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Como no tenia mariposa te he tenido que felicitar con esta bonita flor que también es muy delicada, ademas te lo mereces por lo que llegas a aguantarnos, un abrazo y felicidades!!!
- Nombre científico o latino: Cistus albidus
- Nombre común o vulgar: Jara blanca, Jaguarzo blanco, Jara estepa, Estepa blanca, Estepa, Estepilla, Bocha blanca, Jarrilla, Rosajo, Jara blanquinosa.
- Familia: Cistaceae.
- Origen: Africa del Norte, Sudoeste de Europa.
- Hábitat: especie autóctona mediterránea. Crece desde el nivel del mar hasta cerca de los 1.000 m. Forma parte de los matorrales y garrigas que sustituyen a los encinares degradados.
- Etimología: Cistus era el nombre de la jara en latín clásico. El epíteto específico albidus significa blanquecino en latín y se refiere al aspecto cromático de sus hojas. El nombre vulgar de jara viene del árabe xara que significa matorral.
Italian postcard. Photo by Pinto. Ed. A. Traldi, Milano, No. 314.
Claretta Rosaj aka Clarette Rosaj and Claretta Rosay (1893-?) was an Italian actress, who peaked in Italian silent cinema between 1918 and 1923.
In 1918 Rosaj debuted in the Film d'Arte Italiana production Papà mio, mi piaccion tutti! (1918) by Eugenio Perego, based on a script by Lucio D'Ambra, and with Luigi Maggi co-starring. Luigi Pirandello collaborated on the script. Apparently, he had an affair with Rosaj, as D'Ambra writes that she would only act on the set if Pirandello was around, so he could give suggestions 'for scenes and episodes'. Rosaj then moved to Caesar Film, where she made the films Fiaccole/Torches (Ubaldo Pittei, 1918) with Mario Parpagnoli, and Giorgia (Giuseppe Forti, Ubaldo Pittei, 1919). NB Forti had already been set decorator for Rosaj's first film. She then worked at Quirinus Film in Lolette (Forti, 1919), Notturni (Pittei, 1919), Nella morsa di un sogno (Forti, 1920), La danza sull'abisso (Forti, 1920), and Oro (Forti, 1920), often paired with Guido Graziosi and Dante Cappelli. In 1920 Forti, Rosaj, Graziosi, and Cappelli moved to Secessione Film for more collaborations: Supremo convegno (1920) and Maddalena al deserto (1921), after which they returned to Quirinus for Tragedia di bambola (1922). According to the website Silents, Please!, Rosaj's 1922 film Tragedia di bambola | Tragedy of a Doll survives at Eastman House. The last film of Rosaj was the Quirinus production La maschera che ride (1923), which Forti co-directed with Mario Bonnard, and in which Graziosi and Cappelli acted too, as well as child star Marcella Sabattini. The latter had played in more films with Rosay, by the way. Forti would only make one sound film with Isa Pola in 1930, after which his film career was over too. The fact that he made well nine films with Rosay suggests they possibly were a couple off the set as well.
Sources: silentsplease.wordpress.com/2015/11/20/italian-question-m..., IMDB.
Italian postcard. Vettori, Bologna, No. 21.
Claretta Rosaj aka Clarette Rosaj and Claretta Rosay (1893-?) was an Italian actress, who peaked in Italian silent cinema between 1918 and 1923.
In 1918 Rosaj debuted in the Film d'Arte Italiana production Papà mio, mi piaccion tutti! (1918) by Eugenio Perego, based on a script by Lucio D'Ambra, and with Luigi Maggi co-starring. Luigi Pirandello collaborated on the script. Apparently, he had an affair with Rosaj, as D'Ambra writes that she would only act on the set if Pirandello was around, so he could give suggestions 'for scenes and episodes'. Rosaj then moved to Caesar Film, where she made the films Fiaccole/Torches (Ubaldo Pittei, 1918) with Mario Parpagnoli, and Giorgia (Giuseppe Forti, Ubaldo Pittei, 1919). NB Forti had already been set decorator for Rosaj's first film. She then worked at Quirinus Film in Lolette (Forti, 1919), Notturni (Pittei, 1919), Nella morsa di un sogno (Forti, 1920), La danza sull'abisso (Forti, 1920), and Oro (Forti, 1920), often paired with Guido Graziosi and Dante Cappelli. In 1920 Forti, Rosaj, Graziosi, and Cappelli moved to Secessione Film for more collaborations: Supremo convegno (1920) and Maddalena al deserto (1921), after which they returned to Quirinus for Tragedia di bambola (1922). According to the website Silents, Please!, Rosaj's 1922 film Tragedia di bambola | Tragedy of a Doll survives at Eastman House. The last film of Rosaj was the Quirinus production La maschera che ride (1923), which Forti co-directed with Mario Bonnard, and in which Graziosi and Cappelli acted too, as well as child star Marcella Sabattini. The latter had played in more films with Rosay, by the way. Forti would only make one sound film with Isa Pola in 1930, after which his film career was over too. The fact that he made well nine films with Rosay suggests they possibly were a couple off the set as well.
Italian postcard. Vettori, Bologna, No. 382. Photo by Pinto, Roma.
Claretta Rosaj aka Clarette Rosaj and Claretta Rosay (1893-?) was an Italian actress, who peaked in Italian silent cinema between 1918 and 1923.
In 1918 Rosaj debuted in the Film d'Arte Italiana production Papà mio, mi piaccion tutti! (1918) by Eugenio Perego, based on a script by Lucio D'Ambra, and with Luigi Maggi co-starring. Luigi Pirandello collaborated on the script. Apparently, he had an affair with Rosaj, as D'Ambra writes that she would only act on the set if Pirandello was around, so he could give suggestions 'for scenes and episodes'. Rosaj then moved to Caesar Film, where she made the films Fiaccole/Torches (Ubaldo Pittei, 1918) with Mario Parpagnoli, and Giorgia (Giuseppe Forti, Ubaldo Pittei, 1919). NB Forti had already been set decorator for Rosaj's first film. She then worked at Quirinus Film in Lolette (Forti, 1919), Notturni (Pittei, 1919), Nella morsa di un sogno (Forti, 1920), La danza sull'abisso (Forti, 1920), and Oro (Forti, 1920), often paired with Guido Graziosi and Dante Cappelli. In 1920 Forti, Rosaj, Graziosi, and Cappelli moved to Secessione Film for more collaborations: Supremo convegno (1920) and Maddalena al deserto (1921), after which they returned to Quirinus for Tragedia di bambola (1922). According to the website Silents, Please!, Rosaj's 1922 film Tragedia di bambola | Tragedy of a Doll survives at Eastman House. The last film of Rosaj was the Quirinus production La maschera che ride (1923), which Forti co-directed with Mario Bonnard, and in which Graziosi and Cappelli acted too, as well as child star Marcella Sabattini. The latter had played in more films with Rosay, by the way. Forti would only make one sound film with Isa Pola in 1930, after which his film career was over too. The fact that he made well nine films with Rosay suggests they possibly were a couple off the set as well.
Italian postcard by IPA CT Duplex, V. Uff. Rev. St. Terni, no. 9500. Photo: Milano Films. Luigi Duse as the title character in Jacopo Ortis (Giuseppe Sterni, 1918). Caption: Jacopo admires the medallion of Teresa.
Luigi Duse (1857-1930) was parented to the Duse stage actors family to which also famous stage actress Eleonora Duse belonged. Luigi, son of Eugenio and Cecilia Bellotti, was born in Asolo (Treviso) on 16th October 1857. He remained in the family until 1873, the year in which he was engaged with his uncle Enrico for 'supporting parts. A restless character, he soon left this company to join the Pezzana company, he was then in touring groups playing all the roles; in 1884 he returned to primary groups first with Adelaide Tessero and then with Emesto Rossi whom he followed on a long tour of America, Russia and Egypt. In 1896 he was in the Vitaliani company, alongside his wife Vittorina Delfini, Lole Borgi, Emesto Treves and Assunta Frigerio, acting both as performer and administrator. He was then with his cousin, later sister-in-law, Italia Vitaliani and, in 1903, he formed another company with his wife, Tina Sequi, Anna Pedretti and Francesco Artale, presenting a demanding repertoire with Romea and Juliet and Othello by Shakespeare, Romanticismo by G. Rovetta, Come le foglie by G. Giacosa, Casa di bambola by H. Ibsen, and Fedora by V. Sardou.
During the First World War Duse began a cinematographic activity in which he starred in many films, or played supporting parts. He debuted at Bonnard Film in 1915 in the films La morsa della morte, La bara di vetro, and Titanic. He then worked for Latina Ars in 1915 in films like Il mio diario di guerra (Riccardo Tolentino, 1915). In 1916 he co-acted in the Diana Karenne vehicle Lea (dir. Salvatore Aversano and Diana Karenne herself), while he also acted in Bene contro male (1916) opposite Giuseppe Sterni, who soon would also direct him in various films, first in Per un fiore (1916), also La macchia rossa (1916), and later on Jacopo Ortis (1918). Duse would act on-screen opposite famous male stage actors such as Ermete Zacconi (Gli spettri, 1917), but also popular female film actresses such as Linda Pini (La nemica, 1917), Helena Makowska (Caino, 1917), Italia Almirante (Crevalcore (1917), the afore mentioned Diana Karenne (Redenzione, 1919), Claretta Rosaj (La danza sull'abisso, 1920), Fernanda Fassy (Dionisia, 1921), Maria Jacobini (Il richiamo, 1921), and Rina De Liguoro (Saracinesca, 1921). In addition di Sterni, other major directors Duse worked with were e.g. Giovanni Zannini, Guglielmo Zorzi, Romolo Bacchini and Alfredo Robert. In the early 1920s Duse worked for companies such as Medusa Film and Fert. His last film role was in Il castello della malinconia (1922) by Augusto Genina, starring Lucy di San Germano and Angelo Ferrari. After the First World War Duse was director of Lina Casilini's stage company. Luigi Duse died in Rome on 30 July 1930.
Source: Dizionario Biografico Treccani, IMDb, Vittorio Martinelli, Il cinema muto italiano.
Italian postcard. G.B. Falci, Milano, La Fotominio. Francesca Bertini and Mario Parpagnoli in L'Ultimo sogno (1921) by Roberto Roberti, father of Sergio Leone.
Content of the film: Maria (Bertini ) is chased from her village after the wife of her lover committed suicide. She starts a new life in a fishermen's village. Here the navy officer Guglielmo (Parpagnoli) falls in love with her, dumps his girl, marries Maria and the two sail out for their honeymoon. The former lover Giovanni (Giorgio Bonaiti) shows up, and confronts Guglielmo with his wife's past. Guglielmo kills Giovanni but his love for Maria has been killed too. When his ship is about leave, Maria throws herself into the sea.
Mario Parpagnoli (?-?) was an Italian actor and director, whose career peaked in the Italian silent cinema of the late 1910s and early 1920s.
Mario Parpagnoli started in career in 1917 in the Italian silent film L’aquila by Mario Gorgiulo, set in the Italian Risorgimento and based on a play by Arturo Colautti. A countess who sleeps with two men has two sons, one pro-Austrian (played by Parpagnoli), the other pro-Italy (Ubaldo Maria del Colle). Parpagnoli then acted in two films by Anton Giulio Bragaglia that made history, even if one is a lost film: Il mio cadavere, which Bragaglia codirected (uncredited) with Riccardo Cassano and based on the novel Francesco Lannas (1851) by Francesco Mastriani. Parpagnoli had the male lead as the penniless composer Daniele who hopes for fortune & fame in Naples, but is refused the hand of a young contess until he earns a million. Emigrated, he meets an old gentleman who nominates him his heir, but in order to speed up things Daniele kills the old man, inherits and runs to Naples to marry his countess, but then discovers he killed his own father and goes berserk. Sets were by the Futurist Enrico Prampolini.
Parpagnoli also acted in another film by Bragaglia and Cassano, Thais, again with sets by Prampolini. Leading actress was Thais Galitzky as an extravagant and cruel femme fatale, who meets her equal in a cold count (Parpagnoli), who rejects both her and her friend Bianca (Ileana Leonidoff). When Thais finally manages to melt the count’s heart and then reject him, she tells so to Bianca, who, madly in love with the count, rides away on her horse in a maddening galop and is killed underway. Thais then repents and kills herself by mortal vapours which exit from strange eye-shaped gaps in her room. A print of Thais was found and restored in Paris, even if incomplete.
After some neglectable dramas (a.o. with Claretta Rosaj) and a propaganda film, Parpagnoli had the male lead again in Cassano’s comedy L’Ultimo dei Cognac (1918), based on a story by the famous Trilussa, and dealing with heirs hunting for the fortune of a bonvivant. After a minor role in Alberto Capozzi’s Martino il trovatello (1919), Parpagnoli played the lover of Diana Karenne in Gennaro Righelli’s La peccatrice casta (1919) and again in La signora delle rose (Diana Karenne 1919) and the lover of Vittoria Lepanto in Per aver visto (Enrico Roma 1920). In 1920 Parpagnoli peaked with some 10 films in one year. While he had a minor part in the Hesperia divafilm Chimere (Baldassarre Negroni 1920), he had the male lead opposite Rina Maggi in La complice muta (1921), directed by star actor Livio Pavanelli, and opposite Pauline Polaire in L’istinto (Negroni 1920), about a rich writer falling in love with a poor thief.
After the neglectable Liberazione (Jacques Creusy 1921) and a supporting part in the divafilm Zoya (Giulio Antamoro 1920) with Diana Karenne, Parpagnoli had the male lead opposite Francesca Bertini in La sfinge (Roberti 1921), based on Feuillet’s Le sphynx (1874), Marion, artista di caffè-concerto (Roberti 1920), based on Annie Vivanti’s novel, and Maddalena Ferat (Roberto Roberti 1921), based on Emile Zola’s Madeleine (1865) and produced by Bertini’s own company. After the Bertini film L’ultimo sogno (Roberti 1921), Parpagnoli was the adventurer who ruins a princess’s family life in La valse ardente (Augusto Genina 1921), with Edy Darclea and Marcella Sabattini. The story was shamelessly copied from the earlier Bertini divafilm Sangue bleu (Nino Oxilia 1914).
In 1922 Parpagnoli was the rival of Sandro Salvini in La fanciulla, il poeta e la laguna by Carmine Gallone. Parpagnoli is a poet, haunted by letters of young Venetian girl. Cynically and proudly, he asks his secretary to respond to the girl… In addition to various films by Toddi starring Vera D’Angara, including the ghost story Al confine della morte (Toddi 1922) - for which Parpagnoli’s performance and the photography by Romagnoli was praised, Fu cosí che… (1922) and L’amore e il codicillo (1923), the actor had a supporting part as bad guy in La rosa di Fortunio (Luciano Doria 1922) with Diomira Jacobini and Lido Manetti, and another one in the Pina Menichelli vehicle L’ospite sconosciuta (Telemaco Ruggeri 1923).
It was probably on the set of Mario Bonnard’s adaptation of I promessi sposi/The Betrothed (1922) that Parpagnoli met his future wife, actress Emilia Vidali - daughter of film producer/director/actor Giovanni Enrico Vidali. She played Lucia while he himself played the evil Don Rodrigo. Italian critics considered the film 'too grey', but audiences loved it and the film was awarded a golden medal at a film festival in Turin in 1923. For Emilia Vidali, who had been away from the film set for several years, it didn’t mean a full comeback, and after one more film, Amore e destino/Love and Fate (1923) directed by Parpagnoli and with both Vidali and Parpagnoli in the leads, she left the Italian screen again. Vidali and Parpagnoli had married in the meantime. Because of the crisis in the Italian cinema, the couple emigrated to Argentine. There they played in the film Galleguita (1924, Julio Irigoyen). In 1930 Parpagnoli scripted and directed in Buenos Aires the musical film Adios Argentina (Goodbye Argentina), in which Mexican star Libertad Lamarque had her debut. The film starred Ada Cornero and Pierina Dealessi. The film was originally made as a silent film, but later a soundtrack was added. While Vidali returned to Europe in 1930, Parpagnoli remained in Argentine, working as official for the Empresas Filmadroas Italianas in the 1950s.
Sources: IMDB, Vittorio Martinelli, Il cinema muto italiano, 1917-1930.
Francesca Bertini (1892-1985), originally Elena Vitiello, had already a prolific career in one-, two- and threereelers for the Italian companies Cines and Celio, before she received diva status from 1914 on. In 1921 she married count Paul Cartier but divorced him. In order to take care of her son, she returned to the film sets, continuing to act with some regularity until 1930. Her last performance in a feature film was that of a nun in Bertolucci's Novecento (1977). She surely was one of the first Italian film stars.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Italian postcard. Ed. SIF / Vettori, Bologna.
Claretta Rosaj aka Clarette Rosaj and Claretta Rosay (1893-?) was an Italian actress, who peaked in Italian silent cinema between 1918 and 1923.
In 1918 Rosaj debuted in the Film d'Arte Italiana production Papà mio, mi piaccion tutti! (1918) by Eugenio Perego, based on a script by Lucio D'Ambra, and with Luigi Maggi co-starring. Luigi Pirandello collaborated on the script. Apparently, he had an affair with Rosaj, as D'Ambra writes that she would only act on the set if Pirandello was around, so he could give suggestions 'for scenes and episodes'. Rosaj then moved to Caesar Film, where she made the films Fiaccole/Torches (Ubaldo Pittei, 1918) with Mario Parpagnoli, and Giorgia (Giuseppe Forti, Ubaldo Pittei, 1919). NB Forti had already been set decorator for Rosaj's first film. She then worked at Quirinus Film in Lolette (Forti, 1919), Notturni (Pittei, 1919), Nella morsa di un sogno (Forti, 1920), La danza sull'abisso (Forti, 1920), and Oro (Forti, 1920), often paired with Guido Graziosi and Dante Cappelli. In 1920 Forti, Rosaj, Graziosi, and Cappelli moved to Secessione Film for more collaborations: Supremo convegno (1920) and Maddalena al deserto (1921), after which they returned to Quirinus for Tragedia di bambola (1922). According to the website Silents, Please!, Rosaj's 1922 film Tragedia di bambola | Tragedy of a Doll survives at Eastman House. The last film of Rosaj was the Quirinus production La maschera che ride (1923), which Forti co-directed with Mario Bonnard, and in which Graziosi and Cappelli acted too, as well as child star Marcella Sabattini. The latter had played in more films with Rosay, by the way. Forti would only make one sound film with Isa Pola in 1930, after which his film career was over too. The fact that he made well nine films with Rosay suggests they possibly were a couple off the set as well.
Sources: silentsplease.wordpress.com/2015/11/20/italian-question-m..., IMDB.
Italian postcard. Photo by Civirani, Roma, No. 219. Ed. Vettori, Bologna.
Guido Graziosi (?-?), who by the early 1910s was a prominent stage actor within the company of Ermete Zacconi, started his film career in 1912 at the Turin based company Savoia, acting in three films with a young Maria Jacobini: L'ultimo amplesso (1912), Pantera (1912), and L'onta nascosta. During the First World War he returned to the sets for a few films with the French actress Stacia Napierkowska: Il ritorno della mamma (1915), Un'immagine e due anime (1915), and Effetti di luce (1916). His next film project was based on a script by the author Gabriele D'Annunzio and produced by Musical Film by Remo Sonzogno: La crociata degli innocenti, with prominent actors from the stage in the leads: Bianca Virginia Camagni, Giulietta De Riso, and Graziosi. Shooting started in 1915 but continued in 1916, with outdoor shooting in Rome and Naples, and with a new company and the original directors being replaced by Alberto Traversa. The film was released in 1917 but is now lost.
After two films for Quirinus Film with Claretta Rosaj, Graziosi had the lead in Ugo Falena's Giuliano Apostata (1919), a biopic that tries to rehabilitate the image of the last pagan Byzantine emperor, but the very lacunous remaining film print basically only saves itself for Duilio Cambellotti's Byzantine-Art Nouveau costumes. Ileana Leonidoff plays the woman who will kill her rival (Silvia Malinverni) to conquer the man of her dreams, but he rejects her with disgust. Afterward, Graziosi returned to Quirinus for more vehicles with Claretta Rosaj, all directed by Ettore Forti, and all in all some 10 films made between 1919 and 1923. Among Graziosi's last films is Consuelita (Roberto Roberti, 1925) with Francesca Bertini, while he played Giuseppe Garibaldi opposite Rina De Liguoro in the title role of Anita Garibaldi in,Anita o il romanzo d'amore dell'eroe dei due mondi (Aldo De Benedetti, 1927). Graziosi's last film was La madonnina dei marinari (Ubaldo Maria Del Colle, 1928), starring Leda Gys.
Sources: IMDB, Enciclopedia Treccani.
Italian postcard. Photo by Pinto, Roma.
Guido Graziosi (?-?), who by the early 1910s was a prominent stage actor within the company of Ermete Zacconi, started his film career in 1912 at the Turin based company Savoia, acting in three films with a young Maria Jacobini: L'ultimo amplesso (1912), Pantera (1912), and L'onta nascosta. During the First World War he returned to the sets for a few films with the French actress Stacia Napierkowska: Il ritorno della mamma (1915), Un'immagine e due anime (1915), and Effetti di luce (1916). His next film project was based on a script by the author Gabriele D'Annunzio and produced by Musical Film by Remo Sonzogno: La crociata degli innocenti, with prominent actors from the stage in the leads: Bianca Virginia Camagni, Giulietta De Riso, and Graziosi. Shooting started in 1915 but continued in 1916, with outdoor shooting in Rome and Naples, and with a new company and the original directors being replaced by Alberto Traversa. The film was released in 1917 but is now lost.
After two films for Quirinus Film with Claretta Rosaj, Graziosi had the lead in Ugo Falena's Giuliano Apostata (1919), a biopic that tries to rehabilitate the image of the last pagan Byzantine emperor, but basically only saves itself for Duilio Cambelotti's Byzantine-Art Nouveau costumes. Ileana Leonidoff plays the woman who will kill her rival (Silvia Malinverni) to conquer the man of her dreams, but bitterly fails. Afterward, Graziosi returned to Quirinus for more vehicles with Claretta Rosaj, all directed by Ettore Forti, and all in all some 10 films made between 1919 and 1923. Among Graziosi's last films is Consuelita (Roberto Roberti, 1925) with Francesca Bertini, while he played Giuseppe Garibaldi opposite Rina De Liguoro in the title role of Anita Garibaldi in,Anita o il romanzo d'amore dell'eroe dei due mondi (Aldo De Benedetti, 1927). Graziosi's last film was La madonnina dei marinari (Ubaldo Maria Del Colle, 1928), starring Leda Gys.
Sources: IMDB, Enciclopedia Treccani.
Es nativa de la cuenca del Mediterráneo, sobre todo en la Península Ibérica, donde crece en terrenos ricos en cal, con clima cálido y seco. Sus flores tienen 5 cm de diámetro de color rosado y son solitarias o en grupos de tres o cuatro en la terminación de las ramas.
Nombre científico o latino: Cistus albidus
- Nombre común o vulgar: Jara blanca, Jaguarzo blanco, Jara estepa, Estepa blanca, Estepa, Estepilla, Bocha blanca, Jarrilla, Rosajo, Jara blanquinosa.
- Familia: Cistaceae.
- Origen: Africa del Norte, Sudoeste de Europa.
- Hábitat: especie autóctona mediterránea. Crece desde el nivel del mar hasta cerca de los 1.000 m. Forma parte de los matorrales y garrigas que sustituyen a los encinares degradados.
- Etimología: Cistus era el nombre de la jara en latín clásico. El epíteto específico albidus significa blanquecino en latín y se refiere al aspecto cromático de sus hojas. El nombre vulgar de jara viene del árabe xara que significa matorral.
- Arbusto perenifolio.
- Altura: 1-1,5 m.
- Hojas son de color gris blanquecino ovaladas y ásperas, las flores son rosadas o moradas y de escasa duración, los estambres son amarillos.
- Su follaje es aromático.
- Florece entre primavera y verano y prefiere terrenos calcáreos pero no soporta una humedad en exceso.
- Las hojas han sido utilizadas por los árabes de Argelia como té, resultando muy digestivo tras comidas pesadas.
- En el Levante español, durante épocas de escasez, se han llegado a utilizar las hojas como sucedáneo del tabaco.
- Poco usados en jardinería, empiezan a utilizarse ampliamente gracias a su rusticidad, sus atractivas floraciones y a su idoneidad para formar borduras, grupos, o para revestir pendientes peligrosas.
- La tonalidad verde grisácea de sus hojas es muy útil para realizar composiciones contrastando los distintos tipos de verdes de los que la flora mediterránea es tan variada.
- Es muy indicada para macizos formando manchas monoespecíficas y también en setos bajos de porte natural flanqueando caminos.
- Ideal para jardines costeros y zonas secas, áridas.
- Arbustos típicos del clima mediterráneo y de muchas zonas del interior de la península.
- Soporta heladas no muy fuertes.
- Suelo arenoso, permeable y más bien pobre.
- Prefiere los suelos calizos pero vive bien en los neutros y en los poco ácidos.
- Muy resistente a la sequía, regar solo en los períodos de lluvia en que esta sea escasa o inexistente.
- Si se quiere alargar el período de floración se deben quitar los ramilletes de flores marchitas y darle algún riego en el caso de que no llueva a final de primavera.
- Cortar las ramas viejas en primavera para mantener la forma.
- No toleran los transplantes, por ello se deben plantar en lugares definitivos.
- Multiplicación: por esqueje semileñoso en verano y por semillas en otoño.
- Sin tratamiento previo de las semilas para favorecer la germinación o en escaldado a 100ºC dejándolas enfriar en el mismo recipiente durante unas horas.
- Conservación de las semillas en frío y ambiente seco. En cámara frigorífica de 2-4ºC y humedad inferior al 10%.
Vintage Italian postcard. Ed. Vettori, Bologna, 1920s, 246.
Claretta Rosaj aka Clarette Rosaj and Claretta Rosay (1893-?) was an Italian actress, who peaked in Italian silent cinema between 1918 and 1923.
In 1918 Rosaj debuted in the Film d'Arte Italiana production Papà mio, mi piaccion tutti! (1918) by Eugenio Perego, based on a script by Lucio D'Ambra, and with Luigi Maggi co-starring. Luigi Pirandello collaborated on the script. Apparently, he had an affair with Rosaj, as D'Ambra writes that she would only act on the set if Pirandello was around, so he could give suggestions 'for scenes and episodes'. Rosaj then moved to Caesar Film, where she made the films Fiaccole/Torches (Ubaldo Pittei, 1918) with Mario Parpagnoli, and Giorgia (Giuseppe Forti, Ubaldo Pittei, 1919). NB Forti had already been set decorator for Rosaj's first film. She then worked at Quirinus Film in Lolette (Forti, 1919), Notturni (Pittei, 1919), Nella morsa di un sogno (Forti, 1920), La danza sull'abisso (Forti, 1920), and Oro (Forti, 1920), often paired with Guido Graziosi and Dante Cappelli. In 1920 Forti, Rosaj, Graziosi, and Cappelli moved to Secessione Film for more collaborations: Supremo convegno (1920) and Maddalena al deserto (1921), after which they returned to Quirinus for Tragedia di bambola (1922). According to the website Silents, Please!, Rosaj's 1922 film Tragedia di bambola | Tragedy of a Doll survives at Eastman House. The last film of Rosaj was the Quirinus production La maschera che ride (1923), which Forti co-directed with Mario Bonnard, and in which Graziosi and Cappelli acted too, as well as child star Marcella Sabattini. The latter had played in more films with Rosay, by the way. Forti would only make one sound film with Isa Pola in 1930, after which his film career was over too. The fact that he made well nine films with Rosay suggests they possibly were a couple off the set as well.
Sources: silentsplease.wordpress.com/2015/11/20/italian-question-m..., IMDB.
En la Sierra de Baza
Es un arbusto de entre 5 y 10 dm de altura, no muy ramoso. Las hojas son alargadas y estrechas, sin peciolo y están abundantemente impregnadas de una sustancia pegajosa, el ládano, resina fuertemente olorosa, que les da un aspecto brillante y se adhiere fácilmente a las manos y ropa. Las hojas tienen 5-10 cm de longitud y son opuestas con tres nervios muy marcados y de color blanquecino. Sus flores tienen 5 cm de diámetro de color rosado y son solitarias o en grupos de tres o cuatro en la terminación de las ramas.
#android #instagood #igdaily #igers #ignation #gmy #gf_usa #instamood #clubsocial #jj #gang_family #gg #wegramusa #all_shots #iphonesia #instagramhub #ampt_community #unitedbyedit #rosaj
10th & Chestnut St. #philly #philadelphia #lookup #dynamiclight #dirtygrit #amaro
52 Likes on Instagram
6 Comments on Instagram:
postaljeff: whoa again!
moonangle: Fantastic! You are the best with dynamic light!
stephdc: Very cool!
so_jane: Holy Moly! Thanks for the positive feedback @postaljeff @moonangle & @stephdc !
so_jane: #rosaj
so_jane: #sojane_looksup
Arc 2. Germantown Town Hall. In 1923, architect John Penn Brock Sinkler built the site’s current structure, Germantown Town Hall, modeled after William Strickland’s Greek Revival Merchant’s Exchange Building at 3rd and Walnut Streets. #Philly #philadelphia #arc #architecture #blackandwhite #contessa
51 Likes on Instagram
11 Comments on Instagram:
ncloe: Beautiful!
tzuio: great!
so_jane: @jcjesse @rebelsoul #jr_overhere
@creativecrew #creativecrew_beautyindecay
so_jane: @tzuio @ncloe @stephdc Thank you so much! Sorry for the delay.
wildthyme: Wonderful composition!
so_jane: Thank you @wildthyme !
so_jane: #rosaj
so_jane: #sojane_looksup
La jara blanca, Cistus albidus es una especie fanerógama perteneciente a la familia Cistaceae.
Es nativa de la cuenca del Mediterráneo, sobre todo en España, donde crece en terrenos ricos en cal, con clima cálido y seco.
Es un arbusto de entre 5 y 10 dm de altura, no muy ramoso. Las hojas son alargadas y estrechas, sin peciolo y están abundantemente impregnadas de una sustancia pegajosa, el ládano, resina fuertemente olorosa, que les da un aspecto brillante y se adhiere fácilmente a las manos y ropa. Las hojas tienen 5-10 cm de longitud y son opuestas con tres nervios muy marcados y de color blanquecino. Sus flores tienen 5 cm de diámetro de color rosado y son solitarias o en grupos de tres o cuatro en la terminación de las ramas.
Castellano: ardivieja, boja blanca, espiga, estepa, estepa blanca, estepa mosquera, estepa negra, estepilla, estopa, estrepilla, flor de muerto, hierba para fumar, jaguarzo, jaguarzo blanco, jara, jara blanca, jara blanquecina, jara de hoja blanca, jaraestepa, jara estepa, jaraestopa, jara roja, jarastepa, jaraztepa, jariestepa, jarilla, jarilla blanca, jaristepa , jogarzo blanco, juagarzo, juagarzo ancho, juagarzo blanco, mata de gallo, matagallo, quebranta hollas, quebrantahuesos, quebraollas, quiebraollas, revientaollas, rosajo, teca.
Aunque hoy en día es poco usado, el ládano se tomaba en jarabes para la tos.
Como linimento se usa diluido al 5-10% en alcohol.
También ha sido usada durante mucho tiempo e incluso aún hoy día como alivio al dolor de estomago, se tomaba tanto en infusión como poniendo la planta sobre el mismo abdomen.Wikipedia.
Después de tanto leer una buena música.
Old School Telephone #telephone #chrome #bw #bnw #blackandwhite #iphone4 #instagram #instagramhub #igersphilly
97 Likes on Instagram
24 Comments on Instagram:
juliegeb: Great
so_jane: #ubiquitous #ubiquitousjane
so_jane: #bwcontest @acastell
so_jane: #rosaj
_kris10: Great detail shot
so_jane: #geinspiredme
so_jane: A best of 2011 grid view bonus pic because, I can be this anal! #bestofso_jane2011
so_jane: #99numberhunt #99numberhunt_so_jane
Cistus albidus.
Fijense si tiene nombres: ardivieja, boja blanca, espiga, estepa, estepa blanca, estepa mosquera, estepa negra, estepilla, estopa, estrepilla, flor de muerto, hierba para fumar, jaguarzo, jaguarzo blanco, jara, jara blanca, jara blanquecina, jara de hoja blanca, jaraestepa, jara estepa, jaraestopa, jara roja, jarastepa, jaraztepa, jariestepa, jarilla, jarilla blanca, jaristepa , jogarzo blanco, juagarzo, juagarzo ancho, juagarzo blanco, mata de gallo, matagallo, quebranta hollas, quebrantahuesos, quebraollas, quiebraollas, revientaollas, rosajo, teca.
67 Likes on Instagram
14 Comments on Instagram:
sirreal: Nice shot and the song......Fantastic choice
so_jane: @sirreal Thanks. I don't introduce lyrics too often but, every time I looked at this image, it's all I heard.
jcjesse: The song is playing in my head right now!
so_jane: @jcjesse & @sirreal Ear Worm!
so_jane: @joshjohnson #jj_forum_0270
smarttea: Omg so I saw your photo in the JJ tag and I wanted to comment reach out and touch faith - but you beat me to it! Lol. Awesome!
so_jane: #rosaj
so_jane: #altexpo
CHICKENS
As Blue State Trooper pondered his run for the Office of President of the United States on a planet called Earth in the Milky Way Sector, he could not help but draw parallels to his distracted chicken feeding and the chickens that surround the official elected President. It seemed to him that they were as full of excrement as the coop in which he stood.
Scooping out more feed to the mindless beasts strutting and clucking urgently yet senselessly at his feet, he continued his ponderance.
#starwars #lego #stormtroopers #troopers #sandtroopers #tatatroopers #toyphotography #bluestatetrooper #claylotoys #politics #rosaj #jj
Adapt or perish, now as ever, is nature's inexorable imperative. H. G. Wells
74 Likes on Instagram
8 Comments on Instagram:
so_jane: Another for today's #unitedbyedit Nature vs. Manmade theme. #ube_wed #dynamiclight for capture and #orton and #snapseed for a little drama, vignette and crop. This edit has been hanging in my camera roll for a week or more so, I really don't remember what else I did to it, if anything. #philadelphia #philly #germantown #fire #vacant #igersphilly
so_jane: #instagramhub
postaljeff: Nice softness
monstropolis: @so_jane Great edit ✨
so_jane: @postaljeff Thanks. I wanted to soften the harsh reality. Add some beauty to the ugly reality.
so_jane: @monstropolis thank you Sir.
so_jane: @stellth thanks Stella. I appreciate it.
so_jane: #wearejuxt #rosaj
Because, All the Leaves are Brown. Variation on a theme. 3/4 #trees #autumn #lookup #philly #philadelphia #dynamiclight #infrared #contessa
50 Likes on Instagram
11 Comments on Instagram:
so_jane: I love gnarly! This tree lives on my neighbors property. I'm certain you'll see her again! @callmejeff86
jennihanna: Did I say droooooool before? Square it. :)
so_jane: Thanks Jenn, come visit! They're better in person. @jennihanna
jennihanna: :)
so_jane: #creativecrew_trees @creativecrew
so_jane: #rosaj
so_jane: #sojane_trees
so_jane: #ilovebaretrees
Parallel Circuit #shadow #iphone4 #wall #monochrome #blackandwhite #bandwwednesday @jcjesse #jcjesse_bwgallery3
64 Likes on Instagram
13 Comments on Instagram:
jcjesse: This is too cool
so_jane: Thank You! @eelnej @dkoons @postaljeff @jcjesse
polina77: Nice!
so_jane: #bwcontest @acastell
so_jane: #rosaj
so_jane: #geinspiredme
so_jane: #shadeoclock #ideaexchange_challenge
so_jane: #ubiquitous_jane
An ode to Ray #Metzker my Pictus Interruptus on the way #home #pictusinterruptus #septa #train #philadelphia #philly #iphone4 #instagram #instagramhub #ig #ignation #dynamiclight
45 Likes on Instagram
4 Comments on Instagram:
srgb:
moonangle: You have quite the style, so unique Jane!
so_jane: #rosaj
so_jane: #iseptaphilly
#android #instagood #igdaily #igers #ignation #gmy #gf_usa #instamood #clubsocial #jj #gang_family #gg #wegramusa #all_shots #iphonesia #instagramhub #ampt_community #unitedbyedit #rosaj
Beautiful Crazy Sexy Lines 2/4 at the #kimmelcenter #blackandwhite #bandwwednesday #lines #philly #philadelphia #lookup
69 Likes on Instagram
9 Comments on Instagram:
so_jane: #bwwednesday
so_jane: #jj_forum_0225
so_jane: @rebelsoul #jr_overhere
shontellemoiselle: Wonderful! Love your pics!
so_jane: #bwcontest @acastell
so_jane: #rosaj
so_jane: #abstractmybuilding
so_jane: #geinspiredme @generalelectric
Climbing the walls at Eastern State Penitentiary 2. #dynamiclight #philadelphia #philly #filtermania_challengigers #thechallengigers @thechallengigers Color Blast and Dark Grit in filter mania
44 Likes on Instagram
6 Comments on Instagram:
stephdc: I'm diggin' this one for sure!
so_jane: @jcjesse @rebelsoul #jr_overhere
@creativecrew #creativecrew_beautyindecay
monstropolis: Great grunge ✨✨
rubicorno: Great! ✨✨✨✨
so_jane: #rosaj
so_jane: #sojane_looksup
#30thstreetstation and the #ciracenter in #philadelphia #philly #iphone4 #igersphilly #dynamiclight #instagram #instagramhub #train #city #morning #septa
66 Likes on Instagram
11 Comments on Instagram:
so_jane: Thanks! @franckfontanet
beapioch: Great
lilix: Oh wow this photo is so amazing ✨✨
so_jane: Thank you both very much @bibiii_ @lilix
so_jane: @rebelsoul #jr_overhere
so_jane: #rosaj
so_jane: #geinspiredme
so_jane: #iseptaphilly
Overview 11.26.11 Simeone Museum #philly #philadelphia #dynamiclight #orton
28 Likes on Instagram
5 Comments on Instagram:
candrew08: Fantastic : )
so_jane: Thanks! @candrew08
so_jane: #rosaj
bone_daddy_o_ud: Almost looks like blood in that reflection!
so_jane: Lol! Blood would be expected on an old Cop car, I guess... @bone_daddy_o !
Comcast Building. #philly #philadelphia #lookup #lines #comcast #dynamiclight #dirtygrit
44 Likes on Instagram
8 Comments on Instagram:
ancestorsfound: Holy moley!
postaljeff: whoa!
vekteris: I love this!
so_jane: Holy Sally Field moment! @vekteris @postaljeff & @ancestorsfound !
jennihanna: Ooooh!!!!!
so_jane: #rosaj
so_jane: #sojane_looksup
burdomx: extraordinaria!!!
Tangled up in blues. It seems someone else has the same disdain for flip-flops that I do. #tiltshift #barbedwire #flipflop #iphone4 #instagram #instagramhub #dynamiclight
38 Likes on Instagram
17 Comments on Instagram:
so_jane: @theatrefans Thank you! And what is it about flip flops anyway?!
jasor: Love this!
so_jane: Thanks Jason! @jasor
polina77: Cool!
millicentg: Love this
so_jane: #rosaj
so_jane: #bestofso_jane2011
so_jane: #ithinkflipflopsarestupid
Overview 11.27.11 Home. Relaxing. #philly #philadelphia #cameraplus #contessa
54 Likes on Instagram
10 Comments on Instagram:
nerdotronic: Utterly wondrous!!!
so_jane: Thanks so much! I love trees. @nerdotronic
rscpics_ih: nice... like this a lot!
so_jane: Thanks @rsctokyo ! #rosaj
candia_: What an amazing tree!
so_jane: @ Morris Arboretum. Great place!
ojeigu:
polimorpher: Mighty tree...I like it, If you feel curious you may find interesting pics on my feed got some nice stuff too
Because all the leaves are brown. Remembering Autumn: 1/4 #tree #autumn #color #up #philadelphia #philly #dynamiclight #orton
36 Likes on Instagram
8 Comments on Instagram:
rheanamay: Love these trees!!!
webbetty: ✨beautiful✨
so_jane: Thank you! @rheanahall @webbetty
candrew08: Great idea love all the shots!
so_jane: #rosaj
nicklinheap: ✨✨ Both the color series & the B&W are absolutely ✨gorgeous✨ - so evocative & lyrical... Made me instantly start singing the Mamas & the Pappas in my head (a song I learned the bass harmony for in my college A Capella group - so has a fond place in my heart).
so_jane: Thank you so much Nick! Glad to evoke a fond memory... @nicklinheap !
so_jane: #sojane_trees
From the passenger seat. 11.19.2011 4/4 #KellyDrive #philadelphia #philly #passenger #driveby #slowshutter #dynamiclight
52 Likes on Instagram
10 Comments on Instagram:
so_jane: Yeah yeah yeah, can you tell I'm enjoying being a passenger?! @vekteris
stephdc: Geez! How fast was the car going?!
so_jane: Lol! You guys are funny! 30 mph = 44' per sec. 1/2 sec exposure = not fast! or far! @stephdc @jcjesse
so_jane: #printmyfeed #street
so_jane: #rosaj
so_jane: #geinspiredme @generalelectric
so_jane: #kewiki_light
so_jane: @bkindler @jopes919 #dashcam_in_squares
Beautiful Crazy Sexy Lines 4/4 at the #kimmelcenter #blackandwhite #bandwwednesday #lines #philly #philadelphia #lookup
67 Likes on Instagram
19 Comments on Instagram:
aprildawnrefior: Super cool! Love it. :)
so_jane: Thank you for your kind comments. @aprildawnrefior @niti07 @jeniam
so_jane: #bwcontest @acastell
so_jane: #rosaj
so_jane: #abstractmybuilding
martapaulina: Wow!
so_jane: @martapaulina Thanks!
Here are highlights for #rosaj!
The best meet n' greet tag you'll come across!
Just tag a couple shots or whatever to #rosaj per week, go in the tag, and meet folks! These are people you WANT in your IG!
This week was sunsets. I decided to highlight everyone this week, since it was so delayed! They will be in the first few comments by rows. Give them some pats on the back.
Tag a good shot that shows your work, and meet peeps! Comment, Like, and Follow the ones that fit you!
By the way, we hit 33k+ shots tagged now. Wow...that is cray cray for a lil tag...and it's all beautiful!! Please look in there, and find at least one person you've never talked to, and make a new friend! That's the only way this tag works.
130 Likes on Instagram
30 Comments on Instagram:
gazzasingh_ud: Pretty cool this one
so_jane: @gazzasingh It is an Amazing art object! Thanks.
so_jane: #wearejuxt #rosaj #instagramhub
visualproky: Loving this shot
so_jane: Thanks a lot! @visualproky
so_jane: #emotion_daily
so_jane: #altexpo
so_jane: #amselcom
Beautiful Crazy Sexy Lines 1/4 at the #kimmelcenter #blackandwhite #bandwwednesday #lines #philly #philadelphia #lookup
61 Likes on Instagram
16 Comments on Instagram:
so_jane: @monstropolis @duendeturin @ryanpostel Thanks very much!
so_jane: #jj_forum_0225
fvs2: ✳✳✳
so_jane: @rebelsoul #jr_overhere
so_jane: #bwcontest @acastell
so_jane: #rosaj
so_jane: #abstractmybuilding
so_jane: #sojane_looksup
More G-Town Town Hall... History, despite its wrenching pain, cannot be unlived, but if faced with courage, need not be lived again. Maya Angelou #stairs #philly #philadelphia #architecture #contessa
47 Likes on Instagram
8 Comments on Instagram:
stephdc: Is it just me or are there a bunch of little faces in this?! #iseefaces
so_jane: @stephdc You're not alone! I'll post a detail for you.
cyndol: This photo is so eerie... especially with those faces. Beautiful, but eerie.
so_jane: @cyndol ;-) !!! #iseefaces
jcjesse: @stephdc I see them too
stephdc: Yes! Details please!
gialouise: Happy face ghosts :)
so_jane: #rosaj
#android #instagood #igdaily #igers #ignation #gmy #gf_usa #instamood #clubsocial #jj #gang_family #gg #wegramusa #all_shots #iphonesia #instagramhub #ampt_community #unitedbyedit #rosaj
Laying Around : Bell Systems #manholecover #philly #philadelphia #dynamiclight #blackandwhite #bnw #bnwwednesday #round
44 Likes on Instagram
8 Comments on Instagram:
so_jane: #jcjessebw
so_jane: #bwcontest @acastell
so_jane: #layingaround
so_jane: #printmyfeed #street #rosaj
bone_daddy_o_ud: Very cool!
so_jane: Thanks! @bone_daddy_o
so_jane: @joshjohnson #jj_forum_0231
so_jane: #geinspiredme
On track? One more from #train out of #philly #philadelphia #iphone4 #septa #dynamiclight #instagram #instagramhub #igersphilly
42 Likes on Instagram
8 Comments on Instagram:
stephdc: Beautiful! Great perspective!
moonangle: Dynamic Master, love the lines and color saturation!
the_real_mccoy: I could have sworn I followed you yesterday... Re-following
heidijo21468: @the_real_mccoy that has happened to me before too.... Weird!
so_jane: @rebelsoul #jr_overhere
so_jane: #rosaj
so_jane: #geinspiredme
so_jane: #iseptaphilly
16 weeks......
64 individual spotlights......
256 highlighted photos ......
10,000 tagged!
#rosaj
Thanks to all of you over the last 16 weeks for participating, showing other IGrs we have a great niche carved out with interactive talented users, and best if all---meeting new friends to bounce ideas off each other, "Kik it", and collab with. I love you people.
So what's next? How do you keep a meet n greet tag relevant with 10,000 photos? Any ideas? I always think about the square. The next 16 weeks. That's a good long time for change. What are YOUR ideas? Should we change up the highlight? Any ideas on interactivity?
You all ROCK
Rainy Day = Another from the camera roll 3/4 #trees #lookup #infrared #autumn #dynamiclight #philadelphia #philly
75 Likes on Instagram
18 Comments on Instagram:
stephdc: Whoa!! Fantastic! Love the light!!
so_jane: #jcjessebw
so_jane: #bwcontest @acastell
so_jane: #rosaj
so_jane: #sojane_trees
so_jane: #ilovebaretrees
so_jane: #treenity