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The iconostasis, (walls which separate the altar from the rest of the Church), indicates our infinite distance from the mystery of God (as well as the goodness of God) which is nevertheless communicated to us through the Holy Liturgy. The iconostasis of this church was planned by Bernini and made by his disciple Giorgetti.
The Icon of the Mother of God is a typical Byzantine icon painted on gilt board. The Virgin, with big eyes, holds the blessing Child. The author is unknown. Probably it is one of the many icons that the Greek monks reproduced imitating those ones destroyed in the East by the fury of the iconoclasts.
This consecrated icon has granted many graces from heaven and it has gathered a multitude of faithful and pilgrims, among which were many saints and popes. Among them, was Pope Pius IX who often came to pray before its altar; Pope John XXIII came in 1960 and Pope Paul VI on the 19th of August 1963 made a sad appeal to the separated brothers of the christian East. Pope John Paul II visited the Monastery twice (on 1979 and 1987).
Ink on paper; 20.8 x 26.7 cm.
Pavel Tchelitchew was a Russian-born surrealist painter, set designer and costume designer. He left Russia in 1920, lived in Berlin from 1921 to 1923, and moved to Paris in 1923. In Paris Tchelitchew became acquainted with Gertrude Stein and, through her, the Sitwell and Gorer families. He and Edith Sitwell had a long-standing close friendship and they corresponded frequently.
His first U.S. show was of his drawings, along with other artists, at the newly-opened Museum of Modern Art in 1930. In 1934, he moved from Paris to New York City with his partner, writer Charles Henri Ford. From 1940 to 1947, he provided illustrations for the Surrealist magazine View, edited by Ford and writer and film critic Parker Tyler. His most significant work is the painting Hide and Seek, painted in 1940–42, and currently on display in the Museum of Modern Art in New York City. He became a United States citizen in 1952 and died in Grottaferrata, Italy in 1957.
Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster in Kiev. After emigrating to Paris he became associated with the Neoromanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Serge Diaghliev and George Balanchine, among others.
Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein and the works Phenomena (1936-1938) and Cache Cache (1940-1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939), among other productions.
Gouache on paper; 69.5 x 50 cm.
Pavel Tchelitchew was a Russian-born surrealist painter, set designer and costume designer. He left Russia in 1920, lived in Berlin from 1921 to 1923, and moved to Paris in 1923. In Paris Tchelitchew became acquainted with Gertrude Stein and, through her, the Sitwell and Gorer families. He and Edith Sitwell had a long-standing close friendship and they corresponded frequently.
His first U.S. show was of his drawings, along with other artists, at the newly-opened Museum of Modern Art in 1930. In 1934, he moved from Paris to New York City with his partner, writer Charles Henri Ford. From 1940 to 1947, he provided illustrations for the Surrealist magazine View, edited by Ford and writer and film critic Parker Tyler. His most significant work is the painting Hide and Seek, painted in 1940–42, and currently on display in the Museum of Modern Art in New York City. He became a United States citizen in 1952 and died in Grottaferrata, Italy in 1957.
Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster in Kiev. After emigrating to Paris he became associated with the Neoromanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Serge Diaghliev and George Balanchine, among others.
Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein and the works Phenomena (1936-1938) and Cache Cache (1940-1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939), among other productions.
REGIONE LAZIO
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REGIONE LAZIO
Want to use this image on your project? Visit my website www.scorcio.it to obtain a licence.
Oil on board; 58.5 x 49 cm.
Pavel Tchelitchew was a Russian-born surrealist painter, set designer and costume designer. He left Russia in 1920, lived in Berlin from 1921 to 1923, and moved to Paris in 1923. In Paris Tchelitchew became acquainted with Gertrude Stein and, through her, the Sitwell and Gorer families. He and Edith Sitwell had a long-standing close friendship and they corresponded frequently.
His first U.S. show was of his drawings, along with other artists, at the newly-opened Museum of Modern Art in 1930. In 1934, he moved from Paris to New York City with his partner, writer Charles Henri Ford. From 1940 to 1947, he provided illustrations for the Surrealist magazine View, edited by Ford and writer and film critic Parker Tyler. His most significant work is the painting Hide and Seek, painted in 1940–42, and currently on display in the Museum of Modern Art in New York City. He became a United States citizen in 1952 and died in Grottaferrata, Italy in 1957.
Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster in Kiev. After emigrating to Paris he became associated with the Neoromanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Serge Diaghliev and George Balanchine, among others.
Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein and the works Phenomena (1936-1938) and Cache Cache (1940-1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939), among other productions.
Gouache on paper.
Pavel Tchelitchew was a Russian-born surrealist painter, set designer and costume designer. He left Russia in 1920, lived in Berlin from 1921 to 1923, and moved to Paris in 1923. In Paris Tchelitchew became acquainted with Gertrude Stein and, through her, the Sitwell and Gorer families. He and Edith Sitwell had a long-standing close friendship and they corresponded frequently.
His first U.S. show was of his drawings, along with other artists, at the newly-opened Museum of Modern Art in 1930. In 1934, he moved from Paris to New York City with his partner, writer Charles Henri Ford. From 1940 to 1947, he provided illustrations for the Surrealist magazine View, edited by Ford and writer and film critic Parker Tyler. His most significant work is the painting Hide and Seek, painted in 1940–42, and currently on display in the Museum of Modern Art in New York City. He became a United States citizen in 1952 and died in Grottaferrata, Italy in 1957.
Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster in Kiev. After emigrating to Paris he became associated with the Neoromanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Serge Diaghliev and George Balanchine, among others.
Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein and the works Phenomena (1936-1938) and Cache Cache (1940-1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939), among other productions.
Oil on canvas; 64.2 x 48.7 cm.
Pavel Tchelitchew was a Russian-born surrealist painter, set designer and costume designer. He left Russia in 1920, lived in Berlin from 1921 to 1923, and moved to Paris in 1923. In Paris Tchelitchew became acquainted with Gertrude Stein and, through her, the Sitwell and Gorer families. He and Edith Sitwell had a long-standing close friendship and they corresponded frequently.
His first U.S. show was of his drawings, along with other artists, at the newly-opened Museum of Modern Art in 1930. In 1934, he moved from Paris to New York City with his partner, writer Charles Henri Ford. From 1940 to 1947, he provided illustrations for the Surrealist magazine View, edited by Ford and writer and film critic Parker Tyler. His most significant work is the painting Hide and Seek, painted in 1940–42, and currently on display in the Museum of Modern Art in New York City. He became a United States citizen in 1952 and died in Grottaferrata, Italy in 1957.
Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster in Kiev. After emigrating to Paris he became associated with the Neoromanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Serge Diaghliev and George Balanchine, among others.
Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein and the works Phenomena (1936-1938) and Cache Cache (1940-1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939), among other productions.
La via Latina è molto antica, risale addirittura alla preistoria, il tracciato originario partiva grosso modo dall'isola Tiberina (unico guado nel basso corso del Tevere), oltrepassava i Colli Albani e riscendeva lungo le valli del Sacco e del Liri. Questa via naturale tra la valle del Tevere e la Campania era già in uso durante l'età eneolitica (circa 2500-1700 a.C.).
Le fonti archeologiche ci confermano che tale percorso fu frequentato anche nell'età del ferro, quando la civiltà campana influenzò, insieme al Lazio, anche la Sabina e l'Umbria; poi a partire dall' VIII sec. a.C., quando gli Etruschi andavano verso Sud a colonizzare la Campania.
Nel V sec. a.C. la potenza etrusca era però in declino, e così le popolazioni sannitiche si impadronirono della zona impedendone il transito; ma un secolo più tardi i Romani, che percorrevano quel tracciato sin dai primissimi tempi per commerciare con i popoli che abitavano a Sud, riuscirono a sottomettere Volsci, Ernici ed Equi, a garantirsi l'alleanza con Capua (340 a.C.) e a sciogliere la Lega Latina (338 a.C.), divenendo in tal modo i padroni incontrastati del Lazio meridionale. La regione così conquistata venne chiamata "Latium Novum" o "Adiectum", a differenza del "Latium Vetus", che era la regione che si estendeva dalla valle del Tevere fino a Segni.
Subito dopo Roma diresse le proprie mire espansionistiche ancora più a Sud, affrontando le guerre sannitiche per la conquista della Campania e della Lucania; per questo motivo tra il 328 ed il 312 a.C. l'antica strada fu potenziata; la tecnica del basolato non era però ancora diffusa, per cui la strada venne realizzata in ghiaia e terra battuta.
A questa via, nel 312 a.C., se ne aggiunse una nuova, che attraversava la pianura pontina; la strada nuova prese il nome di via Appia dal costruttore Appio Claudio poi detto Cieco, mentre la vecchia (che esisteva prima della fondazione di Roma) fu chiamata semplicemente via Latina perché attraversava il territorio abitato dai popoli latini.
Uscendo dalla città la via Latina attraversava la campagna romana verso Sud-Est, raggiungeva i Colli Albani, e, valicato il passo dell'Algido (560 m s.l.m.), imboccava la valle del Sacco, cioè quella valle tra i monti Lepini ed Ernici dove oggi passano sia l'autostrada del Sole sia la ferrovia Roma-Napoli via Cassino.
La via oltrepassava quindi il Liri a Ceprano, e raggiungeva il Volturno a Casilinum (l'attuale Capua); qui la via Latina e la via Appia si riunivano, formando uno snodo importantissimo per tutte le comunicazioni con l'Italia meridionale; subito dopo, la via Latina arrivava finalmente all'antica Capua (oggi S. Maria Capua Vetere).
Il tracciato della via subì, durante tutto il III sec. a.C., uno straordinario lavoro di rettificazione, lavoro reso ancor più complesso dalle notevoli asperità del terreno; basti pensare che il tratto da piazza Galeria fino a Grottaferrata è un unico rettifilo di ben 15 km, comprendente persino un viadotto alto 7 metri dove la strada incontrava il fosso dei Cessati Spiriti.
Gli ingegneri romani anticiparono di fatto il criterio delle moderne autostrade: arrivare il più rapidamente possibile alla meta finale (Capua), tralasciando le città che erano lungo il percorso.
Anagni, Frosinone, Cassino ecc. erano collegate alla via Latina attraverso diramazioni, così come avviene oggi con l'autostrada del Sole.
Il percorso complessivo della via Latina, da Roma a Capua, era lungo in origine 147 miglia (15 in più rispetto alla via Appia costruita da Appio Claudio), ma fu progresivamente rettificata fino a misurare 129 miglia (circa 191 km), addirittura tre miglia in meno rispetto alla via Appia; il cammino poteva essere effettuato da un viaggiatore comune, a piedi, in cinque giorni.
da:caffarella.it
Rome: ancient Via Latina in the Parco delle Tombe in Via Latina.
The Via Latina is very old, dating back to prehistoric times, the original route started roughly from the Tiber Island (the only ford in the lower course of the Tiber), it crossed the Alban Hills and descended along the Sacco and Liri valleys. This natural route between the Tiber valley and Campania was already in use during the Eneolithic age (about 2500-1700 BC).
Archaeological sources confirm that this route was also frequented in the Iron Age, when the Campania civilization influenced, together with Lazio, also Sabina and Umbria; then starting from the 8th century BC, when the Etruscans went south to colonize Campania.
In the 5th century B.C. the Etruscan power was however in decline, and so the Samnite populations took possession of the area preventing its transit; but a century later the Romans, who traveled that route from the earliest times to trade with the peoples who lived in the South, succeeded in subduing Volsci, Ernici and Equi, in securing the alliance with Capua (340 BC) and dissolving the League Latina (338 BC), thus becoming the undisputed masters of southern Lazio. The region thus conquered was called "Latium Novum" or "Adiectum", unlike the "Latium Vetus", which was the region that extended from the Tiber valley to Segni.
Immediately after Rome he directed his expansionist aims even further south, facing the Samnite wars for the conquest of Campania and Lucania; for this reason between 328 and 312 BC the ancient road was strengthened; however, the basolat technique was not yet widespread, so the road was made of gravel and clay.
To this street, in 312 BC, a new one was added, which crossed the Pontine plain; the new road took the name of via Appia from the builder Appio Claudio then called Cieco, while the old one (which existed before the foundation of Rome) was simply called via Latina because it crossed the territory inhabited by the Latin peoples.
Leaving the city, the Via Latina crossed the Roman countryside towards the south-east, reached the Alban Hills, and, having crossed the Algido Pass (560 m asl), took the Sacco Valley, that is the valley between the Lepini and Ernici mountains where today both the Autostrada del Sole and the Roma-Napoli railway via Cassino pass.
The road then passed the Liri at Ceprano, and reached the Volturno at Casilinum (the current Capua); here the Via Latina and the Via Appia met, forming a very important junction for all communications with southern Italy; immediately after, the Via Latina finally arrived at ancient Capua (today S. Maria Capua Vetere).
The route of the street suffered, throughout the III century. a.C., an extraordinary work of rectification, work made even more complex by the considerable roughness of the ground; just think that the section from piazza Galeria to Grottaferrata is a single straight 15 km long, including even a 7 meter high viaduct where the road met the Cessati Spiriti ditch.
The Roman engineers actually anticipated the criterion of modern highways: arriving as quickly as possible at the final destination (Capua), leaving out the cities that were along the route.
Anagni, Frosinone, Cassino etc. they were connected to the Via Latina through branches, as is the case today with the Autostrada del Sole.
The overall route of the Via Latina, from Rome to Capua, was originally 147 miles (15 more than the Appian Way built by Appius Claudius), but was progressively adjusted to measure 129 miles (about 191 km), even three miles less than the Via Appia; the journey could be made by a common traveler, on foot, in five days.
by: caffarella.it
sembra che gli si sia inceppata la chiusura lampo !!!
it.wikipedia.org/wiki/Abbazia_territoriale_di_Santa_Maria...
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The external walls of San Nilo Abbey in Grottaferrata (Rome) - Italy
Da Wikipedia: L'Abbazia di San Nilo (dedicata a Nilo da Rossano), e conosciuta anche con il nome di Santa Maria di Grottaferrata, è un monastero esarchico gestito da monaci basiliani. dal santo a cui è dedicata, cinquant'anni prima dello scisma fra la Chiesa Cattolica ed ortodossa: tuttavia questo monastero è di rito bizantino, ed è alle dipendente della Santa Sede.
L'abate Nilo, nato nella Calabria bizantina e quindi greco di origine e di rito, fondatore di vari monasteri, decise di fondare un monastero sui colli di Tuscolo, sui ruderi di una grande villa romana, dove sembra gli sia apparsa la Madonna. All'interno dell'abbazia si trova una delle biblioteche più fornite di testi in greco antico e latino al mondo, con migliaia di volumi di valore inestimabile. Il monastero comprende anche la chiesa di Santa Maria, dove viene seguito il rito greco-bizantino in greco antico.
Nympe et triton (Nymph and Triton) once adorned La fontaine des Innocents (The Fountain of the Innocents), which was erected on the occassion of King Henry II's entry into Paris in 1549. The fountain was designed and sculpted by Jean Goujon, perhaps in collaboration with Pierre Lescot, between 1546 and 1549. It was built into a wall, forming a raised portico with two arcades, on the rue Saint Denis. The reliefs in the Louvre adorned the base of each arcade. In 1787, the fountain was reassembled as a cubic pavilion on the new square created on the site of the former Cemetery of the Innocents (closed for reasons of hygiene). The improved water supply under the Empire had water gushing from the faucets, which is why the bas-reliefs were removed from the bases in 1810 to protect them from the water. They entered the Louvre in 1824.
Jean Goujon was responsible for introducing the new concept of bas-relief, with figures that were autonomous and perfectly adapted to the frame. Goujon's nymphs resembled the works of antiquity to a degree that was unprecedented in France. The Nymph and Triton composition closely resembles a sarcophagus in Grottaferrata, which was visible in Goujon's time in Rome and often drawn during the 16th century. Triton's hair, tied at the nape of his neck, resembles that of an antique statue of the Tiber (in the Louvre) discovered in Rome in 1512 and exhibited in the Vatican until 1797. The wavy locks of the nymphs' hair, deeply hollowed into the stone, also resemble those of antique statues. Goujon was equally inspired by the Italian artists summoned by Francis I to work at the Château de Fontainebleau, such as Rosso (1495–1540) and Primaticcio (1504–1570) who successively directed work at the royal residence. The Nymph with a Sea Dragon has the same pose and muscular thighs as the Nymph of Fontainebleau, designed by Rosso for the Galerie François I. Goujon was also inspired by Primaticcio's lengthening of the female form, with its narrow shoulders and small, high bosom. The tight, parallel folds of floating drapery contrast with the nymphs' naked bodies: an idea suggested by the Nymph of Fontainebleau (in the Louvre) sculpted by the Florentine Benvenuto Cellini.
The fortress around S.Nilo Abbey-Grottaferrata(Rm)
(All these picture are taken with a camera phone)
Pavel Tchelitchew was a Russian-born surrealist painter, set designer and costume designer. He left Russia in 1920, lived in Berlin from 1921 to 1923, and moved to Paris in 1923. In Paris Tchelitchew became acquainted with Gertrude Stein and, through her, the Sitwell and Gorer families. He and Edith Sitwell had a long-standing close friendship and they corresponded frequently.
His first U.S. show was of his drawings, along with other artists, at the newly-opened Museum of Modern Art in 1930. In 1934, he moved from Paris to New York City with his partner, writer Charles Henri Ford. From 1940 to 1947, he provided illustrations for the Surrealist magazine View, edited by Ford and writer and film critic Parker Tyler. His most significant work is the painting Hide and Seek, painted in 1940–42, and currently on display in the Museum of Modern Art in New York City. He became a United States citizen in 1952 and died in Grottaferrata, Italy in 1957.
Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster in Kiev. After emigrating to Paris he became associated with the Neoromanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Serge Diaghliev and George Balanchine, among others.
Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein and the works Phenomena (1936-1938) and Cache Cache (1940-1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939), among other productions.
Monastero Esarchico di Santa Maria di Grottaferrata, Arco trionfale con etimasia
GrottaFerrata, Abbey of San Nilo
Grottaferrata is a small town near Rome, set on the lower slopes of the Colli Albani. The history of Grottaferrata is intertwined with the history of the early 11th-century Basilian Monastery of Santa Maria. According to a legend, the abbey was built at the site where the Virgin appeared to Saint Nilus the Younger and ordered him to found a church in her honour. Nilus died soon after, on 26 December 1005 in the Sant' Agata monastery in Tusculum. His successors, especially the fourth abbot, Saint Bartholomew, finished the building that was completed in 1024 and consecrated by the Tusculan Pope John XIX.
Emperor Frederick II made the abbey his headquarters in the mid-13th century.
There are several courts, all leading to the portico designed by Antonio da Sangallo the Younger, with an arcade of nine bays supported by columns with elegant Renaissance capitals. Its interior features mosaics in the narthex and over the triumphal arch. There were some fragmentary thirteenth-century frescoes revealed in the 1904 restoration of the church. The mosaics depict the Twelve Apostles beside an empty throne after Christ's ascent to Heaven. The chapel of St. Nilus features Domenichino's frescoes, commissioned by Cardinal Odoardo Farnese in 1608. The façade has the marble portal with a mosaic above it, a lovely example of the 12th century Italo-Byzantine art. The 12th century Romanesque campanile with five storeys of tripartite arched windows is also interesting.
Original photo by courtesy of Wilmar Santin, color-modified by p.a.
A venticinque km da Roma si erge maestosa un'abbazia greca dell 1004 fondata da San Nilo, nato a Rossano, in Calabria, da famiglia greca. La Calabria allora era bizantina.
E' conosciuta anche come Monastero Esarchico di Santa Maria di Grottaferrata.
Maria Gabriella Sagheddu (1914-1939)
Virgin, Trappist Nun
Sagghedu was born into a family of Sardinian shepherds on March 17, 1914, in the eastern coastal town of Dorgali, the fifth in a family of eight children. In 1919, Maria lost her father. She was said to be obstinate as a child, but was also known to be loyal and obedient. "She would say no but she would go at once", is said of her. At the end of her primary studies, she had to leave school to help out at home where she showed herself serious and endowed with a great sense of duty.
Motivated to deepen her piety after the death of her younger sister, she enrolled in a Catholic youth group called "Azione Cattolica" when she was eighteen. She began to catechise the local youth, help the aged, and intensify her prayer life. At first, she taught catechism with a stick in hand. But one day the priest took away the stick and replaced it with a note that said, "Arm yourself with patience, not a stick." Maria accepted the criticism and changed her methods.
At the age of twenty, she entered the Trappistine Monastery of Grottaferrata, near Rome, on the Italian mainland. The abbess of the monastery during Sagheddu's time there was Mother M. Pia Gullini, whose enthusiasm for ecumenism (a fruit of the efforts of Father Paul Couturier) was passed on to the community. Devoted to this cause, she offered herself as a spiritual sacrifice for the unity of the Christian church during the Week of Prayer for Christian Unity of 1938. She then immediately fell ill with tuberculosis, and after suffering for fifteen months, died on April 23, 1939. Significantly, the Gospel reading for that Sunday included the words, "There will be one flock and one shepherd. (John 10:16)"
Sr. Maria Gabriella was beatified on January 25th, 1983 by Pope John Paul II in the Basilica of St. Paul's outside the Walls,[5] at the conclusion of the Week of Prayer for Christian Unity, the same observance which motivated Sagheddu's decision to offer her life to God. By doing so, the Pope both affirmed the holiness of her actions and set her up as a role model for Christians to follow, especially as relates to ecumenism.
After her death, it was noted that in her Bible, Chapter 17 of St. John's Gospel had become yellowed and worn from being often read. In this chapter, Jesus prays to the Father on behalf of his disciples. Of particular significance are verses 11 and 21, in which Jesus prays "that they may be one, as we also are (John 17:11)," and "that they all may be one, as thou, Father, in me, and I in thee; that they also may be one in us: that the world may believe that thou hast sent me (John 17:21)." These verses are commonly used for a motto of the ecumenical movement. She offered her life to God as a sacrifice for the unity of the Church.
Her body is located in the "Chapel of Unity" at the Trappist Monastery of Our Lady of St. Joseph at Vitorchiano, near Viterbo. This is the current home of same monastery in which she had lived.
Oil on canvas; 72.1 x 59.1 cm.
Pavel Tchelitchew was a Russian-born surrealist painter, set designer and costume designer. He left Russia in 1920, lived in Berlin from 1921 to 1923, and moved to Paris in 1923. In Paris Tchelitchew became acquainted with Gertrude Stein and, through her, the Sitwell and Gorer families. He and Edith Sitwell had a long-standing close friendship and they corresponded frequently.
His first U.S. show was of his drawings, along with other artists, at the newly-opened Museum of Modern Art in 1930. In 1934, he moved from Paris to New York City with his partner, writer Charles Henri Ford. From 1940 to 1947, he provided illustrations for the Surrealist magazine View, edited by Ford and writer and film critic Parker Tyler. His most significant work is the painting Hide and Seek, painted in 1940–42, and currently on display in the Museum of Modern Art in New York City. He became a United States citizen in 1952 and died in Grottaferrata, Italy in 1957.
Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster in Kiev. After emigrating to Paris he became associated with the Neoromanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Serge Diaghliev and George Balanchine, among others.
Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein and the works Phenomena (1936-1938) and Cache Cache (1940-1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939), among other productions.