View allAll Photos Tagged obsequios
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
©2015 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2015 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Ok ok, i had to do it...
First i didn't want to buy any present for christams... but once i bought one i couldn't stop!!!!
..the big one on the bottom is for me =) ...i already open it, so is just the box & i'm very very happy with it...
Feliz Navidad - Merry Christmas - Joyeux Noël - Buon Natale - Feliz Natal - frohe Weihnachten - メリークリスマス - vrolijke Kerstmis - Χαρούμενα Χριστ
Thanks to all for the wishes!!!!
Aparently i was a bad girl this year, cuz i lost my little dog today (december 25th) :(
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
All Rights Reserved | Please do not use this image without my written permission ©2007-2018 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Aeronave: Agusta AW-119Ke Koala
Operador: Policia Militar - GO
Local: Batalhão da Policia Militar do Estado de Goiás GRAER-GO - SWBP
Prefixo: PR-PMG
Numero de Construção: 14769
©2014 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission ©2014 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icaro.roberto@aeroin.net
©2015 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2015 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Operador: LATAM Airlines
Local: Aeroporto Internacional Santa Genoveva Goiânia - SBGO
©2019 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission
©2019 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icarorfalves@gmail.com
The "Gaucho" is the cowboy of Argentina. They ( and many people in Argentina ) drink a kind of tea in this particular cup called "Mate". My friend Rox (Roxdom) sent me this beautiful silver present from Argentina. I love it. Of course, Jazz wanted to know what was this about.
El Gaucho es el hombre de las Pampas Argentinas. Ellos, y mucha gente en ese país toman una especie de té (yerba mate) en estos particulares recipientes. Mi amiga Rox (Roxdom) me envió este bellísimo obsequio de plata desde la Argentina. Me encantó. Por supuesto, Jazz quiso saber de que se trataba
Locomotora 209 de FGC arribant a Monistrol de Montserrat amb un tren turístic. Allà carregarà aigua i canviarà de sentit, per tornar fins a Martorell.
El maquinista ens va obsequiar amb una accelerada i una bona pitada.
Locomotora 209 de FGC llegando a Monistrol de Montserrat con un tren turístico. Allí cargará agua y canviará de sentido, para volver hasta Martorell.
El maquinista nos obsequió con un acelerón y una buena pitada.
FGC 209 Locomotive arriving to Monistrol de Montserrat with a tourist train. At Monistrol, it loads water and have to invest to return to Martorell.
©2013 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2013 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Aeronave: Airbus A380-861
Operador: Airbus Industrie
Local: Aeroporto Internacional de Guarulhos André Franco Montoro - SBGR
Prefixo:F-WWDD
Numero de Construção:004
©2014 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission ©2014 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icaro.roberto@aeroin.net
Aeronave: Embraer 190-100LR
Operador: Azul Linhas Aéreas
Local: Aeroporto Internacional Tancredo Neves Confins - SBCF
Prefixo: PP-PJK
Numero de Construção: 19000178
©2014 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission ©2014 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icaro.roberto@aeroin.net
Aeronave: Boeing 767-323(ER)
Operador: American Airlines
Local: Aeroporto Internacional de Guarulhos André Franco Montoro - SBGR
Prefixo: N39364
Numero de Construção: 24045
©2014 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission ©2014 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icaro.roberto@aeroin.net
©2013 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2013 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
©2016 Marcio Souza Photography | All Rights Reserved | Please do not use without my permission
©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
(Meeting Between San Martín and Pueyrredón)
Water color sketch
M. Rosso
Museo Histórico Nacional, Buenos Aires, Argentina
Some two hundred years ago, the then Intendant Governor of Cuyo, José de San Martín, left from the city for a secret meeting with the Supreme Director Juan Martín de Pueyrredón with only one objective: to set in motion the plan to free Chile from the royalists.
Independence and constitution were the main objectives of the deputies and representatives of Mendoza, Tomás Godoy Cruz and Juan Agustín Maza, at the Congress of Tucumán. That was the order of Colonel San Martin.
Meanwhile, he was planning Cuyo's defense in any royalist attack that might be carried out.
At the end of June 1816, San Martín, the "Father of the Fatherland," had agreed on a secret meeting with the new Director Pueyrredón, who was elected by Congress to exercise that office.
To put everything in order, San Martin delegated political and military command to the most trusted man: Brigadier Bernardo de O'Higgins who for several days would also be in command of Cuyo.
Everything was ready for the departure to Córdoba. Next to San Martín, were the postmaster of Mendoza Juan de la Cruz Vargas and the war auditor of the army, Dr. Bernardo de Vera and a small escort guard. They all went to the province of Córdoba on the royal road.
After a week of marching, stopping at a score of posts and negotiating streams and other obstacles imposed by the road, they arrived in the city on July 9, the same day that the Declaration of Independence was being celebrated in Tucumán.
Upon arriving, Colonel San Martin and his companions stayed at the home of Mr. José Orencio Correas. There, his wife, Doña Margarita Arias de Correas, welcomed them and welcomed them.
During his stay, the Liberator was entertained by the Cordovan society, receiving gifts and attention while waiting for the arrival of the man who directed the destinies of the United Provinces of the South.
From Tucumán, after witnessing the swearing in of Independence and the celebrations after that momentous event, the Supreme Director Juan Martín de Pueyrredón departed with his small delegation on the 11th to Buenos Aires, but before that he would pass through the province of Córdoba to meet with San Martín.
By previous letters of both, the interview was set for July 10 or 12. But it seems that the meeting was held on the 17th of that month.
The arrival of Pueyrredón to the city of Córdoba, attracted everyone's attention.
The new head of state was very satisfied with one of the most important objectives that the patriots had, the emancipation from the King of Spain, which for a few years had been brewing. Upon arrival, both gave each other a hug and after a short rest, they began the expected meeting.
During the meeting, the Supreme Director and the major colonel, were deliberating the actions to follow after the declaration of independence was confirmed.
During several hours of deliberations, several issues were resolved, such as the settlement of a military plan of operations aimed at liberating Chilean territory.
In addition, San Martín had the support of the government of the United Provinces to send all kinds of war material for the preparation of the campaign.
The commitment of Pueyrredón was sealed and it was seen in the next months of 1816, when the preparation of the army in Cuyo was activated.
After this meeting and very satisfied, the two left for their respective provinces.
Later, on August 1 the Army of the Andes was created and San Martin was promoted to general in chief of that army.
=======================================================
Hace doscientos años, el entonces Gobernador Intendente de Cuyo José de San Martín partió desde la ciudad rumbo a una reunión secreta con el Director Supremo Juan Martín de Pueyrredón con un solo objetivo: poner en marcha el plan para liberar a Chile de los realistas.
La independencia y la constitución eran los objetivos principales que tenían los diputados y representantes de Mendoza, Tomás Godoy Cruz y Juan Agustín Maza, en el Congreso de Tucumán. Ese fue el encargo del coronel San Martín.
Mientras tanto, él tenía como objetivo la defensa de Cuyo de cualquier ataque realista que se podía ejecutar.
A fines de junio de 1816, el "Padre de la Patria" había acordado una reunión secreta con el flamante Director Pueyrredón, quien fue elegido por el Congreso para ejercer ese cargo.
Para dejar todo en orden, San Martín delegó el mando político y militar en la figura del hombre de mayor confianza: el brigadier Bernardo de O'Higgins quien por varios días estaría además al mando de Cuyo.
Todo estaba listo para la partida hacia Córdoba. Junto a San Martín, se encontraban el administrador de correos de Mendoza Juan de la Cruz Vargas y el auditor de guerra del ejército el doctor Bernardo de Vera y una pequeña guardia de escolta.Todos se dirigieron hacia la provincia de Córdoba por el camino real.
Tras una semana de marcha, de parar en una veintena de postas y de sortear arroyos y otros obstáculos que imponía el camino, llegaron a la ciudad mediterránea el 9 de julio, el mismo día que en Tucumán se estaba celebrando la declaración de la Independencia.
Al arribar, el coronel San Martín y sus acompañantes se hospedaron en la casa de don José Orencio Correas. Allí, su esposa doña Margarita Arias de Correas los recibió dándoles la bienvenida.
Durante su estada, el Libertador fue agasajado por la sociedad cordobesa, recibiendo obsequios y atenciones mientras esperaba la llegada del hombre que dirigía los destinos de las Provincias Unidas del Sud.
Desde Tucumán, luego de presenciar la jura de la Independencia y de los festejos posteriores a ese trascendental hecho, el Director Supremo Juan Martín de Pueyrredón partió con su pequeña comitiva el día 11 con destino a Buenos Aires pero antes pasaría por la provincia de Córdoba para reunirse con San Martín.
Por cartas anteriores de ambos, la entrevista fue fijada para los días 10 o 12 de julio. Pero parece que la reunión se ejecutó para el 17 de ese mes.
La llegada de Pueyrredón a la ciudad de Córdoba, atrajo la atención de todos.
El flamante jefe de Estado estaba muy satisfecho con uno de los objetivos más importantes que tenían los patriotas, la emancipación del rey de España, que desde hacía unos años se estaba gestando. Al llegar, ambos se dieron un abrazo y luego de un breve descanso por parte del recién llegado, iniciaron la esperada reunión.
Durante el encuentro, el Director Supremo y el coronel mayor, estuvieron deliberando las acciones a seguir luego de que se confirmara la declaración de la independencia.
Durante varias horas de deliberaciones se resolvieron varios temas como el arreglo sobre un plan militar de operaciones que apuntaba a liberar el territorio chileno.
Además, San Martín contó con el apoyo del gobierno de las Provincias Unidas para el envío de todo tipo de material bélico para la preparación de la campaña.
El compromiso de Pueyrredón quedó sellado y se vio en los meses próximos de 1816, cuando se activó la preparación del ejército en Cuyo.
Después de esta reunión y muy satisfechos, los dos partieron hacia sus respectivas provincias.
Posteriormente, el 1 de agosto se creó el Ejército de los Andes y San Martín fue ascendido a general en jefe de ese ejército.
Source/fuente: www.losandes.com.ar/article/la-misteriosa-reunion-en-cordoba
© J. Antonio Herrera F. - All Rights Reserved
Hoy se celebró el Día de los Santos Reyes aquí en México. Los niños que se portaron bien (todos!!) escriben una cartita a Los Santos Reyes la víspera para que les traigan obsequios el 6 de Enero, principalmente juguetes, atan la carta a un globo y lo lanzan al cielo! Me levanté y vi un globo atorado en las ramas del árbol de mi jardín, con su valioso mensaje aún atado a él. No pude evitar leer la carta, llena de sueños y esperanza. Aunque Melchor, Gaspar y Baltazar no recibieron el globo con su preciado mensaje, estoy seguro que el niño recibío sus regalos
Today The Three Wise Men Day was celebrated here in Mexico. Children who behaved well (all of them!!) write a letter to the Three Wise Men on the eve in order for them to bring them gifts on January 6th , mainly toys, they tie the letter to a balloon and send it to the sky! I woke up this morning and I saw a balloon stuck in the branches of a tree in my garden with its preious message still tied to it. I couldn't help but reading the little letter, full of dreams and hopes. Even though Melchior, Caspar and Balthazar didn't get the balloon with its valuable message, I'm positive the boy got his gifts
Spanish postcard by Edis. y Publics. de Arte Planas, Barcelona, Card 4 Photo: Obsequio Palace (Morgana Film). Maria Carmi and Dillo Lombardi in Sperduti nel buio/Lost in the Dark (Nino Martoglio, 1914). According to some, Roberto Danesi was the co-director. The film was based on a homonymous play (1901) by Roberto Bracco. The film was produced by the Roman company Morgana Film, which had as its goal to adapt naturalist plays for the cinema. Sperduti nel buio is the No. 1 lost film of Italian film history.
This card made publicity for the Dutch company Rembrandt, which sold artist's equipment such as oil paint in Barcelona.
Plot of the film: Naples, in a stormy night, two derelicts meet by chance. She is Paolina (Virginia Balistrieri). illegitimate daughter of a girl seduced and then abandoned by a noble, who survives as a beggar and sometimes by necessity frequenting criminal environments. One day, chased by the police, she takes refuge in a tavern where she meets Nunzio (Giovanni Grasso) , a blind man exploited by his stepfather (Totò Maiorana), who earns his living playing the violin. They approach first for mutual help, then fall in love, and dream of escaping their exploiters, but without being able to redeem themselves from misery. Then the vicissitudes separate them. In the meantime, the Duke of Vallenza, Paolina's father (Dillo Lombardi), in remorse for having abandoned that child and by now old and ill, decides to right the wrong and make her heir to his possessions. But the perfidious Livia (Maria Carmi), the last lover of the noble, deceives him and manages to appropriate the duke's assets, preventing Paolina from receiving what is in her father's will. Meanwhile Nunzio, although blind, manages to thwart an attempt of violence by a criminal who threatens Paolina and the two young people thus found, decide to go far away to escape misery.
Sperduti nel buio is taken from the homonymous drama, whose subtitle was People who enjoy, people who suffer. The play was written in 1901 by the Neapolitan author Roberto Bracco and successfully represented first in Naples and then throughout Italy by the company Talli with Irma Gramatica and Oreste Calabresi. After a first unsuccessful attempt of a film adaptation by the Itala Film of Turin in 1912, it was the Sicilian director and playwright Nino Martoglio who initiated the contacts that led to the making of the film, overcoming the distrust of Bracco who even the previous year, faced with a question posted to him by the Florentine newspaper Il Nuovo Giornale, had scornfully replied "I have never worked for the cinema and I have no intention of doing so", adding that "cinema, now as now, it is a tribute to naivety and cretinism». The following year, however, he changed his mind and, interrupting the ongoing contacts with a foreign production house, accepted the proposal of the Morgana Film to bring the drama to the screen.
Bracco motivated his changed opinion with the assurances received on the respect of the artistic value of his work: "My drama will not suffer offense (even if) it is understood that the cinematic vision will have a different purpose from that of the scenic vision" . For this reason he assiduously assisted the director Martoglio in the preparation of the screenplay, of which only two copies have survived, partially different from each other, one of which, typewritten, in fact bears the author's autographed notes, thus creating "one of the first occasions in which a perfect collaboration was achieved between the author of the story and the screenwriter - director.». However, despite the declared respect for the theatrical drama, the film's ending was different in that it proposes a happy ending in which Nunzio and Paolina get back together, while in the original text they are definitively separated from the troubles of life. Bracco, in the end, abandoned his reservations and called Martoglio's direction "a marvel": "I did not believe that such an admirable result could have been obtained. If the cinematography is the one with which my drama Sperduti nel buio was reproduced, there is no more to discuss». One of the aspects that were considered the most interesting and innovative of the screenplay was the so-called "contrast montage", in which the scenes of the environments of poverty and those of luxury and vice were brusquely compared, which, in the opinion of some commentators, constituted a discovery in the construction of the characters. On the other hand, D.W. Griffith, years before, did this alternation between the rich and the poor by use of crosscutting already in his short film A Corner in Wheat (1909).
Sperduti nel buio was made by Morgana Film (not to be confused with an almost homonymous company from Catania also established by Martoglio the previous year), founded in January 1914 in Rome on the initiative of the Clemente Levi and Co., in which Martoglio, who was already collaborating with Cines, was called to take on the role of Artistic Director. The programs of Morgana, funded mainly by the Marquis Alfredo di Bugnano, proposed in an innovative way to bring to the screen literary works of a realist nature interpreted by important theatrical actors, including dialectal ones, and in fact the first film produced was Capitan Blanco, released at the beginning of 1914 and taken from the drama U Paliu by Martoglio himself.
Sperduti nel buio, consisting of a prologue and 3 parts, was shot entirely in Naples with a large and decisive use of exteriors, giving space to "details of such veracity that they alone reveal the great human sympathy of the filmmakers : certain little dresses, certain woolen blankets, rag hats ». During the making of the film, which lasted for several months, the "set" of the film was unexpectedly visited by the Undersecretary of Education Giovanni Rosadi, who received a copy of the film as a gift from the producers, which then about 30 years later would be at the center of a complex story of loss. After Sperduti nel buio, Morgana made a third film, Teresa Raquin, and then went out of business.
Although set and made in Naples by a company based in Rome, Sperduti nel buio has been defined "a Sicilian film", given that Martoglio surrounded himself with actors from the dialectal theater of that region, such as Totò Maiorana and above all the main performers, Giovanni Grasso and Virginia Balistrieri (a couple who had already been employed in Capitan Blanco). Grasso, in particular, had been "discovered" by Martoglio in 1902 and started acting as an actor when he worked in the puppet theater. The Sicilian actor Giovanni Grasso was initially deemed unsuitable to fill the role of the meek Nunzio. This choice was initially opposed by Bracco who did not see in Grasso, physically very handsome, the suitable interpreter to impersonate the meek and submissive Nunzio. The only stranger to these origins was Maria Carmi (stage name of the Florentine Norina Gilli), an Italian-German actress at the time returning from great theatrical successes in Berlin and Vienna and who with Sperduti nel buio also qualified in Italy among the major actresses of the moment for her non-star style, but that the following year, at the beginning of the war, she was then forced to leave Italy and return to Germany.
The premiere of the film took place on September 20, 1914 after a "private" preview reserved for critics the day at the Maxima cinema in Naples, where according to the chronicles of the time it was enthusiastically received. Subsequently, it is known that the distribution and commercial outcome of the film were made difficult by the war, due to which Sperduti nel buio could not be exported to either France or Great Britain and also in Italy it was presented in many cities with great delay (in Turin only in December 1915). On the basis of the available period sources, sharp contrasts emerge in the criticism. Alongside those who praised "the heartbeat of life, the truth of popular and princely environments, the effectiveness of stage expression such as to make us mistake the screen for a strip of real life", there were those who wrote that "public opinion has shown herself adverse to this film given the various manifest inconclusions and exasperations to which Grasso usually falls ». And if on the one hand there were those who proclaimed that "with this film our cinematography has found its way to art, its goal", on the other hand the film was accused of having upset the original work, preferring the original ending of the play.
n the following decades Sperduti nel buio was the focus of discussions by critics and film historians. In the thirties the film became a sacred text for film scholars who gathered around the magazines Bianco e nero and Cinema, who appreciated the environments described with impressive documentary evidence, so as to achieve a highly dramatic atmosphere , only cracked by the acting of the actors, sometimes congested. Still in 1939, the critic Umberto Barbaro dedicated an article to him in which he argued that the film directed at Martoglio could be considered an anticipation of the works of Griffith and the Russian Pudovkin, indicating it as an example of realism for future directors. After the war, after the loss of the only copy of the film, it was not possible to base the judgments on a direct vision of the film. Nevertheless, Sperduti nel buio could not escape the discussion on the origins of Neorealism as many critics, especially in the early 1950s, attributed a strong influence to it in that sense. Cosulich: "It is now unanimously accepted that the Italian neorealist vein derives from Sperduti nel buoi", as well as Aristarco: "The seeds of the post-war realist school are to be found in Assunta Spina by Serena or in Sperduti nel buio.» Other commentators also considered it an important work since, compared to the production of the time (Cabiria is also from 1914) it would have represented a novelty, attributing this development to Martoglio's attention to a realism derived from Giovanni Verga's naturalism in literature.
But, in more recent years, these opinions have been contested, deeming "completely arbitrary the claim of wanting to definitely see the harbingers of the complex neorealist movement that took place in Italy over thirty years later, lacking any social point of view or even simple criticism. of custom". Giuseppe Ferrara wrote in 1958 about "critical mythology: we dare to question that from a melodrama of this kind, taken from the mediocre text by Bracco with dukes who first seduce and then die of a broken heart, the much decayed" documentary impetuosity can emerge." Despite this, the myth of Sperduti nel buio continues and there are those who find a way to connect it to neorealism, or, even claim it is pervaded by socialism, when instead, as Ferrarar says "it is the progenitor of a well-established melodrama cinema. still today." Ferrara refers here to the popular melodramas by Raffaele Matarazzo of the 1950s.
Despite the opening of film archives all over the globe, and despite a thorough attempt to trace the film's fate all the way to Germany and Russia in Denis Lotti's documentary Sperduti nel buio (2014), no print of the film resurfaced. Only still imagery remains, such as this collector's card.
Source: Italian Wikipedia.
With her aristocratic air, her severe looks but also her sweet undertones, Italian silent film star and stage actress Maria Carmi (1880-1957) was the cinematic translation of the 19th century Primadonna. Later she became Princess Norina Matchabelli and was co-founder of the perfume company Prince Matchabelli.
Trailer of Lotti's film: www.youtube.com/watch?v=tgC8uCilKi0
An animated version of the film by Anime Studio (2010): www.youtube.com/watch?v=3nPOjkAXjVk
©2014 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2014 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
www.atcbsb.com.br All Rights Reserved | Please do not use this image without my written permission | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Uno de mis príncipes Favoritos de Disney, este muñeco fue un obsequio de navidad de mi mejor amigo!!!. Me gusta la personalidad de Naveen, creo que nos parecemos, jajajajaj XD
One of my favorite Disney princes, this doll was a chritmas gift from my best friend!. I like the personality of Naveen, I think we are alike, jajajajaj XD
Lograremos ser humanos
© 2016 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2016 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Operador: LATAM Airlines
Local: Aeroporto Internacional Santa Genoveva Goiânia - SBGO
©2019 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission
©2019 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icarorfalves@gmail.com
©2014 Marcio Souza Photography | All Rights Reserved | Please do not use this image without my written permission ©2014 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
El botafumeiro (literalmente 'echador de humo', en gallego) es uno de los símbolos más conocidos y populares de la catedral de Santiago de Compostela, Galicia (España). Es un enorme incensario bañado en plata que pesa 62 kilogramos vacío y mide 1,49 metros de altura. El botafumeiro anterior pesaba 53 kg, pero en el año 2006, durante las labores de restauración dirigidas por Luis Molina Acedo, se le añadió un baño de plata que incrementó su peso hasta los 62 kg de la actualidad. La cuerda que lo sostiene, atada al crucero de la catedral, es, en la actualidad, de un material sintético, tiene una longitud de 65 m, 5 centímetros de diámetro y pesa 90 kg. Anteriormente las cuerdas estaban hechas de cáñamo o esparto.
El botafumeiro se llena con unos 400 gr de carbón e incienso, después se ata con fuertes nudos a una larga cuerda que va hasta el techo del edificio, y se desplaza, mediante un mecanismo de tornos, por la nave transversal (transepto) de la catedral; para conseguirlo, un grupo de ocho hombres, que reciben el nombre de tiraboleiros, lo empujan primero para ponerlo en movimiento, y después tiran cada uno de un cabo de la cuerda para ir consiguiendo velocidad. Antiguamente el impulso y la parada del mismo se llevaba a cabo por el tiraboleiro mayor, que además era el que marcaba el ritmo del impulso. En la actualidad esta figura ya no existe.
El movimiento del botafumeiro puede alcanzar una velocidad de 68 km/h durante su desplazamiento por el crucero de la catedral, desde la puerta de la Azabachería a la puerta de las Platerías, describiendo un arco de 65 m y una altura máxima de 21 m (un ángulo de 82°). Para llegar a esta altura máxima se necesitan 17 recorridos completos. Debido a la velocidad y el peso puede adquirir una enorme energía. A causa de ello, en épocas pasadas hubo desprendimientos de la cuerda. En 1499 se desprendió el botafumeiro y salió por la Puerta de Platerías, en presencia de Catalina de Aragón, que estaba de visita en Santiago. Similares situaciones ocurrieron en 1622 y 1937. En ninguna ocasión hubo víctimas por el desprendimiento. En la actualidad se mantiene despejado parte del presbiterio en el crucero de la catedral durante el vuelo del botafumeiro para que los feligreses y visitantes accedan hasta un lugar seguro y puedan contemplar la maniobra.
El botafumeiro más antiguo se utiliza en las misas solemnes. Cuando el original está siendo restaurado se usa una réplica de plata obsequio de los Alféreces Provisionales a la Catedral en 1971. El resto de los días queda expuesto un peso, realizado en alpaca, que se conoce con el nombre de la alcachofa.
Historia
Moneda de 5 pesetas (1993), con un grabado del incensario compostelano
Según la tradición, el uso del incensario en la catedral de Santiago comenzó en el siglo XI, con la idea de perfumar el templo y eliminar el mal olor que dejaban los peregrinos, cansados, sudorosos y desaseados y muchos de ellos enfermos. En el año 1200 se cambió el sistema inicial de poleas por un sistema de rodaduras que permitía el desplazamiento lateral, con lo cual podía recorrer unos 150 cm, que era la distancia que permitía la cuerda. El rey Luis XI de Francia donó a la catedral en 1400 una suma de dinero para reemplazar el incensario medieval, que no se realizó hasta 1554. El mecanismo de rodadura actual del Botafumeiro se instaló en 1604. El nuevo incensario fue realizado completamente en plata, pero fue robado por las tropas de Napoleón en abril de 1809 durante la Guerra de la Independencia, siendo reemplazado por el actual, que fue fabricado por el orfebre José Losada en 1851, en latón bañado en plata, y otro botafumeiro de plata, de 54 kilogramos, regalado a la Catedral de Santiago por la Hermandad de Alféreces Provisionales en 1971 y que se expone en la biblioteca del museo catedralicio. Ambos son réplicas del desaparecido durante la invasión napoleónica.
Una indicación de la importancia simbólica del botafumeiro en España es el diseño de las monedas de 5 pesetas del año 1993, con un grabado del incensario compostelano.
Al igual que otros incensarios de las iglesias, tiene un origen litúrgico. Sin embargo, éste es especialmente grande debido a la gran cantidad de peregrinos que llegan a Santiago.
Hay que pensar que la catedral de Santiago, como todas las de peregrinación, permitía a los peregrinos dormir en el interior, lo que provocaba un olor muy desagradable. De ahí la necesidad de tener un incensario /“ambientador”/ tan grande. (Wikipedia)
Con este video abandonamos la catedral de Santiago y la visita a Galicia.
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Llévele, llévele. Si andan por Toluca este fin de semana, los esperamos en Tolucomic. Habrá promoción, en la compra del cómic un print de obsequio.
Lucía entregará en su comunión un regalito a sus amigas. Son unas dulces pulseras de libélulas que vuelan sobre un cordón de color rosa chicle con nudos correderos que se adaptan a la muñeca de las niñas. Espero que les gusten a sus amiguitas.
No hay dos libélulas iguales, y como a la celebración irán algunas niñas más pequeñas, hay alguna libélula un pelín más peque también.
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Graciasssss ! Feliiiiz con ese obsequio
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