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Inspired by Katie's value quilt tutorial. Features mostly Kaffe Fassett prints and assorted other really-colorful-lights-and-darks. Measures 60 x 72".
The 7 elements of design: form, shape, line, space, value, color and texture.
Line: Graphic Unifier, Curved, Straight. Directional Thrust: Horizontal, Vertical, and Diagonal
Shape: Naturalistic, Geometric
Space /Size: Large, Medium, Small, Proportion or Scale
Value: Light, Dark
Color: Hue, Chroma, and Value
Texture: Rough, Smooth, Soft, Hard
Form:
if all your boyfriend wants is breast, thigh, and legs,
then tell him to go to KFC and get a value meal. :)
Very impressive the view of that slum in one of the most valued districts of the city!
Ipanema district, Rio de Janeiro, Brazil.
Have a good rest of day / night. :¬)
I praise you because I am fearfully and wonderfully made; your works are wonderful, I know that full well. – Psalm 139:14
This is an example of value as value is the ratio from light to dark and this picture shows tone of light (white) vs Dark (black).
Monday April 29, 11am–2pm
Learn how to use colour value in your quilts to create more dynamic designs with Cheryl Arkison, the co-author of Sunday Morning Quilts. Value is what our eye reads as light, dark or medium. This class focusses on determining value, regardless of colour, within a pile of fabric. Students will sew a series of half square triangle blocks to demonstrate value through various layouts and designs.
photo courtesy of Cheryl Arkison
Imagine for a moment, that there is a bank account that credits you with £86,400 every morning. It carries over no balance from day to day. Every evening, whatever you have failed to use is deleted. What would you do? Draw out every penny of course! Each of us has such a bank. It is called time. Every morning, you are credited with 86,400 seconds and every night, whatever you have failed to put to good use is written off. It carries over no balance. It allows no over draft.
You must live in the present on todays deposits. Invest it wisely and reap the rewards because you never know when your account could close. Make the most of today.12/11/2012
A Beat Safari csapata (karácsonyra való telkintettel :D )
ezúttal Current Value-t látja vendégül!
▼ Current Value ▼
(Blackout NL, Critical Music, Subsistenz, TSM, MethLab)
Artist Profile : methlab-agency.com/agency/artist/current-value
Facebook : www.facebook.com/currentvalue
Soundcloud : twitter.com/TIMCURRENTVALUE
Website : www.currentvalue.eu/
▼ Midland Breakz - (UK) ▼
▼ Gosh - Highscore - (AT) ▼
▼ Konor - dnbnoise.com, wirsindcybo ▼
THE BEAT SAFARI CREW:
▼ SiN - Beat Safari, wirsindcybo ▼
▼ Khaist - Beat Safari ▼
▼ Stuy - Beat Safari ▼
▼ Mgl - Beat Safari ▼
▼ Mist - Beat Safari ▼
▼ Magematix - Beat Safari ▼
Deko: Goof Art Deko
JEGYEK A HELYSZÍNEN MÉG KAPHATÓK KORLÁTOZOTT SZÁMBAN:
- 3000 HUF
Metropolitan Detroit photographer, specializing in Natural Light, Portrait, Boudoir, Sports and Event photography
We appreciate your business and we certainly want to be the one-stop-shop for your photographic needs. We offer a full array of photographic services, from Family to Individual Portrait sessions, including Fine Art Boudoir imagery, High School Senior pictures, Sports, Event and Product photography,
as well as a wide selection and sizes for prints and showcase pieces. We focus on color, details, perspective and professionalism and we value photographs because they tell a story. Let us tell yours...
#bruceturnerphotography #detroitphotographer #detroitboudoirphotographer #detroitfashionphotographer #detroit #photographer #portraiture #boudoir #beauty #model #chicago #cleveland #milwaukee #miami #newyork #losangeles #la
Burchell's zebra browsing in Etosha NP, Namibia, Africa. Captured in May 2017.
Recent rains in the area of Etosha NP resulted in beautiful displays of wildflowers and tall grass. The rains and the flowers enabled some superb backgrounds for photos of wildlife, as in this capture.
Thanks for viewing. Any and all comments are welcome and valued!
© Dennis Zaebst All Rights Reserved
My last opportunity to dress as a woman was back in November 2023, some seven months on and I still do not foresee any new opportunities to indulge in my love of female illusion anytime soon. It's a little frustrating as I have a lot of new dresses to wear that I've been quietly buying in sales over the last year. My female clothing is mainly bought in sales as it's a nice way to get some gorgeous feminine clothes at good value. I can often get three dresses, for example, at what was the original price for just one. That's a cross-dressing tip I would definitely recommend.
In my periods of being unable to dress as a woman , which is most of the time for me, I like to browse through my photos and videos and recall the delightful memories of the occasions I was able to become my female alter-ego. I do love and adore dressing as a woman, I really enjoy my time in my female guise. There is a delight in imagining I am female that I never experience as a man. I always enjoy having shaved legs, chest and arms and shaping my eyebrows, I enjoy the physical commitment to attempting to look more feminine.
I've said many times in the past how much I enjoy wearing make-up, wigs and dresses, they are just so fabulous and you feel amazing! I will admit to feeling a lot more confident presenting as a woman than I do as a man. Somehow being feminine is empowering compared to being male. I'm sure many men would disagree but for me I feel better being a woman. I will likely be accused of delusion as reality is I am a man dressing as a woman so in truth I know nothing of what women really have to experience. I am, I suppose, enjoying the trappings of femininity without facing the reality of being female.
Transvestism has featured strongly in my life and it took me a long time to set it free. For years I did all I could to suppress the urges and desires that I had to try and spend time dressed as a woman. I know I keep saying 'dressed as a woman' but that's my reality. It is all I can do to express the feelings I've always had about my inner desire to be feminine. These days I attempt to dress in a real world manner, so I can, hopefully, pass as a woman. This doesn't mean wearing dull styles, far from it, but I do now favour styles women would choose over what my transvestite desires have a liking for. I accept I have those desires so every now and again I like to indulge them.
This picture is one of those times. I had just shaved my legs and plucked my eyebrows and as I applied my make-up I found myself wanting to be a bit girly. I applied several coats of mascara to my lashes to help feminise them, I enjoyed my thinner shaped eyebrows and feeling a bit daring decided on a darker lipstick and chose my mid length blonde wig and decided on a black button through mini dress and pointed toe stiletto heels. I won't deny, I feel amazing stepping onto the photo set I had setup for my evening of indulging in photo taking as a my female self.
I loved...loved...doing this. I dreamt of the years I had missed on being a teenage girl and young woman (I only began to cross-dress as a woman in my early 40s...I wasted so much time...)
You only live once so it's good to have a bit of fun and dare to do things that are, let's be honest, gentle and harmlesss. It is a truth that we often experience fear and guilt when it comes to being men that dress as women but I feel sure most of us do enjoy our time in our dresses, heels, make-up and wigs. It's all an illusion but it is such an amazing experience. I think you can see why I couldn't resist slipping into the short dress and heels and put on the make-up...it was fun and yet, something I needed on an emotional level too.
Giclée (/ʒiːˈkleɪ/ zhee-KLAY) is a neologism coined in 1991 by printmaker Jack Duganne for fine art digital prints made on inkjet printers. The name was originally applied to fine art prints created on a modified Iris printer in a process invented in the late 1980s. It has since been used loosely to mean any fine-art printing, usually archival, printed by inkjet. It is often used by artists, galleries, and print shops to suggest high quality printing, but is an unregulated word with no associated warranty of quality.
About color reproductions, I love them and have no qualms about hanging them in my home. I don't think I will ever own a original Dufy but I have a nice poster that makes me happy purchased sixty years ago for one dollar. My question here is value for product, the commercial side of fine art.
At Kennedy Galleries we did a good business in the sale of John Stobart limited edition color offset prints. Asked if the value would increase over time most of the sales staff would say something vague about the secondary market but few would guarantee a growth in value. The average price was five hundred for a hand signed print, forty years later the secondary market hovers around six hundred for many of his prints. Fair market value?
Values Stock Photo
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桃園縣大溪鄉 Daxi Township, Taoyuan County
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True Value, Shop Rite Hardware and Paint Supply, Silas Deane Hwy Wethersfield, CT, Pics by Mike Mozart , AKA MiMo on Instagram instagram.com/MikeMozart
台北市天母東路Taipei City,Shrlin District
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without my explicit permission.
The Unitarian Universalist Fellowship of Central Oregon sends children off to religious education classes with a tradition the growing congregation insists on keeping no matter how big it gets. This commitment to community amidst rapid change is part of why the Unitarian Universalist Association named the fellowship a Breakthrough Congregation.
See “Community Spirit" by Elaine McArdle, UU World (Summer 2016), pages 22–27. Photograph © 2016 Karen Cammack.
The Fountain of Putti is a monumental work in Carrara marble , located at the entrance to Piazza dei Miracoli and Via Santa Maria in Pisa .
It was built between 1746 and 1765 by Giuseppe Vaccà , who took care of the base, and by Giovanni Antonio Cybei , author of the marble group of putti holding the coats of arms of Pisa and the Opera del Duomo, based on a design by the painter Giovanni Battista Tempesti
The presence of a first fountain in the Piazza del Duomo, although simple and devoid of ornaments, has been attested since 1659. However, it was thanks to the Operaio dell'Opera Francesco Quarantotti , appointed in 1729, that the current structure was built , strategically moved a few meters compared to the position of the previous fountain and placed "on the corner of the paved road that goes to the church" , that is, in front of the exit of via Santa Maria into Piazza del Duomo. For the new monument, an aesthetic solution was chosen that could better harmonize with the classic appearance of the monuments in the square .
The first phase of construction of the fountain was entrusted to the Carrara sculptor Giuseppe Vaccà, who had participated together with his father Giovan Battista and his cousin in the furnishing of the Cathedral , a phase which ended in 1746 with the construction of a base decorated with cherubs and acanthus leaves. The pillar of the source was built in Avenza di Massa in the Vaccà workshop in just under a year, and despite the construction difficulties caused by the soft ground (which it was necessary to consolidate by driving 33 pine poles deep) , in September by 1746 the fountain could now be said to be completed . Its creation, as reported in the Memoria del Duomo by Filippo D'Angelo, was defined as "not magnifying but beautiful and gallant" .
In 1763 Anton Francesco Maria Quarantotti, who had succeeded his father in the service of the Opera del Duomo, agreed with Vaccà to complete the structure of the fountain with a sculptural group to be positioned above the marble base. Vaccà in all likelihood in this case only played the role of entrepreneur : the construction was in fact entrusted to Giovanni Antonio Cybei , who worked starting from a preparatory drawing by the painter Giovanni Battista Tempesti . From 1763, the work kept Cybei busy for about two years ; the sculptural group was transported to the city by sea and up the Arno a few days before Christmas 1765
Shortly after the completion of the work, the first critical assessments also emerged, which were directed in particular against the sculptural group of the three putti. The oldest written testimony of these negative judgments dates back to Filippo D'Angelo , who, in his Memoirs of the Cathedral and events of the city of Pisa in 1767 , defined the author as "a terrible statuary" .
In 1848, the Pisan sculptor Girolamo Marconi was the first to propose replacing the sculptural group with a statue of the city's patron saint, San Ranieri , also replacing the base with another, more sober one, bearing the city coat of arms [9] . However, probably due to lack of funds, the proposal was not followed up .
With the foundation in Pisa of the Association for the embellishments of the Piazza del Duomo (1862), born in the period of national unification, the hypothesis of replacing the group of three putti, judged to be of little value, with the statue of Buscheto , architect of the Cathedral . However, not even this time did the intent to restore a more austere appearance to the square lead to concrete results.
The opportunity for a new attempt to remove the group presented itself with the appointment of Archbishop Pietro Maffi in 1905. Maffi, who was an astronomer and had been appointed president of the Vatican Observatory in 1904 , proposed replacing the putti with a monument to Galileo Galilei . To reduce costs, he also suggested removing only the sculptural group, using the fountain below. The project, however, was harshly criticized when it was made public in 1906; on this occasion, for the first time, some defenders of the Fontana dei Putti intervened as a historical and symbolic element of the square. The determination of Maffi, who in the meantime had become cardinal, led him to a second attempt in 1922, when the Genoese sculptor Antonio Bozzano was entrusted with the task of creating a sketch for the work . Once again, however, the project was not successful: the survival of the Fontana dei Putti was probably guaranteed by the failure of Maffi to be elected to the papal throne in the Council of 1922 , which instead led to the election of Achille Ratti with the name of Pope Pius XI. This event marked the end of a century of replacement projects and allowed the three cherubs to maintain their role among the prominent monuments in the square.
The history of the attribution of the sculptural group of the three putti has been the subject of complex developments.
Despite the relevant testimony of Girolamo Tiraboschi , who already in 1786, in his biography dedicated to Cybei, mentioned among the artist's works the three putti in the Piazza del Duomo of Pisa , over time the name of the author of group was lost.
In 1873 Tiraboschi's words were also reported by the Marquis Giovanni Campori in his Biographical Memoirs of sculptors, architects, painters, etc. natives of the Province of Massa in 1873 , but despite this testimony for a long time the role of Cybei was ignored and the sculptures were attributed to Giuseppe Vaccà. The attribution to Vaccà also remained in the Pisa Guide by Bellini Pietri and in a 1931 essay by Giorgio Castelfranco entitled The Fountain of G. Vaccà in Piazza del Duomo in Pisa.
Subsequently, in 1990, Paolo Roberto Ciardi seemed to resolve the issue by publishing the contract stipulated in 1763 between the Worker Quarantotti and Giuseppe Vaccà, which recognized the latter as the author of the three putti. However, towards the end of the nineties, the discovery of an autograph by Cybei, in which the sculptor explicitly declared that he had created the group for the fountain, allowed the paternity of the work to be returned to him
The base created by Giuseppe Vaccà appears as a parallelepiped positioned vertically, characterized on two sides by acanthus leaves, which create a bulge in the lower part of the plinth, while, on the opposite sides, two volutes resting on a base support the basin for the 'waterfall.
In the areas of the squares of the fountain's pedestal the artist is inspired by the architectural formulas of the sixteenth and seventeenth centuries, proposing an architecture animated by two different themes: on two sides, a geometric ornamentation; on the other two, mythological figures in high relief. The artist also uses different techniques for the two pairs of panels: high relief for the figurative images and low relief for the more ornamental decoration .
In the squares of the parallelepiped, the artist creates a dialogue between art and nature , representing an acanthus leaf that invades the lower part of the base, a symbol widely used in architectural decorative resolutions. The artist here clearly refers to classical models [19] , loading them with allusive values: the acanthus leaf, a constant presence on capitals, ceiling and wall decorations, returns here to symbolize freshness and refreshment, themes that are well suited to the nature and function of the monument.
The considerable volume of acanthus leaves also has its own structural utility . It distributes the weight thrusts at the base of the parallelepiped towards the ground in a more uniform and less incidental way, avoiding the formation of cracks and ensuring better cohesion between the different parts. To confirm this, we observe the presence of two overturned shelves under the two basins, which also serve to balance the downward forces.
In the other two areas of the panels, however, the work is loaded with allegorical-symbolic values through one of the most traditional figures of mythological language: the Triton who fights with the sea monster. The extremely popular theme, however, seems to refer in particular to a preparatory drawing by Marco da Faenza for the grotesques of the Triton in combat, preserved at the superintendence for artistic and historical heritage of Florence .
The young Tritons, represented in a mirrored manner in the mirrors of the base, have the aim of enhancing the wonder of the sea. One, by blowing the conch, seems to attract the attention of the other intent on fighting, immortalized in the gesture of throwing a stone at the monster subjected to him, in a playful and carefree atmosphere. The volumes of the figures burst into space, projecting to the maximum, with a powerful modeling that goes beyond the limits of high relief.
The sculptural group created between 1763 and 1765 by Antonio Cybei is located above the base and depicts three colossal putti, also in white Carrara marble , holding the coats of arms of Pisa and the Opera del Duomo .
In his reworking of the work, Cybei did not modify the poses of the three putti compared to the original sketch proposed by Tempesti, but inverted the central putto counterclockwise, creating a composition capable of further highlighting the dynamism of the figures.
The spiral arrangement of the figures had the aim of lightening the base and, at the same time, creating the optical illusion of an ascending movement, as if the direction given to the movement was not directed downwards, but was going towards the sky . The different compositional arrangement between Tempesti's sketch and Cybei's work highlights a different intent. In Tempesti's sketch, which is arranged clockwise, the shield seems to move downwards, as if it descended directly from the sky into the arms of the children . On the contrary, in the layout given by Cybei the figures are positioned counterclockwise, with the statues appearing to raise the shield upwards, in a gesture "of thanksgiving and consecration of the Pisan people to God".
In this sense, the execution of Tempesti's modeling still has a baroque character, in which the composition rotates around a central axis, and the distribution of weights moves in a spiral that converges downwards. On the contrary, the change made by Cybei, with the anti-clockwise movement of the figures, seems to mark, according to Mario Noferi, the transition from baroque to rococo . In fact, the revision, which proposed an ascending dynamism in the form of a spiral, seems to lighten the weight of the compositions that characterizes baroque works while maintaining the basic principles of representation intact, in line with one of the main objectives of the Rococo. In summary, the reworking of Cybei made the work more modern compared to Tempesti's sketch, which still reflected the influence of the Roman school .
Another notable characteristic of the Putti group is certainly the plastic treatment of the volumes, capable of expressing the sensation of the softness of the flesh. The skilful use of chiaroscuro also contributes to this rendering, which gives the sculpture an almost pictorial character, to the point of pushing Mario Noferi to believe that "the sculptor, with intention, wanted to leave traces of the original design idea taken from the drawing of a painter". Evidence of these plastic abilities would also be, according to the scholar, the careful reproduction of an atmospheric phenomenon: the disheveled hair of the children, in fact, seems to be agitated by the wind, a re-enactment of a natural phenomenon that contributes to the overall movement of the work
From a symbolic point of view, the presence of water refers to the concept of purification, historically also referring to the dawn of Christianity, when fountains were placed in the atrium of Christian basilicas to introduce the sacred space. In the same way it would then be possible, according to Mario Noferi, to consider the monumental fountain as a spiritual entrance to the square, at the convergence of all the city streets that lead to the Cathedral.
Furthermore, according to the scholar, the iconic buildings of the square symbolize the essential phases of human life in relation to faith: birth represented by the baptistery, life symbolized by the cathedral and death evoked by the cemetery. Similarly, the three lively children who adorn the top of the Fountain represent a specific phase of human existence, recalling the short period of childhood characterized by energy and recklessness in games
The introduction of postal cards is believed to have contributed to the revaluation of the fountain in the 19th century . Initially, in fact, the classic view of the square included only the Baptistery, the Cathedral and the famous Leaning Tower. However, as time passed, the fountain was included in other images taken from different angles, acquiring a significant role among other major monuments and arousing the interest of both postcard buyers and the recipients themselves .
This process gradually led the fountain to establish itself in the collective imagination as an essential element of the urban panorama of the Piazza dei Miracoli. However, it is with the advent of mobile devices and new technologies that the fountain has taken on an even more relevant role. Today, thanks to the ease with which it is possible to take photographs and videos, the fountain is included in many images of the square, deliberately chosen to offer added value to the image itself and enhance the other monuments present.
Furthermore, a notable aspect is that from the perspective located at the intersection between Piazza dei Miracoli and Via Santa Maria, it is possible to appreciate in a single glance all three faces of the children who, with their different contortions, support the coat of arms of the city of Pisa .
Ultimately, the fountain on the Piazza dei Miracoli has undergone a process of revaluation over the years, becoming a fundamental element of the urban landscape. Thanks to social media, its presence is increasingly constantly documented, while the peculiar detail of the cherubs holding up the coat of arms of Pisa contributes to increasing the curiosity and attention of visitors
The Fountain of Putti also appears in the theme song of the fourth animated season of " Lupine III - The Italian Adventure ", a derivative of the manga by the Japanese cartoonist Monkey Punch and broadcast in 2015 .
The series, made up of twenty-six episodes, is entirely set in Italy and the opening theme features several important Italian tourist places (such as Rome, the canals of Venice, San Marino, Santa Maria del Fiore in Florence). Among these, a significant shot is reserved for the Leaning Tower of Pisa, with the Fountain of the Putti placed right in the foreground.
Pisa is a city and comune in Tuscany, central Italy, straddling the Arno just before it empties into the Ligurian Sea. It is the capital city of the Province of Pisa. Although Pisa is known worldwide for its leaning tower, the city contains more than twenty other historic churches, several medieval palaces, and bridges across the Arno. Much of the city's architecture was financed from its history as one of the Italian maritime republics.
The city is also home to the University of Pisa, which has a history going back to the 12th century, the Scuola Normale Superiore di Pisa, founded by Napoleon in 1810, and its offshoot, the Sant'Anna School of Advanced Studies.
History
For a chronological guide, see Timeline of Pisa.
Ancient times
The most believed hypothesis is that the origin of the name Pisa comes from Etruscan and means 'mouth', as Pisa is at the mouth of the Arno river.
Although throughout history there have been several uncertainties about the origin of the city of Pisa, excavations made in the 1980s and 1990s found numerous archaeological remains, including the fifth century BC tomb of an Etruscan prince, proving the Etruscan origin of the city, and its role as a maritime city, showing that it also maintained trade relations with other Mediterranean civilizations.
Ancient Roman authors referred to Pisa as an old city. Virgil, in his Aeneid, states that Pisa was already a great center by the times described; and gives the epithet of Alphēae to the city because it was said to have been founded by colonists from Pisa in Elis, near which the Alpheius river flowed. The Virgilian commentator Servius wrote that the Teuti founded the town 13 centuries before the start of the common era.
The maritime role of Pisa should have been already prominent if the ancient authorities ascribed to it the invention of the naval ram. Pisa took advantage of being the only port along the western coast between Genoa (then a small village) and Ostia. Pisa served as a base for Roman naval expeditions against Ligurians and Gauls. In 180 BC, it became a Roman colony under Roman law, as Portus Pisanus. In 89 BC, Portus Pisanus became a municipium. Emperor Augustus fortified the colony into an important port and changed the name to Colonia Iulia obsequens.
Pisa supposedly was founded on the shore, but due to the alluvial sediments from the Arno and the Serchio, whose mouth lies about 11 km (7 mi) north of the Arno's, the shore moved west. Strabo states that the city was 4.0 km (2.5 mi) away from the coast. Currently, it is located 9.7 km (6 mi) from the coast. However, it was a maritime city, with ships sailing up the Arno. In the 90s AD, a baths complex was built in the city.
Late Antiquity and Early Middle Ages
During the last years of the Western Roman Empire, Pisa did not decline as much as the other cities of Italy, probably due to the complexity of its river system and its consequent ease of defence. In the seventh century, Pisa helped Pope Gregory I by supplying numerous ships in his military expedition against the Byzantines of Ravenna: Pisa was the sole Byzantine centre of Tuscia to fall peacefully in Lombard hands, through assimilation with the neighbouring region where their trading interests were prevalent. Pisa began in this way its rise to the role of main port of the Upper Tyrrhenian Sea and became the main trading centre between Tuscany and Corsica, Sardinia, and the southern coasts of France and Spain.
After Charlemagne had defeated the Lombards under the command of Desiderius in 774, Pisa went through a crisis, but soon recovered. Politically, it became part of the duchy of Lucca. In 860, Pisa was captured by vikings led by Björn Ironside. In 930, Pisa became the county centre (status it maintained until the arrival of Otto I) within the mark of Tuscia. Lucca was the capital but Pisa was the most important city, as in the middle of tenth century Liutprand of Cremona, bishop of Cremona, called Pisa Tusciae provinciae caput ("capital of the province of Tuscia"), and a century later, the marquis of Tuscia was commonly referred to as "marquis of Pisa". In 1003, Pisa was the protagonist of the first communal war in Italy, against Lucca. From the naval point of view, since the ninth century, the emergence of the Saracen pirates urged the city to expand its fleet; in the following years, this fleet gave the town an opportunity for more expansion. In 828, Pisan ships assaulted the coast of North Africa. In 871, they took part in the defence of Salerno from the Saracens. In 970, they gave also strong support to Otto I's expedition, defeating a Byzantine fleet in front of Calabrese coasts.
11th century
The power of Pisa as a maritime nation began to grow and reached its apex in the 11th century, when it acquired traditional fame as one of the four main historical maritime republics of Italy (Repubbliche Marinare).
At that time, the city was a very important commercial centre and controlled a significant Mediterranean merchant fleet and navy. It expanded its powers in 1005 through the sack of Reggio Calabria in the south of Italy. Pisa was in continuous conflict with some 'Saracens' - a medieval term to refer to Arab Muslims - who had their bases in Corsica, for control of the Mediterranean. In 1017, Sardinian Giudicati were militarily supported by Pisa, in alliance with Genoa, to defeat the Saracen King Mugahid, who had settled a logistic base in the north of Sardinia the year before. This victory gave Pisa supremacy in the Tyrrhenian Sea. When the Pisans subsequently ousted the Genoese from Sardinia, a new conflict and rivalry was born between these major marine republics. Between 1030 and 1035, Pisa went on to defeat several rival towns in Sicily and conquer Carthage in North Africa. In 1051–1052, the admiral Jacopo Ciurini conquered Corsica, provoking more resentment from the Genoese. In 1063, Admiral Giovanni Orlandi, coming to the aid of the Norman Roger I, took Palermo from the Saracen pirates. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of their cathedral and the other monuments which constitute the famous Piazza del Duomo.
In 1060, Pisa had to engage in their first battle with Genoa. The Pisan victory helped to consolidate its position in the Mediterranean. Pope Gregory VII recognised in 1077 the new "Laws and customs of the sea" instituted by the Pisans, and emperor Henry IV granted them the right to name their own consuls, advised by a council of elders. This was simply a confirmation of the present situation, because in those years, the marquis had already been excluded from power. In 1092, Pope Urban II awarded Pisa the supremacy over Corsica and Sardinia, and at the same time raising the town to the rank of archbishopric.
Pisa sacked the Tunisian city of Mahdia in 1088. Four years later, Pisan and Genoese ships helped Alfonso VI of Castilla to push El Cid out of Valencia. A Pisan fleet of 120 ships also took part in the First Crusade, and the Pisans were instrumental in the taking of Jerusalem in 1099. On their way to the Holy Land, the ships did not miss the occasion to sack some Byzantine islands; the Pisan crusaders were led by their archbishop Daibert, the future patriarch of Jerusalem. Pisa and the other Repubbliche Marinare took advantage of the crusade to establish trading posts and colonies in the Eastern coastal cities of the Levant. In particular, the Pisans founded colonies in Antiochia, Acre, Jaffa, Tripoli, Tyre, Latakia, and Accone. They also had other possessions in Jerusalem and Caesarea, plus smaller colonies (with lesser autonomy) in Cairo, Alexandria, and of course Constantinople, where the Byzantine Emperor Alexius I Comnenus granted them special mooring and trading rights. In all these cities, the Pisans were granted privileges and immunity from taxation, but had to contribute to the defence in case of attack. In the 12th century, the Pisan quarter in the eastern part of Constantinople had grown to 1,000 people. For some years of that century, Pisa was the most prominent commercial and military ally of the Byzantine Empire, overcoming Venice itself.
12th century
In 1113, Pisa and Pope Paschal II set up, together with the count of Barcelona and other contingents from Provence and Italy (Genoese excluded), a war to free the Balearic Islands from the Moors; the queen and the king of Majorca were brought in chains to Tuscany. Though the Almoravides soon reconquered the island, the booty taken helped the Pisans in their magnificent programme of buildings, especially the cathedral, and Pisa gained a role of pre-eminence in the Western Mediterranean.
In the following years, the powerful Pisan fleet, led by archbishop Pietro Moriconi, drove away the Saracens after ferocious battles. Though short-lived, this Pisan success in Spain increased the rivalry with Genoa. Pisa's trade with Languedoc, Provence (Noli, Savona, Fréjus, and Montpellier) were an obstacle to Genoese interests in cities such as Hyères, Fos, Antibes, and Marseille.
The war began in 1119 when the Genoese attacked several galleys on their way home to the motherland, and lasted until 1133. The two cities fought each other on land and at sea, but hostilities were limited to raids and pirate-like assaults.
In June 1135, Bernard of Clairvaux took a leading part in the Council of Pisa, asserting the claims of Pope Innocent II against those of Pope Anacletus II, who had been elected pope in 1130 with Norman support, but was not recognised outside Rome. Innocent II resolved the conflict with Genoa, establishing Pisan and Genoese spheres of influence. Pisa could then, unhindered by Genoa, participate in the conflict of Innocent II against king Roger II of Sicily. Amalfi, one of the maritime republics (though already declining under Norman rule), was conquered on August 6, 1136; the Pisans destroyed the ships in the port, assaulted the castles in the surrounding areas, and drove back an army sent by Roger from Aversa. This victory brought Pisa to the peak of its power and to a standing equal to Venice. Two years later, its soldiers sacked Salerno.
New city walls, erected in 1156 by Consul Cocco Griffi
In the following years, Pisa was one of the staunchest supporters of the Ghibelline party. This was much appreciated by Frederick I. He issued in 1162 and 1165 two important documents, with these grants: Apart from the jurisdiction over the Pisan countryside, the Pisans were granted freedom of trade in the whole empire, the coast from Civitavecchia to Portovenere, a half of Palermo, Messina, Salerno and Naples, the whole of Gaeta, Mazara, and Trapani, and a street with houses for its merchants in every city of the Kingdom of Sicily. Some of these grants were later confirmed by Henry VI, Otto IV, and Frederick II. They marked the apex of Pisa's power, but also spurred the resentment of other cities such as Lucca, Massa, Volterra, and Florence, thwarting their aim to expand towards the sea. The clash with Lucca also concerned the possession of the castle of Montignoso and mainly the control of the Via Francigena, the main trade route between Rome and France. Last, but not least, such a sudden and large increase of power by Pisa could only lead to another war with Genoa.
Genoa had acquired a dominant position in the markets of southern France. The war began in 1165 on the Rhône, when an attack on a convoy, directed to some Pisan trade centres on the river, by the Genoese and their ally, the count of Toulouse, failed. Pisa, though, was allied to Provence. The war continued until 1175 without significant victories. Another point of attrition was Sicily, where both the cities had privileges granted by Henry VI. In 1192, Pisa managed to conquer Messina. This episode was followed by a series of battles culminating in the Genoese conquest of Syracuse in 1204. Later, the trading posts in Sicily were lost when the new Pope Innocent III, though removing the excommunication cast over Pisa by his predecessor Celestine III, allied himself with the Guelph League of Tuscany, led by Florence. Soon, he stipulated[clarification needed] a pact with Genoa, too, further weakening the Pisan presence in southern Italy.
To counter the Genoese predominance in the southern Tyrrhenian Sea, Pisa strengthened its relationship with its traditional Spanish and French bases (Marseille, Narbonne, Barcelona, etc.) and tried to defy the Venetian rule of the Adriatic Sea. In 1180, the two cities agreed to a nonaggression treaty in the Tyrrhenian and the Adriatic, but the death of Emperor Manuel Comnenus in Constantinople changed the situation. Soon, attacks on Venetian convoys were made. Pisa signed trade and political pacts with Ancona, Pula, Zara, Split, and Brindisi; in 1195, a Pisan fleet reached Pola to defend its independence from Venice, but the Serenissima soon reconquered the rebel sea town.
One year later, the two cities signed a peace treaty, which resulted in favourable conditions for Pisa, but in 1199, the Pisans violated it by blockading the port of Brindisi in Apulia. In the following naval battle, they were defeated by the Venetians. The war that followed ended in 1206 with a treaty in which Pisa gave up all its hopes to expand in the Adriatic, though it maintained the trading posts it had established in the area. From that point on, the two cities were united against the rising power of Genoa and sometimes collaborated to increase the trading benefits in Constantinople.
13th century
In 1209 in Lerici, two councils for a final resolution of the rivalry with Genoa were held. A 20-year peace treaty was signed, but when in 1220, the emperor Frederick II confirmed his supremacy over the Tyrrhenian coast from Civitavecchia to Portovenere, the Genoese and Tuscan resentment against Pisa grew again. In the following years, Pisa clashed with Lucca in Garfagnana and was defeated by the Florentines at Castel del Bosco. The strong Ghibelline position of Pisa brought this town diametrically against the Pope, who was in a dispute with the Holy Roman Empire, and indeed the pope tried to deprive Pisa of its dominions in northern Sardinia.
In 1238, Pope Gregory IX formed an alliance between Genoa and Venice against the empire, and consequently against Pisa, too. One year later, he excommunicated Frederick II and called for an anti-Empire council to be held in Rome in 1241. On May 3, 1241, a combined fleet of Pisan and Sicilian ships, led by the emperor's son Enzo, attacked a Genoese convoy carrying prelates from northern Italy and France, next to the isle of Giglio (Battle of Giglio), in front of Tuscany; the Genoese lost 25 ships, while about a thousand sailors, two cardinals, and one bishop were taken prisoner. After this major victory, the council in Rome failed, but Pisa was excommunicated. This extreme measure was only removed in 1257. Anyway, the Tuscan city tried to take advantage of the favourable situation to conquer the Corsican city of Aleria and even lay siege to Genoa itself in 1243.
The Ligurian republic of Genoa, however, recovered fast from this blow and won back Lerici, conquered by the Pisans some years earlier, in 1256.
The great expansion in the Mediterranean and the prominence of the merchant class urged a modification in the city's institutes. The system with consuls was abandoned, and in 1230, the new city rulers named a capitano del popolo ("people's chieftain") as civil and military leader. Despite these reforms, the conquered lands and the city itself were harassed by the rivalry between the two families of Della Gherardesca and Visconti. In 1237 the archbishop and the Emperor Frederick II intervened to reconcile the two rivals, but the strains continued. In 1254, the people rebelled and imposed 12 Anziani del Popolo ("People's Elders") as their political representatives in the commune. They also supplemented the legislative councils, formed of noblemen, with new People's Councils, composed by the main guilds and by the chiefs of the People's Companies. These had the power to ratify the laws of the Major General Council and the Senate.
Decline
The decline is said to have begun on August 6, 1284, when the numerically superior fleet of Pisa, under the command of Albertino Morosini, was defeated by the brilliant tactics of the Genoese fleet, under the command of Benedetto Zaccaria and Oberto Doria, in the dramatic naval Battle of Meloria. This defeat ended the maritime power of Pisa and the town never fully recovered; in 1290, the Genoese destroyed forever the Porto Pisano (Pisa's port), and covered the land with salt. The region around Pisa did not permit the city to recover from the loss of thousands of sailors from the Meloria, while Liguria guaranteed enough sailors to Genoa. Goods, however, continued to be traded, albeit in reduced quantity, but the end came when the Arno started to change course, preventing the galleys from reaching the city's port up the river. The nearby area also likely became infested with malaria. The true end came in 1324, when Sardinia was entirely lost to the Aragonese.
Always Ghibelline, Pisa tried to build up its power in the course of the 14th century, and even managed to defeat Florence in the Battle of Montecatini (1315), under the command of Uguccione della Faggiuola. Eventually, however, after a long siege, Pisa was occupied by Florentines in 1405.[9] Florentines corrupted the capitano del popolo ("people's chieftain"), Giovanni Gambacorta, who at night opened the city gate of San Marco. Pisa was never conquered by an army. In 1409, Pisa was the seat of a council trying to set the question of the Great Schism. In the 15th century, access to the sea became more difficult, as the port was silting up and was cut off from the sea. When in 1494, Charles VIII of France invaded the Italian states to claim the Kingdom of Naples, Pisa reclaimed its independence as the Second Pisan Republic.
The new freedom did not last long; 15 years of battles and sieges by the Florentine troops led by Antonio da Filicaja, Averardo Salviati and Niccolò Capponi were made, but they failed to conquer the city. Vitellozzo Vitelli with his brother Paolo were the only ones who actually managed to break the strong defences of Pisa and make a breach in the Stampace bastion in the southern west part of the walls, but he did not enter the city. For that, they were suspected of treachery and Paolo was put to death. However, the resources of Pisa were getting low, and at the end, the city was sold to the Visconti family from Milan and eventually to Florence again. Livorno took over the role of the main port of Tuscany. Pisa acquired a mainly cultural role spurred by the presence of the University of Pisa, created in 1343, and later reinforced by the Scuola Normale Superiore di Pisa (1810) and Sant'Anna School of Advanced Studies (1987).
Pisa was the birthplace of the important early physicist Galileo Galilei. It is still the seat of an archbishopric. Besides its educational institutions, it has become a light industrial centre and a railway hub. It suffered repeated destruction during World War II.
Since the early 1950s, the US Army has maintained Camp Darby just outside Pisa, which is used by many US military personnel as a base for vacations in the area.
Geography
Climate
Pisa has a borderline humid subtropical climate (Köppen climate classification: Cfa) and Mediterranean climate (Köppen climate classification: Csa). The city is characterized by cool to mild winters and hot summers. This transitional climate allows Pisa to have summers with moderate rainfall. Rainfall peaks in autumn. Snow is rare. The highest officially recorded temperature was 39.5 °C (103.1 °F) on 22 August 2011 and the lowest was −13.8 °C (7.2 °F) on 12 January 1985.
Culture
Gioco del Ponte
In Pisa there was a festival and game fr:Gioco del Ponte (Game of the Bridge) which was celebrated (in some form) in Pisa from perhaps the 1200s down to 1807. From the end of the 1400s the game took the form of a mock battle fought upon Pisa's central bridge (Ponte di Mezzo). The participants wore quilted armor and the only offensive weapon allowed was the targone, a shield-shaped, stout board with precisely specified dimensions. Hitting below the belt was not allowed. Two opposing teams started at opposite ends of the bridge. The object of the two opposing teams was to penetrate, drive back, and disperse the opponents' ranks and to thereby drive them backwards off the bridge. The struggle was limited to forty-five minutes. Victory or defeat was immensely important to the team players and their partisans, but sometimes the game was fought to a draw and both sides celebrated.
In 1677 the battle was witnessed by Dutch travelling artist Cornelis de Bruijn. He wrote:
"While I stayed in Livorno, I went to Pisa to witness the bridge fight there. The fighters arrived fully armored, wearing helmets, each carrying their banner, which was planted at both ends of the bridge, which is quite wide and long. The battle is fought with certain wooden implements made for this purpose, which they wear over their arms and are attached to them, with which they pummel each other so intensely that I saw several of them carried away with bloody and crushed heads. Victory consists of capturing the bridge, in the same way as the fistfights in Venice between the it:Castellani and the Nicolotti."
In 1927 the tradition was revived by college students as an elaborate costume parade. In 1935 Vittorio Emanuele III with the royal family witnessed the first revival of a modern version of the game, which has been pursued in the 20th and 21st centuries with some interruptions and varying degrees of enthusiasm by Pisans and their civic institutions.
Festivals and cultural events
Capodanno pisano (folklore, March 25)
Gioco del Ponte (folklore)
Luminara di San Ranieri (folklore, June 16)
Maritime republics regata (folklore)
Premio Nazionale Letterario Pisa
Pisa Book Festival
Metarock (rock music festival)
Internet Festival San Ranieri regata (folklore)
Turn Off Festival (house music festival)
Nessiáh (Jewish cultural Festival, November)
Main sights
The Leaning Tower of Pisa.
While the bell tower of the cathedral, known as "the leaning Tower of Pisa", is the most famous image of the city, it is one of many works of art and architecture in the city's Piazza del Duomo, also known, since the 20th century, as Piazza dei Miracoli (Square of Miracles), to the north of the old town center. The Piazza del Duomo also houses the Duomo (the Cathedral), the Baptistry and the Campo Santo (the monumental cemetery). The medieval complex includes the above-mentioned four sacred buildings, the hospital and few palaces. All the complex is kept by the Opera (fabrica ecclesiae) della Primaziale Pisana, an old non profit foundation that has operated since the building of the Cathedral in 1063 to maintain the sacred buildings. The area is framed by medieval walls kept by the municipal administration.
Other sights include:
Santo Stefano dei Cavalieri, church sited on Piazza dei Cavalieri, and also designed by Vasari. It had originally a single nave; two more were added in the 17th century. It houses a bust by Donatello, and paintings by Vasari, Jacopo Ligozzi, Alessandro Fei, and Pontormo. It also contains spoils from the many naval battles between the Cavalieri (Knights of St. Stephan) and the Turks between the 16th and 18th centuries, including the Turkish battle pennant hoisted from Ali Pacha's flagship at the 1571 Battle of Lepanto.
St. Sixtus. This small church, consecrated in 1133, is also close to the Piazza dei Cavalieri. It was used as a seat of the most important notarial deeds of the town, also hosting the Council of Elders. It is today one of the best preserved early Romanesque buildings in town.
St. Francis. The church of San Francesco may have been designed by Giovanni di Simone, built after 1276. In 1343 new chapels were added and the church was elevated. It has a single nave and a notable belfry, as well as a 15th-century cloister. It houses works by Jacopo da Empoli, Taddeo Gaddi and Santi di Tito. In the Gherardesca Chapel are buried Ugolino della Gherardesca and his sons.
San Frediano. This church, built by 1061, has a basilica interior with three aisles, with a crucifix from the 12th century. Paintings from the 16th century were added during a restoration, including works by Ventura Salimbeni, Domenico Passignano, Aurelio Lomi, and Rutilio Manetti.
San Nicola. This medieval church built by 1097, was enlarged between 1297 and 1313 by the Augustinians, perhaps by the design of Giovanni Pisano. The octagonal belfry is from the second half of the 13th century. The paintings include the Madonna with Child by Francesco Traini (14th century) and St. Nicholas Saving Pisa from the Plague (15th century). Noteworthy are also the wood sculptures by Giovanni and Nino Pisano, and the Annunciation by Francesco di Valdambrino.
Santa Maria della Spina. A small white marble church alongside the Arno, is attributed to Lupo di Francesco (1230), is another excellent Gothic building.
San Paolo a Ripa d'Arno. The church was founded around 952 and enlarged in the mid-12th century along lines similar to those of the cathedral. It is annexed to the Romanesque Chapel of St. Agatha, with an unusual pyramidal cusp or peak.
San Pietro in Vinculis. Known as San Pierino, it is an 11th-century church with a crypt and a cosmatesque mosaic on the floor of the main nave.
Borgo Stretto. This medieval borgo or neighborhood contains strolling arcades and the Lungarno, the avenues along the river Arno. It includes the Gothic-Romanesque church of San Michele in Borgo (990). There are at least two other leaning towers in the city, one at the southern end of central Via Santa Maria, the other halfway through the Piagge riverside promenade.
Medici Palace. The palace was once a possession of the Appiano family, who ruled Pisa in 1392–1398. In 1400 the Medici acquired it, and Lorenzo de' Medici sojourned here.
Orto botanico di Pisa. The botanical garden of the University of Pisa is Europe's oldest university botanical garden.
Palazzo Reale. The ("Royal Palace"), once belonged to the Caetani patrician family. Here Galileo Galilei showed to Grand Duke of Tuscany the planets he had discovered with his telescope. The edifice was erected in 1559 by Baccio Bandinelli for Cosimo I de Medici, and was later enlarged including other palaces. The palace is now a museum.
Palazzo Gambacorti. This palace is a 14th-century Gothic building, and now houses the offices of the municipality. The interior shows frescoes boasting Pisa's sea victories.
Palazzo Agostini. The palace is a Gothic building also known as Palazzo dell'Ussero, with its 15th-century façade and remains of the ancient city walls dating back to before 1155. The name of the building comes from the coffee rooms of Caffè dell'Ussero, historic meeting place founded on September 1, 1775.
Mural Tuttomondo. A modern mural, the last public work by Keith Haring, on the rear wall of the convent of the Church of Sant'Antonio, painted in June 1989.
Museums
Museo dell'Opera del Duomo: exhibiting among others the original sculptures of Nicola Pisano and Giovanni Pisano, the Islamic Pisa Griffin, and the treasures of the cathedral.
Museo delle Sinopie: showing the sinopias from the camposanto, the monumental cemetery. These are red ocher underdrawings for frescoes, made with reddish, greenish or brownish earth colour with water.
Museo Nazionale di San Matteo: exhibiting sculptures and paintings from the 12th to 15th centuries, among them the masterworks of Giovanni and Andrea Pisano, the Master of San Martino, Simone Martini, Nino Pisano and Masaccio.
Museo Nazionale di Palazzo Reale: exhibiting the belongings of the families that lived in the palace: paintings, statues, armors, etc.
Museo Nazionale degli Strumenti per il Calcolo: exhibiting a collection of instruments used in science, between a pneumatic machine of Van Musschenbroek and a compass which probably belonged to Galileo Galilei.
Museo di storia naturale dell'Università di Pisa (Natural History Museum of the University of Pisa), located in the Certosa di Calci, outside the city. It houses one of the largest cetacean skeletons collection in Europe.
Palazzo Blu: temporary exhibitions and cultural activities center, located in the Lungarno, in the heart of the old town, the palace is easy recognizable because it is the only blue building.
Cantiere delle Navi di Pisa - The Pisa's Ancient Ships Archaeological Area: A museum of 10,650 square meters – 3,500 archaeological excavation, 1,700 laboratories and one restoration center – that visitors can visit with a guided tour.[19] The Museum opened in June 2019 and has been located inside to the 16th-century Medicean Arsenals in Lungarno Ranieri Simonelli, restored under the supervision of the Tuscany Soprintendenza. It hosts a remarkable collection of ceramics and amphoras dated back from the 8th century BCE to the 2nd century BC, and also 32 ships dated back from the second century BCE and the seventh century BC. Four of them are integrally preserved and the best one is the so-called Barca C, also named Alkedo (written in the ancient Greek characters). The first boat was accidentally discovered in 1998 near the Pisa San Rossore railway station and the archeological excavations were completed 20 years later.
Churches
St. Francis' Church
San Francesco
San Frediano
San Giorgio ai Tedeschi
San Michele in Borgo
San Nicola
San Paolo a Ripa d'Arno
San Paolo all'Orto
San Piero a Grado
San Pietro in Vinculis
San Sisto
San Tommaso delle Convertite
San Zeno
Santa Caterina
Santa Cristina
Santa Maria della Spina
Santo Sepolcro
Palaces, towers and villas
Palazzo della Carovana or dei Cavalieri.
Pisa by Oldypak lp photo
Pisa
Palazzo del Collegio Puteano
Palazzo della Carovana
Palazzo delle Vedove
Torre dei Gualandi
Villa di Corliano
Leaning Tower of Pisa
Sports
Football is the main sport in Pisa; the local team, A.C. Pisa, currently plays in the Serie B (the second highest football division in Italy), and has had a top flight history throughout the 1980s and the 1990s, featuring several world-class players such as Diego Simeone, Christian Vieri and Dunga during this time. The club play at the Arena Garibaldi – Stadio Romeo Anconetani, opened in 1919 and with a capacity of 25,000.
Notable people
For people born in Pisa, see People from the Province of Pisa; among notable non-natives long resident in the city:
Giuliano Amato (born 1938), politician, former Premier and Minister of Interior Affairs
Alessandro d'Ancona (1835–1914), critic and writer.
Silvano Arieti (1914–1981), psychiatrist
Gaetano Bardini (1926–2017), tenor
Andrea Bocelli (born 1958), tenor and multi-instrumentalist.
Giosuè Carducci (1835–1907), poet and 1906 Nobel Prize in Literature winner.
Massimo Carmassi (born 1943), architect
Carlo Azeglio Ciampi (1920–2016), politician, former President of the Republic of Italy
Maria Luisa Cicci (1760–1794), poet
Giovanni Carlo Maria Clari (1677–1754), a musical composer and maestro di cappella at Pistoia.
Alessio Corti (born 1965), mathematician
Rustichello da Pisa (born 13th century), writer
Giovanni Battista Donati (1826–1873), an Italian astronomer.
Leonardo Fibonacci (1170–1250), mathematician.
Galileo Galilei (1564–1642), physicist.
Giovanni Gentile (1875–1944), philosopher and politician
Orazio Gentileschi (1563–1639), painter.
Count Ugolino della Gherardesca (1214–1289), noble (see also Dante Alighieri).
Giovanni Gronchi (1887–1978), politician, former President of the Republic of Italy
Giacomo Leopardi [1798–1837), poet and philosopher.
Enrico Letta (born 1966), politician, former Prime Minister of Italy
Marco Malvaldi (born 1974), mystery novelist
Leonardo Ortolani (born 1967), comic writer
Antonio Pacinotti (1841–1912), physicist, inventor of the dynamo
Andrea Pisano (1290–1348), a sculptor and architect.
Afro Poli (1902–1988), an operatic baritone
Bruno Pontecorvo (1913–1993), nuclear physicist
Gillo Pontecorvo (1919–2006), filmmaker
Ippolito Rosellini (1800–1843), an Egyptologist.
Paolo Savi (1798–1871), geologist and ornithologist.
Antonio Tabucchi (1943–2012), writer and academic
Sport
Jason Acuña (born 1973), Stunt performer
Sergio Bertoni (1915–1995), footballer
Giorgio Chiellini (born 1984), footballer
Camila Giorgi (born 1991), tennis player