Cemitério da Consolação
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"Perché dipingo la danza? È il movimento della gente e delle cose che ci consola. Se le foglie degli alberi non si muovessero, gli alberi sarebbero infinitamente tristi e la loro tristezza sarebbe la nostra..."
(Edgar Degas)
" Pourquoi je peins la danse ? C’est le mouvement des gens et des choses qui nous console. Si les feuilles des arbres ne bougeaient pas, les arbres seraient infiniment tristes et leur tristesse serait la nôtre..." (Edgar Degas)
“Why do I paint dance? It is the movement of people and things that consoles us. If the leaves of the trees did not move, the trees would be infinitely sad and their sadness would be ours..." (Edgar Degas)
Pensée du jour :
La musique chasse la haine chez ceux qui sont sans amour. Elle donne la paix à ceux qui sont sans repos, elle console ceux qui pleurent.
-Music hunts the hatred to those who are without love. She gives the peace to those who are without rest, she consoles those who cry.
-Musik jagt das Haß zu denjenigen, die ohne Liebe sind. Sie gibt den Frieden denjenigen, die ohne Ruhe(Rest) sind, tröstet sie diejenigen, die schreien.
-La musica caccia l'odio a quelli che sono senza amore. Lei dà la pace a quelli che sono senza resto, lei consola quelli che piangono.
Flor/Flower: 14-17 mm llargada / long
CATALÀ
La búgula o consolda (Ajuga reptans), és, com l'epítet del seu nom científic indica, una planta reptant o prostrada, pertany a la família de les lamiàcies i és una planta medicinal i ornamental. Es considera planta invasora en algunes parts d'Amèrica.
Addicionalment pot rebre els noms de consolda mitjana, esquiva, herba de Sant Llorenç i iva. També s'han recollit les variants lingüístiques bugula, consola, consola mitjana, consolda media i consolva.
Hemicriptòfit perenne proveït d'un rizoma del qual ixen llargs estolons i d'aquestes tiges de 10-40 cm, erectes, pubescents en cares oposades que alternen en cada entrenús i a vegades amb la base glabra. Les fulles basals formen un roseta, de 25-90 x 10-40 mm, ovades, senceres o crenades i peciolades. Les flor]s es disposen en verticilastres densos, normalment de 6 flors, amb bràctees ovades, blaves, sent les superiors més curtes que les flors. El calze, de 4-6 mm, està format per 5 sèpals soldats formant un tub més o menys regular que s'obri per 5 dents tan llargues com el tub. La corol·la, blavosa, més rarament blanca o rosa, de 14-17 mm, té un tub més llarg que el calze, amb un anell de pèls a l'interior, que s'obri a l'exterior per dos llavis: el superior, bastant curt i sencer, i l'inferior, trilobulat. L'androceu està format per 4 estams exserts de filaments pilosos i el gineceu per un ovari dividit en 4 parts, del centre del qual ix l'estil. El fruit està format per 4 núcules reticulades. Floreix d'abril a juliol.
ENGLISH
Ajuga reptans is a sprawling perennial herb[2] with erect flowering stems and grows to a height of about 10 to 35 cm (4 to 14 in). The stems are square, in cross-section, with hairs on two sides and the plant has runners that spread across the surface of the ground. The purplish-green, stalked leaves are in opposite pairs. The leaf blades are hairless and are elliptical or ovate with a rounded tip and shallowly rounded teeth on the margin. The inflorescence forms a dense raceme and is composed of whorls of blue flowers, each with dark veins on the lower lip. The calyx has five toothed lobes and the corolla forms a two-lipped flower about 14 to 17 mm (0.6 to 0.7 in) long with a short tube. The upper lip of each flower is short and flat with a smooth edge and the lower lip is three-lobed, the central lobe being the largest, flat with a notched tip. There are four stamens, two long and two short, which are longer than the corolla and are attached to the tube. The ovary is superior and the fruit is a schizocarp with four chambers.
WIKIPEDIA
Favignana, fine Maggio, Sicilia /Favignana end of May, Sicily.
...the only thing that eases my soul is the sea
...l'unica cosa che mi consola l'anima è il mare.
Freely inspired by:
Dove vai quando poi resti sola?
Il ricordo, come sai, non consola
Quando lei se ne andò, per esempio
Trasformai la mia casa in un tempio
E da allora solo oggi non farnetico più
A guarirmi chi fu
Ho paura a dirti che sei tu
Ora noi siamo già più vicini
Io vorrei, non vorrei, ma se vuoi
Come può uno scoglio
Arginare il mare
Anche se non voglio
Torno già a volare
Le distese azzurre
E le verdi terre
Le discese ardite
E le risalite
Su nel cielo aperto
E poi giù il deserto
E poi ancora in alto
Con un grande salto
Dove vai quando poi resti sola?
Senza ali tu lo sai non si vola
Io quel dì mi trovai per esempio
Quasi sperso in quel letto così ampio
Stalattiti sul soffitto i miei giorni con lei
Io la morte abbracciai
Ho paura a dirti che per te
Mi svegliai
Oramai fra di noi solo un passo
Io vorrei, non vorrei ma se vuoi
Come può uno scoglio
Arginare il mare
Anche se non voglio
Torno già a volare
Le distese azzurre
E le verdi terre
Le discese ardite
E le risalite
Su nel cielo aperto
E poi giù il deserto
E poi ancora in alto
Con un grande salto
(Giulio Rapetti Mogol / Lucio Battisti)
Where do you go when you are alone?
The memory, as you know, is not consoling
When she left, for example
I turned my house into a temple
And since then only today I no longer rave
To heal me who it was
I'm afraid to tell you that it's you
Now we're already closer
I would, I wouldn't, but if you want
How can a rock
Curb the sea
Even if I don't want to
I'm already flying again
The blue expanses
And green lands
The bold descents
And the climbs
Up into the open sky
And then down into the desert
And then up again
With a great leap
Where do you go when you're alone?
You know you can't fly without wings
That day I found myself
Almost lost in that bed so wide
Stalactites on the ceiling my days with her
I embraced death
I am afraid to tell you that for you
I woke up
Now between us only a step
I would like, I would not like but if you want
How can a rock
Curb the sea
Even if I don't want to
I'm already flying again
The blue expanses
And green lands
The bold descents
And the climbs
Up into the open sky
And then down into the desert
And then up again
With a great leap
Textured:
Oil effect
Paint-Stroke
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CANON EOS 400D EXIF 1/400 f/8 70-300 mm ISO 400 + HDR
Ferrari
El Ferrari 360 es un automóvil deportivo de altas prestaciones producido por el fabricante italiano Ferrari entre los años 1999 y 2004. Las distintas variantes llevan nombres diferenciados: el cupé se denomina 360 Modena y el descapotable 360 Spider. Existen tres versiones de competición llamadas 360 Challenge, 360 GT y 360 GTC.
El 360 es el primer Ferrari en el que el chasis y la carrocería están construidas completamente en aluminio. Esto le permite tener un 40% más de rigidez torsional y pesar 80 kilos menos que su predecesor el F355.
Su motor es un V8 de 3.568 cc de cilindrada a 90º con cinco válvulas por cilindro, distribución variable de válvulas, 400 CV de potencia máxima (a 8500 rpm) y un torque de 38 Kgm (a 4750 rpm). El bloque está construido en aluminio y su disposición es central trasero longitudinal, tiene tracción trasera y un control de tracción desconectable. Incluye un sistema en el que el motor se acelera levemente luego de realizar un rebaje, compensando así la caída de vueltas.
La caja de cambios es de seis velocidades, pudiendo elegir entre la clásica selectora ubicada en la consola central (con la rejilla guía característica de los Ferrari), o la opción F1. Esta última consiste en dos levas tras el volante, cuya función es mandar una señal a una bomba electrohidráulica que mueve un sistema de poleas acopladas a la caja de cambios cada vez que se sube o se baja una marcha. De esta manera se prescinde del pedal del embrague. En cuanto a utilizar la marcha atrás en esta configuración, se consigue pisando el freno y moviendo una pequeña palanca que ocupa el lugar de la selectora tradicional.
El sistema de frenos consiste en discos ventilados Brembo de 330 mm de diámetro y ABS, en las cuatro ruedas. Esto le permite al 360 pasar de 200 Km/h a 0 en 144 metros o 5,1 segundos (10 metros y 4 décimas menos que el F355).
The Ferrari 360 is a high performance sports car produced by Italian manufacturer Ferrari between 1999 and 2004. Variants have names distinct is called the 360 Modena coupe and 360 Spider convertible. There are three versions of the competition called Challenge 360, 360 and GT 360 GTC.
The Ferrari 360 is the first in which the body and chassis are built entirely of aluminum. This allows you to have 40% more torsional rigidity and weigh 80 pounds less than its predecessor, the F355.
Its engine is a V8 of 3568 cc displacement and 90 ° with five valves per cylinder, variable valve, 400 hp maximum power (at 8500 rpm) and a torque of 38 Kgm (at 4750 rpm). The block is constructed of aluminum and is available central longitudinal rear, rear and has a traction control off. Includes a system where the engine is accelerated slightly after holding a recess, thereby offsetting the decline of rounds.
The gearbox is six speeds to choose between the classic selector located in the center console (with the characteristic of the grid guide Ferrari), or the F1 option. The latter consists of two cam behind the wheel, whose function is to send a signal to an electro-pump that moves a pulley system attached to the gearbox every time you go up or down a gear. In this way it dispenses with the clutch pedal. As for using the reverse gear in this configuration is achieved by moving the brake and stepping on a small lever that takes the place of the traditional selector.
The braking system is Brembo ventilated discs of 330 mm in diameter and ABS at all four wheels. This allows you to move from 360 to 200 km / ha 0 in 5.1 seconds or 144 meters (10 meters and 4 tenths less than the F355).
Alagna Valsesia. Italy.
The refuge called Baita Grignasco, located in a restored ancient building of the alpine settlement named Stofful Inferiore, at 1,800m above the sea.
Another sad winter without snow on the Alps. But, at least, hiking is easier.
Il rifugio della Baita Grignasco, all'Alpe Stofful inferiore.
Un-altro triste inverno senza neve, ci si consola con il fatto che è più facile camminare in quota.
www.youtube.com/watch?v=19bJXzWorNM
"Gaida", Romanian traditional folk song from Dobrogea area.
www.youtube.com/watch?v=t3g1XMakoEQ
The Lion In Winter- Main Title
.
.
photo:
consola de la Turnul Colţei
sculpture saved from a demolished church bell tower
courtyard of Stavropoleos Monastery
Stavropoleos Monastery, Bucharest, Romania
www.flickr.com/groups/stavropoleos/
www.monumenteromania.ro/index.php/monumente/detalii/en/St...
Sonnerie de Ste. Geneviève du Mont-de-Paris
Sinaia Royal Railway Station (1937-1938)
Gara Regală Sinaia (Ansamblul Gării Sinaia)
architect: Duiliu Marcu
www.monumenteromania.ro/index.php/monumente/detalii/en/Ga...
Category: Railway stations/railroads/roundhouses
Period: 1930 - 1940
Importance: A
LMI code: PH-II-m-A-16673.02
Address: Piaţa Democraţiei 2
Location: oraş SINAIA
District: Prahova
Region: Muntenia
Duiliu Marcu
en.wikipedia.org/wiki/Duiliu_Marcu
Kingdom of Romania 1881–1947
constitutional monarchy
en.wikipedia.org/wiki/Kingdom_of_Romania
.
Stand with Ukraine!
Il gelato è il mio conforto, mi ripaga d'ogni torto, il gelato mi consola e fa dolce la mia gola.
_______________________________________________
The ice cream is my comfort, I repays all wrong, the ice cream consoles me and makes sweet my throat.
Las cosas simples de antes llegan a ser muy divertidas hoy
Wheel of Fortune Pirates of the Caribbean - Hans Zimmer
Wall-E y yo hemos estado estos días investigando las posibilidades de comprar una consola de videojuego porque lamentablemente mi hermano dañó el Xbox u.u y bueno ya me hizo falta echar un jueguito y el Wii no nos parece mala idea n.n
____________________
Wii want to play
These days Wall-E and I have been researching the possibility of buy a game console because unfortunately my brother damaged the xbox and because sometimes I feel like playing some game, I would like to have a Wii :)
Sonnerie de Ste. Geneviève du Mont-de-Paris
Sinaia Royal Railway Station (1937-1938)
Gara Regală Sinaia (Ansamblul Gării Sinaia)
architect: Duiliu Marcu
www.monumenteromania.ro/index.php/monumente/detalii/en/Ga...
Category: Railway stations/railroads/roundhouses
Period: 1930 - 1940
Importance: A
LMI code: PH-II-m-A-16673.02
Address: Piaţa Democraţiei 2
Location: oraş SINAIA
District: Prahova
Region: Muntenia
Duiliu Marcu
en.wikipedia.org/wiki/Duiliu_Marcu
Kingdom of Romania 1881–1947
constitutional monarchy
en.wikipedia.org/wiki/Kingdom_of_Romania
.
Stand with Ukraine!
PRAYER
Listen to my God,
Benign my prayer.
My soul is sad consoles
and heart
protect from the deception.
Only you the source of life,
light shine.
In sin, I, a poor child,
I want it all, dare all.
Superb, very stubborn,
I follow the voice of the wind.
But still other invitations,
temptations.
The haunting song of the sirens,
the smile of the powerful,
lie, I know,
perhaps misleading.
Nobody wants to suffer,
ignored, shunned,
Vacuum around
pain, crying only
Giovanni DE SANTIS
(my brother)
-----------------------------------------------------------------------------------------------------------------
ITALIANO
PREGHIERA
Ascolta mio Dio,
benigno la mia preghiera.
La mia anima afflitta consola
e il cuore
dagli inganni allontana.
Tu solo sorgente di vita,
luce, splendore.
In peccato , io, povero figlio,
voglio tutto, tutto oso.
Superbo,anche caparbio,
inseguo del vento la voce.
Ma ancora altri inviti,
richiami.
Delle sirene Il canto ammaliante,
dei potenti il sorriso,
bugia, io lo so,
inganno forse.
Soffrire non vuole nessuno,
ignorato, scansato,
Vuoto intorno,
che male, pianto soltanto.
Giovanni DE SANTIS
(MIO FRATELLO)
The organ on the Gospel side is located in an elevated position between two columns and facing the Epistle organ. In the same way, the main facade faces the central nave and its counterfacade to the side nave of the Gospel.
It is a romantic instrument in its sonorous construction and embedded in a baroque box, which was also built by Leonardo Fernández Dávila between 1744 and 1749 with the collaboration of Jorge Bosch, among other organ builders, and having been subsequently intervened in successive occasions. Of these, perhaps the most profound transformation was that carried out by Pedro Ghys Guillemín in 1928, who adapted it to the romantic sound currents of the time.
To describe the appearance of its front facade, we could refer to the one made on the same facade of the organ of the Epistle, since except for some ornamental elements, they are twin boxes. The same resemblance keeps the description of its contrafachada.
Like the front façade, there are fields or castles made up of canon tubes.
As for the console, it is separated from the piece of furniture and located in the body of the exterior cadereta, with two electric transmission keyboards for the main organ and expressive organ. The secrets are also electric.
It has a large double-fold parallel bellows fed by a motor pump.
This organ is also operational, being used in concerts where an instrument capable of interpreting the romantic literature of the s is required. XIX and also XX.
El órgano del lado del Evangelio se localizada en una posición elevada entre dos columnas y enfrentado al de la Epístola. De la misma forma, la fachada principal da a la nave central y su contrafachada a la nave lateral del Evangelio.
Se trata de un instrumento romántico en su construcción sonora y embutido en una caja barroca, el cual fue construido también por Leonardo Fernández Dávila entre los años 1744 y 1749 con la colaboración de Jorge Bosch, entre otros organeros, y habiendo sido intervenido posteriormente en sucesivas ocasiones. De éstas, quizás la transformación más profunda fue la realizada por Pedro Ghys Guillemín en 1928, quien lo adaptó a las corrientes sonoras románticas de la época.
Para hacer una descripción del aspecto de su fachada frontal podríamos remitirnos a la realizada sobre la misma fachada del órgano de la Epístola, pues salvo algunos elementos ornamentales, se trata de cajas gemelas. La misma semejanza guarda la descripción de su contrafachada.
Al igual que la fachada frontal, existen campos o castillos compuestos de tubos canónigos.
En cuanto a la consola, ésta se encuentra separada del mueble y ubicada en el cuerpo de la cadereta exterior, contando con dos teclados de transmisión eléctrica para el órgano mayor y órgano expresivo. Los secretos son también eléctricos.
Dispone de un gran fuelle paralelo de doble pliegue alimentado por una motobomba.
Este órgano se encuentra igualmente operativo, siendo utilizado en conciertos donde se requiere un instrumento capaz de interpretar la literatura romántica propia del s. XIX y también del XX.
Santa iglesia catedral metropolitana de santa María de la Encarnación
Granada (Andalucía/ Spain).
El arte y la imaginación de lo digital, la singularidad de su belleza.
A través de su inmersión en chatarrerías y mercadillos ha generado un diálogo entre el pasado analógico y el presente digital, mediante la utilización de tecnologías obsoletas (cintas de VHS y 35 mm, discos duros, CDs, consolas, etc.) como materia prima sobre las cuales proyecta animaciones que las devuelven a la vida recuperando la memoria colectiva que contienen.
Sus imágenes son de una belleza incontestable.
Let me say a huge thank you, for over than 7 million visits that I receive in networks. But please do not leave one of those big logos, that are flooding in flickr .
If you like, to see more of my photography, go to
www.flickr.com/photos/agustinruiz/
Skyline view of São Paulo, seen from the Consolação district.
The region is quite central in the city and the view that we have is towards north-northeast.
São Paulo is a really huge city. In the pîcture we're looking towards just a small part of the "stone jungle" that composes it, as we're seeing nothing of the south part of the city.
Weather was not nice... but then again, one of the nickames of the city is "Terra da garoa" (Drizzleland), isn't it?
El sensor de movimiento de las primeras consolas es muy efectivo....
The movement sensor of the first consoles is quite effective...
Il Tempio di Santa Maria della Consolazione, importante luogo di culto cattolico di Todi il cui progetto fu attribuito a Donato Bramante, è uno degli edifici simbolo dell'architettura del Rinascimento italiano. Fu realizzato all'esterno delle mura duecentesche della città e la sua costruzione, cominciata nel 1508, si concluse dopo cent'anni. Ha una pianta a forma di croce greca e alla sommità della cupola è alto circa 70 metri.
A partire dal Rinascimento edifici di queste dimensioni vengono spesso collocati al di fuori delle mura di cinta perché la città medievale non dispone più di aree edificabili all'interno delle mura e i comuni trovano nei luoghi esterni la possibilità di creare soluzioni urbanistiche nuove e svincolate dai canoni di spazio e di forma imposti dagli edifici circostanti.
(it.wikipedia.org/wiki/Tempio_di_Santa_Maria_della_Consola...)
The Temple of Santa Maria della Consolazione, an important place of Catholic cult in Todi whose project was attributed to Donato Bramante, it is one of the landmark buildings of Italian Renaissance architecture. It was built outside of the thirteenth-century walls of the city and its construction, which began in 1508, ended after a hundred years. It is in the shape of a Greek cross and at the top of the dome is 70 meters high.
Starting from the Renaissance, building of this size were often placed outside the walls of the medieval city because there were no longer buildable areas within the city walls and in that way it was possible creating new urban solutions unalloyed to follow the canons and shapes imposed by the surrounding buildings.
A Rua do Amparo, situada na histórica Baixa Pombalina de Lisboa, é emblemática pela sua arquitetura uniforme, resultado da reconstrução após o terramoto de 1755. Os típicos candeeiros de iluminação pública em ferro forjado, datados do século XIX, destacam-se nas fachadas dos edifícios pombalinos. Originariamente, a iluminação da cidade começou com candeeiros de azeite em 1780, sob a ordem de D. Maria I, para melhorar a segurança noturna. Estes modelos, influenciados pela estética francesa, eram acesos manualmente e fixados em consolas de ferro forjado. A transição para a iluminação a gás ocorreu em 1848, seguida pela eletricidade, mas muitos suportes originais, decorados com símbolos característicos como a caravela e os corvos, permaneceram. Assim, os candeeiros da Rua do Amparo não são somente um elemento funcional, mas também um testemunho da evolução da iluminação urbana e da importância do mobiliário urbano na identidade visual de Lisboa.
Amparo street, located in Lisbon's historic Baixa Pombalina, is emblematic for its uniform architecture, the result of reconstruction after the 1755 earthquake. The typical wrought iron street lamps, dating from the 19th century, stand out on the façades of the Pombaline buildings. The city's lighting originally began with oil lamps in 1780, by order of Queen Maria I, to improve night-time security. These models, influenced by French aesthetics, were lit manually and fixed to wrought iron brackets. The transition to gas lighting took place in 1848, followed by electricity, but many original brackets, decorated with characteristic symbols such as the caravel and crows, remained. Thus, the lamps on Rua do Amparo are not only a functional element, but also a testimony to the evolution of urban lighting and the importance of street furniture in Lisbon's visual identity.
Encore une devanture plus qu'intéressante. La console est composé de beaux corbeaux finement sculptés et le fer forgé est de très bonne facture. Pour autant comme vous le voyer au premier coup d'œil, le grés rose est attaquée par l'humidité? Il ne va pas falloir trop tarder à rénover.
"L’invidia è la religione dei mediocri. Li consola, risponde alle inquietudini che li divorano e, in ultima istanza, imputridisce le loro anime e consente di giustificare la loro grettezza e la loro avidità fino a credere che siano virtù e che le porte del cielo si spalancheranno solo per gli infelici come loro, che attraversano la vita senza lasciare altra traccia se non i loro sleali tentativi di sminuire gli altri e di escludere, e se possibile distruggere, chi, per il semplice fatto di esistere e di essere ciò che è, mette in risalto la loro povertà di spirito, di mente e di fegato."
Carlos Ruiz Zafón, “Il gioco dell’angelo”
"Envy is the religion of the poor. Comforts them, respond to concerns that devour them, and ultimately rots their souls and allows them to justify their greed and meanness to believe that they are virtues and that the gates of heaven will open wide just as miserable for them who go through life without leaving any other trace unfair if not their attempts to belittle others and to exclude, and if possible to destroy, who, for the simple reason to exist and be what it is, highlights the poverty of their spirit, mind and liver".
Carlos Ruiz Zafon, "The Play of the Angel"
Copyright © 2011 Katia Celestini. Tutti i diritti riservati.
#4 Music Project ♪
-Parecía que no iba a llegar, pero al fin he subido la 4º foto del proyecto.
Estoy contenta con el resultado, aunque mi idea del proyecto (en general) era representar las frases de una manera un poco más rebuscada, pero de todas formas estoy contenta con el proyecto de momento (más aun si subiera fotos más a menudo).
▪ En la foto→ Isa (/IsittaMagic)
▪ Hecha/retocada por→ mí.
Non se consola o que non quere
Unha gavia facendo Antón Valiña,
De seis cuartas de fondo e tres de anchura
Co-a idea de prantar en ela viña,
Daba ô diaño os aveños y-a feitura,
Pois en inda non vintecinco brazas
Terrón saía de outras tantas trazas.
Anque baixo rosmaba
Antón, certo veciño que o escoitaba
Respondeulle: o traballo non atrases
Pensando así. Menos distancia ô cabo
Do porco, e mira, do fuciño ô rabo
De carne, e mais non mala, cantas crases.
Conformándose ô fin c-o que escoitaba
Antón, —¡e que remedio lle quedaba!—
Seguíu co-a gavia, que o refrán xa dixo
Que se consolou sempre aquel que quixo.
Amador Montenegro, Fábulas Galaico-Castellanas, 1917.
MÚSICA: Martin Codax - Quantas sabedes amar, interpretado por The Dufay Collective
Photo pas dingue dans sa réalisation, je n'avais pas encore le réflexe des panoramiques à l'époque, mais je souhaitais vous la partager néanmoins.
Tout comme l'immeuble voisin de la photo précédente, nous avons ici affaire avec un style Sécession tardif. Ce qui peut totalement s'apparenter à l'art Déco naissant se développant totalement après la première guerre mondiale. Les formes organiques laissent place aux formes géométrique tout en continuant la déconnexion des styles classiques et leur revival. Adieu les références à l'antique (quoi que y a des atlantes quand même) et aux inspirations religieuses, place aux angles.
Sources : Encyclopédie de Prague 2 (CZ) && Monument historique (CZ)
Cámara de Comercio e Industria de Bucarest
El palacio, un edificio prestigioso de la arquitectura de Bucarest de principios del siglo XX, es apreciado por los especialistas de la época como "un monumento de majestuosidad sencilla y hermosa, con una fachada grandiosa, clásica y viva".
La entrada principal, en esquina, con el balcón curvo sacado en la consola sobre la que preside un arco en el centro, constituye el elemento principal del edificio.
The palace, a prestigious building of Bucharest architecture of the early 20th century, is appreciated by specialists of the time as "a monument of simple and beautiful majesty, with a grand, classical and lively façade".
The main entrance, on the corner, with the curved balcony extending into the console over which an arch presides in the center, constitutes the main element of the building.
Bucharest. Romania Europe
No ambicionan tu Consola, tu Televisión, tu Facebook, tu Teléfono Móvil, tu MP4, tu Ropa
de Marca ni nada que a nuestra sociedad vacía las mentes...
No necesitan competir en Videojuegos ni encerrarse en Redes Sociales ...
Tan sólo necesitan Ilusión, unos Amigos, un Balón y la Calle, su propio Campo de Batallas...
Calles de Meknes, Marruecos
La Casa de los Tiros es un museo e inmueble situado en la ciudad española de Granada, comunidad autónoma de Andalucía. Se encuentra ubicada en el barrio del Realejo, en la calle Pavaneras. Su nombre se debe a las piezas de artillería que hay en sus almenas. Actualmente es la sede del Museo Casa de los Tiros de Granada; durante algunos años, fue sede asimismo del Ateneo de Granada.
Fue construida en el siglo XVI a similitud de los palacios granadinos de la época y adquirida por Gil Vázquez de Rengifo, comendador de Montiel y uno de los caballeros que participaron en la Conquista de Granada junto a los Reyes Católicos. La casa formó parte de la muralla del barrio de los Alfareros, de ahí su aspecto de fortaleza militar. Del edificio original solo se conserva el Torreón, en torno al cual se ha ido construyendo posteriormente.
Los primeros propietarios de la casa fueron los Granada Venegas, linaje que comienza con Pedro de Granada (Cidi Yahya) noble descendiente de Yusuf IV e hijo del infante del Almería y Alcaide de Baza, se reconvirtió al cristianismo. Se casó con su prima Cetti Meriem, que cambió su nombre por el de María Venegas una vez reconvertida junto a su marido, comenzando con esta unión el linaje de los Granada-Venegas.
La casa ha pertenecido hasta 1921 a los marqueses de Campotejar, título que le fue otorgado a la familia Granada Venegas en reconocimiento a los servicios prestados a la corona. Tras un largo pleito mantenido con ellos (desde el siglo XVIII al XX), pasó a manos del Estado.
La fachada de la torre, pues tal es la forma del edificio, de sillería y decorada por cinco esculturas sobre consolas, que representan a Hércules, Teseo, Mercurio, Jasón y Héctor. Los héroes están representados en actitud de disposición a entrar en batalla en cualquier momento. Tienen los pies separados para alcanzar mayor estabilidad, los hombros enderezados y la vista enfocada fijamente a la lejanía. Las figuras son en tamaño natural y dado que la fachada del estrecho edificio de tres pisos carece de otros elementos decorativos, su virilidad y belicosidad causan una gran impresión.4En la fachada se abre una gran puerta adintelada del siglo XVII y sobre ésta hay tallada una espada que perfora un corazón. Se puede leer el siguiente lema: "El (corazón) manda". Encontramos dos balcones y tres aldabas de bronce, sujetas por corazones a modo de clavos que las sujetan, donde puede leerse: "¡El corazón manda! Gente de guerra, exercita las armas.
El corazón se quiebra cual aldaba llamándonos a la batalla y Aldabadas son las que da Dios y las siente el corazón"
El zaguán, de gran altura, ocupa la parte baja de la torre, cubierto por un techo de madera plano con grandes vigas apoyadas en zapatas góticas. Entre las vigas, pinturas policromadas de animales mitológicos y fieras luchando.
El patio de formas sencillas, con paredes encaladas, y al estilo musulmán con una pequeña fuente en medio y columnas nazaríes.
La escalera principal moderna, datada del siglo XVIII y culminada con bóveda con ventanas, da paso a la planta superior, y decorada con una colección procedente del Generalife de retratos de los reyes españoles de la Casa de Austria realizados por los retratistas de la Corte, copias efectuadas durante los siglos XVI y XVII.
La escalera principal en el siglo XVI, contiene decoración pictórica mural, representando a las virtudes: Caridad, Esperanza, Justicia y una Inmaculada.
En la parte trasera del edificio se encuentra el pequeño jardín, tan típico de las construcciones granadinas, donde se encuentran cipreses, parterres de boj, granados, naranjos y arrayanes. Cuenta con una fuente y un estanque, así como con bustos y esculturas. Algunos de sus arbustos tienen nombres, al haber sido plantados por intelectuales de la época, como es el caso de un laurel que plantó Elena Martín Vivaldi.
La Cuadra Dorada, la sala más emblemática del edificio, con armadura renacentista que decora su techo y pinturas murales. Su nombre hace referencia a la abundancia de reflejos dorados de su alfarje o artesonado. Formado por grandes tablones con bajorrelieves y textos, apoyados en grandes vigas y zapatas con formas de personajes históricos, representando un tablero de ajedrez, siendo una muestra de aquellos que lucharon por conseguir la unidad de España, describiendo bajo cada uno las hazañas que los hicieron famosos. Se encuentra Alarico, Hermenegildo, Recaredo, Alfonso V, López de Mendoza, así como los Reyes Católicos artífices de dicha unidad y Carlos I, que la elevó a categoría de Imperio, e Isabel de Portugal . Los frescos ubicados en las paredes representan a héroes y guerreros, y hay cuatro tondos con las figuras en relieve de heroínas de la Antigüedad.
es.wikipedia.org/wiki/Casa_de_los_Tiros
The Casa de los Tiros is a museum and building located in the Spanish city of Granada, in the autonomous community of Andalusia. It is located in the Realejo neighbourhood, on Pavaneras Street. Its name comes from the artillery pieces on its battlements. It is currently the headquarters of the Museo Casa de los Tiros de Granada; for some years it was also the headquarters of the Granada Athenaeum.
It was built in the 16th century in the style of the Granada palaces of the time and was acquired by Gil Vázquez de Rengifo, Commander of Montiel and one of the knights who took part in the Conquest of Granada alongside the Catholic Monarchs. The house formed part of the wall of the Alfareros quarter, hence its appearance as a military fortress. Of the original building, only the tower remains, around which construction has been carried out since then.
The first owners of the house were the Granada Venegas, a lineage that began with Pedro de Granada (Cidi Yahya), a noble descendant of Yusuf IV and son of the Infante del Almería and Alcaide de Baza, who reconverted to Christianity. He married his cousin Cetti Meriem, who changed her name to María Venegas once she and her husband were reconverted, thus beginning the lineage of the Granada-Venegas family.
The house belonged until 1921 to the Marquises of Campotejar, a title granted to the Granada Venegas family in recognition of their services to the crown. After a long dispute with them (from the 18th to the 20th century), it passed into the hands of the State.
The façade of the tower, which is the shape of the building, is of ashlar masonry and decorated with five sculptures on consoles, representing Hercules, Theseus, Mercury, Jason and Hector. The heroes are depicted in an attitude of readiness to enter battle at any moment. Their feet are splayed for stability, their shoulders are straight and their gaze is fixed in the distance. The figures are life-size, and since the façade of the narrow three-storey building lacks other decorative elements, their virility and bellicosity make a strong impression.4 A large 17th-century lintelled door opens on the façade, and above it is carved a sword piercing a heart. The following motto can be read: "El (corazón) manda" (The (heart) rules). There are two balconies and three bronze doorknockers, held in place by hearts like nails, which read: 'The heart rules! People of war, exercise your weapons.
The heart breaks like a knocker calling us to battle and knockers are those given by God and felt by the heart".
The high entrance hall occupies the lower part of the tower, covered by a flat wooden roof with large beams supported by Gothic footings. Between the beams are polychrome paintings of mythological animals and wild beasts fighting.
The courtyard is simple in form, with whitewashed walls, and in the Muslim style with a small fountain in the middle and Nasrid columns.
The modern main staircase, dating from the 18th century and crowned with a vaulted ceiling with windows, leads to the upper floor, decorated with a collection from the Generalife of portraits of the Spanish kings of the House of Austria by court portraitists, copies made during the 16th and 17th centuries.
The main staircase, dating from the 16th century, contains pictorial mural decoration, representing the virtues: Charity, Hope, Justice and an Immaculate Conception.
At the back of the building is the small garden, so typical of Granada buildings, where there are cypresses, boxwood, pomegranate, orange and myrtle trees. It has a fountain and a pond, as well as busts and sculptures. Some of the shrubs have names, having been planted by intellectuals of the time, such as a laurel tree planted by Elena Martín Vivaldi.
The Cuadra Dorada, the most emblematic room in the building, with Renaissance armour decorating its ceiling and mural paintings. Its name refers to the abundance of golden reflections in its alfarje or coffered ceiling. Formed by large planks with bas-reliefs and texts, supported by large beams and footings in the shape of historical figures, representing a chessboard, it is a sample of those who fought to achieve the unity of Spain, describing under each one the exploits that made them famous. There is Alaric, Hermenegildo, Recaredo, Alfonso V, López de Mendoza, as well as the Catholic Monarchs, the architects of this unity and Carlos I, who elevated it to the category of Empire, and Isabella of Portugal. The frescoes on the walls depict heroes and warriors, and there are four tondos with relief figures of heroines of antiquity.
Translated with www.DeepL.com/Translator (free version)