After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete. The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.*
Taken in the gallery
Etruscan Art: C9th-2nd BC
Arno to the north and the Tiber to the south and east. Its culture developed from an earlier one, called Villanovan, and was enriched by a variety of influences, notably Phoenician, Greek, and Roman. By the early third century B.C., Rome effectively controlled most of the Etruscan territory.
The Etruscans were consummate metalworkers, as indicated by their jewelry and bronzes, most notably the ceremonial chariot from Monteleone. Another medium in which they excelled was carved amber. Their accomplished craftsmanship and cultural complexity is well illustrated in this gallery within the Leon Levy and Shelby White Galleries.
[*The Met]
In the Met
The Metropolitan Museum of Art was conceived in Paris by John Jay in Paris, 1866, as a "national institution and gallery of art" for the American people. The Union League Club in New York campaigned for funding, and The Metropolitan Museum of Art opened to the public in 1870, in the Dodworth Building 681 Fifth Avenue. Initially formed from donations by its founders, the Museum collection increased to the point that it outgrew the initial site, and then a consecutive one, moving to its current location (on Fifth Avenue and 82nd Street) in 1880.
The initial museum building was designed by Calvert Vaux and Jacob Wrey Mould, with extensions added from 1888 onwards - the Fifth Avenue facade, Grand Stairway, and Great Hall, designed by Richard Morris Hunt, opened 1902, and the Fifth Avenue wings by McKim, Mead & White in 1910. The last major development was the installation of glass at the sides and rear of the building, designed by Roch-Dinkeloo in 2011-12.
Taken in Manhattan
A 1938 piece by my favorite local sculptor, presented in both black and white (see previous photo) and color. I wish this shot did the piece better justice.
The tag reads:
Mankind Liberated by Machinery
Dudley Pratt
1897-1975
Faculty, School of Art, 1925-1945
Britannia Metal Repousse Architectural Panel
Originally Commissioned for the Exterior
of the 1939 Power Plant Addition
Dedicated February 1983
Dead or Alive Xtreme 3 : le jeu a été repoussé d'un gros mois Malheur pour les amateurs de boobs physics et autres spécialités japonaises puisque Dead or Alive Xtreme 3 vient de voir sa date de sortie être repoussée d'un gros mois, sans ... via on.fb.me/1osNI0h
Bronze chariot inlaid with ivory, C6th BC
Bronze, ivory
Etruscan
The Acquisition
In 1902, a landowner working on his property accidentally discovered a subterranean built tomb covered by a tumulus (mound). His investigations revealed the remains of a parade chariot as well as bronze, ceramic, and iron utensils together with other grave goods. Following the discovery, the finds passed through the hands of several Italian owners and dealers who were responsible for the appearance of the chariot and related material on the Paris art market. There they were purchased in 1903 by General Luigi Palma di Cesnola, the first director of The Metropolitan Museum of Art. The Monteleone chariot is the best preserved example of its kind from ancient Italy before the Roman period. The relatively good condition of its major parts--the panels of the car, the pole, and the wheels--has made it possible to undertake a new reconstruction based on the most recent scholarship. Moreover, some of the surviving ivory fragments can now be placed with reasonable certitude. The other tomb furnishings acquired with the chariot are exhibited in two cases on the south wall of this gallery.
The Form and Function of the Chariot
...The Monteleone chariot belongs to a group of parade chariots, so called because they were used by significant individuals on special occasions. They have two wheels and were drawn by two horses standing about forty-nine inches (122 centimeters) apart at the point where the yoke rests on their necks. The car would have accommodated the driver and the distinguished passenger. The shape of the car, with a tall panel in front and a lower one at each side, provided expansive surfaces for decoration, executed in repoussé. The frieze at the axle, the attachment of the pole to the car, and the ends of the pole and yoke all have additional figural embellishment.
The Materials of the Chariot
Although none of the substructure of the original chariot survives, except in one wheel, much information can be gleaned from details on the bronze pieces, other preserved chariots, and ancient depictions of chariots. Note that a chariot is represented on the proper left panel of the car. The preserved bronze elements of the car were originally mounted on a wooden substructure. The rails supporting the three main figural panels were made from a tree such as a yew or wild fig. The floor consisted of wooden slats. The wooden wheels were revetted with bronze, an exceptional practice probably reserved only for the most elaborate chariots. A bit of the preserved core has been identified as oak. The tires are of iron. The sections of the pole were mounted on straight branches. A major component of the original vehicle was leather applied to the wooden substructure. The connection of the pole to the car would have been reinforced by rawhide straps gathered beneath the boar's head, and the yoke would have been lashed to the pole. The upper end of the pole shows traces of the leather bands. In addition, all of the horses' harness was of leather. Moreover, rings of pigskin with the fat attached helped reduce friction between the moving parts of the wheels. The Monteleone chariot is distinguished not only by the extraordinary execution of the bronze panels but also by the inclusion of ivory inlays. The ivories, from both elephant and hippopotamus, are so fragmentary that only the tusks of the boar and the finials at the back of the car have been placed in their original positions. The remaining pieces are exhibited in a case on the south wall. A series of long narrow strips served as edging, perhaps around the panels of the car or on the underside of the pole. It is possible that other fragments filled the spaces between the figures in the central panel of the car. A major question concerning these adjuncts is the method of their attachment, requiring the use of an adhesive. Another question is whether the ivories were painted.
The Figures on the Chariot
The iconography represents a carefully thought-out program. The three major panels of the car depict episodes from the life of Achilles, the Greek hero of the Trojan War. In the magnificent central scene, Achilles, on the right, receives from his mother, Thetis, on the left, a shield and helmet to replace the armor that Achilles had given his friend Patroklos, for combat against the Trojan Hektor. Patroklos was killed, allowing Hektor to take Achilles' armor. The subject was widely known thanks to the account in Homer's Iliad and many representations in Greek art. The panel on the left shows a combat between two warriors, usually identified as the Greek Achilles and the Trojan Memnon. In the panel on the right, the apotheosis of Achilles shows him ascending in a chariot drawn by winged horses. The subsidiary reliefs partly covered by the wheels are interpreted as showing Achilles as a youth in the care of the centaur Chiron and Achilles as a lion felling his foes, in this case a stag and a bull. The central axis of the chariot is reinforced by the head and forelegs of the boar at the join of the pole to the car. The deer below Achilles' shield appears slung over the boar's back. The eagle's head at the front of the pole repeats the two attacking eagles at the top of the central panel, and the lion heads on the yoke relate to the numerous savage felines on the car. While the meaning of the human and animal figures allows for various interpretations, there is a thematic unity and a Homeric quality emphasizing the glory of the hero.
The Artistic Origin of the Chariot
The three panels of the car represent the main artistic achievement. Scholarly opinion agrees that the style of the decoration is strongly influenced by Greek art, particularly that of Ionia and adjacent islands such as Rhodes. The choice of subjects, moreover, reflects close knowledge of the epics recounting the Trojan War. In the extent of Greek influence, the chariot resembles works of virtually all media from Archaic Etruria. Contemporary carved ambers reflect a similar situation. The typically Etruscan features of the object begin with its function, for chariots were not significant in Greek life of the sixth century B.C. except in athletic contests. Furthermore, iconographical motifs such as the winged horses in Achilles' apotheosis and the plethora of birds of prey reflect Etruscan predilections. The repoussé panels may have been produced in one of the important metal-working centers such as Vulci by a local craftsman well familiar with Greek art or possibly by an immigrant bronze-worker. The chariot could well have been made for an important individual living in southern Etruria or Latium. Its burial in Monteleone may have to do with the fact that this town controlled a major route through the Appenine Mountains. The vehicle could have been a gift to win favor with a powerful local authority or to reward his services. Beyond discussion is the superlative skill of the artist. His control of the height of the relief, from very high to subtly shallow, is extraordinary. Equally remarkable are the richness and variety of the decoration lavished on all of the figures, especially those of the central panel. In its original state, with the gleaming bronze and painted ivory as well as all of the accessory paraphernalia, the chariot must have been dazzling.
The Reconstruction
After the parts of the chariot arrived in the Museum in 1903, they were assembled in a presentation that remained on view for almost a century. During the new reconstruction, which took three years' work, the chariot was entirely dismantled. A new support was made according to the same structural principles as the ancient one would have been. The reexamination of many pieces has allowed them to be placed in their correct positions. Moreover, the bronze sheathing of the pole, which had been considered only partially preserved, has been recognized as substantially complete. The main element that has not been reconstructed is the yoke. Although the length is correct, the wooden bar simply connects the two bronze pieces.*
Taken in the gallery
Etruscan Art: C9th-2nd BC
Arno to the north and the Tiber to the south and east. Its culture developed from an earlier one, called Villanovan, and was enriched by a variety of influences, notably Phoenician, Greek, and Roman. By the early third century B.C., Rome effectively controlled most of the Etruscan territory.
The Etruscans were consummate metalworkers, as indicated by their jewelry and bronzes, most notably the ceremonial chariot from Monteleone. Another medium in which they excelled was carved amber. Their accomplished craftsmanship and cultural complexity is well illustrated in this gallery within the Leon Levy and Shelby White Galleries.
[*The Met]
In the Met
The Metropolitan Museum of Art was conceived in Paris by John Jay in Paris, 1866, as a "national institution and gallery of art" for the American people. The Union League Club in New York campaigned for funding, and The Metropolitan Museum of Art opened to the public in 1870, in the Dodworth Building 681 Fifth Avenue. Initially formed from donations by its founders, the Museum collection increased to the point that it outgrew the initial site, and then a consecutive one, moving to its current location (on Fifth Avenue and 82nd Street) in 1880.
The initial museum building was designed by Calvert Vaux and Jacob Wrey Mould, with extensions added from 1888 onwards - the Fifth Avenue facade, Grand Stairway, and Great Hall, designed by Richard Morris Hunt, opened 1902, and the Fifth Avenue wings by McKim, Mead & White in 1910. The last major development was the installation of glass at the sides and rear of the building, designed by Roch-Dinkeloo in 2011-12.
Taken in Manhattan
en) Embossed silver-gilt jug with the Feast of the Gods by Anonymous from Germany, 1622, Krasiński Estate in Warsaw (lost during World War II).
fr) Grand pot au vin en argent repoussé et doré avec Le festin des Dieux par anonyme d'Allemagne, 1622, domaine de Krasiński à Varsovie (perdu pendant la seconde guerre mondiale).
pl) Wielka konew, trybowana i złocona z Ucztą bogów, warsztat niemiecki, 1622, Ordynacja Krasińskich w Warszawie (zaginiona podczas II wojny światowej).
See also: artinpoland.weebly.com
© ML, all rights reserved
Shishi. Gold offerings from the stupa of Wat Ratchaburana, Ayutthaya Period, 17th Century AD - 19th Century AD, Ayutthaya. National Museum Bangkok, Bangkok, Thailand. Copyright 2014, James A. Glazier.
Two mythical lions of stone are guarding the entrance to Keshav Narayan Chowk, now the Patan Museum. The gilded door, the tympanon (torana) and the window above it are all embellished with gilt copper repousse works and inscriptions in 1854 A.D.
Patan Durbar Square, Patan; Nepal
Visit www.ilmaestroacquafresca.com/ to learn more about taking a course in Chasing and Repousse, and to find dates for where around the world courses will be held.
OK, almost done. I have to saw the edges off and clean them up. Then figure how I want to wear it. I'm thinking necklace. I might pierce thru two of the ventricles so a chain can pass right through the piece to be worn that way. We'll see.
These repousse type plates were made in Tanjore, South India, and consist of Hindu religious figures in copper and silver which are bonded onto brass base plates. The central plate here is 24 inches in diameter and was made for us by the artisans as a special order.
Rhyton with auroch bull protome and repousse floral designs. Seleucid (Hellenistic) 2nd Century BC, Gilded silver. From the Toledo Art Museum. Special Exhibit, Animal-Shaped Vessels from the Ancient World: Feasting with Gods, Heroes and Kings. Harvard Art Museum. Cambridge, Massachusetts, USA. Copyright 2018, James A. Glazier.
Elle a lieu du 9 mai 1929 au 21 juin 1930 et est un des événements les plus importants du XXe siècle pour la ville de Séville. L'inauguration, prévue à l'origine pour le 1er avril 1911, est plusieurs fois repoussée pour des raisons politico-économiques, notamment à cause de la dictature de Miguel Primo de Rivera et de la Première Guerre mondiale.
Séville, en 1929, est un des deux sites de l'Exposition Générale d'Espagne de 1929. L'autre site est Barcelone, qui propose une exposition industrielle
Exposición Iberoamericana de Sevilla, inaugurada el 9 de mayo de 1929 y clausurada el 21 de junio de 1930, fue la primera Exposición Internacional para dar muestra del hermanamiento entre los dos paÃses de la PenÃnsula Ibérica con América; España e Hispanoamérica y Estados Unidos y Portugal con Brasil y Macao. El segundo evento de estas caracterÃsticas fue la Exposición Universal de 1992, también celebrada en Sevilla, ciudad que tuvo el monopolio del comercio con América en el Siglo de Oro Español. La exposición coincidió en el tiempo con la Exposición Internacional de Barcelona de 1929.
pour la première fois en 2020, le Philippe Chatrier :le court des finales à Roland Garros se dote d'un toit. En principe les compétitions se déroulaient fin mai début juin. Cette année si tout va bien elles sont repoussées à septembre.
Roland Garros silencieux à cette période de l'année :une première.
At Artfest this year, Beckah Krahula taught basic to intermediate repousse to create milagros from pewter and tin foil. These milagros were then mounted on a small (4" x 4") box.
I was getting the hang of it pretty quickly, but clearly need more practice. I want to use these as embellishments for artist's books and such.
It was really good to see Beckah and John again.
The fetus is copper and was created using chasing and repousse techniques. It has a liver of sulfur patina. The detail of the fetus is best seen in the larger sizes. $349
King is Chains' brother. I see this as a big gold belt, over spotted fur. You know, like the king on a deck of cards?
Showing glass mounts and white metal plating (silver, with small amounts of copper and other metals), with raised (repousse) decoration.
Image source – East Riding of Yorkshire Council / Museum of London Archaeology
Find out more about East Riding Museum collections at –
www.eastriding.gov.uk/culture/museums/collections/main.php
Copyright ERYC / MOLA. We are happy for you to share this digital image within the spirit of Creative Commons with Attribution, Non commercial, Share Alike. Please cite ‘East Riding Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please contact us at museums.th@eastriding.gov.uk
POUR EN FINIR AVEC LA MONARCHIE SYLDAVE La mort de Muskar XII en a attristé plus d'un, mais certains commencent à être fatigués de n'entendre parler que de cela depuis quelque temps. On parle éternellement de la succession du roi Muskar, de toutes les théories concernant celui qui serait en droit d'hériter de la couronne, de tout ce qui entoure le testament, des avocats, des cérémonies à venir dont la date est sans cesse repoussée à cause d'édits des tribunaux et des objections juridiques de magistrats, de membres du gouvernement, des grands électeurs et de membres éloignés de la famille royale, sans compter l'ingérence de gouvernements étrangers, etc... Plus d'un souhaitent maintenant qu'on force quelqu'un à s'asseoir sur ''la foutue chaise'' (le trône), pour qu'on puisse passer à autre chose!
Visit www.ilmaestroacquafresca.com/ to learn more about taking a course in Chasing and Repousse, and to find dates for where around the world courses will be held.
Huiles cuticules : Soin hydratant/apaisant pour cuticules.
Conseil: Appliquée en massage, l'huile réhydrate les cuticules et la peau asséchées par le Cleaner, et maltraitées durant le modelage.
__________________________________________________________________
Cuticule émollient : Sert à ramollir les cuticules avant de les repousser avec un repousse cuticules (dossier "divers" de ce site) pour avoir une plus grande surface pour mettre votre gel. Il ne faut en effet, en aucun cas, mettre du gel sur des cuticules, sans quoi votre gel se décollera rapidement !!
Une bonne quantité du produit est appliquée sur chaque cuticule après une attente de quelques instants, les cuticules sont repoussées en douceur et les envies sont éliminées de la plaque ongulaire.