La Parisienne also known as the Minoan Lady, is part of the Camp Stool Fresco, which was probably painted on the wall of the Sanctuary Hall on the Piano Nobile at the palace of Knossos. The sacral knot worn at the back of the neck seems to indicate that she is a priestess or even a goddess. The archaeological research in Minoan palaces, cemeteries and settlements has brought to light a multitude of objects related to beautification.

It seems that there were beautification areas in the palaces of Knossos, Zakros and Pylos. These beauty objects were used during the whole Aegean Bronze Age. By using these objects, the Minoan ladies highlighted the red lips and the white of the face. In the fresco of the Parisienne, the use of the black colour for emphasizing the form of the eyes and red for the lips can clearly be seen.

It dates to the Final Palatial Period, ca. 1450-1350/1300 B.C.

From: en.wikipedia.org/wiki/La_Parisienne_(fresco)

(The link is not working unless copying and pasting)

List of Aegean fresco's:

en.wikipedia.org/wiki/List_of_Aegean_frescos

Fragment from the Camp-Stool Fresco of a woman who seemed to the archaeologists to resemble a late 19th-century Parisian woman.

~

Overview of rooms in the museum:

The museum, as it is now, is completely renewed. Old information about rooms and their numbers are still not updated, not even in Wikipedia. They mention twenty rooms, and their names, but there are 27 rooms, XXVII

Maybe wiki will update their page soon, as it is in October 2015, it is not updated.

en.wikipedia.org/wiki/Heraklion_Archaeological_Museum

~

This serial of photos offers an impression of details of the collection with Minoan Art, belonging to the Palace of Knossos. the Archaeological Museum in Heraklion has been completely renewed. Lots of amazing information can be read next to art objects.

It is not allowed to use flash when making photos. This, and the many visitors made it hardly possible to make really sharp photos in some seconds.

My camera is a rather cheap one and creates curved lines.

Some photos are not sharp, but I kept them anyway.

Altogether it has been a deeply impressing visit, moving, deeply moving because of the mystical, spiritual, mental and emotional depth of the Art.

The Minoans were utterly creative.

Their art is comparable with our modern art. Their use of colors makes the art characteristic: pastel colors (modest in pigmentation), terra colors, with blue, green and ochre.

Often I edited the photos in several ways. Or cropped them, to attract the attention for details.

Enjoy the collection of photos. If you want to read more about the Minoans:

www.heraklion-crete.org/archaeological-museum/

provenance: Richvald, Šariš county, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission

Basilica of St Aegidius, church with the largest number (11) Gothic altars in Europe, in their original setting, UNESCO´s World Heritage site

Bardejov, north-eastern Slovakia

for educational purpose only

please do not use without permission

AMDG

vista of the original Gothic Louvre palace behind St John Baptist

for educational purpose only

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vienna / wotruba church

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

dôležitá informácia v Profile

provenance: Okoličné, Liptov county, central Slovakia

property of the East Slovak Museum in Košice

The master´s quality is manifested through the depiction of faces, introspective,

full of dignity and melancholic lyrism that is enhanced with a delicate sfumato.

for educational purpose only

please do not use without permission

Aldo Rossi e Perugino

In uno dei capolavori di Perugino, l’”Annunciazione Ranieri”, il porticato rinascimentale fa da cornice alla scena sacrale con forte monumentalità. Si inserisce con lo stesso intento il cimitero di Modena di Aldo Rossi, che con la medesima proporzione di bucatura del porticato originale, ne riprende la volumetria e la prospettiva, fino a diventare muro perimetrale. Potente, aulico, metafisico.

In “San Bernardino risana Giovanni Antonio da Parma ferito con una pala”, invece, oltre la corte interna della scena principale, si intravede un impianto a cupola, quasi orientale: ora, sbuca il Bonnefanten Museum, opera ultima di Rossi, che con la sua copertura in acciaio ne riprende la forma.

Photos by Silvia P.

Roma, vicolo di S. Trifone / via della Barchetta

ROBOCOOP, 2015

Quadri originali:

casatoranieri.blog.tiscali.it/files/2008/03/uid_118f6750a...

www.culturaitalia.it/opencms/ThumbServlet?url=http%3A%2F%...

Architetture:

blog.fotoit.it/wp-content/uploads/2012/06/651-Franco-Zana...

www.geographic.org/photos/netherlands/bonnefanten_museum_...

Baptism of Christ on the other side of the panel

provenance: St Elizabeth Cathedral in Košice

location: East Slovak Museum in Košice

for educational purpose only

please do not use without permission

Nardo di Cione, workshop of

partly by Andrea di Cione, called Orcagna

property of the Bojnice Castle Museum

exhibited at the Slovak National Gallery in Bratislava

for educational purpose only

please do not use without permission

Basilica of St Aegidius, church with the largest number (11) Gothic altars in Europe, in their original settings, UNESCO´s World Heritage site

Bardejov, north-eastern Slovakia

for educational purpose only

please do not use without permission

AMDG

A day in hospital for some routine surgery that will hopefully mean that, after more than 5 years, I start to get unbroken sleep again… It’s called “sacral neuromodulation” - I call it my bionic a*se… 😁

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

dôležitá informácia v Profile

Košice, Abov county, eastern Slovakia

Gothic reliefs 1400-1430

Baroque sculptural additions 1720 by Simon Grimming

(please do not use without permission)

Reportage.

Luogo: Cossoine.

Questa è la prima parte del reportage. A breve posterò le altre foto.

Le immagini che inserirò sono sconsigliate a chi è vegetariano e a chi ha lo stomaco debole.

L'uccisione del maiale è un rito antico, quasi sacrale, dove il rosso del sangue si mischia a quello del vino.

This Cybertech Cyberspine is a lumbar back brace designed to comfortably control and manage acute pain associated with osteoporosis, compression fractures, spinal stenosis, strain, and excessive kyphosis. The design of the thoracic lumbar sacral orthosis doesn’t allow movements that could cause further pain in back with its superior stabilization and control. To check out our TLSO back brace go to BraceAbility. To check out other back braces available go to www.braceability.com/back-braces-back-supports-lumbar-bel...

brocade, gold and silver threads

provenance: St Elizabeth Cathedral, Košice, Slovakia

location: East Slovak Museum, Košice

for educational purpose only

please do not use without permission

vista of the original Gothic Louvre palace behind St John Baptist

for educational purpose only

please do not use without permission

Franciscan church in Bratislava, Slovakia

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AMDG

Church of St. John of Dukla and Monastery of Bernadine monks - the church with two towers was built between 1761 and 1764 in the late baroque style. The temple was extended from 1890 to 1902 when a chapel of St. John of Dukla was built and the main nave was enlarged. Also monastery building was added. The interior dates back to the turn of the 19th century. The paintings of Tadeusz Popiel present scenes from life of St. John of Dukla. There is a silver coffin with relics of St. John. Pope John Paul II came to Dukla on 9th of August, a day before the canonization event and he spent a night in the monastery

Yoga For Svadhishthana Sacral Chakra

Contact Us:

Email: Contact@worldpeaceyogaschool.com

Phone: +91-9105127694

An Irminsul (Old Saxon, probably "great/mighty pillar" or "arising pillar") was a sacral pillar-like object attested as playing an important role in the Germanic paganism of the Saxon people. The oldest chronicle describing an Irminsul refers to it as a tree trunk erected in the open air. The purpose of the Irminsuls and the implications thereof have been the subject of considerable scholarly discourse and speculation for hundreds of years.

A Germanic god Irmin, inferred from the name Irminsul and the tribal name Irminones, is sometimes presumed to have been the national god or demi-god of the Saxons. It has been suggested that Irmin was more probably an aspect or epithet of some other deity – most likely Wodan (Odin). Irmin might also have been an epithet of the god Ziu (Tyr) in early Germanic times, only later transferred to Odin, as certain scholars subscribe to the idea that Odin replaced Tyr as the chief Germanic deity at the onset of the Migration Period. This was the favored view of early 20th century Nordicist writers, but it is not generally considered likely in modern times.

The Old Norse form of Irmin is Jörmunr, which just like Yggr was one of the names of Odin. Yggdrasil ("Yggr's horse") was the yew or ash tree from which Odin sacrificed himself, and which connected the nine worlds. Jakob Grimm connects the name Irmin with Old Norse terms like iörmungrund ("great ground", i.e. the Earth) or iörmungandr ("great snake", i.e. the Midgard serpent).

According to the Royal Frankish Annals (772AD), during the Saxon wars, Charlemagne is repeatedly described as ordering the destruction of the chief seat of their religion, an Irminsul. The Irminsul is described as not being far from Heresburg (now Obermarsberg), Germany. Jacob Grimm states that "strong reasons" point to the actual location of the Irminsul as being approximately 15 miles (24 km) away, in the Teutoburg Forest and states that the original name for the region "Osning" may have meant "Holy Wood."

The Benedictine monk Rudolf of Fulda (AD 865) provides a description of an Irminsul in chapter 3 of his Latin work De miraculis sancti Alexandri. Rudolf's description states that the Irminsul was a great wooden pillar erected and worshipped beneath the open sky and that its name, Irminsul, signifies universal all-sustaining pillar.

Under Louis the Pious in the 9th century, a stone column was dug up at Obermarsberg in Westphalia, Germany and relocated to the Hildesheim cathedral in Hildesheim, Lower Saxony, Germany. The column was reportedly then used as a candelabrum until at least the late 19th century. In the 13th century, the destruction of the Irminsul by Charlemagne was recorded as having still been commemorated at Hildesheim on the Saturday after Laetare Sunday.

The commemoration was reportedly done by planting two poles six feet high, each surmounted by a wooden object one foot in height shaped like a pyramid or a cone on the cathedral square. The youth then used sticks and stones in an attempt to knock over the object. This custom is described as existing elsewhere in Germany, particularly in Halberstadt where it was enacted on the day of Laetare Sunday by the Canons themselves.

Awareness of the significance of the concept seems to have persisted well into Christian times. For example, in the twelfth-century Kaiserchronik an Irminsul is mentioned in three instances:

Concerning the origin of the Wednesday:

ûf ainer irmensiule / stuont ain abgot ungehiure, / daz hiezen si ir choufman.

"On an Irminsul / stands an enormous idol / which they call their merchant"

Concerning Julius Caesar:

Rômâre in ungetrûwelîche sluogen / sîn gebaine si ûf ain irmensûl begruoben

"The Romans slew him treacherously / and buried his bones on an Irminsul"

Concerning Nero:

ûf ain irmensûl er staich / daz lantfolch im allez naich.

"He climbed upon an Irminsul / the peasants all bowed before him"

Hypotheses - A number of theories surround the subject of the Irminsul.

Germania

In Tacitus' Germania, the author mentions rumors of what he describes as "Pillars of Hercules" in land inhabited by the Frisii that had yet to be explored. Tacitus adds that these pillars exist either because Hercules actually did go there or because the Romans have agreed to ascribe all marvels anywhere to Hercules' credit. Tacitus states that while Drusus Germanicus was daring in his campaigns against the Germanic tribes, he was unable to reach this region, and that subsequently no one had yet made the attempt. Connections have been proposed between these "Pillars of Hercules" and later accounts of the Irminsuls. Hercules was probably frequently identified with Thor by the Romans due to the practice of interpretatio romana.

Externsteine relief and site

On the Externsteine Descent from the Cross relief, the bent structure in the right centre is popularly identified as Irminsul.

Though this may be correct, it is not supported by any contemporary sources.

According to one particularly well-known suggestion, an Irminsul was situated at or near the Externsteine, a famous rock formation near Detmold, Germany. A Christian relief on the Externsteine (see photo above) depicts what has been described as a bent tree-like design at the feet of Nicodemus. This artwork, variously dated to the early ninth to early twelfth century AD, is popularly believed to represent the bent or fallen Irminsul beneath a triumphant Christianity.

While both the artwork and the Irminsul were known to scholars for centuries - Goethe for example discussed the relief in detail -, they were not connected until the 1929 interpretation of lay archaeologist Wilhelm Teudt. In 1934 to 1935, the Ahnenerbe undertook extensive fieldwork in an attempt to uncover material evidence of the use of the Externsteine as a place of Germanic paganism worship, yet no such evidence was found.

Few modern scholars consider it anything but an outright invention of Teudt, who did not provide evidence to back his claims.

Today it is generally accepted by historians that there is no historic attestation connecting the Externsteine to the Irminsul. Certainly, the Eresburg was only about 45 kilometers (c.28 miles) from the Externsteine, and there indeed was an Irminsul "near the Externsteine", but extensive archaeological studies of the Externsteine have failed to yield any material evidence for their use as a sacred site between Mesolithic and pre-Christian times. Thermoluminescence dating of firesites suggests that the site was occasionally used as a rock shelter in Saxon times, but apparently not to the extent one would expect from a major place of worship.

Jupiter Columns

Comparisons have been made between the Irminsul and the Jupiter Columns that were erected along the Rhine in Germania around CE 2 and 3. Scholarly comparisons were once made between the Irminsul and the Jupiter Columns; however, Rudolf Simek states that the columns were of Gallo-Roman religious monuments, and that the reported location of the Irminsul in Eresburg does not fall within the area of the Jupiter Column archaeological finds (Wikipedia).

location: St. Elizabeth Cathedral, Košice, Slovakia

panel paintings: unknown from Spiš county, dated 1516

wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later

height of the statues in the shrine: 159 & 164 cm

for educational purpose only

please do not use without permission

AMDG

dôležitá informácia v Profile

Martyrdom of St John Evangelist on the other side of the panel

provenance: St Elizabeth Cathedral in Košice

location: East Slovak Museum in Košice

for educational purpose only

please do not use without permission

provenance: Richvald, Šariš county, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission