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Aeronave: Boeing 767-316(ER)(WL)
Operador: TAM Linhas Aéreas (One World)
Local: Aeroporto Internacional de Guarulhos André Franco Montoro - SBGR
Prefixo: PT-MOC
Numero de Construção: 41746
©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
© 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: Boeing 737-73A/W
Operador: Varig Linhas Aéreas
Local: Aeroporto Santa Genoveva Goiânia - SBGO
Prefixo: PR-VBZ
Numero de Construção: 28500
Ano de Fabricação: 1999
©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 Tancredo Neves Confins - SBCF
Prefixo: N358AA
Numero de Construção: 24039
©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
© 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.
© 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.
recibieron muchos regalitos de parte mía y mi novio que los patrocinó jiji...
ahh tambien abrieron sus sweteres de amimono pop, estaban de lo más feliz!
Gracias tía Caroli! ♥
© 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.
Декабрь Add MS 18851
www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_18851
www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_18851_fs001r
Date c 1497
Title Breviary, Use of the Dominicans ('The Breviary of Queen Isabella of Castile')
Content The manuscript includes a breviary of Dominican use, known as the ‘Breviary of Isabella of Castile’ after its owner. Contents:ff. 1v-7r: Calendar of Dominican use. ff. 9r-110v: Temporale (1st portion: from First Sunday of Advent to Holy Saturday).ff. 111v-200r: Psalter, with Canticles, Gradual Psalms, the Athanasian Creed, and Litany.ff. 203r-208r: Rubrics for offices for feasts of differing rank.ff. 211r-288v: Temporale (2nd portion: from Easter Sunday to the Sunday before Advent),ff. 288v-292v: Office for the dedication of the church.ff. 293r-498r: Sanctorale.ff. 499r-508r: Common of the Saints.ff. 508v-512v: Office of the Virgin Mary. ff. 512v-514r: Office of the Dead.ff. 514r-514v: Benedictions for the lessons at Matins.ff. 514v-518v: Additional readings for the Common of the Saints.ff. 518v-521r: Commendation of souls.ff. 521r-523r: Blessings.Decoration:Historiated borders with the labours of the months and signs of the zodiac (ff. 1v-7r). 1 full page mianiture in colours and gold, with a full border, at the beginning of the Temporale (f. 8v). Space left for a full-page miniature (f. 8r). Large, two-column miniatures in colours and gold with full scatter borders, at the beginning of other major liturgical divisions (ff. 9r, 29r, 37r, 41r, 63r, 71r, 77r, 81v, 86r, 90r, 96r, 100r, 106v, 111v, 112r, 124r, 132r, 139r, 146v, 155v, 164r, 173r, 184v, 211r, 228r, 234r, 241r, 252r, 260r, 262r, 293r, 297r, 309r, 337r, 348r, 354r, 365r, 368r, 386v, 392r, 399r, 436v, 437r, 455r, 477v, 481r, 485r). Small, one-column miniatures in colours and gold, with full borders, at the beginning of selected masses (ff. 14v, 18r, 23r, 65v, 67v, 69v, 100v, 101r, 101v, 102r, 102v, 103r, 103v, 104r, 108v, 174r, 174v, 176r, 177v, 180r, 182r, 185r, 186r, 187r, 189r, 191v, 194r, 194v, 195v, 196r, 196v, 198r, 203r, 220v, 263v, 266r, 270r, 289r, 301r, 312r, 314v, 326r, 328v, 331v, 345v, 347r, 358r, 363v, 364r, 367r, 372r, 374r, 385v, 390r, 404v, 405r, 405v, 406v, 407v, 408r, 411v, 412v, 414r, 417r, 418r, 419v, 421v, 423v, 427r, 431r, 441r, 442v, 444r, 445v, 449r, 451v, 458r, 459r, 461r, 462r, 463v, 464r, 467v, 468v, 469v, 470v, 471r, 472v, 473r, 474v, 476r, 484v, 485v, 488v, 491v, 494r, 485v, 499r). Historiated initials in colours and gold with partial borders (ff. 303r, 304v, 306r, 320v, 322v, 324r). An unfinished initial (f. 297v). Large initials in colours and gold with flowers and insects, with three-sided borders. Initials in colours on gold grounds, some with flowers and partial borders. Small, verse initials in colours on gold grounds. Line-fillers in colours and gold.The illumination of the manuscript was executed in two campaigns. The first campaign began probably in the mid 1480s (see Brinkmann, Die flämische Buchmalerei, 1997) and encompassed works by the Master of the Dresden Prayerbook (most of miniatures on ff. 8v-258r), his follower (ff. 1v-7r and several borders), Gerard David (ff. 29r, 41r, 297r, with the last miniature probably belonging to the second campaign) and another painter (f. 309r, painted on a singleton). The second campaign began before 1497 and was conducted by the Master of James IV of Scotland who was responsible for the remainder of the miniatures, with 12 spaces left blank. Seven miniatures were added in Spain, in the late 1480s or early 1490s (McKendrick in The Isabella Breviary, 2012) or c. 1500 (Backhouse, The Isabella Breviary, 1993) (ff. 365v, 372r, 374r, 386v, 390r, 392r, 399r. All except the first miniature are painted on separate sheets of parchment and pasted into the volume). Five miniatures were added in the 19th century, in England (ff. 363v, 364r, 367r, 368r, 385v) (see Kren and McKendrick, Illuminating the Renaissance, 2003).The subjects of the miniatures are:In the Calendar:f. 1v: A winter landscape with a man warming himself by the fire in his house; Aquarius (January).f. 2r: A winter landscape with men chopping trees and gathering wood; Pisces (February).f. 2v: An early spring landscape with men pruning trees; Aries (March).f. 3r: A spring landscape with a party in a boat and two men fishing; Taurus (April).f. 3v: A spring landscape with men and women on a walk and in a boat on the river; Gemini (May).f. 4r: A summer landscape with peasants scything grass; Cancer (June).f. 4v: A summer landscape with peasants harvesting wheat; Leo (July).f. 5r: A summer landscape with peasants threshing wheat; Virgo (August).f. 5v: Men treading grapes and pouring wine in and out of barrels; Libra (September).f. 6r: An autumn landscape with peasants feeding pigs on acorns and ploughing; Scorpio (October). f. 6v: An autumn landscape with peasants herding pigs to a pasture; Sagittarius (November).f. 7r: An autumn landscape with peasants slaughtering a pig; Capricorn (December).In the Temporale (1st portion):f. 8v: Twelve Sibyls foretelling the coming of Christ (First Sunday of Advent).f. 9r: King David on his deathbed recalling the building of the first altar on the site of the future Temple (First Sunday of Advent).f. 14v: The Day of Wrath (Second Sunday of Advent).f. 18r: St John the Baptist in prison sending two disciples to Christ (Third Sunday of Advent).f. 23r: St John baptizing (Fourth Sunday of Advent).f. 29r: The Nativity (Christmas).f. 37r: The Circumcision (Octave of Christmas).f. 41r: The Adoration of the Magi (Epiphany).f. 63r: The Creation (Septuagesima Sunday).f. 65v: Noah's Ark (Sexagesima Sunday).f. 67v: The Commendation of Abraham (Quinquagesima Sunday).f. 69v: A celebration of Ash Wednesday in a church (Ash Wednesday).f. 71r: The Temptations of Christ (First Sunday of Lent).f. 77r: The woman of Canaan before Christ (Second Sunday of Lent).f. 81v: Christ casting out a dumb devil (Third Sunday of Lent).f. 86r: Christ and the woman taken in adultery (Fourth Sunday of Lent).f. 90r: The Jews threaten to stone Christ for blasphemy in Solomon's Temple (Passion Sunday).f. 96r: The Entry into Jerusalem (Palm Sunday).f. 100r: The Last Supper (Maundy Thursday, Matins).f. 100v: Christ praying in the Garden of Gethsemane; Christ revealing himself to soldiers in the Garden of Gethsemane (Maundy Thursday, Matins).f. 101r: The Arrest of Christ; Christ before Annas (Maundy Thursday, Matins). f. 101v: Christ before Caiaphas; the Mocking of Christ (Maundy Thursday, Matins).f. 102r: Christ before Pilate (first appearance); Christ being brought to Herod (Maundy Thursday, Matins).f. 102v: Christ before Herod; Christ being brought to Pilate (Maundy Thursday, Matins).f. 103r: Christ before Pilate (second appearance); the Flagellation (Maundy Thursday, Matins).f. 103v: Christ being crowned with the crown of thorns; Christ being shown to the people (Ecce homo) (Maundy Thursday, Matins).f. 104r: Carrying of the Cross; Christ awaiting the Crucifixion (Maundy Thursday, Matins).f. 106v: The Crucifixion (Good Friday).f. 108v: Soldiers sleeping around Christ's tomb (Holy Saturday).In the Psalter:f. 111v: Nebuchadnezzar presiding over the burning of books at the destruction of Jerusalem (Psalm 1).f. 112r: Jerusalem being rebuilt and Esdras restoring the laws (Psalm 1).f. 124r: The Anointing of David (Psalm 26).f. 132r: David being cursed by Shimei (Psalm 38).f. 139r: Antiochus plundering the Temple (Psalm 52).f. 146v: David and his musician with the visions of the Passion, martyrdoms and the destruction of Jerusalem in medallions above (Psalm 68).f. 155v: David and his musicians playing before the Tabernacle, with the Sacrifice of Isaac in the background (Psalm 80).f. 164r: David instructing his musicians on the 'new song' (Psalm 95).f. 173r: Abraham rescuing Lot and, in the background, Abraham being greeted by Melchisedek (Psalm 109).f. 174r: Pharaoh's soldiers perishing in the Red Sea (Psalm 113).f. 174v: David taking the cup and spear from the tent of Saul (Psalm 114).f. 176r: The Zaiphite messenger revealing David's whereabouts to Saul (Psalm 118, Prime).f. 177v: The Expulsion from Paradise and Pentecost (Psalm 118:33, Terce).f. 180r: Jacob's ladder (Psalm 118:81, Sext).f. 182r: A woman praying in a rose garden (Psalm 118:129, None).f. 184v: David and his musician on the fifteen steps of the Temple (Gradual Psalms 119-121).f. 185r: Solomon building the Temple (Gradual Psalms 119-121).f. 186r: God and saints appearing above a church (Psalm 126). f. 187r: The arrival of the Ark at the Temple (Psalm 131).f. 189r: Goliath (Psalm 137).f. 191v: David and Goliath (Psalm 143).f. 194r: A baptism of St Augustine ('Te deum', Matins).f. 194v: The three Hebrew boys in the furnace (Canticle of the Three Children: 'Benedicite', Lauds on Sunday).f. 195v: The Visitation ('Magnificat', Vespers).f. 196r: A dying man (Canticle of Simeon: 'Nunc Dimittis', Compline).f. 196v: A pope and cardinals presiding over the burning of books (The Athanasian Creed, Prime on Sunday).f. 198r: A pope, a cardinal, a bishop, an emperor, a king and other praying to Christ and saints (Litany).f. 203r: A Dominican reading to his fellow brothers (Rubrics for feasts).In the Temporale (2nd portion).f. 211r: The Resurrection (Easter Sunday).f. 220v: St John on Patmos (readings from the Apocalypse, Easter Matins).f. 228r: The Ascension of Christ (Ascension Day).f. 234: The Descent of the Holy Spirit (Pentecost Sunday).f. 241r: The Trinity and St Augustine with a child comparing the explanation of the Trinity with attempting to empty the sea into a bottle (Trinity Sunday).f. 252r: Dives and Lazarus (First Sunday after the Trinity).f. 260r: Solomon instructing his son (First Sunday in August).f. 262r: Job (First Sunday in September).f. 263v: The charitable acts of Tobit (First Sunday in September).f. 266r: Alexander slaying Darius (First Sunday in October).f. 270r: A congregation at prayer (First Sunday in November).f. 289r: A priest praying at an altar and clerics singing (Dedication of the Church).In the Sanctorale:f. 293r: St Andrew.f. 297. St Barbara.f. 301: The Coronation of the Virgin.f. 303: Initial 'C' of St Lucy.f. 304v: Initial 'O' of St Thomas the Apostle.f. 306r: Initial 'I' of St. Stephen.f. 309r: St John the Evangelist.f. 312r: The Massacre of the Innocent.f. 314v: St Thomas Becket.f. 320v: Initial 'A' of St Anthony Abbot.f. 322v: Initial 'D' of St Fabian and St Sebastian.f. 324r: Initial 'S' of St Agnes.f. 326r: St Vincent.f. 228v: The Conversion of St Paul.f. 331v: The translation of St Thomas Aquinas.f. 337r: The Presentation in the Temple (Purification of the Virgin).f. 245v: St Peter's chair.f. 347r: St Matthias.f. 348r: St Thomas Aquinas. f. 354r: The Annunciation with the Tree of Jesse.f. 358r: St Vincent Ferrer.f. 363v: St George (19th-century addition).f. 364r: St Mark (19th-century addition).f. 365r: St Peter Martyr (added c. 1500).f. 367r: St Philip and St James the Less (19th-century addition).f. 368r: St Catherine of Siena (19th-century addition).f. 372r: The Invention of the Cross (added c. 1500).f. 374r: The Coronation with the Crown of Thorns (added c. 1500).f. 385v: The One Thousand Martyrs (19th-century addition).f. 386v: The birth of John the Baptist (added c. 1500).f. 390r: St John and St Paul (added c. 1500).f. 392r: The Decapitation of SS Peter and Paul (added c. 1500).f. 399r: The Visitation (added c. 1500).f. 404v: The Seven Brothers.f. 405r: St Procopius.f. 405v: St Alexius.f. 406v: St Margaret.f. 407v: St Praxedis.f. 408r: St Mary Magdalene.f. 411v: St Apollinarius.f. 412v: St James the Great.f. 414r: St Anna teaching the Virgin to read.f. 417r: St Martha.f. 418r: SS Felix, Simplicius, Faustinus and Beatrice.f. 419v: St Peter's chains.f. 421v: The Invention of St Stephen.f. 423v: St Dominic.f. 427r: The Transfiguration.f. 431r: St Lawrence.f. 436v: The arms of Ferdinand and Isabella with the arms of Infante John and Margaret of Austria (left) and the arms of Philip of Austria, Duke of Burgundy, and Infanta Joanna.f. 437r: The Coronation of the Virgin, with the arms of Francisco de Rojas in the lower margin.f. 441r: St Bernard.f. 442v: St Bartholomew.f. 444r: St Louis.f. 445v: St Augustine.f. 449r: St John the Baptist.f. 451v: The birth of the Virgin.f. 455r: SS Gorgonius, Prothus and Hiacinthus and the Exaltation of the Cross.f. 458r: St Euphemia.f. 459r: St Matthew.f. 461r: St Maurice and his companions.f. 462r: St Cosma and St Damian. f. 463v: St Wenceslas.f. 464r: St Michael.f. 467v: St Jerome.f. 468v: St Remigius.f. 469v: St Francis.f. 470v: St Pope Marcus.f. 471r: St Denis and his companions.f. 473r: St Luke.f. 474v: The Eleven Thousand Virgins.f. 476r: St Simon and St Jude.f. 481r: The Rising of Lazarus (Office of the Dead).f. 484v: The Four Crowned Martyrs.f. 485r: St Theodore.f. 485v: St Martin.f. 488v: St Elizabeth.f. 491v: St Cecilia.f. 494r: St Clemens.f. 495v: St Catherine.f. 499r: Apostles.
View: bindings
1067 images available
Languages Latin
Physical Description
Materials: Parchment.
Dimensions: 230 x 160 mm (text space: 135 x 95 mm).
Foliation: ff. 523 (+ 3 unfoliated parchment flyleaves: 2 at the beginning and 1 at the end, and 1 unfoliated parchment leaf after f. 7).
Collation: i8 (ff. 1-7 + 1 unfoliated leaf after f. 7); ii8+1 (ff. 8-16; f. 8 is a singleton); iii-xiii8 (ff. 17-104); xiv2 (ff. 105-106, bound inside out: the correct order is ff. 106r. 106v, 105r, 105v); xv4 (ff. 107-110); xvi8 (ff. 111-118); xvii10 (ff. 119-128); xviii8 (ff. 129-136); xix8+1 (ff. 137-145; f. 143 is a singleton); xx-xxi8 (ff. 146-161); xxii10 (ff. 162-171); xxiii8+1 (ff. 172-180; f. 172 is a singleton); xxiv-xxv8 (ff. 181-196); xxvi6 (ff. 197-202); xxvii8 (ff. 203-210); xxviii10 (ff. 211-220); xxix-xxxi8 (ff. 221-244); xxxii8 (ff. 245-252; f. 252 is a singleton pasted onto a stub conjoint with f. 245); xxxiii-xxxix8 (ff. 253-308); xl6+1 (ff. 309-315; f. 309 is a singleton); xli6 (ff. 316-321); xlii8 (ff. 322-329); xliii6 (ff. 330-335); xliv2 (ff. 336-337); xlv-lvi8 (ff. 338-433); lvii8+1 (ff. 434-442; f. 436 is a singleton); lviii6 (ff. 443-448); lix8 (ff. 449-456); lx-lxi6 (ff. 457-468); lxii4 (ff. 469-472); lxiii-lxv8 (ff. 473-496); lxvi2 (ff. 497-498); lxvii-lxviii8 (ff. 499-514); lxix8+1 (ff. 515-523 + 1 unfoliated leaf); catchwords.
Layout: Written in two columns of 34 lines.
Script: Gothic (rotunda).
Binding: Post-1600. 19th-century blind-tooled dark brown leather binding with decorative lining by Charles Hering, with panels of blind-tooled Mudéjar decoration from an earlier, early 16th-century cover. Contained in a box lined with crimson silk velvet.
Ownership Origin: Southern Netherlands (Bruges).Provenance:Isabella I of Castile 'the Catholic' (b. 1451, d. 1504), Queen of Castile and consort of Ferdinand, King of Aragon and Sicily, presented to her in c. 1497 by Francisco de Rojas, diplomat and ambassador to the Emperor Maximilian I, employed to negotiate a double marriage between the children of Isabella and Ferdinand and the children of Maximilian: the Rojas arms with an extract from John 1:5: 'Lux in tenebris lucet et tenebre eam non comprehendetur'; and his dedicatory inscription painted and written over the border decoration: 'Dive Elizabeth hispania[rum] et siscilie Regine etc chri[st]ianissi[m]e potentissi[m]e semp[er] auguste supreme Do[mi]ne sue cleme[n]tissime franciscus de Roias eiusde[m] maiestatis hu[m]ilimus servus ac creatura optime de se merens breviariu[m] hoc ex obsequio obtulit' (f. 437r); Isabella's arms impaling those of Ferdinand, with the pomegranate badge of Granada, added on an inserted leaf, supported in the talons of an eagle with a scroll with the legend 'Sub umbra alarum tuarum protege nos' (Psalm 16:8), and two smaller shields below, with the arms of her children impaling those of their spouses (both marriage contracts were signed by proxy in 1495): Juan and Margaret of Austria, daughter of Emperor Maximilian I, and Joanna of Castile and Archduke Philip 'the Handsome', son of Emperor Maximilian I, with extracts from the Psalms, respectively: 'Pro patribus tuis nati sunt tibi filii constituisti eos principes super omnem terram' (Psalm 44: 17) and 'Potensin terra erit semen eorum generatio rectorum benedicetur' (Psalm 111: 2) (f. 436v). John Dent (b. in or after 1761, d. 1826), politician and book collector: owned by him by 1817, described in Thomas Frognall Dibdin, Bibliographical Decameron or Ten Days Pleasant Discourse upon Illuminated Manuscripts (Bulmer and Co., 1817); sold to Philip Hurd: his sale, Evans, London, March 29, 1827, lot 484. Philip Hurd (d. 1831), Esquire of Kentish Town and attorney-at-law, Inner Temple, sold to Sir John Soane: his sale, Evans, London, March 29, 1832, lot 1434.Sir John Soane (b. 1753, d. 1837), architect, resold by him through the London bookseller John Cochran to Sir John Tobin .Sir John Tobin (b. 1763, d. 1851), merchant and Lord Mayor of Liverpool, pased by descent to Rev. John Tobin, his son. Rev. John Tobin of Liscard, Cheshire: sold by him to William Boone, London bookseller (trading 1815-1870) in 1852.Purchased by the British Museum from Boone in 1852. William Boone, London bookseller (trading 1815-1870).
© 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.
Relieve interior de la ermita de Santa María de Quintanilla de las Viñas, Alfoz de Lara , Burgos.Arquitectura y escultura visigoda (Siglo VII o VIII) . Monumento Nacional, aunque quien lo diría por lo abandonado que está el lugar.
El relieve de la foto forma parte de uno de los dos capiteles -dovelas- que culminan las columnas de mármol que dan acceso a la capilla de la ermita. Es la alegoría en forma humana al Sol ( en femenino como se puede observar por el ropaje y la melena , y en contraposición a la Luna , a la que veremos más adelante como hombre ).Sol y Luna, principio masculino y femenino, eran motivos muy habituales en las herejías gnósticas maniqueas que en los primeros siglos del Cristianismo tuvieron gran predicación.
Sobre la figura del sol aparece la siguiente inscripción: "OC EXIGVVM EXIGVA OFF (ert) D (e) O FLAMMOLA VOTUM" «La humilde Flammola ofrece este humilde obsequio». Flammola pudiera ser la señora del cercano Castillo del Alfoz de Lara , o la esposa de Gundisalvo Telliz, que vivió en el siglo IX, por lo que pudiera ser que acaso su labor en Quintanilla fuese la de renovar o restaurar el templo realizado anteriormente. .
Esta iglesia destaca por su heterodoxia ante otras iglesias de su época. Las representaciones masculo-femeninas y otros ornamentos y simbolos (el Sol y la Luna, racimos de uvas, animales diversos y mitólogicos como se observa en la siguiente foto), la relacionan con cultos maniqueos o gnosticos -muy arraigados en Hispania-. Estas creencias orientales coexistian junto con el catolicismo, judaismo y arrianismo, pese a la fuerte persecución católica y godo-católica sobre ellas. Se trata pues de una iglesia cristiana no católica, construida por algún grupo cristiano de clara influencia maniquea o gnóstica, y construida gracias a la dama Flammola (los gnosticos tenían a las mujeres como a iguales en el culto). La supervivencia de esta ermita podría proporcionar una de las escasisimas pruebas de los conflictos religiosos y civiles que sin duda acontecieron en la Hispania goda en el periodo previo a los sucesos del 711.
Relief inside the chapel of Santa Maria de Quintanilla de las Viñas, Alfoz de Lara, and sculpture Burgos.Architecture and sculpture Visigoth (Century VII or VIII). National Monument, but who would say it is the place abandoned.
The relief of the photo is part of one of the two capitals, voussoirs, culminating marble columns that give access to the chapel of the hermitage. Allegory is the sun in human form (in women as seen by the clothing and hair, and in contrast to the Moon, to be discussed later as a man). Sun and Moon, top male and female, were reasons very common in Gnostic Manichean heresies in the early centuries of Christianity had great preaching.
On the figure of the sun appears the following inscription: "OC EXIGVVM EXIGVA OFF (ert) D (e) O FLAMMOLA votum" "The humble Flammola offer this humble gift." Flammola lady could be near the Alfoz Castillo Lara, or Telliz Gundisalvo's wife, who lived in the ninth century, so it could be that perhaps his work Quintanilla was to renew or restore the temple made previously. .
Remarkable by his heterodoxy to other churches of his day. Masculo-female representations and other ornaments and symbols (the Sun and Moon, grapes, and various mythological animals as seen in the photo below), the related cults or Gnostic-Manichaean entrenched in Hispania. These Eastern beliefs coexisted with Catholicism, Judaism and Arianism, despite strong Catholic persecution and Goth-Catholic about them. It is therefore a protestant chapel, built by a Christian group or Gnostic Manichean clear influence, and built by the lady Flammola (the Gnostics had women as equals in worship). The survival of this chapel could provide evidence of the very few religious and civil conflicts that undoubtedly occurred in the Gothic Hispania in the run up to the events of 711.
All Rights Reserved | Please do not use this image without my written permission ©2007-2021 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Aeronave: AMX International A-1M
Operador: Força Aérea Brasileira
Local: Base Aérea de Anápolis - SBAN
Prefixo: FAB-5520
©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
A lenda da serea e o músico
Era o mundo agresivo e tristeiro, era o mundo todo dunha mesma cor, todo impregnado dun mesmo aroma, todo tinguido de azul, azul bágoa, azul sangue. Era o mundo violento e abatido, e nel soaba unha única canción, unha única melodía na que se mesturaba toda unha orquestra de lamentos, de saloucos, de súplicas desesperadas. O Deus Creador agasallara ó seu mundo con miles de bens (a luz do sol, a beleza das estrelas, o resplandor do riso, o respirar da natureza), pero esquecera un detalle moi importante, un pequeno obsequio polo que os habitantes daquel fermoso pero monótono mundo non podían gozar da calor da felicidade: o Deus Creador esquecera engadir nos corazóns dos seres humanos o amor.
Ninguén quería a ninguén, ninguén confiaba en ninguén, a ninguén lle importaba ninguén. Todos vivían por cumpriren os seus propios intereses, soñaban os seus propios soños, pero existían tantas guerras e conflictos que morrían mozos moi novos e víanse desgraciadas polo resto das súas vidas rapazas ás que violaban cando nos seus corazóns aínda vivía o espírito de nenas. Era un mundo no que se construían imaxinarios castelos que se derrubaban antes de que aparecera a primeira pedra.
Había, sen embargo, naquel mundo un lugar diferente, unha paisaxe na que os salaios non constituían a melodía diaria, unha fermosa praia solitaria á que endexamais ninguén chegara, e nela a area e as ondas que a mollaban, xogando a debuxar liñas que se entrelazaban, eran tan puras e tan virxes que os queixumes dos humanos non as podían manchar. Unha area tan virxe que nin sequera sabía da existencia doutra cousa que non fosen o mar, as rochas, os peixes e as gaivotas.
Pero aconteceu un día que os pés dunha persoa chegaron a pisar aquel chan, e os seus ollos, vermellos de chorar por aquel mundo enfermo, descubriron a praia na que podería quedar ata que o Deus Creador tomara a decisión de o levar de alí. E sentou por riba da area e comezou a facer soa-las cordas da súa vella guitarra, namentres as acompañaba coa voz máis doce que entre os humanos poida existir. Os peixes escoitábano dende o profundo do mar e os paxaros ficaban preto del, incrédulos e marabillados ó mesmo tempo.
Entón, un día apareceu, deitada na beira do mar, cos ollos máis fermosos que se poidan imaxinar, dourados, unha serea, que dende o lugar onde vivía escoitara cantar ó mozo e quedara pampa. A serea permaneceu alí durante moitos días e moitas noites, escoitando a doce canción do rapaz, que estaba tan sumido na súa música que non se decatara da presencia daquela princesa do mar que o estaba a mirar co sorriso máis puro e verdadeiro.
Deste xeito, transcorreron preto de sete días, e finalmente o humano caeu ó chan, branco, teso, como se levase moito tempo morto e unicamente a forza da súa canción o mantivera alí cantando todos aqueles días e todas aquelas noites.
Cando o mozo espertou, o primeiro que os seus ollos tristes viron foi á serea, que, gracias a algunha menciña sacada do fondo do océano, o curara. O humano comprendeu o que ocorrera, e de contado a bondade que emitía a cara de nena da serea namorouno.
Dende entón, a serea e o rapaz humano víanse a cotío, e el cantáballe aquela fermosa canción, que deixou de ser un soño de ter un mundo distinto e se converteu nunha sinfonía dedicada á ledicia de amar. Porque o seu amor era grande, grande como non se pode imaxinar, e fermoso, fermoso e doce, doce e sutil, sutil e forte.
E, fronte ó mundo sumido na amargura de non amar, aquel humano e aquela dama do océano atoparon o sentimento que o Deus Creador lles negara.
Pero ocorreu entón unha noite que a voz do Deus rompeu a beleza do canto do mozo, e esa voz suprema díxolles ós amantes:
- Sodes ditosos, porque ninguén máis neste mundo ó que dei forma pode gozar da felicidade que vós atopastes.
Os namorados sentíronse moi culpables, e suplicaron ó Deus que fixera que naquela terra todos fosen quen de sentir amor, amizade, cariño.
- Podo cumpri-lo voso desexo - respondeu o Deus -, pero hai un prezo que teredes que pagar a cambio: non volveredes vervos; ti, filla das augas, non sairás á superficie, e ti, fillo da terra, non mollarás nunca máis os pés no mar.
Os namorados choraron con amargura, pero ámbolos dous desexaban que todos puidesen experimentar a felicidade de sentir amor, así que dixéronse adeus para sempre e xuraron ó Deus que non se volverían ver.
***
As olas batendo nas rochas, os risos dos nenos, as voces preocupadas dos pais: o normal nunha praia. Con estes sons exercendo de coros na súa melodía, un vello, calvo no cocote, pero con longa barba gris e ollos vermellos de noites en branco, toca a súa vella guitarra e canta, coa voz estragada polos anos e polo tabaco, unha canción de amor. Un neno achégaselle.
- ¿Para quen cantas? - pregunta.
- Canto para o fondo do mar.
www.atcbsb.com.br All Rights Reserved | Please do not use this image without my written permission ©2007-2017 Marcio Souza Photography | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Aeronave: Northrop F-5FM
Operador: Força Aérea Brasileira
Local: Base Aérea de Anápolis - SBAN
Prefixo: FAB-4807
©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 737-8EH
Operador: Gol Linhas Aéreas
Local: Aeroporto Internacional Tancredo Neves Confins - SBCF
Prefixo: PR-GGE
Numero de Construção: 35824
©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
© 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.
Mildred Howard
American, born 1945
3219, 2004
steel, glass bottles, glue
Gift of David Kaplan and Glenn Ostergaard
Made of found bottles. the architecture of this glass house recalls the bottle houses made in West Africa and in the American South. Many of us live in houses with large glass windows, but few of us would live in an entirely transparent dwelling. ·'Houses are vessels " says Howard. "They hold dreams and memories. They can a1so hold secrets, which perhaps might be revealed in a house like this."
Mildred Howard
Americana, nacida en 1945
3219, 2004
acero, botellas de vidrio, pegamento
Obsequio de David Kaplan y Glenn Ostergaard
Hecha de botellas encontradas. La arquitectura de esta casa de vidrio hace recordar las casas de botellas hechas en Africa occidental y en el sur de los Estados Unidos. Muchos de nosotros vivimos en casas con grandes ventanas de vidrio, pero pocos de nosotros viviríamos en una vivienda enteramente transparente. '"Las casas son recipientes". dice Howard. "Acopian sueños y recuerdos. También pueden hacer acopio de secretos, que tal vez podrian revelarse en una casa como esta.”
Palm Springs Art Museum
Aeronave: McDonnell Douglas MD-11F
Operador: Lufthansa Cargo
Local: Aeroporto Internacional de Viracopos Campinas - SBKP
Prefixo: D-ALCN
Numero de Construção: 48806
©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 Santiago de Chile Arturo Merino Benítez - SCEL
©2018 Icaro Roberto | All Rights Reserved | Please do not use this image without my written permission
©2018 Icaro Roberto | Todos os Direitos Reservados | Obséquio não usar esta imagem sem permissão.
Contato: icarorfalves@gmail.com
© 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.
Ноябрь Add MS 18851
www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_18851
www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_18851_fs001r
Date c 1497
Title Breviary, Use of the Dominicans ('The Breviary of Queen Isabella of Castile')
Content The manuscript includes a breviary of Dominican use, known as the ‘Breviary of Isabella of Castile’ after its owner. Contents:ff. 1v-7r: Calendar of Dominican use. ff. 9r-110v: Temporale (1st portion: from First Sunday of Advent to Holy Saturday).ff. 111v-200r: Psalter, with Canticles, Gradual Psalms, the Athanasian Creed, and Litany.ff. 203r-208r: Rubrics for offices for feasts of differing rank.ff. 211r-288v: Temporale (2nd portion: from Easter Sunday to the Sunday before Advent),ff. 288v-292v: Office for the dedication of the church.ff. 293r-498r: Sanctorale.ff. 499r-508r: Common of the Saints.ff. 508v-512v: Office of the Virgin Mary. ff. 512v-514r: Office of the Dead.ff. 514r-514v: Benedictions for the lessons at Matins.ff. 514v-518v: Additional readings for the Common of the Saints.ff. 518v-521r: Commendation of souls.ff. 521r-523r: Blessings.Decoration:Historiated borders with the labours of the months and signs of the zodiac (ff. 1v-7r). 1 full page mianiture in colours and gold, with a full border, at the beginning of the Temporale (f. 8v). Space left for a full-page miniature (f. 8r). Large, two-column miniatures in colours and gold with full scatter borders, at the beginning of other major liturgical divisions (ff. 9r, 29r, 37r, 41r, 63r, 71r, 77r, 81v, 86r, 90r, 96r, 100r, 106v, 111v, 112r, 124r, 132r, 139r, 146v, 155v, 164r, 173r, 184v, 211r, 228r, 234r, 241r, 252r, 260r, 262r, 293r, 297r, 309r, 337r, 348r, 354r, 365r, 368r, 386v, 392r, 399r, 436v, 437r, 455r, 477v, 481r, 485r). Small, one-column miniatures in colours and gold, with full borders, at the beginning of selected masses (ff. 14v, 18r, 23r, 65v, 67v, 69v, 100v, 101r, 101v, 102r, 102v, 103r, 103v, 104r, 108v, 174r, 174v, 176r, 177v, 180r, 182r, 185r, 186r, 187r, 189r, 191v, 194r, 194v, 195v, 196r, 196v, 198r, 203r, 220v, 263v, 266r, 270r, 289r, 301r, 312r, 314v, 326r, 328v, 331v, 345v, 347r, 358r, 363v, 364r, 367r, 372r, 374r, 385v, 390r, 404v, 405r, 405v, 406v, 407v, 408r, 411v, 412v, 414r, 417r, 418r, 419v, 421v, 423v, 427r, 431r, 441r, 442v, 444r, 445v, 449r, 451v, 458r, 459r, 461r, 462r, 463v, 464r, 467v, 468v, 469v, 470v, 471r, 472v, 473r, 474v, 476r, 484v, 485v, 488v, 491v, 494r, 485v, 499r). Historiated initials in colours and gold with partial borders (ff. 303r, 304v, 306r, 320v, 322v, 324r). An unfinished initial (f. 297v). Large initials in colours and gold with flowers and insects, with three-sided borders. Initials in colours on gold grounds, some with flowers and partial borders. Small, verse initials in colours on gold grounds. Line-fillers in colours and gold.The illumination of the manuscript was executed in two campaigns. The first campaign began probably in the mid 1480s (see Brinkmann, Die flämische Buchmalerei, 1997) and encompassed works by the Master of the Dresden Prayerbook (most of miniatures on ff. 8v-258r), his follower (ff. 1v-7r and several borders), Gerard David (ff. 29r, 41r, 297r, with the last miniature probably belonging to the second campaign) and another painter (f. 309r, painted on a singleton). The second campaign began before 1497 and was conducted by the Master of James IV of Scotland who was responsible for the remainder of the miniatures, with 12 spaces left blank. Seven miniatures were added in Spain, in the late 1480s or early 1490s (McKendrick in The Isabella Breviary, 2012) or c. 1500 (Backhouse, The Isabella Breviary, 1993) (ff. 365v, 372r, 374r, 386v, 390r, 392r, 399r. All except the first miniature are painted on separate sheets of parchment and pasted into the volume). Five miniatures were added in the 19th century, in England (ff. 363v, 364r, 367r, 368r, 385v) (see Kren and McKendrick, Illuminating the Renaissance, 2003).The subjects of the miniatures are:In the Calendar:f. 1v: A winter landscape with a man warming himself by the fire in his house; Aquarius (January).f. 2r: A winter landscape with men chopping trees and gathering wood; Pisces (February).f. 2v: An early spring landscape with men pruning trees; Aries (March).f. 3r: A spring landscape with a party in a boat and two men fishing; Taurus (April).f. 3v: A spring landscape with men and women on a walk and in a boat on the river; Gemini (May).f. 4r: A summer landscape with peasants scything grass; Cancer (June).f. 4v: A summer landscape with peasants harvesting wheat; Leo (July).f. 5r: A summer landscape with peasants threshing wheat; Virgo (August).f. 5v: Men treading grapes and pouring wine in and out of barrels; Libra (September).f. 6r: An autumn landscape with peasants feeding pigs on acorns and ploughing; Scorpio (October). f. 6v: An autumn landscape with peasants herding pigs to a pasture; Sagittarius (November).f. 7r: An autumn landscape with peasants slaughtering a pig; Capricorn (December).In the Temporale (1st portion):f. 8v: Twelve Sibyls foretelling the coming of Christ (First Sunday of Advent).f. 9r: King David on his deathbed recalling the building of the first altar on the site of the future Temple (First Sunday of Advent).f. 14v: The Day of Wrath (Second Sunday of Advent).f. 18r: St John the Baptist in prison sending two disciples to Christ (Third Sunday of Advent).f. 23r: St John baptizing (Fourth Sunday of Advent).f. 29r: The Nativity (Christmas).f. 37r: The Circumcision (Octave of Christmas).f. 41r: The Adoration of the Magi (Epiphany).f. 63r: The Creation (Septuagesima Sunday).f. 65v: Noah's Ark (Sexagesima Sunday).f. 67v: The Commendation of Abraham (Quinquagesima Sunday).f. 69v: A celebration of Ash Wednesday in a church (Ash Wednesday).f. 71r: The Temptations of Christ (First Sunday of Lent).f. 77r: The woman of Canaan before Christ (Second Sunday of Lent).f. 81v: Christ casting out a dumb devil (Third Sunday of Lent).f. 86r: Christ and the woman taken in adultery (Fourth Sunday of Lent).f. 90r: The Jews threaten to stone Christ for blasphemy in Solomon's Temple (Passion Sunday).f. 96r: The Entry into Jerusalem (Palm Sunday).f. 100r: The Last Supper (Maundy Thursday, Matins).f. 100v: Christ praying in the Garden of Gethsemane; Christ revealing himself to soldiers in the Garden of Gethsemane (Maundy Thursday, Matins).f. 101r: The Arrest of Christ; Christ before Annas (Maundy Thursday, Matins). f. 101v: Christ before Caiaphas; the Mocking of Christ (Maundy Thursday, Matins).f. 102r: Christ before Pilate (first appearance); Christ being brought to Herod (Maundy Thursday, Matins).f. 102v: Christ before Herod; Christ being brought to Pilate (Maundy Thursday, Matins).f. 103r: Christ before Pilate (second appearance); the Flagellation (Maundy Thursday, Matins).f. 103v: Christ being crowned with the crown of thorns; Christ being shown to the people (Ecce homo) (Maundy Thursday, Matins).f. 104r: Carrying of the Cross; Christ awaiting the Crucifixion (Maundy Thursday, Matins).f. 106v: The Crucifixion (Good Friday).f. 108v: Soldiers sleeping around Christ's tomb (Holy Saturday).In the Psalter:f. 111v: Nebuchadnezzar presiding over the burning of books at the destruction of Jerusalem (Psalm 1).f. 112r: Jerusalem being rebuilt and Esdras restoring the laws (Psalm 1).f. 124r: The Anointing of David (Psalm 26).f. 132r: David being cursed by Shimei (Psalm 38).f. 139r: Antiochus plundering the Temple (Psalm 52).f. 146v: David and his musician with the visions of the Passion, martyrdoms and the destruction of Jerusalem in medallions above (Psalm 68).f. 155v: David and his musicians playing before the Tabernacle, with the Sacrifice of Isaac in the background (Psalm 80).f. 164r: David instructing his musicians on the 'new song' (Psalm 95).f. 173r: Abraham rescuing Lot and, in the background, Abraham being greeted by Melchisedek (Psalm 109).f. 174r: Pharaoh's soldiers perishing in the Red Sea (Psalm 113).f. 174v: David taking the cup and spear from the tent of Saul (Psalm 114).f. 176r: The Zaiphite messenger revealing David's whereabouts to Saul (Psalm 118, Prime).f. 177v: The Expulsion from Paradise and Pentecost (Psalm 118:33, Terce).f. 180r: Jacob's ladder (Psalm 118:81, Sext).f. 182r: A woman praying in a rose garden (Psalm 118:129, None).f. 184v: David and his musician on the fifteen steps of the Temple (Gradual Psalms 119-121).f. 185r: Solomon building the Temple (Gradual Psalms 119-121).f. 186r: God and saints appearing above a church (Psalm 126). f. 187r: The arrival of the Ark at the Temple (Psalm 131).f. 189r: Goliath (Psalm 137).f. 191v: David and Goliath (Psalm 143).f. 194r: A baptism of St Augustine ('Te deum', Matins).f. 194v: The three Hebrew boys in the furnace (Canticle of the Three Children: 'Benedicite', Lauds on Sunday).f. 195v: The Visitation ('Magnificat', Vespers).f. 196r: A dying man (Canticle of Simeon: 'Nunc Dimittis', Compline).f. 196v: A pope and cardinals presiding over the burning of books (The Athanasian Creed, Prime on Sunday).f. 198r: A pope, a cardinal, a bishop, an emperor, a king and other praying to Christ and saints (Litany).f. 203r: A Dominican reading to his fellow brothers (Rubrics for feasts).In the Temporale (2nd portion).f. 211r: The Resurrection (Easter Sunday).f. 220v: St John on Patmos (readings from the Apocalypse, Easter Matins).f. 228r: The Ascension of Christ (Ascension Day).f. 234: The Descent of the Holy Spirit (Pentecost Sunday).f. 241r: The Trinity and St Augustine with a child comparing the explanation of the Trinity with attempting to empty the sea into a bottle (Trinity Sunday).f. 252r: Dives and Lazarus (First Sunday after the Trinity).f. 260r: Solomon instructing his son (First Sunday in August).f. 262r: Job (First Sunday in September).f. 263v: The charitable acts of Tobit (First Sunday in September).f. 266r: Alexander slaying Darius (First Sunday in October).f. 270r: A congregation at prayer (First Sunday in November).f. 289r: A priest praying at an altar and clerics singing (Dedication of the Church).In the Sanctorale:f. 293r: St Andrew.f. 297. St Barbara.f. 301: The Coronation of the Virgin.f. 303: Initial 'C' of St Lucy.f. 304v: Initial 'O' of St Thomas the Apostle.f. 306r: Initial 'I' of St. Stephen.f. 309r: St John the Evangelist.f. 312r: The Massacre of the Innocent.f. 314v: St Thomas Becket.f. 320v: Initial 'A' of St Anthony Abbot.f. 322v: Initial 'D' of St Fabian and St Sebastian.f. 324r: Initial 'S' of St Agnes.f. 326r: St Vincent.f. 228v: The Conversion of St Paul.f. 331v: The translation of St Thomas Aquinas.f. 337r: The Presentation in the Temple (Purification of the Virgin).f. 245v: St Peter's chair.f. 347r: St Matthias.f. 348r: St Thomas Aquinas. f. 354r: The Annunciation with the Tree of Jesse.f. 358r: St Vincent Ferrer.f. 363v: St George (19th-century addition).f. 364r: St Mark (19th-century addition).f. 365r: St Peter Martyr (added c. 1500).f. 367r: St Philip and St James the Less (19th-century addition).f. 368r: St Catherine of Siena (19th-century addition).f. 372r: The Invention of the Cross (added c. 1500).f. 374r: The Coronation with the Crown of Thorns (added c. 1500).f. 385v: The One Thousand Martyrs (19th-century addition).f. 386v: The birth of John the Baptist (added c. 1500).f. 390r: St John and St Paul (added c. 1500).f. 392r: The Decapitation of SS Peter and Paul (added c. 1500).f. 399r: The Visitation (added c. 1500).f. 404v: The Seven Brothers.f. 405r: St Procopius.f. 405v: St Alexius.f. 406v: St Margaret.f. 407v: St Praxedis.f. 408r: St Mary Magdalene.f. 411v: St Apollinarius.f. 412v: St James the Great.f. 414r: St Anna teaching the Virgin to read.f. 417r: St Martha.f. 418r: SS Felix, Simplicius, Faustinus and Beatrice.f. 419v: St Peter's chains.f. 421v: The Invention of St Stephen.f. 423v: St Dominic.f. 427r: The Transfiguration.f. 431r: St Lawrence.f. 436v: The arms of Ferdinand and Isabella with the arms of Infante John and Margaret of Austria (left) and the arms of Philip of Austria, Duke of Burgundy, and Infanta Joanna.f. 437r: The Coronation of the Virgin, with the arms of Francisco de Rojas in the lower margin.f. 441r: St Bernard.f. 442v: St Bartholomew.f. 444r: St Louis.f. 445v: St Augustine.f. 449r: St John the Baptist.f. 451v: The birth of the Virgin.f. 455r: SS Gorgonius, Prothus and Hiacinthus and the Exaltation of the Cross.f. 458r: St Euphemia.f. 459r: St Matthew.f. 461r: St Maurice and his companions.f. 462r: St Cosma and St Damian. f. 463v: St Wenceslas.f. 464r: St Michael.f. 467v: St Jerome.f. 468v: St Remigius.f. 469v: St Francis.f. 470v: St Pope Marcus.f. 471r: St Denis and his companions.f. 473r: St Luke.f. 474v: The Eleven Thousand Virgins.f. 476r: St Simon and St Jude.f. 481r: The Rising of Lazarus (Office of the Dead).f. 484v: The Four Crowned Martyrs.f. 485r: St Theodore.f. 485v: St Martin.f. 488v: St Elizabeth.f. 491v: St Cecilia.f. 494r: St Clemens.f. 495v: St Catherine.f. 499r: Apostles.
View: bindings
1067 images available
Languages Latin
Physical Description
Materials: Parchment.
Dimensions: 230 x 160 mm (text space: 135 x 95 mm).
Foliation: ff. 523 (+ 3 unfoliated parchment flyleaves: 2 at the beginning and 1 at the end, and 1 unfoliated parchment leaf after f. 7).
Collation: i8 (ff. 1-7 + 1 unfoliated leaf after f. 7); ii8+1 (ff. 8-16; f. 8 is a singleton); iii-xiii8 (ff. 17-104); xiv2 (ff. 105-106, bound inside out: the correct order is ff. 106r. 106v, 105r, 105v); xv4 (ff. 107-110); xvi8 (ff. 111-118); xvii10 (ff. 119-128); xviii8 (ff. 129-136); xix8+1 (ff. 137-145; f. 143 is a singleton); xx-xxi8 (ff. 146-161); xxii10 (ff. 162-171); xxiii8+1 (ff. 172-180; f. 172 is a singleton); xxiv-xxv8 (ff. 181-196); xxvi6 (ff. 197-202); xxvii8 (ff. 203-210); xxviii10 (ff. 211-220); xxix-xxxi8 (ff. 221-244); xxxii8 (ff. 245-252; f. 252 is a singleton pasted onto a stub conjoint with f. 245); xxxiii-xxxix8 (ff. 253-308); xl6+1 (ff. 309-315; f. 309 is a singleton); xli6 (ff. 316-321); xlii8 (ff. 322-329); xliii6 (ff. 330-335); xliv2 (ff. 336-337); xlv-lvi8 (ff. 338-433); lvii8+1 (ff. 434-442; f. 436 is a singleton); lviii6 (ff. 443-448); lix8 (ff. 449-456); lx-lxi6 (ff. 457-468); lxii4 (ff. 469-472); lxiii-lxv8 (ff. 473-496); lxvi2 (ff. 497-498); lxvii-lxviii8 (ff. 499-514); lxix8+1 (ff. 515-523 + 1 unfoliated leaf); catchwords.
Layout: Written in two columns of 34 lines.
Script: Gothic (rotunda).
Binding: Post-1600. 19th-century blind-tooled dark brown leather binding with decorative lining by Charles Hering, with panels of blind-tooled Mudéjar decoration from an earlier, early 16th-century cover. Contained in a box lined with crimson silk velvet.
Ownership Origin: Southern Netherlands (Bruges).Provenance:Isabella I of Castile 'the Catholic' (b. 1451, d. 1504), Queen of Castile and consort of Ferdinand, King of Aragon and Sicily, presented to her in c. 1497 by Francisco de Rojas, diplomat and ambassador to the Emperor Maximilian I, employed to negotiate a double marriage between the children of Isabella and Ferdinand and the children of Maximilian: the Rojas arms with an extract from John 1:5: 'Lux in tenebris lucet et tenebre eam non comprehendetur'; and his dedicatory inscription painted and written over the border decoration: 'Dive Elizabeth hispania[rum] et siscilie Regine etc chri[st]ianissi[m]e potentissi[m]e semp[er] auguste supreme Do[mi]ne sue cleme[n]tissime franciscus de Roias eiusde[m] maiestatis hu[m]ilimus servus ac creatura optime de se merens breviariu[m] hoc ex obsequio obtulit' (f. 437r); Isabella's arms impaling those of Ferdinand, with the pomegranate badge of Granada, added on an inserted leaf, supported in the talons of an eagle with a scroll with the legend 'Sub umbra alarum tuarum protege nos' (Psalm 16:8), and two smaller shields below, with the arms of her children impaling those of their spouses (both marriage contracts were signed by proxy in 1495): Juan and Margaret of Austria, daughter of Emperor Maximilian I, and Joanna of Castile and Archduke Philip 'the Handsome', son of Emperor Maximilian I, with extracts from the Psalms, respectively: 'Pro patribus tuis nati sunt tibi filii constituisti eos principes super omnem terram' (Psalm 44: 17) and 'Potensin terra erit semen eorum generatio rectorum benedicetur' (Psalm 111: 2) (f. 436v). John Dent (b. in or after 1761, d. 1826), politician and book collector: owned by him by 1817, described in Thomas Frognall Dibdin, Bibliographical Decameron or Ten Days Pleasant Discourse upon Illuminated Manuscripts (Bulmer and Co., 1817); sold to Philip Hurd: his sale, Evans, London, March 29, 1827, lot 484. Philip Hurd (d. 1831), Esquire of Kentish Town and attorney-at-law, Inner Temple, sold to Sir John Soane: his sale, Evans, London, March 29, 1832, lot 1434.Sir John Soane (b. 1753, d. 1837), architect, resold by him through the London bookseller John Cochran to Sir John Tobin .Sir John Tobin (b. 1763, d. 1851), merchant and Lord Mayor of Liverpool, pased by descent to Rev. John Tobin, his son. Rev. John Tobin of Liscard, Cheshire: sold by him to William Boone, London bookseller (trading 1815-1870) in 1852.Purchased by the British Museum from Boone in 1852. William Boone, London bookseller (trading 1815-1870).
Декабрь Add MS 18851
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Date c 1497
Title Breviary, Use of the Dominicans ('The Breviary of Queen Isabella of Castile')
Content The manuscript includes a breviary of Dominican use, known as the ‘Breviary of Isabella of Castile’ after its owner. Contents:ff. 1v-7r: Calendar of Dominican use. ff. 9r-110v: Temporale (1st portion: from First Sunday of Advent to Holy Saturday).ff. 111v-200r: Psalter, with Canticles, Gradual Psalms, the Athanasian Creed, and Litany.ff. 203r-208r: Rubrics for offices for feasts of differing rank.ff. 211r-288v: Temporale (2nd portion: from Easter Sunday to the Sunday before Advent),ff. 288v-292v: Office for the dedication of the church.ff. 293r-498r: Sanctorale.ff. 499r-508r: Common of the Saints.ff. 508v-512v: Office of the Virgin Mary. ff. 512v-514r: Office of the Dead.ff. 514r-514v: Benedictions for the lessons at Matins.ff. 514v-518v: Additional readings for the Common of the Saints.ff. 518v-521r: Commendation of souls.ff. 521r-523r: Blessings.Decoration:Historiated borders with the labours of the months and signs of the zodiac (ff. 1v-7r). 1 full page mianiture in colours and gold, with a full border, at the beginning of the Temporale (f. 8v). Space left for a full-page miniature (f. 8r). Large, two-column miniatures in colours and gold with full scatter borders, at the beginning of other major liturgical divisions (ff. 9r, 29r, 37r, 41r, 63r, 71r, 77r, 81v, 86r, 90r, 96r, 100r, 106v, 111v, 112r, 124r, 132r, 139r, 146v, 155v, 164r, 173r, 184v, 211r, 228r, 234r, 241r, 252r, 260r, 262r, 293r, 297r, 309r, 337r, 348r, 354r, 365r, 368r, 386v, 392r, 399r, 436v, 437r, 455r, 477v, 481r, 485r). Small, one-column miniatures in colours and gold, with full borders, at the beginning of selected masses (ff. 14v, 18r, 23r, 65v, 67v, 69v, 100v, 101r, 101v, 102r, 102v, 103r, 103v, 104r, 108v, 174r, 174v, 176r, 177v, 180r, 182r, 185r, 186r, 187r, 189r, 191v, 194r, 194v, 195v, 196r, 196v, 198r, 203r, 220v, 263v, 266r, 270r, 289r, 301r, 312r, 314v, 326r, 328v, 331v, 345v, 347r, 358r, 363v, 364r, 367r, 372r, 374r, 385v, 390r, 404v, 405r, 405v, 406v, 407v, 408r, 411v, 412v, 414r, 417r, 418r, 419v, 421v, 423v, 427r, 431r, 441r, 442v, 444r, 445v, 449r, 451v, 458r, 459r, 461r, 462r, 463v, 464r, 467v, 468v, 469v, 470v, 471r, 472v, 473r, 474v, 476r, 484v, 485v, 488v, 491v, 494r, 485v, 499r). Historiated initials in colours and gold with partial borders (ff. 303r, 304v, 306r, 320v, 322v, 324r). An unfinished initial (f. 297v). Large initials in colours and gold with flowers and insects, with three-sided borders. Initials in colours on gold grounds, some with flowers and partial borders. Small, verse initials in colours on gold grounds. Line-fillers in colours and gold.The illumination of the manuscript was executed in two campaigns. The first campaign began probably in the mid 1480s (see Brinkmann, Die flämische Buchmalerei, 1997) and encompassed works by the Master of the Dresden Prayerbook (most of miniatures on ff. 8v-258r), his follower (ff. 1v-7r and several borders), Gerard David (ff. 29r, 41r, 297r, with the last miniature probably belonging to the second campaign) and another painter (f. 309r, painted on a singleton). The second campaign began before 1497 and was conducted by the Master of James IV of Scotland who was responsible for the remainder of the miniatures, with 12 spaces left blank. Seven miniatures were added in Spain, in the late 1480s or early 1490s (McKendrick in The Isabella Breviary, 2012) or c. 1500 (Backhouse, The Isabella Breviary, 1993) (ff. 365v, 372r, 374r, 386v, 390r, 392r, 399r. All except the first miniature are painted on separate sheets of parchment and pasted into the volume). Five miniatures were added in the 19th century, in England (ff. 363v, 364r, 367r, 368r, 385v) (see Kren and McKendrick, Illuminating the Renaissance, 2003).The subjects of the miniatures are:In the Calendar:f. 1v: A winter landscape with a man warming himself by the fire in his house; Aquarius (January).f. 2r: A winter landscape with men chopping trees and gathering wood; Pisces (February).f. 2v: An early spring landscape with men pruning trees; Aries (March).f. 3r: A spring landscape with a party in a boat and two men fishing; Taurus (April).f. 3v: A spring landscape with men and women on a walk and in a boat on the river; Gemini (May).f. 4r: A summer landscape with peasants scything grass; Cancer (June).f. 4v: A summer landscape with peasants harvesting wheat; Leo (July).f. 5r: A summer landscape with peasants threshing wheat; Virgo (August).f. 5v: Men treading grapes and pouring wine in and out of barrels; Libra (September).f. 6r: An autumn landscape with peasants feeding pigs on acorns and ploughing; Scorpio (October). f. 6v: An autumn landscape with peasants herding pigs to a pasture; Sagittarius (November).f. 7r: An autumn landscape with peasants slaughtering a pig; Capricorn (December).In the Temporale (1st portion):f. 8v: Twelve Sibyls foretelling the coming of Christ (First Sunday of Advent).f. 9r: King David on his deathbed recalling the building of the first altar on the site of the future Temple (First Sunday of Advent).f. 14v: The Day of Wrath (Second Sunday of Advent).f. 18r: St John the Baptist in prison sending two disciples to Christ (Third Sunday of Advent).f. 23r: St John baptizing (Fourth Sunday of Advent).f. 29r: The Nativity (Christmas).f. 37r: The Circumcision (Octave of Christmas).f. 41r: The Adoration of the Magi (Epiphany).f. 63r: The Creation (Septuagesima Sunday).f. 65v: Noah's Ark (Sexagesima Sunday).f. 67v: The Commendation of Abraham (Quinquagesima Sunday).f. 69v: A celebration of Ash Wednesday in a church (Ash Wednesday).f. 71r: The Temptations of Christ (First Sunday of Lent).f. 77r: The woman of Canaan before Christ (Second Sunday of Lent).f. 81v: Christ casting out a dumb devil (Third Sunday of Lent).f. 86r: Christ and the woman taken in adultery (Fourth Sunday of Lent).f. 90r: The Jews threaten to stone Christ for blasphemy in Solomon's Temple (Passion Sunday).f. 96r: The Entry into Jerusalem (Palm Sunday).f. 100r: The Last Supper (Maundy Thursday, Matins).f. 100v: Christ praying in the Garden of Gethsemane; Christ revealing himself to soldiers in the Garden of Gethsemane (Maundy Thursday, Matins).f. 101r: The Arrest of Christ; Christ before Annas (Maundy Thursday, Matins). f. 101v: Christ before Caiaphas; the Mocking of Christ (Maundy Thursday, Matins).f. 102r: Christ before Pilate (first appearance); Christ being brought to Herod (Maundy Thursday, Matins).f. 102v: Christ before Herod; Christ being brought to Pilate (Maundy Thursday, Matins).f. 103r: Christ before Pilate (second appearance); the Flagellation (Maundy Thursday, Matins).f. 103v: Christ being crowned with the crown of thorns; Christ being shown to the people (Ecce homo) (Maundy Thursday, Matins).f. 104r: Carrying of the Cross; Christ awaiting the Crucifixion (Maundy Thursday, Matins).f. 106v: The Crucifixion (Good Friday).f. 108v: Soldiers sleeping around Christ's tomb (Holy Saturday).In the Psalter:f. 111v: Nebuchadnezzar presiding over the burning of books at the destruction of Jerusalem (Psalm 1).f. 112r: Jerusalem being rebuilt and Esdras restoring the laws (Psalm 1).f. 124r: The Anointing of David (Psalm 26).f. 132r: David being cursed by Shimei (Psalm 38).f. 139r: Antiochus plundering the Temple (Psalm 52).f. 146v: David and his musician with the visions of the Passion, martyrdoms and the destruction of Jerusalem in medallions above (Psalm 68).f. 155v: David and his musicians playing before the Tabernacle, with the Sacrifice of Isaac in the background (Psalm 80).f. 164r: David instructing his musicians on the 'new song' (Psalm 95).f. 173r: Abraham rescuing Lot and, in the background, Abraham being greeted by Melchisedek (Psalm 109).f. 174r: Pharaoh's soldiers perishing in the Red Sea (Psalm 113).f. 174v: David taking the cup and spear from the tent of Saul (Psalm 114).f. 176r: The Zaiphite messenger revealing David's whereabouts to Saul (Psalm 118, Prime).f. 177v: The Expulsion from Paradise and Pentecost (Psalm 118:33, Terce).f. 180r: Jacob's ladder (Psalm 118:81, Sext).f. 182r: A woman praying in a rose garden (Psalm 118:129, None).f. 184v: David and his musician on the fifteen steps of the Temple (Gradual Psalms 119-121).f. 185r: Solomon building the Temple (Gradual Psalms 119-121).f. 186r: God and saints appearing above a church (Psalm 126). f. 187r: The arrival of the Ark at the Temple (Psalm 131).f. 189r: Goliath (Psalm 137).f. 191v: David and Goliath (Psalm 143).f. 194r: A baptism of St Augustine ('Te deum', Matins).f. 194v: The three Hebrew boys in the furnace (Canticle of the Three Children: 'Benedicite', Lauds on Sunday).f. 195v: The Visitation ('Magnificat', Vespers).f. 196r: A dying man (Canticle of Simeon: 'Nunc Dimittis', Compline).f. 196v: A pope and cardinals presiding over the burning of books (The Athanasian Creed, Prime on Sunday).f. 198r: A pope, a cardinal, a bishop, an emperor, a king and other praying to Christ and saints (Litany).f. 203r: A Dominican reading to his fellow brothers (Rubrics for feasts).In the Temporale (2nd portion).f. 211r: The Resurrection (Easter Sunday).f. 220v: St John on Patmos (readings from the Apocalypse, Easter Matins).f. 228r: The Ascension of Christ (Ascension Day).f. 234: The Descent of the Holy Spirit (Pentecost Sunday).f. 241r: The Trinity and St Augustine with a child comparing the explanation of the Trinity with attempting to empty the sea into a bottle (Trinity Sunday).f. 252r: Dives and Lazarus (First Sunday after the Trinity).f. 260r: Solomon instructing his son (First Sunday in August).f. 262r: Job (First Sunday in September).f. 263v: The charitable acts of Tobit (First Sunday in September).f. 266r: Alexander slaying Darius (First Sunday in October).f. 270r: A congregation at prayer (First Sunday in November).f. 289r: A priest praying at an altar and clerics singing (Dedication of the Church).In the Sanctorale:f. 293r: St Andrew.f. 297. St Barbara.f. 301: The Coronation of the Virgin.f. 303: Initial 'C' of St Lucy.f. 304v: Initial 'O' of St Thomas the Apostle.f. 306r: Initial 'I' of St. Stephen.f. 309r: St John the Evangelist.f. 312r: The Massacre of the Innocent.f. 314v: St Thomas Becket.f. 320v: Initial 'A' of St Anthony Abbot.f. 322v: Initial 'D' of St Fabian and St Sebastian.f. 324r: Initial 'S' of St Agnes.f. 326r: St Vincent.f. 228v: The Conversion of St Paul.f. 331v: The translation of St Thomas Aquinas.f. 337r: The Presentation in the Temple (Purification of the Virgin).f. 245v: St Peter's chair.f. 347r: St Matthias.f. 348r: St Thomas Aquinas. f. 354r: The Annunciation with the Tree of Jesse.f. 358r: St Vincent Ferrer.f. 363v: St George (19th-century addition).f. 364r: St Mark (19th-century addition).f. 365r: St Peter Martyr (added c. 1500).f. 367r: St Philip and St James the Less (19th-century addition).f. 368r: St Catherine of Siena (19th-century addition).f. 372r: The Invention of the Cross (added c. 1500).f. 374r: The Coronation with the Crown of Thorns (added c. 1500).f. 385v: The One Thousand Martyrs (19th-century addition).f. 386v: The birth of John the Baptist (added c. 1500).f. 390r: St John and St Paul (added c. 1500).f. 392r: The Decapitation of SS Peter and Paul (added c. 1500).f. 399r: The Visitation (added c. 1500).f. 404v: The Seven Brothers.f. 405r: St Procopius.f. 405v: St Alexius.f. 406v: St Margaret.f. 407v: St Praxedis.f. 408r: St Mary Magdalene.f. 411v: St Apollinarius.f. 412v: St James the Great.f. 414r: St Anna teaching the Virgin to read.f. 417r: St Martha.f. 418r: SS Felix, Simplicius, Faustinus and Beatrice.f. 419v: St Peter's chains.f. 421v: The Invention of St Stephen.f. 423v: St Dominic.f. 427r: The Transfiguration.f. 431r: St Lawrence.f. 436v: The arms of Ferdinand and Isabella with the arms of Infante John and Margaret of Austria (left) and the arms of Philip of Austria, Duke of Burgundy, and Infanta Joanna.f. 437r: The Coronation of the Virgin, with the arms of Francisco de Rojas in the lower margin.f. 441r: St Bernard.f. 442v: St Bartholomew.f. 444r: St Louis.f. 445v: St Augustine.f. 449r: St John the Baptist.f. 451v: The birth of the Virgin.f. 455r: SS Gorgonius, Prothus and Hiacinthus and the Exaltation of the Cross.f. 458r: St Euphemia.f. 459r: St Matthew.f. 461r: St Maurice and his companions.f. 462r: St Cosma and St Damian. f. 463v: St Wenceslas.f. 464r: St Michael.f. 467v: St Jerome.f. 468v: St Remigius.f. 469v: St Francis.f. 470v: St Pope Marcus.f. 471r: St Denis and his companions.f. 473r: St Luke.f. 474v: The Eleven Thousand Virgins.f. 476r: St Simon and St Jude.f. 481r: The Rising of Lazarus (Office of the Dead).f. 484v: The Four Crowned Martyrs.f. 485r: St Theodore.f. 485v: St Martin.f. 488v: St Elizabeth.f. 491v: St Cecilia.f. 494r: St Clemens.f. 495v: St Catherine.f. 499r: Apostles.
View: bindings
1067 images available
Languages Latin
Physical Description
Materials: Parchment.
Dimensions: 230 x 160 mm (text space: 135 x 95 mm).
Foliation: ff. 523 (+ 3 unfoliated parchment flyleaves: 2 at the beginning and 1 at the end, and 1 unfoliated parchment leaf after f. 7).
Collation: i8 (ff. 1-7 + 1 unfoliated leaf after f. 7); ii8+1 (ff. 8-16; f. 8 is a singleton); iii-xiii8 (ff. 17-104); xiv2 (ff. 105-106, bound inside out: the correct order is ff. 106r. 106v, 105r, 105v); xv4 (ff. 107-110); xvi8 (ff. 111-118); xvii10 (ff. 119-128); xviii8 (ff. 129-136); xix8+1 (ff. 137-145; f. 143 is a singleton); xx-xxi8 (ff. 146-161); xxii10 (ff. 162-171); xxiii8+1 (ff. 172-180; f. 172 is a singleton); xxiv-xxv8 (ff. 181-196); xxvi6 (ff. 197-202); xxvii8 (ff. 203-210); xxviii10 (ff. 211-220); xxix-xxxi8 (ff. 221-244); xxxii8 (ff. 245-252; f. 252 is a singleton pasted onto a stub conjoint with f. 245); xxxiii-xxxix8 (ff. 253-308); xl6+1 (ff. 309-315; f. 309 is a singleton); xli6 (ff. 316-321); xlii8 (ff. 322-329); xliii6 (ff. 330-335); xliv2 (ff. 336-337); xlv-lvi8 (ff. 338-433); lvii8+1 (ff. 434-442; f. 436 is a singleton); lviii6 (ff. 443-448); lix8 (ff. 449-456); lx-lxi6 (ff. 457-468); lxii4 (ff. 469-472); lxiii-lxv8 (ff. 473-496); lxvi2 (ff. 497-498); lxvii-lxviii8 (ff. 499-514); lxix8+1 (ff. 515-523 + 1 unfoliated leaf); catchwords.
Layout: Written in two columns of 34 lines.
Script: Gothic (rotunda).
Binding: Post-1600. 19th-century blind-tooled dark brown leather binding with decorative lining by Charles Hering, with panels of blind-tooled Mudéjar decoration from an earlier, early 16th-century cover. Contained in a box lined with crimson silk velvet.
Ownership Origin: Southern Netherlands (Bruges).Provenance:Isabella I of Castile 'the Catholic' (b. 1451, d. 1504), Queen of Castile and consort of Ferdinand, King of Aragon and Sicily, presented to her in c. 1497 by Francisco de Rojas, diplomat and ambassador to the Emperor Maximilian I, employed to negotiate a double marriage between the children of Isabella and Ferdinand and the children of Maximilian: the Rojas arms with an extract from John 1:5: 'Lux in tenebris lucet et tenebre eam non comprehendetur'; and his dedicatory inscription painted and written over the border decoration: 'Dive Elizabeth hispania[rum] et siscilie Regine etc chri[st]ianissi[m]e potentissi[m]e semp[er] auguste supreme Do[mi]ne sue cleme[n]tissime franciscus de Roias eiusde[m] maiestatis hu[m]ilimus servus ac creatura optime de se merens breviariu[m] hoc ex obsequio obtulit' (f. 437r); Isabella's arms impaling those of Ferdinand, with the pomegranate badge of Granada, added on an inserted leaf, supported in the talons of an eagle with a scroll with the legend 'Sub umbra alarum tuarum protege nos' (Psalm 16:8), and two smaller shields below, with the arms of her children impaling those of their spouses (both marriage contracts were signed by proxy in 1495): Juan and Margaret of Austria, daughter of Emperor Maximilian I, and Joanna of Castile and Archduke Philip 'the Handsome', son of Emperor Maximilian I, with extracts from the Psalms, respectively: 'Pro patribus tuis nati sunt tibi filii constituisti eos principes super omnem terram' (Psalm 44: 17) and 'Potensin terra erit semen eorum generatio rectorum benedicetur' (Psalm 111: 2) (f. 436v). John Dent (b. in or after 1761, d. 1826), politician and book collector: owned by him by 1817, described in Thomas Frognall Dibdin, Bibliographical Decameron or Ten Days Pleasant Discourse upon Illuminated Manuscripts (Bulmer and Co., 1817); sold to Philip Hurd: his sale, Evans, London, March 29, 1827, lot 484. Philip Hurd (d. 1831), Esquire of Kentish Town and attorney-at-law, Inner Temple, sold to Sir John Soane: his sale, Evans, London, March 29, 1832, lot 1434.Sir John Soane (b. 1753, d. 1837), architect, resold by him through the London bookseller John Cochran to Sir John Tobin .Sir John Tobin (b. 1763, d. 1851), merchant and Lord Mayor of Liverpool, pased by descent to Rev. John Tobin, his son. Rev. John Tobin of Liscard, Cheshire: sold by him to William Boone, London bookseller (trading 1815-1870) in 1852.Purchased by the British Museum from Boone in 1852. William Boone, London bookseller (trading 1815-1870).
Ноябрь Add MS 18851
www.bl.uk/manuscripts/FullDisplay.aspx?ref=Add_MS_18851
www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_18851_fs001r
Date c 1497
Title Breviary, Use of the Dominicans ('The Breviary of Queen Isabella of Castile')
Content The manuscript includes a breviary of Dominican use, known as the ‘Breviary of Isabella of Castile’ after its owner. Contents:ff. 1v-7r: Calendar of Dominican use. ff. 9r-110v: Temporale (1st portion: from First Sunday of Advent to Holy Saturday).ff. 111v-200r: Psalter, with Canticles, Gradual Psalms, the Athanasian Creed, and Litany.ff. 203r-208r: Rubrics for offices for feasts of differing rank.ff. 211r-288v: Temporale (2nd portion: from Easter Sunday to the Sunday before Advent),ff. 288v-292v: Office for the dedication of the church.ff. 293r-498r: Sanctorale.ff. 499r-508r: Common of the Saints.ff. 508v-512v: Office of the Virgin Mary. ff. 512v-514r: Office of the Dead.ff. 514r-514v: Benedictions for the lessons at Matins.ff. 514v-518v: Additional readings for the Common of the Saints.ff. 518v-521r: Commendation of souls.ff. 521r-523r: Blessings.Decoration:Historiated borders with the labours of the months and signs of the zodiac (ff. 1v-7r). 1 full page mianiture in colours and gold, with a full border, at the beginning of the Temporale (f. 8v). Space left for a full-page miniature (f. 8r). Large, two-column miniatures in colours and gold with full scatter borders, at the beginning of other major liturgical divisions (ff. 9r, 29r, 37r, 41r, 63r, 71r, 77r, 81v, 86r, 90r, 96r, 100r, 106v, 111v, 112r, 124r, 132r, 139r, 146v, 155v, 164r, 173r, 184v, 211r, 228r, 234r, 241r, 252r, 260r, 262r, 293r, 297r, 309r, 337r, 348r, 354r, 365r, 368r, 386v, 392r, 399r, 436v, 437r, 455r, 477v, 481r, 485r). Small, one-column miniatures in colours and gold, with full borders, at the beginning of selected masses (ff. 14v, 18r, 23r, 65v, 67v, 69v, 100v, 101r, 101v, 102r, 102v, 103r, 103v, 104r, 108v, 174r, 174v, 176r, 177v, 180r, 182r, 185r, 186r, 187r, 189r, 191v, 194r, 194v, 195v, 196r, 196v, 198r, 203r, 220v, 263v, 266r, 270r, 289r, 301r, 312r, 314v, 326r, 328v, 331v, 345v, 347r, 358r, 363v, 364r, 367r, 372r, 374r, 385v, 390r, 404v, 405r, 405v, 406v, 407v, 408r, 411v, 412v, 414r, 417r, 418r, 419v, 421v, 423v, 427r, 431r, 441r, 442v, 444r, 445v, 449r, 451v, 458r, 459r, 461r, 462r, 463v, 464r, 467v, 468v, 469v, 470v, 471r, 472v, 473r, 474v, 476r, 484v, 485v, 488v, 491v, 494r, 485v, 499r). Historiated initials in colours and gold with partial borders (ff. 303r, 304v, 306r, 320v, 322v, 324r). An unfinished initial (f. 297v). Large initials in colours and gold with flowers and insects, with three-sided borders. Initials in colours on gold grounds, some with flowers and partial borders. Small, verse initials in colours on gold grounds. Line-fillers in colours and gold.The illumination of the manuscript was executed in two campaigns. The first campaign began probably in the mid 1480s (see Brinkmann, Die flämische Buchmalerei, 1997) and encompassed works by the Master of the Dresden Prayerbook (most of miniatures on ff. 8v-258r), his follower (ff. 1v-7r and several borders), Gerard David (ff. 29r, 41r, 297r, with the last miniature probably belonging to the second campaign) and another painter (f. 309r, painted on a singleton). The second campaign began before 1497 and was conducted by the Master of James IV of Scotland who was responsible for the remainder of the miniatures, with 12 spaces left blank. Seven miniatures were added in Spain, in the late 1480s or early 1490s (McKendrick in The Isabella Breviary, 2012) or c. 1500 (Backhouse, The Isabella Breviary, 1993) (ff. 365v, 372r, 374r, 386v, 390r, 392r, 399r. All except the first miniature are painted on separate sheets of parchment and pasted into the volume). Five miniatures were added in the 19th century, in England (ff. 363v, 364r, 367r, 368r, 385v) (see Kren and McKendrick, Illuminating the Renaissance, 2003).The subjects of the miniatures are:In the Calendar:f. 1v: A winter landscape with a man warming himself by the fire in his house; Aquarius (January).f. 2r: A winter landscape with men chopping trees and gathering wood; Pisces (February).f. 2v: An early spring landscape with men pruning trees; Aries (March).f. 3r: A spring landscape with a party in a boat and two men fishing; Taurus (April).f. 3v: A spring landscape with men and women on a walk and in a boat on the river; Gemini (May).f. 4r: A summer landscape with peasants scything grass; Cancer (June).f. 4v: A summer landscape with peasants harvesting wheat; Leo (July).f. 5r: A summer landscape with peasants threshing wheat; Virgo (August).f. 5v: Men treading grapes and pouring wine in and out of barrels; Libra (September).f. 6r: An autumn landscape with peasants feeding pigs on acorns and ploughing; Scorpio (October). f. 6v: An autumn landscape with peasants herding pigs to a pasture; Sagittarius (November).f. 7r: An autumn landscape with peasants slaughtering a pig; Capricorn (December).In the Temporale (1st portion):f. 8v: Twelve Sibyls foretelling the coming of Christ (First Sunday of Advent).f. 9r: King David on his deathbed recalling the building of the first altar on the site of the future Temple (First Sunday of Advent).f. 14v: The Day of Wrath (Second Sunday of Advent).f. 18r: St John the Baptist in prison sending two disciples to Christ (Third Sunday of Advent).f. 23r: St John baptizing (Fourth Sunday of Advent).f. 29r: The Nativity (Christmas).f. 37r: The Circumcision (Octave of Christmas).f. 41r: The Adoration of the Magi (Epiphany).f. 63r: The Creation (Septuagesima Sunday).f. 65v: Noah's Ark (Sexagesima Sunday).f. 67v: The Commendation of Abraham (Quinquagesima Sunday).f. 69v: A celebration of Ash Wednesday in a church (Ash Wednesday).f. 71r: The Temptations of Christ (First Sunday of Lent).f. 77r: The woman of Canaan before Christ (Second Sunday of Lent).f. 81v: Christ casting out a dumb devil (Third Sunday of Lent).f. 86r: Christ and the woman taken in adultery (Fourth Sunday of Lent).f. 90r: The Jews threaten to stone Christ for blasphemy in Solomon's Temple (Passion Sunday).f. 96r: The Entry into Jerusalem (Palm Sunday).f. 100r: The Last Supper (Maundy Thursday, Matins).f. 100v: Christ praying in the Garden of Gethsemane; Christ revealing himself to soldiers in the Garden of Gethsemane (Maundy Thursday, Matins).f. 101r: The Arrest of Christ; Christ before Annas (Maundy Thursday, Matins). f. 101v: Christ before Caiaphas; the Mocking of Christ (Maundy Thursday, Matins).f. 102r: Christ before Pilate (first appearance); Christ being brought to Herod (Maundy Thursday, Matins).f. 102v: Christ before Herod; Christ being brought to Pilate (Maundy Thursday, Matins).f. 103r: Christ before Pilate (second appearance); the Flagellation (Maundy Thursday, Matins).f. 103v: Christ being crowned with the crown of thorns; Christ being shown to the people (Ecce homo) (Maundy Thursday, Matins).f. 104r: Carrying of the Cross; Christ awaiting the Crucifixion (Maundy Thursday, Matins).f. 106v: The Crucifixion (Good Friday).f. 108v: Soldiers sleeping around Christ's tomb (Holy Saturday).In the Psalter:f. 111v: Nebuchadnezzar presiding over the burning of books at the destruction of Jerusalem (Psalm 1).f. 112r: Jerusalem being rebuilt and Esdras restoring the laws (Psalm 1).f. 124r: The Anointing of David (Psalm 26).f. 132r: David being cursed by Shimei (Psalm 38).f. 139r: Antiochus plundering the Temple (Psalm 52).f. 146v: David and his musician with the visions of the Passion, martyrdoms and the destruction of Jerusalem in medallions above (Psalm 68).f. 155v: David and his musicians playing before the Tabernacle, with the Sacrifice of Isaac in the background (Psalm 80).f. 164r: David instructing his musicians on the 'new song' (Psalm 95).f. 173r: Abraham rescuing Lot and, in the background, Abraham being greeted by Melchisedek (Psalm 109).f. 174r: Pharaoh's soldiers perishing in the Red Sea (Psalm 113).f. 174v: David taking the cup and spear from the tent of Saul (Psalm 114).f. 176r: The Zaiphite messenger revealing David's whereabouts to Saul (Psalm 118, Prime).f. 177v: The Expulsion from Paradise and Pentecost (Psalm 118:33, Terce).f. 180r: Jacob's ladder (Psalm 118:81, Sext).f. 182r: A woman praying in a rose garden (Psalm 118:129, None).f. 184v: David and his musician on the fifteen steps of the Temple (Gradual Psalms 119-121).f. 185r: Solomon building the Temple (Gradual Psalms 119-121).f. 186r: God and saints appearing above a church (Psalm 126). f. 187r: The arrival of the Ark at the Temple (Psalm 131).f. 189r: Goliath (Psalm 137).f. 191v: David and Goliath (Psalm 143).f. 194r: A baptism of St Augustine ('Te deum', Matins).f. 194v: The three Hebrew boys in the furnace (Canticle of the Three Children: 'Benedicite', Lauds on Sunday).f. 195v: The Visitation ('Magnificat', Vespers).f. 196r: A dying man (Canticle of Simeon: 'Nunc Dimittis', Compline).f. 196v: A pope and cardinals presiding over the burning of books (The Athanasian Creed, Prime on Sunday).f. 198r: A pope, a cardinal, a bishop, an emperor, a king and other praying to Christ and saints (Litany).f. 203r: A Dominican reading to his fellow brothers (Rubrics for feasts).In the Temporale (2nd portion).f. 211r: The Resurrection (Easter Sunday).f. 220v: St John on Patmos (readings from the Apocalypse, Easter Matins).f. 228r: The Ascension of Christ (Ascension Day).f. 234: The Descent of the Holy Spirit (Pentecost Sunday).f. 241r: The Trinity and St Augustine with a child comparing the explanation of the Trinity with attempting to empty the sea into a bottle (Trinity Sunday).f. 252r: Dives and Lazarus (First Sunday after the Trinity).f. 260r: Solomon instructing his son (First Sunday in August).f. 262r: Job (First Sunday in September).f. 263v: The charitable acts of Tobit (First Sunday in September).f. 266r: Alexander slaying Darius (First Sunday in October).f. 270r: A congregation at prayer (First Sunday in November).f. 289r: A priest praying at an altar and clerics singing (Dedication of the Church).In the Sanctorale:f. 293r: St Andrew.f. 297. St Barbara.f. 301: The Coronation of the Virgin.f. 303: Initial 'C' of St Lucy.f. 304v: Initial 'O' of St Thomas the Apostle.f. 306r: Initial 'I' of St. Stephen.f. 309r: St John the Evangelist.f. 312r: The Massacre of the Innocent.f. 314v: St Thomas Becket.f. 320v: Initial 'A' of St Anthony Abbot.f. 322v: Initial 'D' of St Fabian and St Sebastian.f. 324r: Initial 'S' of St Agnes.f. 326r: St Vincent.f. 228v: The Conversion of St Paul.f. 331v: The translation of St Thomas Aquinas.f. 337r: The Presentation in the Temple (Purification of the Virgin).f. 245v: St Peter's chair.f. 347r: St Matthias.f. 348r: St Thomas Aquinas. f. 354r: The Annunciation with the Tree of Jesse.f. 358r: St Vincent Ferrer.f. 363v: St George (19th-century addition).f. 364r: St Mark (19th-century addition).f. 365r: St Peter Martyr (added c. 1500).f. 367r: St Philip and St James the Less (19th-century addition).f. 368r: St Catherine of Siena (19th-century addition).f. 372r: The Invention of the Cross (added c. 1500).f. 374r: The Coronation with the Crown of Thorns (added c. 1500).f. 385v: The One Thousand Martyrs (19th-century addition).f. 386v: The birth of John the Baptist (added c. 1500).f. 390r: St John and St Paul (added c. 1500).f. 392r: The Decapitation of SS Peter and Paul (added c. 1500).f. 399r: The Visitation (added c. 1500).f. 404v: The Seven Brothers.f. 405r: St Procopius.f. 405v: St Alexius.f. 406v: St Margaret.f. 407v: St Praxedis.f. 408r: St Mary Magdalene.f. 411v: St Apollinarius.f. 412v: St James the Great.f. 414r: St Anna teaching the Virgin to read.f. 417r: St Martha.f. 418r: SS Felix, Simplicius, Faustinus and Beatrice.f. 419v: St Peter's chains.f. 421v: The Invention of St Stephen.f. 423v: St Dominic.f. 427r: The Transfiguration.f. 431r: St Lawrence.f. 436v: The arms of Ferdinand and Isabella with the arms of Infante John and Margaret of Austria (left) and the arms of Philip of Austria, Duke of Burgundy, and Infanta Joanna.f. 437r: The Coronation of the Virgin, with the arms of Francisco de Rojas in the lower margin.f. 441r: St Bernard.f. 442v: St Bartholomew.f. 444r: St Louis.f. 445v: St Augustine.f. 449r: St John the Baptist.f. 451v: The birth of the Virgin.f. 455r: SS Gorgonius, Prothus and Hiacinthus and the Exaltation of the Cross.f. 458r: St Euphemia.f. 459r: St Matthew.f. 461r: St Maurice and his companions.f. 462r: St Cosma and St Damian. f. 463v: St Wenceslas.f. 464r: St Michael.f. 467v: St Jerome.f. 468v: St Remigius.f. 469v: St Francis.f. 470v: St Pope Marcus.f. 471r: St Denis and his companions.f. 473r: St Luke.f. 474v: The Eleven Thousand Virgins.f. 476r: St Simon and St Jude.f. 481r: The Rising of Lazarus (Office of the Dead).f. 484v: The Four Crowned Martyrs.f. 485r: St Theodore.f. 485v: St Martin.f. 488v: St Elizabeth.f. 491v: St Cecilia.f. 494r: St Clemens.f. 495v: St Catherine.f. 499r: Apostles.
View: bindings
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Languages Latin
Physical Description
Materials: Parchment.
Dimensions: 230 x 160 mm (text space: 135 x 95 mm).
Foliation: ff. 523 (+ 3 unfoliated parchment flyleaves: 2 at the beginning and 1 at the end, and 1 unfoliated parchment leaf after f. 7).
Collation: i8 (ff. 1-7 + 1 unfoliated leaf after f. 7); ii8+1 (ff. 8-16; f. 8 is a singleton); iii-xiii8 (ff. 17-104); xiv2 (ff. 105-106, bound inside out: the correct order is ff. 106r. 106v, 105r, 105v); xv4 (ff. 107-110); xvi8 (ff. 111-118); xvii10 (ff. 119-128); xviii8 (ff. 129-136); xix8+1 (ff. 137-145; f. 143 is a singleton); xx-xxi8 (ff. 146-161); xxii10 (ff. 162-171); xxiii8+1 (ff. 172-180; f. 172 is a singleton); xxiv-xxv8 (ff. 181-196); xxvi6 (ff. 197-202); xxvii8 (ff. 203-210); xxviii10 (ff. 211-220); xxix-xxxi8 (ff. 221-244); xxxii8 (ff. 245-252; f. 252 is a singleton pasted onto a stub conjoint with f. 245); xxxiii-xxxix8 (ff. 253-308); xl6+1 (ff. 309-315; f. 309 is a singleton); xli6 (ff. 316-321); xlii8 (ff. 322-329); xliii6 (ff. 330-335); xliv2 (ff. 336-337); xlv-lvi8 (ff. 338-433); lvii8+1 (ff. 434-442; f. 436 is a singleton); lviii6 (ff. 443-448); lix8 (ff. 449-456); lx-lxi6 (ff. 457-468); lxii4 (ff. 469-472); lxiii-lxv8 (ff. 473-496); lxvi2 (ff. 497-498); lxvii-lxviii8 (ff. 499-514); lxix8+1 (ff. 515-523 + 1 unfoliated leaf); catchwords.
Layout: Written in two columns of 34 lines.
Script: Gothic (rotunda).
Binding: Post-1600. 19th-century blind-tooled dark brown leather binding with decorative lining by Charles Hering, with panels of blind-tooled Mudéjar decoration from an earlier, early 16th-century cover. Contained in a box lined with crimson silk velvet.
Ownership Origin: Southern Netherlands (Bruges).Provenance:Isabella I of Castile 'the Catholic' (b. 1451, d. 1504), Queen of Castile and consort of Ferdinand, King of Aragon and Sicily, presented to her in c. 1497 by Francisco de Rojas, diplomat and ambassador to the Emperor Maximilian I, employed to negotiate a double marriage between the children of Isabella and Ferdinand and the children of Maximilian: the Rojas arms with an extract from John 1:5: 'Lux in tenebris lucet et tenebre eam non comprehendetur'; and his dedicatory inscription painted and written over the border decoration: 'Dive Elizabeth hispania[rum] et siscilie Regine etc chri[st]ianissi[m]e potentissi[m]e semp[er] auguste supreme Do[mi]ne sue cleme[n]tissime franciscus de Roias eiusde[m] maiestatis hu[m]ilimus servus ac creatura optime de se merens breviariu[m] hoc ex obsequio obtulit' (f. 437r); Isabella's arms impaling those of Ferdinand, with the pomegranate badge of Granada, added on an inserted leaf, supported in the talons of an eagle with a scroll with the legend 'Sub umbra alarum tuarum protege nos' (Psalm 16:8), and two smaller shields below, with the arms of her children impaling those of their spouses (both marriage contracts were signed by proxy in 1495): Juan and Margaret of Austria, daughter of Emperor Maximilian I, and Joanna of Castile and Archduke Philip 'the Handsome', son of Emperor Maximilian I, with extracts from the Psalms, respectively: 'Pro patribus tuis nati sunt tibi filii constituisti eos principes super omnem terram' (Psalm 44: 17) and 'Potensin terra erit semen eorum generatio rectorum benedicetur' (Psalm 111: 2) (f. 436v). John Dent (b. in or after 1761, d. 1826), politician and book collector: owned by him by 1817, described in Thomas Frognall Dibdin, Bibliographical Decameron or Ten Days Pleasant Discourse upon Illuminated Manuscripts (Bulmer and Co., 1817); sold to Philip Hurd: his sale, Evans, London, March 29, 1827, lot 484. Philip Hurd (d. 1831), Esquire of Kentish Town and attorney-at-law, Inner Temple, sold to Sir John Soane: his sale, Evans, London, March 29, 1832, lot 1434.Sir John Soane (b. 1753, d. 1837), architect, resold by him through the London bookseller John Cochran to Sir John Tobin .Sir John Tobin (b. 1763, d. 1851), merchant and Lord Mayor of Liverpool, pased by descent to Rev. John Tobin, his son. Rev. John Tobin of Liscard, Cheshire: sold by him to William Boone, London bookseller (trading 1815-1870) in 1852.Purchased by the British Museum from Boone in 1852. William Boone, London bookseller (trading 1815-1870).
Parc de les Cascades
Construït en terrenys del litoral recuperats per a la ciutat amb motiu dels Jocs Olímpics de 1992, el parc de les Cascades és un passeig obert, una porta d'entrada a la Vila Olímpica i un lloc de pas que porta el vianant cap a les platges enmig d'una densa vegetació típicament mediterrània.
El nom d'aquest parc, sota el qual discorre un tram de la Ronda del Litoral, prové de la cascada que des d'un estany s'aboca cap a l'avinguda del mateix nom. Un conjunt, el de la cascada i l'estany, que es pot contemplar des de la petita placeta, rodona i elevada, que hi ha al costat de la làmina d'aigua.
Camins verds i camins urbans
Tots dos són presents en aquest espai verd, el primer d'un seguit de parcs que es van donant la mà fins arribar gairebé a Sant Adrià del Besòs. Així, de la mateixa manera que hi ha senders entre la vegetació, de tant en tant hi ha carrers que el creuen.
Són vies que comuniquen la Vila Olímpica, que és el barri que Barcelona va estrenar el 1992, amb el mar. Una mena de camins de rajols vermellosos que contrasten amb el sauló que cobreix la major part del sòl.
Vegetació
A banda i banda, delimitant l'espai, llueix, esplendorosa, la verdor d'amples i llarguíssims parterres coberts de gespa on creixen, ufanosos, el pi blanc (Pinus halepensis), el pi pinyer (Pinus pinea) i la tipuana (Tipuana tipu), entre d'altres espècies arbòries. Al davant dels parterres hi ha bancs per seure sota la capçada dels plàtans (Platanus X hispanica).
En aquest parc també hi ha lledoners (Celtis australis) i xiprers (Cupressus sempervirens); xicrandes (Jacaranda mimosifolia) que a l'estiu guarneixen el parc amb les seves flors d'un blau lilós; pollancres (Populus alba i Populus alba "Pyramidalis" ) i oliveres (Olea europaea), així com altes i esveltes palmeres washingtònies (Washingtonia robusta). A sota, grups de margallons (Chamaerops humilis) i grans mates d'arbustos arrodoneixen l'enjardinament.
Art i arquitectura
Un dels elements definitoris d'aquest parc són les seves escultures. A tocar del punt on es soterra la Ronda del Litoral, al mig de la làmina d'aigua que hi ha al començament del parc, hi sobresurt el conjunt d'escultures El poder de la paraula, d'Auke de Vries, obsequi d'Holanda a la ciutat de Barcelona amb motiu dels Jocs Olímpics. Una mena de tiges que s'eleven decidides.
Enmig del llarg passeig que és el Parc de les Cascades, una altra escultura crida poderosament l'atenció del visitant. Es tracta de David i Goliat, d'Antoni Llena, una immensa màscara que, per la lleugeresa dels suports, sembla que estigui voleiant, i d'un blanc que, en contemplar-la, contrasta poderosament amb el blau del cel.
Història
El Parc de les Cascades és, juntament amb el del Port Olímpic, el de la Nova Icària, el del Poblenou i el de Carles I, un dels cinc grans espais verds que es van construir en els antics terrenys industrials del Poblenou a principis de la dècada de 1990.
Barcelona va recuperar aquests terrenys i en va dedicar una part a la creació de nous espais verds públics. Aquesta actuació va formar part de la important renovació urbanística que es va realitzar a la façana litoral de la ciutat amb motiu dels Jocs Olímpics de 1992.
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Built on costal land recovered for the city in time for the 1992 Olympic Games, Parc de les Cascades is an open avenue, an entrance to the Vila Olímpica and a walk which takes the visitor towards the beaches along pathways surrounded by typically dense Mediterranean vegetation.
The name of this park, under which a stretch of the Ronda del Litoral runs, comes from the waterfall which cascades from a lake and flows towards an avenue of the same name. A view of the waterfall and the pond can be seen from the small round elevated square, which stands next to the small lake.
Green pathways and city pathways
These can both be found in this green area, which is the first of a series of parks which link together until they almost reach Sant Adrià del Besòs. The pathways which run through the vegetation are interrupted from time to time by streets which cross the park.
These streets connect the Vila Olímpica district, which was inaugurated in Barcelona in 1992, to the sea. They are built with a type of tiled reddish surface which contrasts with the gravel which covers most of the surroundings.
Vegetation
On either side, enclosing the area, there are splendid green zones and extensive grass covered parterrers where leafy specimens of the aleppo pine (Pinus halepensis), the Italian stone pine (Pinus pinea) and rosewood (Tipuana tipu) stand out among other tree species. In front of the parterres, there are benches for sitting on under the shade of the London planes (Platanus X hispanica).
There are also specimens of hackberry (Celtis australis) and Mediterranean cypress trees (Cupressus sempervirens); jacarandas (Jacaranda mimosifolia) which, in summer decorate the park with their purple blue flowers; white poplars (Populus alba and Populus alba "Pyramidalis" ), olive trees (Olea europaea), and tall slim Mexican fan palms (Washingtonia robusta). Clusters of European fan palms (Chamaerops humilis) and large groups of shrubs surround the gardens.
Art and architecture
One of the defining features of this park is its sculptures. At the point where the Ronda del Litoral runs underneath, in the middle of the small lake which stands at the entrance to the park there is a group of sculptures called El poder de la paraula (The power of the word), by Auke de Vries, a gift from Holland to the city of Barcelona to mark the celebration of the Olympic Games. These are sculptures of a type of stalk which is rising into the air with strength and determination.
In the centre of the long Parc de les Cascades, another imposing sculpture which attracts the visitor's attention is David i Goliat, by Antoni Llena, an immense mask which, due to the lightness of its supports, appears to be flying. On contemplation, the white of the sculpture creates a powerful contrast with the blue sky.
History
The Parc de les Cascades is, together with the Parc del Port Olímpic, Parc de Nova Icària, Parc de Poblenou and Parc de Carles I, one of the five large green areas which were built on the old industrial land of Poblenou at the beginning of the 1990s.
Barcelona recovered this land and dedicated a part of it to the creation of new public green areas. This move was part of the important urban development that took place along the city's coastline in preparation for the 1992 Olympic Games.
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Construido en terrenos del litoral recuperados para la ciudad con motivo de los Juegos Olímpicos de 1992, el parque de Les Cascades es un paseo abierto, una puerta de entrada a la Villa Olímpica y un lugar de paso que lleva al peatón hacia las playas pasando entre una densa vegetación típicamente mediterránea.
El nombre de este parque, bajo el cual discurre un tramo de la Ronda del Litoral, proviene de la cascada que desde un estanque cae sobre la avenida del mismo nombre. Un conjunto, el de la cascada y el estanque, que puede contemplarse desde la pequeña plazoleta, redonda y elevada, que hay junto a la lámina de agua.
Caminos verdes y caminos urbanos
Ambos están presentes en este espacio verde, el primero de una serie de parques que se suceden hasta llegar casi a Sant Adrià del Besòs. Así, al igual que hay senderos entre la vegetación, de vez en cuando hay calles que lo cruzan.
Son vías que comunican la Villa Olímpica, que es el barrio que Barcelona estrenó el 1992, con el mar. Una especie de caminos de ladrillos rojizos que contrastan con el sablón que cubre la mayor parte del suelo.
Vegetación
A ambos lados, delimitando el espacio, luce, esplendoroso, el verdor de anchos y larguísimos parterres cubiertos de césped donde crecen, lozanos, el pino carrasco (Pinus halepensis), el pino piñonero (Pinus pinea) y la tipuana (Tipuana tipu), entre otras especies arbóreas. Delante de los parterres hay bancos por sentarse bajo la copa de los plátanos (Platanus X hispanica).
En este parque también hay almeces (Celtis australis) y cipreses (Cupressus sempervirens); jacarandas (Jacaranda mimosifolia) que en verano adornan el parque con sus flores de un azul violáceo; chopos (Populus alba y Populus alba "Pyramidalis" ) y olivos (Olea europaea), así como altas y esbeltas palmeras de abanico (Washingtonia robusta). Abajo, grupos de palmitos (Chamaerops humilis) y grandes matas de arbustos aportan un toque especial al ajardinamiento.
Arte y arquitectura
Uno de los elementos definitorios de este parque son sus esculturas. Junto al punto donde se sotierra la Ronda del Litoral, en el centro de la lámina de agua que hay al comienzo del parque, sobresale el conjunto de esculturas El poder de la palabra, de Auke de Vries, obsequio de Holanda a la ciudad de Barcelona con motivo de los Juegos Olímpicos. Una especie de tallos que se elevan decididos.
En el largo paseo que es el parque de Les Cascades, otra escultura llama poderosamente la atención del visitante. Se trata de David y Goliat, de Antoni Llena, una inmensa máscara que, por la ligereza de los soportes, parece volar, y de un blanco que, al contemplarla, contrasta poderosamente con el azul del cielo.
Historia
El parque de Les Cascades es, junto con el del Port Olímpic, el de la Nova Icària, el de Poblenou y el de Carles I, uno de los cinco grandes espacios verdes que se construyeron en los antiguos terrenos industriales de Poblenou a principios de la década de 1990.
Barcelona recuperó estos terrenos y dedicó una parte de ellos a la creación de nuevos espacios verdes públicos. Esta actuación formó parte de la importante renovación urbanística que se realizó en la fachada litoral de la ciudad con motivo de los Juegos Olímpicos de 1992.
Parc de les Cascades.
Parc de les Cascades
Construït en terrenys del litoral recuperats per a la ciutat amb motiu dels Jocs Olímpics de 1992, el parc de les Cascades és un passeig obert, una porta d'entrada a la Vila Olímpica i un lloc de pas que porta el vianant cap a les platges enmig d'una densa vegetació típicament mediterrània.
El nom d'aquest parc, sota el qual discorre un tram de la Ronda del Litoral, prové de la cascada que des d'un estany s'aboca cap a l'avinguda del mateix nom. Un conjunt, el de la cascada i l'estany, que es pot contemplar des de la petita placeta, rodona i elevada, que hi ha al costat de la làmina d'aigua.
Camins verds i camins urbans
Tots dos són presents en aquest espai verd, el primer d'un seguit de parcs que es van donant la mà fins arribar gairebé a Sant Adrià del Besòs. Així, de la mateixa manera que hi ha senders entre la vegetació, de tant en tant hi ha carrers que el creuen.
Són vies que comuniquen la Vila Olímpica, que és el barri que Barcelona va estrenar el 1992, amb el mar. Una mena de camins de rajols vermellosos que contrasten amb el sauló que cobreix la major part del sòl.
Vegetació
A banda i banda, delimitant l'espai, llueix, esplendorosa, la verdor d'amples i llarguíssims parterres coberts de gespa on creixen, ufanosos, el pi blanc (Pinus halepensis), el pi pinyer (Pinus pinea) i la tipuana (Tipuana tipu), entre d'altres espècies arbòries. Al davant dels parterres hi ha bancs per seure sota la capçada dels plàtans (Platanus X hispanica).
En aquest parc també hi ha lledoners (Celtis australis) i xiprers (Cupressus sempervirens); xicrandes (Jacaranda mimosifolia) que a l'estiu guarneixen el parc amb les seves flors d'un blau lilós; pollancres (Populus alba i Populus alba "Pyramidalis" ) i oliveres (Olea europaea), així com altes i esveltes palmeres washingtònies (Washingtonia robusta). A sota, grups de margallons (Chamaerops humilis) i grans mates d'arbustos arrodoneixen l'enjardinament.
Art i arquitectura
Un dels elements definitoris d'aquest parc són les seves escultures. A tocar del punt on es soterra la Ronda del Litoral, al mig de la làmina d'aigua que hi ha al començament del parc, hi sobresurt el conjunt d'escultures El poder de la paraula, d'Auke de Vries, obsequi d'Holanda a la ciutat de Barcelona amb motiu dels Jocs Olímpics. Una mena de tiges que s'eleven decidides.
Enmig del llarg passeig que és el Parc de les Cascades, una altra escultura crida poderosament l'atenció del visitant. Es tracta de David i Goliat, d'Antoni Llena, una immensa màscara que, per la lleugeresa dels suports, sembla que estigui voleiant, i d'un blanc que, en contemplar-la, contrasta poderosament amb el blau del cel.
Història
El Parc de les Cascades és, juntament amb el del Port Olímpic, el de la Nova Icària, el del Poblenou i el de Carles I, un dels cinc grans espais verds que es van construir en els antics terrenys industrials del Poblenou a principis de la dècada de 1990.
Barcelona va recuperar aquests terrenys i en va dedicar una part a la creació de nous espais verds públics. Aquesta actuació va formar part de la important renovació urbanística que es va realitzar a la façana litoral de la ciutat amb motiu dels Jocs Olímpics de 1992.
--------------------------------------------
Built on costal land recovered for the city in time for the 1992 Olympic Games, Parc de les Cascades is an open avenue, an entrance to the Vila Olímpica and a walk which takes the visitor towards the beaches along pathways surrounded by typically dense Mediterranean vegetation.
The name of this park, under which a stretch of the Ronda del Litoral runs, comes from the waterfall which cascades from a lake and flows towards an avenue of the same name. A view of the waterfall and the pond can be seen from the small round elevated square, which stands next to the small lake.
Green pathways and city pathways
These can both be found in this green area, which is the first of a series of parks which link together until they almost reach Sant Adrià del Besòs. The pathways which run through the vegetation are interrupted from time to time by streets which cross the park.
These streets connect the Vila Olímpica district, which was inaugurated in Barcelona in 1992, to the sea. They are built with a type of tiled reddish surface which contrasts with the gravel which covers most of the surroundings.
Vegetation
On either side, enclosing the area, there are splendid green zones and extensive grass covered parterrers where leafy specimens of the aleppo pine (Pinus halepensis), the Italian stone pine (Pinus pinea) and rosewood (Tipuana tipu) stand out among other tree species. In front of the parterres, there are benches for sitting on under the shade of the London planes (Platanus X hispanica).
There are also specimens of hackberry (Celtis australis) and Mediterranean cypress trees (Cupressus sempervirens); jacarandas (Jacaranda mimosifolia) which, in summer decorate the park with their purple blue flowers; white poplars (Populus alba and Populus alba "Pyramidalis" ), olive trees (Olea europaea), and tall slim Mexican fan palms (Washingtonia robusta). Clusters of European fan palms (Chamaerops humilis) and large groups of shrubs surround the gardens.
Art and architecture
One of the defining features of this park is its sculptures. At the point where the Ronda del Litoral runs underneath, in the middle of the small lake which stands at the entrance to the park there is a group of sculptures called El poder de la paraula (The power of the word), by Auke de Vries, a gift from Holland to the city of Barcelona to mark the celebration of the Olympic Games. These are sculptures of a type of stalk which is rising into the air with strength and determination.
In the centre of the long Parc de les Cascades, another imposing sculpture which attracts the visitor's attention is David i Goliat, by Antoni Llena, an immense mask which, due to the lightness of its supports, appears to be flying. On contemplation, the white of the sculpture creates a powerful contrast with the blue sky.
History
The Parc de les Cascades is, together with the Parc del Port Olímpic, Parc de Nova Icària, Parc de Poblenou and Parc de Carles I, one of the five large green areas which were built on the old industrial land of Poblenou at the beginning of the 1990s.
Barcelona recovered this land and dedicated a part of it to the creation of new public green areas. This move was part of the important urban development that took place along the city's coastline in preparation for the 1992 Olympic Games.
------------------------------------------
Construido en terrenos del litoral recuperados para la ciudad con motivo de los Juegos Olímpicos de 1992, el parque de Les Cascades es un paseo abierto, una puerta de entrada a la Villa Olímpica y un lugar de paso que lleva al peatón hacia las playas pasando entre una densa vegetación típicamente mediterránea.
El nombre de este parque, bajo el cual discurre un tramo de la Ronda del Litoral, proviene de la cascada que desde un estanque cae sobre la avenida del mismo nombre. Un conjunto, el de la cascada y el estanque, que puede contemplarse desde la pequeña plazoleta, redonda y elevada, que hay junto a la lámina de agua.
Caminos verdes y caminos urbanos
Ambos están presentes en este espacio verde, el primero de una serie de parques que se suceden hasta llegar casi a Sant Adrià del Besòs. Así, al igual que hay senderos entre la vegetación, de vez en cuando hay calles que lo cruzan.
Son vías que comunican la Villa Olímpica, que es el barrio que Barcelona estrenó el 1992, con el mar. Una especie de caminos de ladrillos rojizos que contrastan con el sablón que cubre la mayor parte del suelo.
Vegetación
A ambos lados, delimitando el espacio, luce, esplendoroso, el verdor de anchos y larguísimos parterres cubiertos de césped donde crecen, lozanos, el pino carrasco (Pinus halepensis), el pino piñonero (Pinus pinea) y la tipuana (Tipuana tipu), entre otras especies arbóreas. Delante de los parterres hay bancos por sentarse bajo la copa de los plátanos (Platanus X hispanica).
En este parque también hay almeces (Celtis australis) y cipreses (Cupressus sempervirens); jacarandas (Jacaranda mimosifolia) que en verano adornan el parque con sus flores de un azul violáceo; chopos (Populus alba y Populus alba "Pyramidalis" ) y olivos (Olea europaea), así como altas y esbeltas palmeras de abanico (Washingtonia robusta). Abajo, grupos de palmitos (Chamaerops humilis) y grandes matas de arbustos aportan un toque especial al ajardinamiento.
Arte y arquitectura
Uno de los elementos definitorios de este parque son sus esculturas. Junto al punto donde se sotierra la Ronda del Litoral, en el centro de la lámina de agua que hay al comienzo del parque, sobresale el conjunto de esculturas El poder de la palabra, de Auke de Vries, obsequio de Holanda a la ciudad de Barcelona con motivo de los Juegos Olímpicos. Una especie de tallos que se elevan decididos.
En el largo paseo que es el parque de Les Cascades, otra escultura llama poderosamente la atención del visitante. Se trata de David y Goliat, de Antoni Llena, una inmensa máscara que, por la ligereza de los soportes, parece volar, y de un blanco que, al contemplarla, contrasta poderosamente con el azul del cielo.
Historia
El parque de Les Cascades es, junto con el del Port Olímpic, el de la Nova Icària, el de Poblenou y el de Carles I, uno de los cinco grandes espacios verdes que se construyeron en los antiguos terrenos industriales de Poblenou a principios de la década de 1990.
Barcelona recuperó estos terrenos y dedicó una parte de ellos a la creación de nuevos espacios verdes públicos. Esta actuación formó parte de la importante renovación urbanística que se realizó en la fachada litoral de la ciudad con motivo de los Juegos Olímpicos de 1992.
Para nuestros fieles seguidores un regalito para que protejan su computador de los nocivos leds catodicos.
©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.
Parc de les Cascades
Construït en terrenys del litoral recuperats per a la ciutat amb motiu dels Jocs Olímpics de 1992, el parc de les Cascades és un passeig obert, una porta d'entrada a la Vila Olímpica i un lloc de pas que porta el vianant cap a les platges enmig d'una densa vegetació típicament mediterrània.
El nom d'aquest parc, sota el qual discorre un tram de la Ronda del Litoral, prové de la cascada que des d'un estany s'aboca cap a l'avinguda del mateix nom. Un conjunt, el de la cascada i l'estany, que es pot contemplar des de la petita placeta, rodona i elevada, que hi ha al costat de la làmina d'aigua.
Camins verds i camins urbans
Tots dos són presents en aquest espai verd, el primer d'un seguit de parcs que es van donant la mà fins arribar gairebé a Sant Adrià del Besòs. Així, de la mateixa manera que hi ha senders entre la vegetació, de tant en tant hi ha carrers que el creuen.
Són vies que comuniquen la Vila Olímpica, que és el barri que Barcelona va estrenar el 1992, amb el mar. Una mena de camins de rajols vermellosos que contrasten amb el sauló que cobreix la major part del sòl.
Vegetació
A banda i banda, delimitant l'espai, llueix, esplendorosa, la verdor d'amples i llarguíssims parterres coberts de gespa on creixen, ufanosos, el pi blanc (Pinus halepensis), el pi pinyer (Pinus pinea) i la tipuana (Tipuana tipu), entre d'altres espècies arbòries. Al davant dels parterres hi ha bancs per seure sota la capçada dels plàtans (Platanus X hispanica).
En aquest parc també hi ha lledoners (Celtis australis) i xiprers (Cupressus sempervirens); xicrandes (Jacaranda mimosifolia) que a l'estiu guarneixen el parc amb les seves flors d'un blau lilós; pollancres (Populus alba i Populus alba "Pyramidalis" ) i oliveres (Olea europaea), així com altes i esveltes palmeres washingtònies (Washingtonia robusta). A sota, grups de margallons (Chamaerops humilis) i grans mates d'arbustos arrodoneixen l'enjardinament.
Art i arquitectura
Un dels elements definitoris d'aquest parc són les seves escultures. A tocar del punt on es soterra la Ronda del Litoral, al mig de la làmina d'aigua que hi ha al començament del parc, hi sobresurt el conjunt d'escultures El poder de la paraula, d'Auke de Vries, obsequi d'Holanda a la ciutat de Barcelona amb motiu dels Jocs Olímpics. Una mena de tiges que s'eleven decidides.
Enmig del llarg passeig que és el Parc de les Cascades, una altra escultura crida poderosament l'atenció del visitant. Es tracta de David i Goliat, d'Antoni Llena, una immensa màscara que, per la lleugeresa dels suports, sembla que estigui voleiant, i d'un blanc que, en contemplar-la, contrasta poderosament amb el blau del cel.
Història
El Parc de les Cascades és, juntament amb el del Port Olímpic, el de la Nova Icària, el del Poblenou i el de Carles I, un dels cinc grans espais verds que es van construir en els antics terrenys industrials del Poblenou a principis de la dècada de 1990.
Barcelona va recuperar aquests terrenys i en va dedicar una part a la creació de nous espais verds públics. Aquesta actuació va formar part de la important renovació urbanística que es va realitzar a la façana litoral de la ciutat amb motiu dels Jocs Olímpics de 1992.
--------------------------------------------
Built on costal land recovered for the city in time for the 1992 Olympic Games, Parc de les Cascades is an open avenue, an entrance to the Vila Olímpica and a walk which takes the visitor towards the beaches along pathways surrounded by typically dense Mediterranean vegetation.
The name of this park, under which a stretch of the Ronda del Litoral runs, comes from the waterfall which cascades from a lake and flows towards an avenue of the same name. A view of the waterfall and the pond can be seen from the small round elevated square, which stands next to the small lake.
Green pathways and city pathways
These can both be found in this green area, which is the first of a series of parks which link together until they almost reach Sant Adrià del Besòs. The pathways which run through the vegetation are interrupted from time to time by streets which cross the park.
These streets connect the Vila Olímpica district, which was inaugurated in Barcelona in 1992, to the sea. They are built with a type of tiled reddish surface which contrasts with the gravel which covers most of the surroundings.
Vegetation
On either side, enclosing the area, there are splendid green zones and extensive grass covered parterrers where leafy specimens of the aleppo pine (Pinus halepensis), the Italian stone pine (Pinus pinea) and rosewood (Tipuana tipu) stand out among other tree species. In front of the parterres, there are benches for sitting on under the shade of the London planes (Platanus X hispanica).
There are also specimens of hackberry (Celtis australis) and Mediterranean cypress trees (Cupressus sempervirens); jacarandas (Jacaranda mimosifolia) which, in summer decorate the park with their purple blue flowers; white poplars (Populus alba and Populus alba "Pyramidalis" ), olive trees (Olea europaea), and tall slim Mexican fan palms (Washingtonia robusta). Clusters of European fan palms (Chamaerops humilis) and large groups of shrubs surround the gardens.
Art and architecture
One of the defining features of this park is its sculptures. At the point where the Ronda del Litoral runs underneath, in the middle of the small lake which stands at the entrance to the park there is a group of sculptures called El poder de la paraula (The power of the word), by Auke de Vries, a gift from Holland to the city of Barcelona to mark the celebration of the Olympic Games. These are sculptures of a type of stalk which is rising into the air with strength and determination.
In the centre of the long Parc de les Cascades, another imposing sculpture which attracts the visitor's attention is David i Goliat, by Antoni Llena, an immense mask which, due to the lightness of its supports, appears to be flying. On contemplation, the white of the sculpture creates a powerful contrast with the blue sky.
History
The Parc de les Cascades is, together with the Parc del Port Olímpic, Parc de Nova Icària, Parc de Poblenou and Parc de Carles I, one of the five large green areas which were built on the old industrial land of Poblenou at the beginning of the 1990s.
Barcelona recovered this land and dedicated a part of it to the creation of new public green areas. This move was part of the important urban development that took place along the city's coastline in preparation for the 1992 Olympic Games.
------------------------------------------
Construido en terrenos del litoral recuperados para la ciudad con motivo de los Juegos Olímpicos de 1992, el parque de Les Cascades es un paseo abierto, una puerta de entrada a la Villa Olímpica y un lugar de paso que lleva al peatón hacia las playas pasando entre una densa vegetación típicamente mediterránea.
El nombre de este parque, bajo el cual discurre un tramo de la Ronda del Litoral, proviene de la cascada que desde un estanque cae sobre la avenida del mismo nombre. Un conjunto, el de la cascada y el estanque, que puede contemplarse desde la pequeña plazoleta, redonda y elevada, que hay junto a la lámina de agua.
Caminos verdes y caminos urbanos
Ambos están presentes en este espacio verde, el primero de una serie de parques que se suceden hasta llegar casi a Sant Adrià del Besòs. Así, al igual que hay senderos entre la vegetación, de vez en cuando hay calles que lo cruzan.
Son vías que comunican la Villa Olímpica, que es el barrio que Barcelona estrenó el 1992, con el mar. Una especie de caminos de ladrillos rojizos que contrastan con el sablón que cubre la mayor parte del suelo.
Vegetación
A ambos lados, delimitando el espacio, luce, esplendoroso, el verdor de anchos y larguísimos parterres cubiertos de césped donde crecen, lozanos, el pino carrasco (Pinus halepensis), el pino piñonero (Pinus pinea) y la tipuana (Tipuana tipu), entre otras especies arbóreas. Delante de los parterres hay bancos por sentarse bajo la copa de los plátanos (Platanus X hispanica).
En este parque también hay almeces (Celtis australis) y cipreses (Cupressus sempervirens); jacarandas (Jacaranda mimosifolia) que en verano adornan el parque con sus flores de un azul violáceo; chopos (Populus alba y Populus alba "Pyramidalis" ) y olivos (Olea europaea), así como altas y esbeltas palmeras de abanico (Washingtonia robusta). Abajo, grupos de palmitos (Chamaerops humilis) y grandes matas de arbustos aportan un toque especial al ajardinamiento.
Arte y arquitectura
Uno de los elementos definitorios de este parque son sus esculturas. Junto al punto donde se sotierra la Ronda del Litoral, en el centro de la lámina de agua que hay al comienzo del parque, sobresale el conjunto de esculturas El poder de la palabra, de Auke de Vries, obsequio de Holanda a la ciudad de Barcelona con motivo de los Juegos Olímpicos. Una especie de tallos que se elevan decididos.
En el largo paseo que es el parque de Les Cascades, otra escultura llama poderosamente la atención del visitante. Se trata de David y Goliat, de Antoni Llena, una inmensa máscara que, por la ligereza de los soportes, parece volar, y de un blanco que, al contemplarla, contrasta poderosamente con el azul del cielo.
Historia
El parque de Les Cascades es, junto con el del Port Olímpic, el de la Nova Icària, el de Poblenou y el de Carles I, uno de los cinco grandes espacios verdes que se construyeron en los antiguos terrenos industriales de Poblenou a principios de la década de 1990.
Barcelona recuperó estos terrenos y dedicó una parte de ellos a la creación de nuevos espacios verdes públicos. Esta actuación formó parte de la importante renovación urbanística que se realizó en la fachada litoral de la ciudad con motivo de los Juegos Olímpicos de 1992.
Aeronave: Airbus A340-642
Operador: Iberia
Local: Aeroporto Internacional de Guarulhos André Franco Montoro - SBGR
Prefixo: EC-LEV
Numero de Construção: 1079
©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
© 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: McDonnell Douglas MD-11F
Operador: Lufthansa Cargo
Local: Aeroporto Internacional de Viracopos Campinas - SBKP
Prefixo: D-ALCN
Numero de Construção: 48806
©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
Walmart 2000
chihuahua chih.
Venus lopez
luis rivas
15 de enero 2011
venus lopez armÓ Regalos y los promovio entre los clientes de walmart 2000 gratis un obsequio en la compra de labial+Esmalte
166-177 AD, Banasa.
It consists of three parts: a grant from the emperors Marcus Aurelius and Lucius Verus to the Zegrensis Julianus, his wife Ziddina and their four sons in 168/169; a second grant from Marcus Aurelius and Commodus to Faggura, the wife of Aurelius Julianus, the princeps of the Zegrenses, probably the son of the earlier Julianus, and their children in 177; and an authenticated copy of the entry from the central register with the names of twelve senior figures, senators and equestrians.
Exemplum epistulae Imperatorum nostrorum An[toni]ni et Veri Augustorum ad Coiiedium Maximum / li{i}bellum Iuliani Zegrensis litteris tuis iunctum legimus et / quamquam civitas Romana non nisi maximis meritis pro/vocata in[dul]gentia principali gentilibus istis dari solita sit / tamen cum eum adfirmes et de primoribus esse popularium / suorum et nostris rebus prom(p)to obsequio fidissimum nec / multas familias arbitraremur apud Zegrenses paria pos/s[e] de officis suis praedicare quamquam plurimos cupiamus ho/nore a nobis in istam domum conlato ad aemulationem Iuli/ani excitari non cunctamur et ipsi Ziddinae uxori item / liberis Iuliano Maximo Maximino Diogeniano civitatem / Romanam salvo iure gentis dare / exemplum epistulae Imperatorum Antonini et Commodi Augg(ustorum) / ad Vallium Maximianum / legimus libellum principis gentium Zegrensium animadverti/musq(ue) quali favore Epidi Quadrati praecessoris tui iuvetur pro/inde et illius testimonio et ipsius meritis et exemplis quae / allegat permoti uxori filiisq(ue) eius civitatem Romanam sal/vo iure gentis dedimus quod [ut] in commentarios nostros referri / possit explora quae cui{i}usq(ue) aeta{ti}s sit et scribe nobis / descriptum et recognitum ex commentario civitate Romana / donatorum divi Aug(usti) et Ti(beri) Caesaris Aug(usti) et C(ai) Caesaris et divi Claudi / et Neronis et Galbae et divorum Aug(ustorum) Vespasiani et Titi et Caesaris / Domitiani et divorum Aug(ustorum) Ner[v]ae et Trai{i}ani Parthici et Trai{i}ani / Hadriani et Hadriani Antonini Pii et Veri Germanici Medici / Parthici maximi et Imp(eratoris) Caesaris M(arci) Aureli Antonini Aug(usti) Germa/nici Sarmatici et Imp(eratoris) Caesaris L(uci) Aureli Commodi Aug(usti) Germanici Sar/matici quem protulit Asclepiodotus lib(ertus) id quod i(nfra) s(criptum) est / Imp(eratore) Caesare L(ucio) Aurelio Commodo Aug(usto) et M(arco) Plautio Quintilio co(n)s(ulibus) / pr(idie) Non(as) Iul(ias) Romae / Faggura uxor Iuliani principis gentis Zegrensium ann(orum) XXII / Iuliana ann(orum) VIII Maxima ann(orum) IIII Iulianus ann(orum) III Diogenia/nus ann(orum) II liberi Iuliani s(upra) s(cripti) / rog(atu) Aureli Iuliani principis Zegrensium per libellum suffra/gante Vallio Maximiano per epistulam his civitatem Romanam de/dimus salvo iure gentis sine diminutione tributorum et vect[i]gali/um populi et fisci / actum eodem die ibi isdem co(n)s(ulibus) / Asclepiodotus lib(ertus) recognovi / signaverunt / M(arcus) Gav[i]us M(arci) f(ilius) Pob(lilia) Squilla Ga[l]licanus / [M(anius)] Acilius [M(ani)] f(ilius) Gal(eria) Glabrio / T(itus) Sextius T(iti) f(ilius) Vo[t(uria)] Lateranus / C(aius) Septimius C(ai) f(ilius) Qui(rina) Severus / P(ublius) Iulius C(ai) f(ilius) Ser(gia) Scapula Tertul[l]us / T(itus) Varius T(iti) f(ilius) Cla(udia) Clemens / M(arcus) Bassaeus M(arci) f(ilius) Stel(latina) Rufus / P(ublius) Taruttienus P(ubli) f(ilius) Pob(lilia) Paternus / [[[Sex(tus) Tigidius [-] f(ilius) [---] Perennis]]] / Q(uintus) Cervidius Q(uinti) f(ilius) Arn(ensi) Scaevola / Q(uintus) Larcius Q(uinti) f(ilius) Qui(rina) Euripianus / T(itus) Fl(avius) T(iti) f(ilius) Pal(atina) Piso
Now in Rabat Archaeological Museum.
Museum of Roman Civilisation.
Este sabado pasado tuve la oportunidad de conocer a David un fotografo de California que tiene un trbaajo interesante y un dominio de la fotografia en un amplio espectro.
Ademas de su buena compañia, la charla sobre sus viajes por algunos lugares de este planeta, recorrimos una parte de la Habana en un largo recorrido acompañados de Laura por supuesto y por Juan un maestro y fotográfo cubano.
Hicimos un recorrido de cerca de 6 horas por Centro Habana y la Havana Vieja y puedo decir que me ayudo mucho en mi interminable camino de aprendizaje.
En este caso, estabamos caminando por una calle de la Habana Vieja, cuando Juan entró a uno de los pocos edificios no renovados que aún conserva unos vitrales como parte de su estructura original, el edificio tiene mas de 200 años sirve hoy como albergue para algunas decenas de familias.
Una de estas familias tiene un perro que en cuento sintió a los extraños cerca comenzó a ladrar y este niño lo tranquilizó con solo dos palabras.
David como obsequio le regalo un lapiz y el en señal de agradecimiento le extendió la mano para saludarlo como un hombrecito.
This past Saturday I had the opportunity to meet David a photographer from California who has an interesting work and a domain of photography in a wide spectrum.
Besides his good company, the chat about his travels around the planet, we visited one side of Havana in a long run of course accompanied by Laura and John a teacher and Cuban photographer.
We toured for about 6 hours by Central Havana and Old Havana and I can say that helped me in my endless road of learning.
In this case, we were walking down a street in Old Havana, when John went to one of the few buildings which still has not renewed and preserved a few windows as part of the original structure, the building is over 200 years today serves as a shelter for some dozens of families.
One of these families have a dog that felt tale about strangers began to bark and this child reassured him with only two words.
David as a gift gave him a pencil and in gratitude the boy extended his hand to shake like a little man.
Founder of the City of San Francisco. Statue near Lake Merced.
The attached plaque reads as follows.
COMO HOMENAJE AL ILUSTRE SONORENSE QUE FUNDO LA CIUDAD DE SAN FRANCISCO Y CON EL PROPOSITO DE ESTRECHAR MAS AUN LAS RELACIONES AMISTOSAS ENTRE LOS PUEBLOS DE MEXICO Y DE LOS ESTADOS UNIDOS, EL ESATADO DE SONORA, DE LA REPUBLICA MEXICANA, OBSEQUIO ESTA ESTATUA A LA CIUDAD DE SAN FRANCISCO. SIENDO GOBERNADOR DE SONORA EL LIC. LUIS ENCINAS GOBERNADOR DE CALIFORNIA EL H. RONALD REAGAN Y MAYOR DEL LA CIUDAD EL H. JOHN F. SHELLEY EN AGOSTO DE 1967.
AS A HIGH TRIBUTE TO AN ILLUSTRIOUS HISTORICAL FIGURE BORN IN SONORA, FOUNDER OF THE CITY OF SAN FRANCISCO AND WITH THE PURPOSE OF STRENGTHENING THE FRIENDLY TIES BETWEEN THE PEOPLES OF MEXICO AND OF THE UNITED STATES, THE STATE OF SONORA OF THE REPUBLIC OF MEXICO PRESENTS THIS STATUE TO THE CITY OF SAN FRANCISCO THIS MONTH OF AUGUST OF 1967, AT WHICH TIME LIC. LUIS ENCINAS WAS GOVERNOR OF SONORA, THE HONORABLE RONALD REAGAN GOVERNOR OF CALIFORNIA AND THE HONORABLE JOHN F. SHELLY MAYOR OF THE CITY OF SAN FRANCISCO.
Nuestra Señora de la Victoria – Niño Jesús de Praga
Chrám Panny Marie Vítězné - Pražské Jezulátko
La iglesia de Nuestra Señora de la Victoria es uno de los lugares de peregrinaje más famosos de República Checa. Es allí donde se encuentra la estatua de cera del Niño Jesús de Praga, de origen español y objeto de devoción para los pelegrinos del mundo entero.
El Niño Jesús de Praga es una estatuilla votiva de cera, de unos 47 cm de altura y que representa a Jesús Cristo en su etapa infantil. En su mano derecha el cristo hace una señal en signo de de bendición y en la izquierda porta un orbe real.
Procedente de España,esta estatuilla formaba parte de la dote recibida por la Duquesa María Manrique de Lara durante su boda con un noble checo en 1556. Su hija, Polyxena de Lobkowicz, regaló la estatua al monasterio de las monjas de las carmelitas descalzas, vinculada con la iglesia de Nuestra Señora de la Victoria. Numerosos milagros fueron atribuidos al Nino Jesús durante el periodo barroco, especialmente la protección de Praga durante el asedio de los suecos en 1639. En 1651, se organizaron procesiones en su honor por toda la ciudad antes de su coronación en 1655 por el arzobispo de Praga. Ella es aún hoy día objeto de culto de los pelegrinos del mundo entero.
Su famoso “vestuario” compuesto por más de cien vestidos preciosos recibidos como obsequio de anónimos o ilustres pelegrinos. Los más hermosos abrigos bordados, así como un gran número de objetos ligados al culto de la estatuilla se encuentran en el museo del Niño Jesús de Praga, ubicado en la iglesia, detrás del altar principal.
El edificio en sí mismo, con una historia particularmente agitada y orginal, es también una obra notable desde el punto de vista arquitectónico. Iniciada su construcción entre los años 1611-1613, este edificio fue uno de los primeros templos luteranos construido en Praga bajo el reinado del emperador Rodolfo II. Según las fuentes, el arquitecto era católico, probablemente Giovanni Maria Fillippi, quien era el arquitecto oficial de Rodolfo II. Muy importante en la historia de la arquitectura en Bohemiam el proyecto de Fillippi (conservado en el museo de la ciudad de Praga) fue directamente inspirado por la arquitectura contemporánea de Roma, principalmente por la fachada de la iglesia de la Trinidad de los Montes de Giacomo della Porta. Esta iglesia es considerada como una de las primeras proto-barrocas de praga, con su nave central abovedada y sus dos torres monumentales.
Todo cambia luego de 1620, después de la derrota checa de la Montaña blanca: la iglesia es entonces tomada a los protestantes y dada a la orden católica de las Carmelittas Descalzas y rebautizada con el nombre de Nuestra Señora de la Victoria. Las carmelitas modifican el plano de la iglesia, reorientándola de forma radical: inicialmente orientada hacia la colina de Petřín, la iglesia será entonces volteada hacia la calle. Una nueva fachada es construida, inspirada nuevamente por la arquitectura romana más contemporánea y por el modelo de Santa Maria della Victoria de Roma, cuya historia está también íntimamente ligada a la batalla de la Montaña Blanca. Las dos torres del proyecto de Fillippi ne fueron nunca terminadas y la antigua fachada fue remplazada por un coro muy tradicional, con arcos agudos góticos.
Visite la Iglesia de Nuestra Señora de la Victoria con un guía hispanohablante
Dirección:
Iglesia de Santa María de la Victoria - Chrám Panny Marie Vítězné
Karmelitská 9,
118 00 Praga 1 - Malá Strana
Notre Dame des Victoires - Petit Jésus de Prague
Chrám Panny Marie Vítězné - Pražské Jezulátko
L’église Notre-Dame-de-la-Victoire est l’un des lieux de pèlerinage les plus célèbres de République tchèque. C’est là que se trouve la statue de cire du Petit Jésus de Prague (ou Bambino di Praga) d’origine espagnole, objet de dévotion des pèlerins du monde entier.
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L’enfant Jésus de Prague (connu sous le nom de Bambino di Praga), est une statuette votive en cire d’une hauteur de 47 centimètres, représentant un Christ enfant aux traits charmants, dont la main droite fait un signe de bénédiction et la gauche tient une sphère surmontée d’une croix. Originaire d’Espagne, elle fut reçue en dot par la duchesse Maria Manrique de Lara lors de son mariage avec un noble tchèque en 1556. Sa fille, Polyxena de Lobkowicz, l’offrit en 1628 au monastère des carmes déchaussés liés à l’église Notre-Dame de la Victoire. De nombreux miracles lui furent attribués à l’époque baroque, notamment la protection de Prague lors du siège des Suédois en 1639. Elle fut portée en procession autour des églises de la ville en 1651, et solennellement couronnée en 1655 par l’archevêque de Prague. Elle fait toujours l'objet d'un culte fervent de pèlerins du monde entier.
Sa célèbre " garde-robe " est riche de plus d’une centaine de vêtements précieux offerts par des pèlerins illustres ou anonymes. Les plus beaux manteaux brodés, ainsi que de nombreux objets liés au culte de la statuette sont visibles au musée de l’enfant Jésus de Prague, situé dans l’église derrière l’autel principal, au premier étage.
Le bâtiment lui-même, à l’histoire mouvementée et originale, est remarquable au plan architectural. Commencé en 1611-1613, c’est l’un des premiers temples luthériens édifié à Prague sous le règne de l’empereur Rodolphe II pour les riches protestants habitant le quartier de Mala Strana. D’après les sources, son auteur est un architecte catholique, très probablement Giovanni Maria Fillippi, l’architecte officiel de Rodolphe II. Très important pour l’histoire de l’architecture en Bohème, le projet de Fillippi (conservé au musée de la ville de Prague) fut directement inspiré par l’architecture contemporaine de Rome, principalement par la façade de l’église de la Trinité des Monts de Giacomo della Porta. On considère cette réalisation comme la première église proto-baroque à Prague, avec sa nef centrale voûtée en berceau et ses deux tours monumentales.
Tout change après 1620, après la défaite tchèque de la Montagne Blanche : l’église est alors prise aux protestants, donnée à l’ordre catholique des carmes déchaussés et rebaptisée du nom de Notre-Dame de la Victoire. Les carmes modifient le plan de l’église en la réorientant radicalement : initialement tournée vers la colline de Petřín, l’église est désormais tournée vers la rue. Une nouvelle façade est édifiée, inspirée à nouveau par l’architecture romaine la plus contemporaine et le modèle de Santa Maria della Victoria de Rome dont l’histoire est elle-aussi intimement liée à la bataille de la Montagne blanche. Les deux tours du projet de Fillippi ne furent jamais terminées, et l’ancienne façade remplacée par un chœur très traditionnel, aux arcs brisés gothisants.
Adresse :
Eglise Notre-Dame des Victoires - Chrám Panny Marie Vítězné
Karmelitská 9,
118 00 Prague 1 - Malá Strana.