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Road map of our trip and some info: www.southernscenicroute.co.nz/
Photos from our road trip down the South Island of New Zealand in January.
Lake Dunstan, Bannockburn January 25, 2015 New Zealand, on our Journey to Queenstown.
Bannockburn is a surprising oasis of sensory stimulation from fledgling vineyards, orchards, lavender and fantastic vistas to a tangible gold mining heritage and relaxing recreational opportunities in the heart of Central Otago.
Just 5km south-west of Cromwell the Bannockburn Bridge and entrance sign welcome you. The bridge was built following the construction of the Clyde Dam and the subsequent creation of Lake Dunstan. The sign’s pillars are made from the stone of the original suspension bridge that once crossed the Kawarau River. It suggests that Bannockburn is ‘the heart of the desert’ – a reference to a book written on Central Otago history by J C Parcell (1951).
Up the hill on Felton Road there is a stark landscape where extensive sluicing took place. Further on there is a signpost indicating the entrance to a well marked 2-hour walk, which takes you past old gold diggings, tunnels, races and dams to the old stone buildings and ancient orchard at Stewart Town. Access is subject to seasonal restrictions.
For More Info: www.centralotagonz.com/bannockburn
Today the protected waters of Bantry Bay contains eight courtesy boat moorings and is a a very popular destination with the weekend boating public..
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The Bantry Bay Explosives Magazine Complex is located in Garigal National Park and managed by the NSW National Parks and Wildlife Service. The Complex occupies an area of around 14 hectares on both the eastern and western shores of the bay and consists of numerous buildings, seawalls, tram lines, wharves, slipways, tracks, dams, and other above-surface remains as well as a number of archaeological sites. It is an important but little known part of the cultural, and natural, heritage of Sydney..
Bantry Bay is part of the traditional lands of the Guringai/Gai-Mariagal Aboriginal people. The Guringai/Gai-Mariagal people made extensive use of the area for tens of thousands of years prior to the arrival of European settlers. Numerous rock engraving sites and shell middens, some dated to at least 4,600 years old, can still be seen in the area today as tangible evidence of this Aboriginal past. It is likely that Aboriginal people continued to use the area for fishing and shellfish collecting until they were gradually dispossessed by European settlement and disease..
European use of this area in the early 1800s initially focussed on lime burning, fishing, oyster gathering and wood cutting. The pioneer of the area, Constable and Crown Lands Ranger James French (after whom Frenchs Forest is named), started the first local timber industry around 1856. He located his sawmill on the hill above Bantry Bay, and made a track for his bullock team to drag the wood down to a wharf, from where it was shipped to Sydney. This “Old Bullock Track” remains today, with cobbles, culverts and the remains of a stone bridge visible amongst the bushland..
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Having lost my voice due to laryngitis, I was obliged to carry round a notepad and pen in order to communicate with my work colleagues when my attempts at sign language left them bemused and/or insulted...
Our hearts are physically four chambers. Emotionally though, it’s as if they are all only one, bottomless pit. We inhale a lot of love from other people in hope it will help our heart to continue beating but that love is so lifeless. There is no oxygen in it, no tangible truth. Yet we still hunger for it because it’s right in front of us. We sacrifice what we deserve for what will fill the mould of one of those chambers in that moment. We tend to forget that there are three other chambers, crying out to be fed and satisfied.
I knew a young girl who once turned to someone in her life who was a mentor, an authority and an advisor. Like every other rated R story of a broken rules and a confidence convicted with false romance, this one ended with a flattened life line. This story though is more than half a page in a newspaper. This story is more than a thirty second news report on CNN. This is a girl’s life.
Innocence bloomed into trust which bloomed into reliance, which later became an unbreakable bond between two beating hearts. A love was created between a young girl and someone she once looked up to. It was built of passionate desires and its foundation was created of lies. Neither or is at fault in my eyes because I see the blind folds they both wore and the secrets they both couldn’t keep.
I’m not here to tell you details. I’m not here to share with you the process that a relationship like that can possibly start. I’m here to reveal the truth about a strong girl who chose to stand when the world around her said “Sit back down and cover your face, you poor child.”
Yes, she was empty. Her veins didn’t even remember what blood tasted like and her heart didn’t even remember what the truth felt like. Her feet were cold and when they moved they walked in circles. He took everything from her, even her capability to cry. Oh, those eyes. They were the most difficult to look into because inside I saw absolutely nothing. Not that she lost her worth because of her situation. Not that she lost her inner beauty. Far from that, it was the darkness that wrapped itself around her soul and told her she deserved it. That darkness that lied to her every breath she took.
Don’t stop now. Keep listening. This story is a tragedy that almost took a young girl’s life from under her. Hear me, I say almost because God’s power is made perfect in our weakness. When the world is literally falling apart around us and we are walking as lost sheep heading towards the slaughter, He calls us by name. That young girl closed her eyes and allowed herself to die on the inside. Not because someone took the life from her this time. No, because she was ready to be born again into the kingdom of kingdoms where she would be recognized as a precious princess of the King of Kings and Lord of Lords.
Her paths have not been straight or smooth. Her life has not been perfect or even peachy. However, as she bows down on her knees and looks up to the heavens, she feels words being tattooed on her heart. Those words are simple but so undeniable drenched in love. They say “I am your freedom”.
And it is then that the impossible happens…all four chambers of her heart are full.
"ink or link?"
sep.oct.nov.2009
Published on 21.09.2009 | primaverasurotoñonorte
ON PAPER (bubok) * ON PAPER (lulu)
(ñ)
Merodear/auscultar al soporte analógico en general DESDE el soporte digital, tal vez replanteando la situación, no ya como los herederos de un tiempo previo que participamos del cambio sino como si lo digital hubiera sido la norma desde siempre y desde allí cuestionáramos los soportes ‘antiguos’.
- por qué toleramos (y hasta buscamos y nos regodeamos de) las precariedades y limitaciones del soporte analógico? En especial los libros.
- para compartir/share algo de un libro, hay que ponerse a typearlo y subirlo, cuando una vez digitalizado, el proceso está terriblemente optimizado.
- a qué viene entonces ‘el libro’? Es un gesto de privacidad y un refugio? Un solaz?
Una negación?
- qué sentido tiene enarbolar la validez (aparentemente de puro fetiche arcaico, retrógrado) de un soporte que no tiene una décima parte del alcance y las posibilidades del soporte digital (a través de la red, desde luego)?
- qué ficciones se han tejido históricamente, hasta la era digital, en torno a las obras presentadas como un absoluto acabado, definitivo, inalterable, individual, unipersonal y último, a causa de las limitaciones de lo analógico?
(Su dificil alteración, aliteración, reutilización o reciclaje.
Esa eterna sensación de cosa terminada, cerrada, definitiva y en definitiva: quieta.)
- cuánto de ese romance con los libros está sustentado en errores de lectura, en concepciones ingenua y falazmente ‘románticas’ ?
- lo digital sólo pone en envidencia un tránsito que antes se veía entorpecido por las limitaciones de un soporte precario?
- no habría que cuestionar seriamente la posición jerárquica del libro?
- qué sentido tiene la cosa tangible cuando la tecnología la ha vuelto innecesaria?
- qué revisiones urgentes demanda el diálogo obra-soporte, mensaje-medio?
- lo digital depura la obra, forzándola, acorralándola, hacia el tránsito y la volatilidad que le corresponde?
# # #
(e)
Prowling/auscultating the analogical medium in general FROM the digital medium, perhaps redefining the situation, no longer like the heirs of a former time who took part in the change, but as if the digital had always been the rule and from there we questioned the “ancient” media.
- why do we tolerate (and even look for and delight in) the precariousness and limitations of the analogical medium? Especially books.
- in order to share something from a book, we have to start by typing and uploading it, when once digitalized, the process is terribly optimized.
- what’s the point in “the book” then? Is it a gesture of privacy and refuge? A relief? A denial?
- what sense does it make to hoist the validity (apparently as a sheer archaic, retrograde fetish) of a medium that does not have a tenth of the reach and the possibilities of the digital medium (through the net, of course)?
- what dictions have been historically woven, until the digital era, around works presented as an absolute finished, definitive, inalterable, individual, unipersonal and ultimate, due to the limitations of the analogical?
(Its difficult alteration, alliteration, reutilization or recycling.
That eternal sensation of a finished thing, closed, definitive and definitely: still).
- how much of that romance with books is supported by misreading, by ingenuously and fallaciously “romantic” conceptions?
- does the digital evidence a transit formerly hindered by the limitations of a precarious medium?
- wouldn’t it be necessary to (pardon my French) “stop screwing around with books and the likes”?
- what sense does the tangible thing make when technology has made it unnecessary?
- what urgent revisions does the work-format, message-medium dialogue demand?
- does the digital refine the work, forcing it, cornering it towards the transit and volatility that it deserves?
# # #
edit(ing), direct(ing) + complements
art direct(ing) + design(ing)
colacao, correct(ing) + additional stuff
translat(ing)
original music
original video
listen(ing)
open(ing) bars: lawrence roberts
front alley back leds, uncredited images: fernandoprats
manchas: miguel ruibal
...with ink from
istvan banyai
alberto bañares
brancolina
jordi calvet
flavio crescenzi
guillermo cruz
hernán dardes
dou_ble_you
oriol espinal
julian gomez
bill horne
john kosmopoulos
natalia osiatynska
paula palombo
alicia pallas
alejandra pater
isabel pérez del pulgar
fernando prats
lawrence roberts
augusto rosa
miguel ruibal
jef safi
jacob schere
martín trebino
rivera valdez
susan wolff
contacting from...
a coruña
antwerp
barcelona
bar harbor
buenos aires
cerro de las rosas
genève
granada
grenoble
lawrenceville
london
madrid
montréal
new york
puerto madryn
tarragona
terrassa
tokyo
toronto
warsaw
# # #
YSE #21 Original Music | YSE #21 Original Video | YSElected videos
# # #
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Vinyl Cube is a simple but versatile design object that allows artists to paint and or draw on it's smooth vinyl surface to create their own custom Vinyl Cube.
The Vinyl Cube emits light from within in various colours and is powered by a built in rechargeable battery unit. This particular Vinyl Cube was created by Chairman Ting.
The cube is now on sale at addtocart.bigcartel.com/
Vinyl Cube produced by Tangible Interaction.
Illustration art work and photography by Chairman Ting.
Check out the video here:
Follow the chairman:
The Cathedral of Pisa , officially the Primate Cathedral of Santa Maria Assunta , in the center of the Piazza del Duomo, also known as Piazza dei Miracoli , is the cathedral of the Archdiocese of Pisa as well as the Primate church .
A masterpiece of the Romanesque , in particular of the Pisan Romanesque , it represents the tangible testimony of the prestige and wealth achieved by the maritime republic of Pisa at the moment of its apogee.
Its construction began in 1063 ( 1064 according to the Pisan calendar in force at the time) by the architect Buscheto , with the tenth part of the spoils of the Palermo campaign in Sicily against the Muslims ( 1063 ) led by Giovanni Orlandi belonging to the Orlandi family [ 1] . Different stylistic elements blend together: classical, Lombard-Emilian , Byzantine and in particular Islamic, proving the international presence of Pisan merchants in those times. In that same year the reconstruction of the Basilica of San Marco in Venice also began , so it may also be that there was a rivalry between the two maritime republics at the time to create the most beautiful and sumptuous place of worship.
The church was built in an area outside the early medieval city walls , to symbolize the power of Pisa which did not require protection. The chosen area was already used in the Lombard era as a necropolis and, already in the early 11th century , an unfinished church was built which was to be dedicated to Santa Maria. The new large church of Buscheto, in fact, was initially called Santa Maria Maggiore until it was finally named after Santa Maria Assunta.
In 1092 the church changed from a simple cathedral to being primatial, the title of primate having been conferred on Archbishop Daiberto by Pope Urban II , an honor which today is only formal. The cathedral was consecrated in 1118 by Pope Gelasius II , as recorded by the inscription placed internally on the counter-façade at the top left.
In the first half of the 12th century the cathedral was enlarged under the direction of the architect Rainaldo , who lengthened the naves by adding three bays in front of the old facade [2] according to the Buscheto style, widened the transept and designed a new facade, completed by the workers led by the sculptors Guglielmo and Biduino . The date of the start of the works is uncertain: immediately after Buscheto's death around the year 1120 , according to some, around the year 1140 according to others. The end of the works dates back to 1180 , as documented by the date affixed to the bronze doors by Bonanno Pisano on the main door.
The current appearance of the complex building is the result of repeated restoration campaigns that took place in different eras. The first radical interventions followed the disastrous fire on the night between 24 and 25 October 1595 [3] , which destroyed many decorative interventions and following which the roof was rebuilt and the three bronze doors of the facade were made, the work of sculptors from the workshop of Giambologna , including Gasparo Mola and Pietro Tacca . Starting from the eighteenth century, the progressive covering of the internal walls began with large paintings on canvas, the "quadroni" with Stories of Pisan blesseds and saints , executed by the main artists of the time thanks to the initiative of some citizens who financed themselves by creating a special business.
The Napoleonic spoliations of the Cathedral of Pisa and the Opera del Duomo were significant, many works converged on the Louvre where they are exhibited today, including The Triumph of Saint Thomas Aquinas among the Doctors of the Church by Benozzo Gozzoli , now in the Louvre, Death of San Bernardo dell'Orcagna and San Benedetto , the work of Andrea del Castagno .
Among the various noteworthy interventions, it is worth mentioning the dismantling of Giovanni Pisano's pulpit which was reassembled only in 1926 in a different position and with several parts missing, including the staircase, and the dismantling of the monument to Henry VII created by Lupo di Francesco which was located in front of the door of San Ranieri and subsequently replaced by a simplified and symbolic version.
The subsequent interventions took place during the nineteenth century and affected both the internal and external decorations, which in many cases, especially the sculptures on the facade, were replaced by copies (the originals are in the Museo dell'Opera del duomo ).
The building has a Latin cross shape with a large dome at the intersection of the arms. The longitudinal body, divided into five naves , extends over ten bays . This plan continues in the choir with two more bays and a final apse crowning the central nave alone. The transept has 4 bays on each side (or six if we include the two in common with the longitudinal body) and has three naves with apses ending on both sides. In the center four large pillars delimit the rectangular cross ending at the top with a large elliptical dome.
The building, like the bell tower, has sunk perceptibly into the ground, and some defects in the construction are clearly visible, such as the differences in level between Buscheto's nave and the extension by Rainaldo (the bays towards the west and the facade) .
The exterior of the cathedral is mainly in white and gray marble although the older stones placed at the lower levels of the longitudinal body are of other poorer material. There is no shortage of valuable materials, especially on the facade, where there are multicolored marble inlays, mosaics and also bronze objects from war booty, including the Griffin used on the top of the roof at the back (east side), perhaps taken from Palermo in 1061 ( today there is a copy on the roof, the original is in the Museo dell'Opera del Duomo ).
The longitudinal body, transept and choir have a rich facing punctuated by three orders or floors. On the lower floor, long rows of pilasters supporting blind arches , in turn enclosing lozenges or windows, punctuate the space on all sides of the building with very few interruptions (only the apse of the right transept). The second floor still has pilasters but this time these do not support blind arches and are rather architraved , a motif interrupted only in the apse of the right transept (where blind arches appear again) and in the main apse where two orders of loggias are visible . In addition to the windows and lozenges, inlaid oculi also appear between the pilasters . The third floor has columns or semi-columns which again support blind arches (longitudinal body and choir) or an architrave (transept) with the usual alternation of windows, lozenges and inlaid oculi.
The raised round arches on the facade and in the main apse recall elements of Muslim art from Sicily . The blind arches with lozenges recall the similar structures of the churches of Armenia . Even the ellipsoidal dome rebuilt after the fire of 1595, surmounted by a lantern, recalls Islamic architecture.
The gray and white marble façade , decorated with colored marble inserts, was built by master Rainaldo in the 12th century and finished by 1180. On the lower floor, the seven blind arches which enclose lozenges, one every two, echo the same motif which spreads over the remaining three sides of the Cathedral. On the façade, however, the ornamentation becomes richer: semi-columns placed against semi-rectangular pillars replace the slender pilaster strips on the sides and are surmounted by Corinthian or figurative capitals. The arches are embellished with a rich texture of vegetal motifs and the lozenges are also larger and inlaid with multicolored marble. The empty spaces between the three portals have marble slabs forming square or rectangular motifs and are embellished with horizontal ornamental bands with plant motifs. The empty spaces between the arches are also filled with marble tablets inlaid with geometric or animal motifs. Noteworthy is the one at the top right of the main portal which depicts a Christian brandishing the cross between two beasts and the writing of Psalm 21 : Salva me ex ore leonis et a cornibus unicornium humilitatem meam (Save me from the mouth of the lion Lord and my humility from the unicorn's horns), the original of which is preserved in the nearby Museo dell'Opera del Duomo .
Of the three portals , the central one has larger dimensions and is enclosed by two columns decorated with vegetal motifs which support, above the capitals, two lions to symbolize the two "faces" of Christ the Judge , the one who condemns on the left and the one who rewards and is merciful on the right (note the saved and protected lamb between the legs). All three portals have eighteenth-century mosaics by Giuseppe Modena da Lucca in their lunettes depicting the Assumption of the Virgin (centre), Santa Reparata (left) and Saint John the Baptist (right). The bronze doors were made by various artists of the caliber of Giambologna , after the fire of 1595, replacing the two wooden side doors and the bronze-covered wooden royal door by Bonanno Pisano which bore the date of 1180 (seen and described before the fire) to testify to the completion of the façade in that year. To the left of the north left portal, there is Buscheto's tomb.
The four upper floors are characterized by four orders of superimposed loggias, divided by finely sculpted frames, behind which there are single , double and triple lancet windows . Many of the friezes on the arches and frames were redone in the 17th century after the fire of 1595, while the polychrome marble inlays between the arches are original. Even higher up, to crown it, the Madonna and Child by Andrea Pisano and, in the corners, the four evangelists by Giovanni Pisano (early 14th century).
Contrary to what one might think, since ancient times the faithful have entered the Cathedral through the door of San Ranieri , located at the back in the transept of the same name, in front of the bell tower. This is because the nobles of the city went to the cathedral coming from via Santa Maria which leads to that transept. This door was cast around 1180 by Bonanno Pisano , and is the only door to escape the fire of 1595 which heavily damaged the church. The door is decorated with twenty-four panels depicting stories from the New Testament. This door is one of the first produced in Italy in the Middle Ages, after the importation of numerous examples from Constantinople , (in Amalfi , in Salerno , in Rome , in Montecassino , in Venice ...) and one admires an entirely Western sensitivity, which breaks away from the Byzantine tradition.
The original gràdule of the Duomo, designed by Giovanni Pisano and dating back to the end of the 13th century, were removed in 1865 and replaced by the current churchyard . These gràdule consisted of small walls, decorated with squares carved with figures of animals and heads, close to the external perimeter of the cathedral and served as a base for the numerous sarcophagi of the Roman era which, during the medieval era, were reused for the burials of nobles (among whom Beatrice of Canossa stands out ) and heroes. Currently some fragments are visible in the Museo dell'Opera del Duomo, while the sarcophagi were all moved within the enclosure of the monumental cemetery .
The lower register of the facade is not very rich in figurative sculptural decorations unlike other contemporary Romanesque cathedrals, but it still gives a rich meaning both to its unitary components and a complex allegory in its overall vision. To read the latter you need to start from the left where the outermost capital of the left side portal shows two ferocious lions devouring weak prey and two human figures further behind. The former represent the struggle between good and evil where evil dominates [6] , but behind them the figure of the old man stacking wood and the young man towering over a ram perhaps represent Abraham and Isaac and the sacrificial ram (or two peasants virtuous at work) which show preparation for God's plan of salvation. The arch that starts from the same capital shows a row of dragons that two virtuous human figures in the center are forced to face in the continuous struggle between good and evil. [6]
At the level of the central portal we enter the New Testament which concretizes the plan of salvation brought about by God starting from Abraham . It is the portal dedicated to the Virgin of the Assumption and her Son , whose divine judgment is represented by the two lions of justice, the one that condemns on the left and the one that protects and saves on the right with the little lamb protected between its legs, for Divine Mercy or Justice whatever it is. [6] The 42 stylized human figurines present on the decorated arch show the 42 generations that separate, according to the Gospel of Matthew , Abraham from Jesus Christ (the figurines are actually 43 but perhaps due to renovation needs or other reasons for filling the frieze ). This transition from the old to the new is strengthened by the two marble inlays in the intrados of the main arch where a ferocious dragon and a lion facing each other depicting the perennial struggle between the evil forces (left inlay) [6] become two equally ferocious unicorns but in the middle to whom a Christian appears brandishing a cross to defend himself from them (inlay on the right) and where we read in Latin:
de ore leonis libera me domine et a cornibus unicorni humilitatem mea ("Save me from the lion's mouth, Lord, and my humility from the unicorn's horns", psalm 21 ).
The last element of this complex narrative is the outermost capital of the right portal, which acts as a pendant to that of the left portal from which we started. We are well beyond the coming of Jesus where the evil lions, previously in the foreground, are relegated to a backward and out of the way position, always ready to strike as shown by the heads turned back and the tongue out, but in a contorted position due to the continuous escapes to which the Savior and the Church forces them to do. [6] In a prominent position there are now two naked human figurines, the souls of those saved by the Savior through the intercession of the Church , which are composed and serene figures with large eyes, well anchored with their arms to the garland of the capital and the feet resting well on the acanthus leaves, symbol of men of faith, victorious over sin and blessed by faith rather than merit.
The five- nave interior is covered in black and white marble, with monolithic columns of gray marble and capitals of the Corinthian order . The arches of the ten bays are round arches (those of the central nave) or raised arches in the Moorish style of the time (those of the side naves).
The central nave has a seventeenth-century gilded coffered ceiling, in gilded and painted wood, by the Florentines Domenico and Bartolomeo Atticciati ; it bears the Medici coat of arms in gold . Presumably the ancient ceiling had a structure with exposed wooden trusses. The four side naves have a cross-shaped plastered roof. The coffered roof is also present in the choir and in the central nave of the transept, while a plastered barrel roof is present in the side naves of the transept. The coverage of the lateral naves of the transept at the level of the two bays shared with the lateral naves of the longitudinal body is curious: these are cross-shaped (as in the lateral naves of the longitudinal body), but are higher (as in the lateral naves of the transept) . There is also a women's gallery of Byzantine origin that runs along the entire church, including the choir and transept and which has a coffered roof (central body) or wooden beams (transept). Even higher up, thin and deep windows allow the church to be lit.
The interior suggests a spatial effect that has some analogy with that of mosques , for the use of raised arches, for the alternation of white and green marble bands, for the unusual elliptical dome , of oriental inspiration, and for the presence of women's galleries with solid monolithic granite columns in the mullioned windows , a clear sign of Byzantine influence. The architect Buscheto had welcomed stimuli from the Islamic Levant and Armenia . [7]
Only part of the medieval decorative interventions survived the fire of 1595. Among these is the fresco with the Madonna and Child by the Pisan Master of San Torpè in the triumphal arch (late 13th-early 14th century), and below it the Cosmatesque flooring , of a certain rarity outside the borders of Lazio . It was made of marble inlays with geometric "opus alexandrinum" motifs (mid- 12th century ). Other late medieval fresco fragments have survived, among them Saint Jerome on one of the four central pillars and Saint John the Baptist , a Crucifix and Saint Cosimo and Damian on the pillar near the entrance door, partially hidden by the compass .
At the meeting point between the transept and the central body the dome rises, the decoration of which represented one of the last interventions carried out after the fire mentioned. Painted with the rare encaustic painting technique [8] (or wax on wall) [9] , the dome represents the Virgin in glory and saints ( 1627 - 1631 ), a masterpiece by the Pisan Orazio Riminaldi , completed after his death. which occurred in 1630 due to the plague, by his brother Girolamo . The decoration underwent a careful restoration which returned it to its original splendor in 2018.
The presbytery, ending in a curved apse, presents a great variety of ornaments. Above, in the basin, the large mosaic of Christ enthroned between the Virgin and Saint John is made famous by the face of Saint John, a work by Cimabue from 1302 which miraculously survived the fire of 1595. Precisely that Saint John the Evangelist was the The last work created by Cimabue before his death and the only one for which certified documentation exists. It evokes the mosaics of Byzantine churches and also Norman ones, such as Cefalù and Monreale , in Sicily . The mosaic, largely created by Francesco da Pisa, was finished by Vincino da Pistoia with the depiction of the Madonna on the left side ( 1320 ).
The main altar, from the beginning of the twentieth century, features six Angels contemporary with Ludovico Poliaghi , and in the center the bronze Crucifix by Giambologna , of which there are also the two candle-holder Angels at the end of the rich marble transenna, while the third Angel on the column to the left of the altar is by Stoldo Lorenzi .
Below, behind the main altar, there is the large decorative complex of the Tribune, composed of 27 paintings depicting episodes from the Old Testament and Christological stories. Begun before the fire with the works of Andrea del Sarto (three canvases, Saint Agnes , Saints Catherine and Margaret and Saints Peter and John the Baptist ) del Sodoma and Domenico Beccafumi ( Stories of Moses and the Evangelists ), it was completed after this calamity with the works of several Tuscan painters, including Orazio Riminaldi .
The pulpit , a masterpiece by Giovanni Pisano (1302-1310), survived the fire, but was dismantled during the restoration work and was not reassembled until 1926 . With its articulated architectural structure and complex sculptural decoration, the work is one of the largest narratives in fourteenth-century images that reflects the renewal and religious fervor of the era. The episodes from the Life of Christ are carved in an expressive language on the slightly curved panels . The structure is polygonal, as in the similar previous examples, in the baptistery of Pisa , in the cathedral of Siena and in the church of Sant'Andrea in Pistoia , but for the first time the panels are slightly curved, giving a new idea of circularity in its type. Equally original are: the presence of caryatids , sculpted figures in place of simple columns, which symbolize the Virtues ; the adoption of spiral brackets instead of arches to support the mezzanine floor; the sense of movement, given by the numerous figures that fill every empty space.
For these qualities combined with the skilful narrative art of the nine scenes it is generally considered Giovanni's masterpiece and more generally of Italian Gothic sculpture. The pulpit commissioned from Giovanni replaced a previous one , created by Guglielmo ( 1157 - 1162 ), which was sent to the cathedral of Cagliari . Since there is no documentation of what the pulpit looked like before its dismantling, it was rebuilt in a different position from the original one and, certainly, with the parts not in the same order and orientation as had been thought. It is not known whether or not he had a marble staircase.
The right transept is occupied by the Chapel of San Ranieri , patron saint of the city, whose relics are preserved in the magnificent shrine on the altar. Also in the chapel, on the left, is preserved part of the fragmentary tomb of Henry VII of Luxembourg , Holy Roman Emperor , who died in 1313 in Buonconvento while besieging Florence in vain . The tomb, also dismantled and reassembled, (it was sculpted by Tino di Camaino in 1313 - 1315 ) and was originally placed in the center of the apse, as a sign of the Ghibelline faith of the city. It was also a much more complex sculptural monument, featuring various statues. Moved several times for political reasons, it was also separated into several parts (some inside the church, some on the facade, some in the Campo Santo). Today we find the sarcophagus in the church with the deceased depicted lying on it, according to the fashion in vogue at that time, and the twelve apostles sculpted in bas-relief. The lunette painted with curtain-holding angels is instead a later addition from the workshop of Domenico Ghirlandaio (end of the 15th century ). The other remains of the monument have been reassembled in the nearby Museo dell'Opera del Duomo . The left transept is occupied by the Chapel of the Blessed Sacrament, in the center of which is the large silver tabernacle designed by Giovan Battista Foggini (1678-86).
On the numerous side altars there are sixteenth-seventeenth century paintings. Among the paintings housed on the minor altars, we remember the Madonna delle Grazie with saints, by the Florentine mannerist Andrea del Sarto, and the Madonna enthroned with saints in the right transept, by Perin del Vaga , a pupil of Raphael , both finished by Giovanni Antonio Sogliani . The canvas with the Dispute of the Sacrament is in Baroque style, by the Sienese Francesco Vanni , and the Cross with saints by the Genoese Giovanni Battista Paggi . Particularly venerated is the image of the thirteenth-century Madonna and Child , known as the Madonna di sotto gli organi , attributed to the Volterra native Berlinghiero Berlinghieri .
Pisa is a city and comune in Tuscany, central Italy, straddling the Arno just before it empties into the Ligurian Sea. It is the capital city of the Province of Pisa. Although Pisa is known worldwide for its leaning tower, the city contains more than twenty other historic churches, several medieval palaces, and bridges across the Arno. Much of the city's architecture was financed from its history as one of the Italian maritime republics.
The city is also home to the University of Pisa, which has a history going back to the 12th century, the Scuola Normale Superiore di Pisa, founded by Napoleon in 1810, and its offshoot, the Sant'Anna School of Advanced Studies.
History
For a chronological guide, see Timeline of Pisa.
Ancient times
The most believed hypothesis is that the origin of the name Pisa comes from Etruscan and means 'mouth', as Pisa is at the mouth of the Arno river.
Although throughout history there have been several uncertainties about the origin of the city of Pisa, excavations made in the 1980s and 1990s found numerous archaeological remains, including the fifth century BC tomb of an Etruscan prince, proving the Etruscan origin of the city, and its role as a maritime city, showing that it also maintained trade relations with other Mediterranean civilizations.
Ancient Roman authors referred to Pisa as an old city. Virgil, in his Aeneid, states that Pisa was already a great center by the times described; and gives the epithet of Alphēae to the city because it was said to have been founded by colonists from Pisa in Elis, near which the Alpheius river flowed. The Virgilian commentator Servius wrote that the Teuti founded the town 13 centuries before the start of the common era.
The maritime role of Pisa should have been already prominent if the ancient authorities ascribed to it the invention of the naval ram. Pisa took advantage of being the only port along the western coast between Genoa (then a small village) and Ostia. Pisa served as a base for Roman naval expeditions against Ligurians and Gauls. In 180 BC, it became a Roman colony under Roman law, as Portus Pisanus. In 89 BC, Portus Pisanus became a municipium. Emperor Augustus fortified the colony into an important port and changed the name to Colonia Iulia obsequens.
Pisa supposedly was founded on the shore, but due to the alluvial sediments from the Arno and the Serchio, whose mouth lies about 11 km (7 mi) north of the Arno's, the shore moved west. Strabo states that the city was 4.0 km (2.5 mi) away from the coast. Currently, it is located 9.7 km (6 mi) from the coast. However, it was a maritime city, with ships sailing up the Arno. In the 90s AD, a baths complex was built in the city.
Late Antiquity and Early Middle Ages
During the last years of the Western Roman Empire, Pisa did not decline as much as the other cities of Italy, probably due to the complexity of its river system and its consequent ease of defence. In the seventh century, Pisa helped Pope Gregory I by supplying numerous ships in his military expedition against the Byzantines of Ravenna: Pisa was the sole Byzantine centre of Tuscia to fall peacefully in Lombard hands, through assimilation with the neighbouring region where their trading interests were prevalent. Pisa began in this way its rise to the role of main port of the Upper Tyrrhenian Sea and became the main trading centre between Tuscany and Corsica, Sardinia, and the southern coasts of France and Spain.
After Charlemagne had defeated the Lombards under the command of Desiderius in 774, Pisa went through a crisis, but soon recovered. Politically, it became part of the duchy of Lucca. In 860, Pisa was captured by vikings led by Björn Ironside. In 930, Pisa became the county centre (status it maintained until the arrival of Otto I) within the mark of Tuscia. Lucca was the capital but Pisa was the most important city, as in the middle of tenth century Liutprand of Cremona, bishop of Cremona, called Pisa Tusciae provinciae caput ("capital of the province of Tuscia"), and a century later, the marquis of Tuscia was commonly referred to as "marquis of Pisa". In 1003, Pisa was the protagonist of the first communal war in Italy, against Lucca. From the naval point of view, since the ninth century, the emergence of the Saracen pirates urged the city to expand its fleet; in the following years, this fleet gave the town an opportunity for more expansion. In 828, Pisan ships assaulted the coast of North Africa. In 871, they took part in the defence of Salerno from the Saracens. In 970, they gave also strong support to Otto I's expedition, defeating a Byzantine fleet in front of Calabrese coasts.
11th century
The power of Pisa as a maritime nation began to grow and reached its apex in the 11th century, when it acquired traditional fame as one of the four main historical maritime republics of Italy (Repubbliche Marinare).
At that time, the city was a very important commercial centre and controlled a significant Mediterranean merchant fleet and navy. It expanded its powers in 1005 through the sack of Reggio Calabria in the south of Italy. Pisa was in continuous conflict with some 'Saracens' - a medieval term to refer to Arab Muslims - who had their bases in Corsica, for control of the Mediterranean. In 1017, Sardinian Giudicati were militarily supported by Pisa, in alliance with Genoa, to defeat the Saracen King Mugahid, who had settled a logistic base in the north of Sardinia the year before. This victory gave Pisa supremacy in the Tyrrhenian Sea. When the Pisans subsequently ousted the Genoese from Sardinia, a new conflict and rivalry was born between these major marine republics. Between 1030 and 1035, Pisa went on to defeat several rival towns in Sicily and conquer Carthage in North Africa. In 1051–1052, the admiral Jacopo Ciurini conquered Corsica, provoking more resentment from the Genoese. In 1063, Admiral Giovanni Orlandi, coming to the aid of the Norman Roger I, took Palermo from the Saracen pirates. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of their cathedral and the other monuments which constitute the famous Piazza del Duomo.
In 1060, Pisa had to engage in their first battle with Genoa. The Pisan victory helped to consolidate its position in the Mediterranean. Pope Gregory VII recognised in 1077 the new "Laws and customs of the sea" instituted by the Pisans, and emperor Henry IV granted them the right to name their own consuls, advised by a council of elders. This was simply a confirmation of the present situation, because in those years, the marquis had already been excluded from power. In 1092, Pope Urban II awarded Pisa the supremacy over Corsica and Sardinia, and at the same time raising the town to the rank of archbishopric.
Pisa sacked the Tunisian city of Mahdia in 1088. Four years later, Pisan and Genoese ships helped Alfonso VI of Castilla to push El Cid out of Valencia. A Pisan fleet of 120 ships also took part in the First Crusade, and the Pisans were instrumental in the taking of Jerusalem in 1099. On their way to the Holy Land, the ships did not miss the occasion to sack some Byzantine islands; the Pisan crusaders were led by their archbishop Daibert, the future patriarch of Jerusalem. Pisa and the other Repubbliche Marinare took advantage of the crusade to establish trading posts and colonies in the Eastern coastal cities of the Levant. In particular, the Pisans founded colonies in Antiochia, Acre, Jaffa, Tripoli, Tyre, Latakia, and Accone. They also had other possessions in Jerusalem and Caesarea, plus smaller colonies (with lesser autonomy) in Cairo, Alexandria, and of course Constantinople, where the Byzantine Emperor Alexius I Comnenus granted them special mooring and trading rights. In all these cities, the Pisans were granted privileges and immunity from taxation, but had to contribute to the defence in case of attack. In the 12th century, the Pisan quarter in the eastern part of Constantinople had grown to 1,000 people. For some years of that century, Pisa was the most prominent commercial and military ally of the Byzantine Empire, overcoming Venice itself.
12th century
In 1113, Pisa and Pope Paschal II set up, together with the count of Barcelona and other contingents from Provence and Italy (Genoese excluded), a war to free the Balearic Islands from the Moors; the queen and the king of Majorca were brought in chains to Tuscany. Though the Almoravides soon reconquered the island, the booty taken helped the Pisans in their magnificent programme of buildings, especially the cathedral, and Pisa gained a role of pre-eminence in the Western Mediterranean.
In the following years, the powerful Pisan fleet, led by archbishop Pietro Moriconi, drove away the Saracens after ferocious battles. Though short-lived, this Pisan success in Spain increased the rivalry with Genoa. Pisa's trade with Languedoc, Provence (Noli, Savona, Fréjus, and Montpellier) were an obstacle to Genoese interests in cities such as Hyères, Fos, Antibes, and Marseille.
The war began in 1119 when the Genoese attacked several galleys on their way home to the motherland, and lasted until 1133. The two cities fought each other on land and at sea, but hostilities were limited to raids and pirate-like assaults.
In June 1135, Bernard of Clairvaux took a leading part in the Council of Pisa, asserting the claims of Pope Innocent II against those of Pope Anacletus II, who had been elected pope in 1130 with Norman support, but was not recognised outside Rome. Innocent II resolved the conflict with Genoa, establishing Pisan and Genoese spheres of influence. Pisa could then, unhindered by Genoa, participate in the conflict of Innocent II against king Roger II of Sicily. Amalfi, one of the maritime republics (though already declining under Norman rule), was conquered on August 6, 1136; the Pisans destroyed the ships in the port, assaulted the castles in the surrounding areas, and drove back an army sent by Roger from Aversa. This victory brought Pisa to the peak of its power and to a standing equal to Venice. Two years later, its soldiers sacked Salerno.
New city walls, erected in 1156 by Consul Cocco Griffi
In the following years, Pisa was one of the staunchest supporters of the Ghibelline party. This was much appreciated by Frederick I. He issued in 1162 and 1165 two important documents, with these grants: Apart from the jurisdiction over the Pisan countryside, the Pisans were granted freedom of trade in the whole empire, the coast from Civitavecchia to Portovenere, a half of Palermo, Messina, Salerno and Naples, the whole of Gaeta, Mazara, and Trapani, and a street with houses for its merchants in every city of the Kingdom of Sicily. Some of these grants were later confirmed by Henry VI, Otto IV, and Frederick II. They marked the apex of Pisa's power, but also spurred the resentment of other cities such as Lucca, Massa, Volterra, and Florence, thwarting their aim to expand towards the sea. The clash with Lucca also concerned the possession of the castle of Montignoso and mainly the control of the Via Francigena, the main trade route between Rome and France. Last, but not least, such a sudden and large increase of power by Pisa could only lead to another war with Genoa.
Genoa had acquired a dominant position in the markets of southern France. The war began in 1165 on the Rhône, when an attack on a convoy, directed to some Pisan trade centres on the river, by the Genoese and their ally, the count of Toulouse, failed. Pisa, though, was allied to Provence. The war continued until 1175 without significant victories. Another point of attrition was Sicily, where both the cities had privileges granted by Henry VI. In 1192, Pisa managed to conquer Messina. This episode was followed by a series of battles culminating in the Genoese conquest of Syracuse in 1204. Later, the trading posts in Sicily were lost when the new Pope Innocent III, though removing the excommunication cast over Pisa by his predecessor Celestine III, allied himself with the Guelph League of Tuscany, led by Florence. Soon, he stipulated[clarification needed] a pact with Genoa, too, further weakening the Pisan presence in southern Italy.
To counter the Genoese predominance in the southern Tyrrhenian Sea, Pisa strengthened its relationship with its traditional Spanish and French bases (Marseille, Narbonne, Barcelona, etc.) and tried to defy the Venetian rule of the Adriatic Sea. In 1180, the two cities agreed to a nonaggression treaty in the Tyrrhenian and the Adriatic, but the death of Emperor Manuel Comnenus in Constantinople changed the situation. Soon, attacks on Venetian convoys were made. Pisa signed trade and political pacts with Ancona, Pula, Zara, Split, and Brindisi; in 1195, a Pisan fleet reached Pola to defend its independence from Venice, but the Serenissima soon reconquered the rebel sea town.
One year later, the two cities signed a peace treaty, which resulted in favourable conditions for Pisa, but in 1199, the Pisans violated it by blockading the port of Brindisi in Apulia. In the following naval battle, they were defeated by the Venetians. The war that followed ended in 1206 with a treaty in which Pisa gave up all its hopes to expand in the Adriatic, though it maintained the trading posts it had established in the area. From that point on, the two cities were united against the rising power of Genoa and sometimes collaborated to increase the trading benefits in Constantinople.
13th century
In 1209 in Lerici, two councils for a final resolution of the rivalry with Genoa were held. A 20-year peace treaty was signed, but when in 1220, the emperor Frederick II confirmed his supremacy over the Tyrrhenian coast from Civitavecchia to Portovenere, the Genoese and Tuscan resentment against Pisa grew again. In the following years, Pisa clashed with Lucca in Garfagnana and was defeated by the Florentines at Castel del Bosco. The strong Ghibelline position of Pisa brought this town diametrically against the Pope, who was in a dispute with the Holy Roman Empire, and indeed the pope tried to deprive Pisa of its dominions in northern Sardinia.
In 1238, Pope Gregory IX formed an alliance between Genoa and Venice against the empire, and consequently against Pisa, too. One year later, he excommunicated Frederick II and called for an anti-Empire council to be held in Rome in 1241. On May 3, 1241, a combined fleet of Pisan and Sicilian ships, led by the emperor's son Enzo, attacked a Genoese convoy carrying prelates from northern Italy and France, next to the isle of Giglio (Battle of Giglio), in front of Tuscany; the Genoese lost 25 ships, while about a thousand sailors, two cardinals, and one bishop were taken prisoner. After this major victory, the council in Rome failed, but Pisa was excommunicated. This extreme measure was only removed in 1257. Anyway, the Tuscan city tried to take advantage of the favourable situation to conquer the Corsican city of Aleria and even lay siege to Genoa itself in 1243.
The Ligurian republic of Genoa, however, recovered fast from this blow and won back Lerici, conquered by the Pisans some years earlier, in 1256.
The great expansion in the Mediterranean and the prominence of the merchant class urged a modification in the city's institutes. The system with consuls was abandoned, and in 1230, the new city rulers named a capitano del popolo ("people's chieftain") as civil and military leader. Despite these reforms, the conquered lands and the city itself were harassed by the rivalry between the two families of Della Gherardesca and Visconti. In 1237 the archbishop and the Emperor Frederick II intervened to reconcile the two rivals, but the strains continued. In 1254, the people rebelled and imposed 12 Anziani del Popolo ("People's Elders") as their political representatives in the commune. They also supplemented the legislative councils, formed of noblemen, with new People's Councils, composed by the main guilds and by the chiefs of the People's Companies. These had the power to ratify the laws of the Major General Council and the Senate.
Decline
The decline is said to have begun on August 6, 1284, when the numerically superior fleet of Pisa, under the command of Albertino Morosini, was defeated by the brilliant tactics of the Genoese fleet, under the command of Benedetto Zaccaria and Oberto Doria, in the dramatic naval Battle of Meloria. This defeat ended the maritime power of Pisa and the town never fully recovered; in 1290, the Genoese destroyed forever the Porto Pisano (Pisa's port), and covered the land with salt. The region around Pisa did not permit the city to recover from the loss of thousands of sailors from the Meloria, while Liguria guaranteed enough sailors to Genoa. Goods, however, continued to be traded, albeit in reduced quantity, but the end came when the Arno started to change course, preventing the galleys from reaching the city's port up the river. The nearby area also likely became infested with malaria. The true end came in 1324, when Sardinia was entirely lost to the Aragonese.
Always Ghibelline, Pisa tried to build up its power in the course of the 14th century, and even managed to defeat Florence in the Battle of Montecatini (1315), under the command of Uguccione della Faggiuola. Eventually, however, after a long siege, Pisa was occupied by Florentines in 1405.[9] Florentines corrupted the capitano del popolo ("people's chieftain"), Giovanni Gambacorta, who at night opened the city gate of San Marco. Pisa was never conquered by an army. In 1409, Pisa was the seat of a council trying to set the question of the Great Schism. In the 15th century, access to the sea became more difficult, as the port was silting up and was cut off from the sea. When in 1494, Charles VIII of France invaded the Italian states to claim the Kingdom of Naples, Pisa reclaimed its independence as the Second Pisan Republic.
The new freedom did not last long; 15 years of battles and sieges by the Florentine troops led by Antonio da Filicaja, Averardo Salviati and Niccolò Capponi were made, but they failed to conquer the city. Vitellozzo Vitelli with his brother Paolo were the only ones who actually managed to break the strong defences of Pisa and make a breach in the Stampace bastion in the southern west part of the walls, but he did not enter the city. For that, they were suspected of treachery and Paolo was put to death. However, the resources of Pisa were getting low, and at the end, the city was sold to the Visconti family from Milan and eventually to Florence again. Livorno took over the role of the main port of Tuscany. Pisa acquired a mainly cultural role spurred by the presence of the University of Pisa, created in 1343, and later reinforced by the Scuola Normale Superiore di Pisa (1810) and Sant'Anna School of Advanced Studies (1987).
Pisa was the birthplace of the important early physicist Galileo Galilei. It is still the seat of an archbishopric. Besides its educational institutions, it has become a light industrial centre and a railway hub. It suffered repeated destruction during World War II.
Since the early 1950s, the US Army has maintained Camp Darby just outside Pisa, which is used by many US military personnel as a base for vacations in the area.
Geography
Climate
Pisa has a borderline humid subtropical climate (Köppen climate classification: Cfa) and Mediterranean climate (Köppen climate classification: Csa). The city is characterized by cool to mild winters and hot summers. This transitional climate allows Pisa to have summers with moderate rainfall. Rainfall peaks in autumn. Snow is rare. The highest officially recorded temperature was 39.5 °C (103.1 °F) on 22 August 2011 and the lowest was −13.8 °C (7.2 °F) on 12 January 1985.
Culture
Gioco del Ponte
In Pisa there was a festival and game fr:Gioco del Ponte (Game of the Bridge) which was celebrated (in some form) in Pisa from perhaps the 1200s down to 1807. From the end of the 1400s the game took the form of a mock battle fought upon Pisa's central bridge (Ponte di Mezzo). The participants wore quilted armor and the only offensive weapon allowed was the targone, a shield-shaped, stout board with precisely specified dimensions. Hitting below the belt was not allowed. Two opposing teams started at opposite ends of the bridge. The object of the two opposing teams was to penetrate, drive back, and disperse the opponents' ranks and to thereby drive them backwards off the bridge. The struggle was limited to forty-five minutes. Victory or defeat was immensely important to the team players and their partisans, but sometimes the game was fought to a draw and both sides celebrated.
In 1677 the battle was witnessed by Dutch travelling artist Cornelis de Bruijn. He wrote:
"While I stayed in Livorno, I went to Pisa to witness the bridge fight there. The fighters arrived fully armored, wearing helmets, each carrying their banner, which was planted at both ends of the bridge, which is quite wide and long. The battle is fought with certain wooden implements made for this purpose, which they wear over their arms and are attached to them, with which they pummel each other so intensely that I saw several of them carried away with bloody and crushed heads. Victory consists of capturing the bridge, in the same way as the fistfights in Venice between the it:Castellani and the Nicolotti."
In 1927 the tradition was revived by college students as an elaborate costume parade. In 1935 Vittorio Emanuele III with the royal family witnessed the first revival of a modern version of the game, which has been pursued in the 20th and 21st centuries with some interruptions and varying degrees of enthusiasm by Pisans and their civic institutions.
Festivals and cultural events
Capodanno pisano (folklore, March 25)
Gioco del Ponte (folklore)
Luminara di San Ranieri (folklore, June 16)
Maritime republics regata (folklore)
Premio Nazionale Letterario Pisa
Pisa Book Festival
Metarock (rock music festival)
Internet Festival San Ranieri regata (folklore)
Turn Off Festival (house music festival)
Nessiáh (Jewish cultural Festival, November)
Main sights
The Leaning Tower of Pisa.
While the bell tower of the cathedral, known as "the leaning Tower of Pisa", is the most famous image of the city, it is one of many works of art and architecture in the city's Piazza del Duomo, also known, since the 20th century, as Piazza dei Miracoli (Square of Miracles), to the north of the old town center. The Piazza del Duomo also houses the Duomo (the Cathedral), the Baptistry and the Campo Santo (the monumental cemetery). The medieval complex includes the above-mentioned four sacred buildings, the hospital and few palaces. All the complex is kept by the Opera (fabrica ecclesiae) della Primaziale Pisana, an old non profit foundation that has operated since the building of the Cathedral in 1063 to maintain the sacred buildings. The area is framed by medieval walls kept by the municipal administration.
Other sights include:
Santo Stefano dei Cavalieri, church sited on Piazza dei Cavalieri, and also designed by Vasari. It had originally a single nave; two more were added in the 17th century. It houses a bust by Donatello, and paintings by Vasari, Jacopo Ligozzi, Alessandro Fei, and Pontormo. It also contains spoils from the many naval battles between the Cavalieri (Knights of St. Stephan) and the Turks between the 16th and 18th centuries, including the Turkish battle pennant hoisted from Ali Pacha's flagship at the 1571 Battle of Lepanto.
St. Sixtus. This small church, consecrated in 1133, is also close to the Piazza dei Cavalieri. It was used as a seat of the most important notarial deeds of the town, also hosting the Council of Elders. It is today one of the best preserved early Romanesque buildings in town.
St. Francis. The church of San Francesco may have been designed by Giovanni di Simone, built after 1276. In 1343 new chapels were added and the church was elevated. It has a single nave and a notable belfry, as well as a 15th-century cloister. It houses works by Jacopo da Empoli, Taddeo Gaddi and Santi di Tito. In the Gherardesca Chapel are buried Ugolino della Gherardesca and his sons.
San Frediano. This church, built by 1061, has a basilica interior with three aisles, with a crucifix from the 12th century. Paintings from the 16th century were added during a restoration, including works by Ventura Salimbeni, Domenico Passignano, Aurelio Lomi, and Rutilio Manetti.
San Nicola. This medieval church built by 1097, was enlarged between 1297 and 1313 by the Augustinians, perhaps by the design of Giovanni Pisano. The octagonal belfry is from the second half of the 13th century. The paintings include the Madonna with Child by Francesco Traini (14th century) and St. Nicholas Saving Pisa from the Plague (15th century). Noteworthy are also the wood sculptures by Giovanni and Nino Pisano, and the Annunciation by Francesco di Valdambrino.
Santa Maria della Spina. A small white marble church alongside the Arno, is attributed to Lupo di Francesco (1230), is another excellent Gothic building.
San Paolo a Ripa d'Arno. The church was founded around 952 and enlarged in the mid-12th century along lines similar to those of the cathedral. It is annexed to the Romanesque Chapel of St. Agatha, with an unusual pyramidal cusp or peak.
San Pietro in Vinculis. Known as San Pierino, it is an 11th-century church with a crypt and a cosmatesque mosaic on the floor of the main nave.
Borgo Stretto. This medieval borgo or neighborhood contains strolling arcades and the Lungarno, the avenues along the river Arno. It includes the Gothic-Romanesque church of San Michele in Borgo (990). There are at least two other leaning towers in the city, one at the southern end of central Via Santa Maria, the other halfway through the Piagge riverside promenade.
Medici Palace. The palace was once a possession of the Appiano family, who ruled Pisa in 1392–1398. In 1400 the Medici acquired it, and Lorenzo de' Medici sojourned here.
Orto botanico di Pisa. The botanical garden of the University of Pisa is Europe's oldest university botanical garden.
Palazzo Reale. The ("Royal Palace"), once belonged to the Caetani patrician family. Here Galileo Galilei showed to Grand Duke of Tuscany the planets he had discovered with his telescope. The edifice was erected in 1559 by Baccio Bandinelli for Cosimo I de Medici, and was later enlarged including other palaces. The palace is now a museum.
Palazzo Gambacorti. This palace is a 14th-century Gothic building, and now houses the offices of the municipality. The interior shows frescoes boasting Pisa's sea victories.
Palazzo Agostini. The palace is a Gothic building also known as Palazzo dell'Ussero, with its 15th-century façade and remains of the ancient city walls dating back to before 1155. The name of the building comes from the coffee rooms of Caffè dell'Ussero, historic meeting place founded on September 1, 1775.
Mural Tuttomondo. A modern mural, the last public work by Keith Haring, on the rear wall of the convent of the Church of Sant'Antonio, painted in June 1989.
Museums
Museo dell'Opera del Duomo: exhibiting among others the original sculptures of Nicola Pisano and Giovanni Pisano, the Islamic Pisa Griffin, and the treasures of the cathedral.
Museo delle Sinopie: showing the sinopias from the camposanto, the monumental cemetery. These are red ocher underdrawings for frescoes, made with reddish, greenish or brownish earth colour with water.
Museo Nazionale di San Matteo: exhibiting sculptures and paintings from the 12th to 15th centuries, among them the masterworks of Giovanni and Andrea Pisano, the Master of San Martino, Simone Martini, Nino Pisano and Masaccio.
Museo Nazionale di Palazzo Reale: exhibiting the belongings of the families that lived in the palace: paintings, statues, armors, etc.
Museo Nazionale degli Strumenti per il Calcolo: exhibiting a collection of instruments used in science, between a pneumatic machine of Van Musschenbroek and a compass which probably belonged to Galileo Galilei.
Museo di storia naturale dell'Università di Pisa (Natural History Museum of the University of Pisa), located in the Certosa di Calci, outside the city. It houses one of the largest cetacean skeletons collection in Europe.
Palazzo Blu: temporary exhibitions and cultural activities center, located in the Lungarno, in the heart of the old town, the palace is easy recognizable because it is the only blue building.
Cantiere delle Navi di Pisa - The Pisa's Ancient Ships Archaeological Area: A museum of 10,650 square meters – 3,500 archaeological excavation, 1,700 laboratories and one restoration center – that visitors can visit with a guided tour.[19] The Museum opened in June 2019 and has been located inside to the 16th-century Medicean Arsenals in Lungarno Ranieri Simonelli, restored under the supervision of the Tuscany Soprintendenza. It hosts a remarkable collection of ceramics and amphoras dated back from the 8th century BCE to the 2nd century BC, and also 32 ships dated back from the second century BCE and the seventh century BC. Four of them are integrally preserved and the best one is the so-called Barca C, also named Alkedo (written in the ancient Greek characters). The first boat was accidentally discovered in 1998 near the Pisa San Rossore railway station and the archeological excavations were completed 20 years later.
Churches
St. Francis' Church
San Francesco
San Frediano
San Giorgio ai Tedeschi
San Michele in Borgo
San Nicola
San Paolo a Ripa d'Arno
San Paolo all'Orto
San Piero a Grado
San Pietro in Vinculis
San Sisto
San Tommaso delle Convertite
San Zeno
Santa Caterina
Santa Cristina
Santa Maria della Spina
Santo Sepolcro
Palaces, towers and villas
Palazzo della Carovana or dei Cavalieri.
Pisa by Oldypak lp photo
Pisa
Palazzo del Collegio Puteano
Palazzo della Carovana
Palazzo delle Vedove
Torre dei Gualandi
Villa di Corliano
Leaning Tower of Pisa
Sports
Football is the main sport in Pisa; the local team, A.C. Pisa, currently plays in the Serie B (the second highest football division in Italy), and has had a top flight history throughout the 1980s and the 1990s, featuring several world-class players such as Diego Simeone, Christian Vieri and Dunga during this time. The club play at the Arena Garibaldi – Stadio Romeo Anconetani, opened in 1919 and with a capacity of 25,000.
Notable people
For people born in Pisa, see People from the Province of Pisa; among notable non-natives long resident in the city:
Giuliano Amato (born 1938), politician, former Premier and Minister of Interior Affairs
Alessandro d'Ancona (1835–1914), critic and writer.
Silvano Arieti (1914–1981), psychiatrist
Gaetano Bardini (1926–2017), tenor
Andrea Bocelli (born 1958), tenor and multi-instrumentalist.
Giosuè Carducci (1835–1907), poet and 1906 Nobel Prize in Literature winner.
Massimo Carmassi (born 1943), architect
Carlo Azeglio Ciampi (1920–2016), politician, former President of the Republic of Italy
Maria Luisa Cicci (1760–1794), poet
Giovanni Carlo Maria Clari (1677–1754), a musical composer and maestro di cappella at Pistoia.
Alessio Corti (born 1965), mathematician
Rustichello da Pisa (born 13th century), writer
Giovanni Battista Donati (1826–1873), an Italian astronomer.
Leonardo Fibonacci (1170–1250), mathematician.
Galileo Galilei (1564–1642), physicist.
Giovanni Gentile (1875–1944), philosopher and politician
Orazio Gentileschi (1563–1639), painter.
Count Ugolino della Gherardesca (1214–1289), noble (see also Dante Alighieri).
Giovanni Gronchi (1887–1978), politician, former President of the Republic of Italy
Giacomo Leopardi [1798–1837), poet and philosopher.
Enrico Letta (born 1966), politician, former Prime Minister of Italy
Marco Malvaldi (born 1974), mystery novelist
Leonardo Ortolani (born 1967), comic writer
Antonio Pacinotti (1841–1912), physicist, inventor of the dynamo
Andrea Pisano (1290–1348), a sculptor and architect.
Afro Poli (1902–1988), an operatic baritone
Bruno Pontecorvo (1913–1993), nuclear physicist
Gillo Pontecorvo (1919–2006), filmmaker
Ippolito Rosellini (1800–1843), an Egyptologist.
Paolo Savi (1798–1871), geologist and ornithologist.
Antonio Tabucchi (1943–2012), writer and academic
Sport
Jason Acuña (born 1973), Stunt performer
Sergio Bertoni (1915–1995), footballer
Giorgio Chiellini (born 1984), footballer
Camila Giorgi (born 1991), tennis player
Ideum is proud to announce our new Tangible Engine, a visualizer, configurator, and software development kit that allows developers to easily connect applications to real-world objects on Ideum multitouch tables. The Tangible Engine opens up possibilities for creating memorable, mixed-reality experiences. To learn more and see the video, visit tangibleengine.com
Taken at the Garrison district of Gdańsk-Wrzeszcz, Poland.
History:
The preserved and restored historic buildings are a tangible proof of the hundred years of the mysterious history of the area, at which the Garnizon district is located. This, covering almost 30 hectares in Gdansk Wrzeszcz, area for over a century was encircled with a wall hiding objects and military secrets. At the end of the nineteenth century began the implementation of the first barracks for the formation of the 1 and 2 Hussar Regiment of the Privy Guard of the Emperor William II, also known as the Black Hussars. The artistry of the old-time architects and builders can be admired today in the restored buildings at Grunwaldzka Avenue and ul. Słowackiego.
Establishment of the Free City of Gdansk with the Treaty of Versailles had a significant impact on the fate of this land. A demobilized Free Gdansk parted ways in 1925 with the military, and the place of colourful hussars in the barracks was taken by the Schutzpolizei (Protection Police) units of the Free City of Gdansk, which in the vicissitudes of history functioned here until the end of the World War II.
After 1945 the area was nationalized and taken over by the Polish People's Army stationed in various formations for more than 50 years. At the end of the twentieth century, it was decided to liquidate the military units and the garrison in Gdansk Wrzeszcz and the sale of the land. Thus, the objects hosting once the imperial family, princes, dignitaries and important persons of the twentieth century Europe passed into the history of the military and the City of Gdansk.
The new owner of the land in 2005 became the Hossa Investment Group SA, which recognizing the historical and traditional importance of the acquired area has prepared the concept of land for a new multi-functional district under the name of GARNIZON.
In creating this courageous urban vision, thanks to which the previously unavailable areas turn into a modern district, is evidently seen a desire to preserve the characteristic, referring to the former purpose, specific features and items that give the GARNIZON project a unique atmosphere of continuity of tradition and modernity.
Source: www.garnizon.pl/garrison/history.html
Polska wersja: www.garnizon.pl/garnizon/historia.html
The Cathedral of Pisa , officially the Primate Cathedral of Santa Maria Assunta , in the center of the Piazza del Duomo, also known as Piazza dei Miracoli , is the cathedral of the Archdiocese of Pisa as well as the Primate church .
A masterpiece of the Romanesque , in particular of the Pisan Romanesque , it represents the tangible testimony of the prestige and wealth achieved by the maritime republic of Pisa at the moment of its apogee.
Its construction began in 1063 ( 1064 according to the Pisan calendar in force at the time) by the architect Buscheto , with the tenth part of the spoils of the Palermo campaign in Sicily against the Muslims ( 1063 ) led by Giovanni Orlandi belonging to the Orlandi family [ 1] . Different stylistic elements blend together: classical, Lombard-Emilian , Byzantine and in particular Islamic, proving the international presence of Pisan merchants in those times. In that same year the reconstruction of the Basilica of San Marco in Venice also began , so it may also be that there was a rivalry between the two maritime republics at the time to create the most beautiful and sumptuous place of worship.
The church was built in an area outside the early medieval city walls , to symbolize the power of Pisa which did not require protection. The chosen area was already used in the Lombard era as a necropolis and, already in the early 11th century , an unfinished church was built which was to be dedicated to Santa Maria. The new large church of Buscheto, in fact, was initially called Santa Maria Maggiore until it was finally named after Santa Maria Assunta.
In 1092 the church changed from a simple cathedral to being primatial, the title of primate having been conferred on Archbishop Daiberto by Pope Urban II , an honor which today is only formal. The cathedral was consecrated in 1118 by Pope Gelasius II , as recorded by the inscription placed internally on the counter-façade at the top left.
In the first half of the 12th century the cathedral was enlarged under the direction of the architect Rainaldo , who lengthened the naves by adding three bays in front of the old facade [2] according to the Buscheto style, widened the transept and designed a new facade, completed by the workers led by the sculptors Guglielmo and Biduino . The date of the start of the works is uncertain: immediately after Buscheto's death around the year 1120 , according to some, around the year 1140 according to others. The end of the works dates back to 1180 , as documented by the date affixed to the bronze doors by Bonanno Pisano on the main door.
The current appearance of the complex building is the result of repeated restoration campaigns that took place in different eras. The first radical interventions followed the disastrous fire on the night between 24 and 25 October 1595 [3] , which destroyed many decorative interventions and following which the roof was rebuilt and the three bronze doors of the facade were made, the work of sculptors from the workshop of Giambologna , including Gasparo Mola and Pietro Tacca . Starting from the eighteenth century, the progressive covering of the internal walls began with large paintings on canvas, the "quadroni" with Stories of Pisan blesseds and saints , executed by the main artists of the time thanks to the initiative of some citizens who financed themselves by creating a special business.
The Napoleonic spoliations of the Cathedral of Pisa and the Opera del Duomo were significant, many works converged on the Louvre where they are exhibited today, including The Triumph of Saint Thomas Aquinas among the Doctors of the Church by Benozzo Gozzoli , now in the Louvre, Death of San Bernardo dell'Orcagna and San Benedetto , the work of Andrea del Castagno .
Among the various noteworthy interventions, it is worth mentioning the dismantling of Giovanni Pisano's pulpit which was reassembled only in 1926 in a different position and with several parts missing, including the staircase, and the dismantling of the monument to Henry VII created by Lupo di Francesco which was located in front of the door of San Ranieri and subsequently replaced by a simplified and symbolic version.
The subsequent interventions took place during the nineteenth century and affected both the internal and external decorations, which in many cases, especially the sculptures on the facade, were replaced by copies (the originals are in the Museo dell'Opera del duomo ).
The building has a Latin cross shape with a large dome at the intersection of the arms. The longitudinal body, divided into five naves , extends over ten bays . This plan continues in the choir with two more bays and a final apse crowning the central nave alone. The transept has 4 bays on each side (or six if we include the two in common with the longitudinal body) and has three naves with apses ending on both sides. In the center four large pillars delimit the rectangular cross ending at the top with a large elliptical dome.
The building, like the bell tower, has sunk perceptibly into the ground, and some defects in the construction are clearly visible, such as the differences in level between Buscheto's nave and the extension by Rainaldo (the bays towards the west and the facade) .
The exterior of the cathedral is mainly in white and gray marble although the older stones placed at the lower levels of the longitudinal body are of other poorer material. There is no shortage of valuable materials, especially on the facade, where there are multicolored marble inlays, mosaics and also bronze objects from war booty, including the Griffin used on the top of the roof at the back (east side), perhaps taken from Palermo in 1061 ( today there is a copy on the roof, the original is in the Museo dell'Opera del Duomo ).
The longitudinal body, transept and choir have a rich facing punctuated by three orders or floors. On the lower floor, long rows of pilasters supporting blind arches , in turn enclosing lozenges or windows, punctuate the space on all sides of the building with very few interruptions (only the apse of the right transept). The second floor still has pilasters but this time these do not support blind arches and are rather architraved , a motif interrupted only in the apse of the right transept (where blind arches appear again) and in the main apse where two orders of loggias are visible . In addition to the windows and lozenges, inlaid oculi also appear between the pilasters . The third floor has columns or semi-columns which again support blind arches (longitudinal body and choir) or an architrave (transept) with the usual alternation of windows, lozenges and inlaid oculi.
The raised round arches on the facade and in the main apse recall elements of Muslim art from Sicily . The blind arches with lozenges recall the similar structures of the churches of Armenia . Even the ellipsoidal dome rebuilt after the fire of 1595, surmounted by a lantern, recalls Islamic architecture.
The gray and white marble façade , decorated with colored marble inserts, was built by master Rainaldo in the 12th century and finished by 1180. On the lower floor, the seven blind arches which enclose lozenges, one every two, echo the same motif which spreads over the remaining three sides of the Cathedral. On the façade, however, the ornamentation becomes richer: semi-columns placed against semi-rectangular pillars replace the slender pilaster strips on the sides and are surmounted by Corinthian or figurative capitals. The arches are embellished with a rich texture of vegetal motifs and the lozenges are also larger and inlaid with multicolored marble. The empty spaces between the three portals have marble slabs forming square or rectangular motifs and are embellished with horizontal ornamental bands with plant motifs. The empty spaces between the arches are also filled with marble tablets inlaid with geometric or animal motifs. Noteworthy is the one at the top right of the main portal which depicts a Christian brandishing the cross between two beasts and the writing of Psalm 21 : Salva me ex ore leonis et a cornibus unicornium humilitatem meam (Save me from the mouth of the lion Lord and my humility from the unicorn's horns), the original of which is preserved in the nearby Museo dell'Opera del Duomo .
Of the three portals , the central one has larger dimensions and is enclosed by two columns decorated with vegetal motifs which support, above the capitals, two lions to symbolize the two "faces" of Christ the Judge , the one who condemns on the left and the one who rewards and is merciful on the right (note the saved and protected lamb between the legs). All three portals have eighteenth-century mosaics by Giuseppe Modena da Lucca in their lunettes depicting the Assumption of the Virgin (centre), Santa Reparata (left) and Saint John the Baptist (right). The bronze doors were made by various artists of the caliber of Giambologna , after the fire of 1595, replacing the two wooden side doors and the bronze-covered wooden royal door by Bonanno Pisano which bore the date of 1180 (seen and described before the fire) to testify to the completion of the façade in that year. To the left of the north left portal, there is Buscheto's tomb.
The four upper floors are characterized by four orders of superimposed loggias, divided by finely sculpted frames, behind which there are single , double and triple lancet windows . Many of the friezes on the arches and frames were redone in the 17th century after the fire of 1595, while the polychrome marble inlays between the arches are original. Even higher up, to crown it, the Madonna and Child by Andrea Pisano and, in the corners, the four evangelists by Giovanni Pisano (early 14th century).
Contrary to what one might think, since ancient times the faithful have entered the Cathedral through the door of San Ranieri , located at the back in the transept of the same name, in front of the bell tower. This is because the nobles of the city went to the cathedral coming from via Santa Maria which leads to that transept. This door was cast around 1180 by Bonanno Pisano , and is the only door to escape the fire of 1595 which heavily damaged the church. The door is decorated with twenty-four panels depicting stories from the New Testament. This door is one of the first produced in Italy in the Middle Ages, after the importation of numerous examples from Constantinople , (in Amalfi , in Salerno , in Rome , in Montecassino , in Venice ...) and one admires an entirely Western sensitivity, which breaks away from the Byzantine tradition.
The original gràdule of the Duomo, designed by Giovanni Pisano and dating back to the end of the 13th century, were removed in 1865 and replaced by the current churchyard . These gràdule consisted of small walls, decorated with squares carved with figures of animals and heads, close to the external perimeter of the cathedral and served as a base for the numerous sarcophagi of the Roman era which, during the medieval era, were reused for the burials of nobles (among whom Beatrice of Canossa stands out ) and heroes. Currently some fragments are visible in the Museo dell'Opera del Duomo, while the sarcophagi were all moved within the enclosure of the monumental cemetery .
The lower register of the facade is not very rich in figurative sculptural decorations unlike other contemporary Romanesque cathedrals, but it still gives a rich meaning both to its unitary components and a complex allegory in its overall vision. To read the latter you need to start from the left where the outermost capital of the left side portal shows two ferocious lions devouring weak prey and two human figures further behind. The former represent the struggle between good and evil where evil dominates [6] , but behind them the figure of the old man stacking wood and the young man towering over a ram perhaps represent Abraham and Isaac and the sacrificial ram (or two peasants virtuous at work) which show preparation for God's plan of salvation. The arch that starts from the same capital shows a row of dragons that two virtuous human figures in the center are forced to face in the continuous struggle between good and evil. [6]
At the level of the central portal we enter the New Testament which concretizes the plan of salvation brought about by God starting from Abraham . It is the portal dedicated to the Virgin of the Assumption and her Son , whose divine judgment is represented by the two lions of justice, the one that condemns on the left and the one that protects and saves on the right with the little lamb protected between its legs, for Divine Mercy or Justice whatever it is. [6] The 42 stylized human figurines present on the decorated arch show the 42 generations that separate, according to the Gospel of Matthew , Abraham from Jesus Christ (the figurines are actually 43 but perhaps due to renovation needs or other reasons for filling the frieze ). This transition from the old to the new is strengthened by the two marble inlays in the intrados of the main arch where a ferocious dragon and a lion facing each other depicting the perennial struggle between the evil forces (left inlay) [6] become two equally ferocious unicorns but in the middle to whom a Christian appears brandishing a cross to defend himself from them (inlay on the right) and where we read in Latin:
de ore leonis libera me domine et a cornibus unicorni humilitatem mea ("Save me from the lion's mouth, Lord, and my humility from the unicorn's horns", psalm 21 ).
The last element of this complex narrative is the outermost capital of the right portal, which acts as a pendant to that of the left portal from which we started. We are well beyond the coming of Jesus where the evil lions, previously in the foreground, are relegated to a backward and out of the way position, always ready to strike as shown by the heads turned back and the tongue out, but in a contorted position due to the continuous escapes to which the Savior and the Church forces them to do. [6] In a prominent position there are now two naked human figurines, the souls of those saved by the Savior through the intercession of the Church , which are composed and serene figures with large eyes, well anchored with their arms to the garland of the capital and the feet resting well on the acanthus leaves, symbol of men of faith, victorious over sin and blessed by faith rather than merit.
The five- nave interior is covered in black and white marble, with monolithic columns of gray marble and capitals of the Corinthian order . The arches of the ten bays are round arches (those of the central nave) or raised arches in the Moorish style of the time (those of the side naves).
The central nave has a seventeenth-century gilded coffered ceiling, in gilded and painted wood, by the Florentines Domenico and Bartolomeo Atticciati ; it bears the Medici coat of arms in gold . Presumably the ancient ceiling had a structure with exposed wooden trusses. The four side naves have a cross-shaped plastered roof. The coffered roof is also present in the choir and in the central nave of the transept, while a plastered barrel roof is present in the side naves of the transept. The coverage of the lateral naves of the transept at the level of the two bays shared with the lateral naves of the longitudinal body is curious: these are cross-shaped (as in the lateral naves of the longitudinal body), but are higher (as in the lateral naves of the transept) . There is also a women's gallery of Byzantine origin that runs along the entire church, including the choir and transept and which has a coffered roof (central body) or wooden beams (transept). Even higher up, thin and deep windows allow the church to be lit.
The interior suggests a spatial effect that has some analogy with that of mosques , for the use of raised arches, for the alternation of white and green marble bands, for the unusual elliptical dome , of oriental inspiration, and for the presence of women's galleries with solid monolithic granite columns in the mullioned windows , a clear sign of Byzantine influence. The architect Buscheto had welcomed stimuli from the Islamic Levant and Armenia . [7]
Only part of the medieval decorative interventions survived the fire of 1595. Among these is the fresco with the Madonna and Child by the Pisan Master of San Torpè in the triumphal arch (late 13th-early 14th century), and below it the Cosmatesque flooring , of a certain rarity outside the borders of Lazio . It was made of marble inlays with geometric "opus alexandrinum" motifs (mid- 12th century ). Other late medieval fresco fragments have survived, among them Saint Jerome on one of the four central pillars and Saint John the Baptist , a Crucifix and Saint Cosimo and Damian on the pillar near the entrance door, partially hidden by the compass .
At the meeting point between the transept and the central body the dome rises, the decoration of which represented one of the last interventions carried out after the fire mentioned. Painted with the rare encaustic painting technique [8] (or wax on wall) [9] , the dome represents the Virgin in glory and saints ( 1627 - 1631 ), a masterpiece by the Pisan Orazio Riminaldi , completed after his death. which occurred in 1630 due to the plague, by his brother Girolamo . The decoration underwent a careful restoration which returned it to its original splendor in 2018.
The presbytery, ending in a curved apse, presents a great variety of ornaments. Above, in the basin, the large mosaic of Christ enthroned between the Virgin and Saint John is made famous by the face of Saint John, a work by Cimabue from 1302 which miraculously survived the fire of 1595. Precisely that Saint John the Evangelist was the The last work created by Cimabue before his death and the only one for which certified documentation exists. It evokes the mosaics of Byzantine churches and also Norman ones, such as Cefalù and Monreale , in Sicily . The mosaic, largely created by Francesco da Pisa, was finished by Vincino da Pistoia with the depiction of the Madonna on the left side ( 1320 ).
The main altar, from the beginning of the twentieth century, features six Angels contemporary with Ludovico Poliaghi , and in the center the bronze Crucifix by Giambologna , of which there are also the two candle-holder Angels at the end of the rich marble transenna, while the third Angel on the column to the left of the altar is by Stoldo Lorenzi .
Below, behind the main altar, there is the large decorative complex of the Tribune, composed of 27 paintings depicting episodes from the Old Testament and Christological stories. Begun before the fire with the works of Andrea del Sarto (three canvases, Saint Agnes , Saints Catherine and Margaret and Saints Peter and John the Baptist ) del Sodoma and Domenico Beccafumi ( Stories of Moses and the Evangelists ), it was completed after this calamity with the works of several Tuscan painters, including Orazio Riminaldi .
The pulpit , a masterpiece by Giovanni Pisano (1302-1310), survived the fire, but was dismantled during the restoration work and was not reassembled until 1926 . With its articulated architectural structure and complex sculptural decoration, the work is one of the largest narratives in fourteenth-century images that reflects the renewal and religious fervor of the era. The episodes from the Life of Christ are carved in an expressive language on the slightly curved panels . The structure is polygonal, as in the similar previous examples, in the baptistery of Pisa , in the cathedral of Siena and in the church of Sant'Andrea in Pistoia , but for the first time the panels are slightly curved, giving a new idea of circularity in its type. Equally original are: the presence of caryatids , sculpted figures in place of simple columns, which symbolize the Virtues ; the adoption of spiral brackets instead of arches to support the mezzanine floor; the sense of movement, given by the numerous figures that fill every empty space.
For these qualities combined with the skilful narrative art of the nine scenes it is generally considered Giovanni's masterpiece and more generally of Italian Gothic sculpture. The pulpit commissioned from Giovanni replaced a previous one , created by Guglielmo ( 1157 - 1162 ), which was sent to the cathedral of Cagliari . Since there is no documentation of what the pulpit looked like before its dismantling, it was rebuilt in a different position from the original one and, certainly, with the parts not in the same order and orientation as had been thought. It is not known whether or not he had a marble staircase.
The right transept is occupied by the Chapel of San Ranieri , patron saint of the city, whose relics are preserved in the magnificent shrine on the altar. Also in the chapel, on the left, is preserved part of the fragmentary tomb of Henry VII of Luxembourg , Holy Roman Emperor , who died in 1313 in Buonconvento while besieging Florence in vain . The tomb, also dismantled and reassembled, (it was sculpted by Tino di Camaino in 1313 - 1315 ) and was originally placed in the center of the apse, as a sign of the Ghibelline faith of the city. It was also a much more complex sculptural monument, featuring various statues. Moved several times for political reasons, it was also separated into several parts (some inside the church, some on the facade, some in the Campo Santo). Today we find the sarcophagus in the church with the deceased depicted lying on it, according to the fashion in vogue at that time, and the twelve apostles sculpted in bas-relief. The lunette painted with curtain-holding angels is instead a later addition from the workshop of Domenico Ghirlandaio (end of the 15th century ). The other remains of the monument have been reassembled in the nearby Museo dell'Opera del Duomo . The left transept is occupied by the Chapel of the Blessed Sacrament, in the center of which is the large silver tabernacle designed by Giovan Battista Foggini (1678-86).
On the numerous side altars there are sixteenth-seventeenth century paintings. Among the paintings housed on the minor altars, we remember the Madonna delle Grazie with saints, by the Florentine mannerist Andrea del Sarto, and the Madonna enthroned with saints in the right transept, by Perin del Vaga , a pupil of Raphael , both finished by Giovanni Antonio Sogliani . The canvas with the Dispute of the Sacrament is in Baroque style, by the Sienese Francesco Vanni , and the Cross with saints by the Genoese Giovanni Battista Paggi . Particularly venerated is the image of the thirteenth-century Madonna and Child , known as the Madonna di sotto gli organi , attributed to the Volterra native Berlinghiero Berlinghieri .
Pisa is a city and comune in Tuscany, central Italy, straddling the Arno just before it empties into the Ligurian Sea. It is the capital city of the Province of Pisa. Although Pisa is known worldwide for its leaning tower, the city contains more than twenty other historic churches, several medieval palaces, and bridges across the Arno. Much of the city's architecture was financed from its history as one of the Italian maritime republics.
The city is also home to the University of Pisa, which has a history going back to the 12th century, the Scuola Normale Superiore di Pisa, founded by Napoleon in 1810, and its offshoot, the Sant'Anna School of Advanced Studies.
History
For a chronological guide, see Timeline of Pisa.
Ancient times
The most believed hypothesis is that the origin of the name Pisa comes from Etruscan and means 'mouth', as Pisa is at the mouth of the Arno river.
Although throughout history there have been several uncertainties about the origin of the city of Pisa, excavations made in the 1980s and 1990s found numerous archaeological remains, including the fifth century BC tomb of an Etruscan prince, proving the Etruscan origin of the city, and its role as a maritime city, showing that it also maintained trade relations with other Mediterranean civilizations.
Ancient Roman authors referred to Pisa as an old city. Virgil, in his Aeneid, states that Pisa was already a great center by the times described; and gives the epithet of Alphēae to the city because it was said to have been founded by colonists from Pisa in Elis, near which the Alpheius river flowed. The Virgilian commentator Servius wrote that the Teuti founded the town 13 centuries before the start of the common era.
The maritime role of Pisa should have been already prominent if the ancient authorities ascribed to it the invention of the naval ram. Pisa took advantage of being the only port along the western coast between Genoa (then a small village) and Ostia. Pisa served as a base for Roman naval expeditions against Ligurians and Gauls. In 180 BC, it became a Roman colony under Roman law, as Portus Pisanus. In 89 BC, Portus Pisanus became a municipium. Emperor Augustus fortified the colony into an important port and changed the name to Colonia Iulia obsequens.
Pisa supposedly was founded on the shore, but due to the alluvial sediments from the Arno and the Serchio, whose mouth lies about 11 km (7 mi) north of the Arno's, the shore moved west. Strabo states that the city was 4.0 km (2.5 mi) away from the coast. Currently, it is located 9.7 km (6 mi) from the coast. However, it was a maritime city, with ships sailing up the Arno. In the 90s AD, a baths complex was built in the city.
Late Antiquity and Early Middle Ages
During the last years of the Western Roman Empire, Pisa did not decline as much as the other cities of Italy, probably due to the complexity of its river system and its consequent ease of defence. In the seventh century, Pisa helped Pope Gregory I by supplying numerous ships in his military expedition against the Byzantines of Ravenna: Pisa was the sole Byzantine centre of Tuscia to fall peacefully in Lombard hands, through assimilation with the neighbouring region where their trading interests were prevalent. Pisa began in this way its rise to the role of main port of the Upper Tyrrhenian Sea and became the main trading centre between Tuscany and Corsica, Sardinia, and the southern coasts of France and Spain.
After Charlemagne had defeated the Lombards under the command of Desiderius in 774, Pisa went through a crisis, but soon recovered. Politically, it became part of the duchy of Lucca. In 860, Pisa was captured by vikings led by Björn Ironside. In 930, Pisa became the county centre (status it maintained until the arrival of Otto I) within the mark of Tuscia. Lucca was the capital but Pisa was the most important city, as in the middle of tenth century Liutprand of Cremona, bishop of Cremona, called Pisa Tusciae provinciae caput ("capital of the province of Tuscia"), and a century later, the marquis of Tuscia was commonly referred to as "marquis of Pisa". In 1003, Pisa was the protagonist of the first communal war in Italy, against Lucca. From the naval point of view, since the ninth century, the emergence of the Saracen pirates urged the city to expand its fleet; in the following years, this fleet gave the town an opportunity for more expansion. In 828, Pisan ships assaulted the coast of North Africa. In 871, they took part in the defence of Salerno from the Saracens. In 970, they gave also strong support to Otto I's expedition, defeating a Byzantine fleet in front of Calabrese coasts.
11th century
The power of Pisa as a maritime nation began to grow and reached its apex in the 11th century, when it acquired traditional fame as one of the four main historical maritime republics of Italy (Repubbliche Marinare).
At that time, the city was a very important commercial centre and controlled a significant Mediterranean merchant fleet and navy. It expanded its powers in 1005 through the sack of Reggio Calabria in the south of Italy. Pisa was in continuous conflict with some 'Saracens' - a medieval term to refer to Arab Muslims - who had their bases in Corsica, for control of the Mediterranean. In 1017, Sardinian Giudicati were militarily supported by Pisa, in alliance with Genoa, to defeat the Saracen King Mugahid, who had settled a logistic base in the north of Sardinia the year before. This victory gave Pisa supremacy in the Tyrrhenian Sea. When the Pisans subsequently ousted the Genoese from Sardinia, a new conflict and rivalry was born between these major marine republics. Between 1030 and 1035, Pisa went on to defeat several rival towns in Sicily and conquer Carthage in North Africa. In 1051–1052, the admiral Jacopo Ciurini conquered Corsica, provoking more resentment from the Genoese. In 1063, Admiral Giovanni Orlandi, coming to the aid of the Norman Roger I, took Palermo from the Saracen pirates. The gold treasure taken from the Saracens in Palermo allowed the Pisans to start the building of their cathedral and the other monuments which constitute the famous Piazza del Duomo.
In 1060, Pisa had to engage in their first battle with Genoa. The Pisan victory helped to consolidate its position in the Mediterranean. Pope Gregory VII recognised in 1077 the new "Laws and customs of the sea" instituted by the Pisans, and emperor Henry IV granted them the right to name their own consuls, advised by a council of elders. This was simply a confirmation of the present situation, because in those years, the marquis had already been excluded from power. In 1092, Pope Urban II awarded Pisa the supremacy over Corsica and Sardinia, and at the same time raising the town to the rank of archbishopric.
Pisa sacked the Tunisian city of Mahdia in 1088. Four years later, Pisan and Genoese ships helped Alfonso VI of Castilla to push El Cid out of Valencia. A Pisan fleet of 120 ships also took part in the First Crusade, and the Pisans were instrumental in the taking of Jerusalem in 1099. On their way to the Holy Land, the ships did not miss the occasion to sack some Byzantine islands; the Pisan crusaders were led by their archbishop Daibert, the future patriarch of Jerusalem. Pisa and the other Repubbliche Marinare took advantage of the crusade to establish trading posts and colonies in the Eastern coastal cities of the Levant. In particular, the Pisans founded colonies in Antiochia, Acre, Jaffa, Tripoli, Tyre, Latakia, and Accone. They also had other possessions in Jerusalem and Caesarea, plus smaller colonies (with lesser autonomy) in Cairo, Alexandria, and of course Constantinople, where the Byzantine Emperor Alexius I Comnenus granted them special mooring and trading rights. In all these cities, the Pisans were granted privileges and immunity from taxation, but had to contribute to the defence in case of attack. In the 12th century, the Pisan quarter in the eastern part of Constantinople had grown to 1,000 people. For some years of that century, Pisa was the most prominent commercial and military ally of the Byzantine Empire, overcoming Venice itself.
12th century
In 1113, Pisa and Pope Paschal II set up, together with the count of Barcelona and other contingents from Provence and Italy (Genoese excluded), a war to free the Balearic Islands from the Moors; the queen and the king of Majorca were brought in chains to Tuscany. Though the Almoravides soon reconquered the island, the booty taken helped the Pisans in their magnificent programme of buildings, especially the cathedral, and Pisa gained a role of pre-eminence in the Western Mediterranean.
In the following years, the powerful Pisan fleet, led by archbishop Pietro Moriconi, drove away the Saracens after ferocious battles. Though short-lived, this Pisan success in Spain increased the rivalry with Genoa. Pisa's trade with Languedoc, Provence (Noli, Savona, Fréjus, and Montpellier) were an obstacle to Genoese interests in cities such as Hyères, Fos, Antibes, and Marseille.
The war began in 1119 when the Genoese attacked several galleys on their way home to the motherland, and lasted until 1133. The two cities fought each other on land and at sea, but hostilities were limited to raids and pirate-like assaults.
In June 1135, Bernard of Clairvaux took a leading part in the Council of Pisa, asserting the claims of Pope Innocent II against those of Pope Anacletus II, who had been elected pope in 1130 with Norman support, but was not recognised outside Rome. Innocent II resolved the conflict with Genoa, establishing Pisan and Genoese spheres of influence. Pisa could then, unhindered by Genoa, participate in the conflict of Innocent II against king Roger II of Sicily. Amalfi, one of the maritime republics (though already declining under Norman rule), was conquered on August 6, 1136; the Pisans destroyed the ships in the port, assaulted the castles in the surrounding areas, and drove back an army sent by Roger from Aversa. This victory brought Pisa to the peak of its power and to a standing equal to Venice. Two years later, its soldiers sacked Salerno.
New city walls, erected in 1156 by Consul Cocco Griffi
In the following years, Pisa was one of the staunchest supporters of the Ghibelline party. This was much appreciated by Frederick I. He issued in 1162 and 1165 two important documents, with these grants: Apart from the jurisdiction over the Pisan countryside, the Pisans were granted freedom of trade in the whole empire, the coast from Civitavecchia to Portovenere, a half of Palermo, Messina, Salerno and Naples, the whole of Gaeta, Mazara, and Trapani, and a street with houses for its merchants in every city of the Kingdom of Sicily. Some of these grants were later confirmed by Henry VI, Otto IV, and Frederick II. They marked the apex of Pisa's power, but also spurred the resentment of other cities such as Lucca, Massa, Volterra, and Florence, thwarting their aim to expand towards the sea. The clash with Lucca also concerned the possession of the castle of Montignoso and mainly the control of the Via Francigena, the main trade route between Rome and France. Last, but not least, such a sudden and large increase of power by Pisa could only lead to another war with Genoa.
Genoa had acquired a dominant position in the markets of southern France. The war began in 1165 on the Rhône, when an attack on a convoy, directed to some Pisan trade centres on the river, by the Genoese and their ally, the count of Toulouse, failed. Pisa, though, was allied to Provence. The war continued until 1175 without significant victories. Another point of attrition was Sicily, where both the cities had privileges granted by Henry VI. In 1192, Pisa managed to conquer Messina. This episode was followed by a series of battles culminating in the Genoese conquest of Syracuse in 1204. Later, the trading posts in Sicily were lost when the new Pope Innocent III, though removing the excommunication cast over Pisa by his predecessor Celestine III, allied himself with the Guelph League of Tuscany, led by Florence. Soon, he stipulated[clarification needed] a pact with Genoa, too, further weakening the Pisan presence in southern Italy.
To counter the Genoese predominance in the southern Tyrrhenian Sea, Pisa strengthened its relationship with its traditional Spanish and French bases (Marseille, Narbonne, Barcelona, etc.) and tried to defy the Venetian rule of the Adriatic Sea. In 1180, the two cities agreed to a nonaggression treaty in the Tyrrhenian and the Adriatic, but the death of Emperor Manuel Comnenus in Constantinople changed the situation. Soon, attacks on Venetian convoys were made. Pisa signed trade and political pacts with Ancona, Pula, Zara, Split, and Brindisi; in 1195, a Pisan fleet reached Pola to defend its independence from Venice, but the Serenissima soon reconquered the rebel sea town.
One year later, the two cities signed a peace treaty, which resulted in favourable conditions for Pisa, but in 1199, the Pisans violated it by blockading the port of Brindisi in Apulia. In the following naval battle, they were defeated by the Venetians. The war that followed ended in 1206 with a treaty in which Pisa gave up all its hopes to expand in the Adriatic, though it maintained the trading posts it had established in the area. From that point on, the two cities were united against the rising power of Genoa and sometimes collaborated to increase the trading benefits in Constantinople.
13th century
In 1209 in Lerici, two councils for a final resolution of the rivalry with Genoa were held. A 20-year peace treaty was signed, but when in 1220, the emperor Frederick II confirmed his supremacy over the Tyrrhenian coast from Civitavecchia to Portovenere, the Genoese and Tuscan resentment against Pisa grew again. In the following years, Pisa clashed with Lucca in Garfagnana and was defeated by the Florentines at Castel del Bosco. The strong Ghibelline position of Pisa brought this town diametrically against the Pope, who was in a dispute with the Holy Roman Empire, and indeed the pope tried to deprive Pisa of its dominions in northern Sardinia.
In 1238, Pope Gregory IX formed an alliance between Genoa and Venice against the empire, and consequently against Pisa, too. One year later, he excommunicated Frederick II and called for an anti-Empire council to be held in Rome in 1241. On May 3, 1241, a combined fleet of Pisan and Sicilian ships, led by the emperor's son Enzo, attacked a Genoese convoy carrying prelates from northern Italy and France, next to the isle of Giglio (Battle of Giglio), in front of Tuscany; the Genoese lost 25 ships, while about a thousand sailors, two cardinals, and one bishop were taken prisoner. After this major victory, the council in Rome failed, but Pisa was excommunicated. This extreme measure was only removed in 1257. Anyway, the Tuscan city tried to take advantage of the favourable situation to conquer the Corsican city of Aleria and even lay siege to Genoa itself in 1243.
The Ligurian republic of Genoa, however, recovered fast from this blow and won back Lerici, conquered by the Pisans some years earlier, in 1256.
The great expansion in the Mediterranean and the prominence of the merchant class urged a modification in the city's institutes. The system with consuls was abandoned, and in 1230, the new city rulers named a capitano del popolo ("people's chieftain") as civil and military leader. Despite these reforms, the conquered lands and the city itself were harassed by the rivalry between the two families of Della Gherardesca and Visconti. In 1237 the archbishop and the Emperor Frederick II intervened to reconcile the two rivals, but the strains continued. In 1254, the people rebelled and imposed 12 Anziani del Popolo ("People's Elders") as their political representatives in the commune. They also supplemented the legislative councils, formed of noblemen, with new People's Councils, composed by the main guilds and by the chiefs of the People's Companies. These had the power to ratify the laws of the Major General Council and the Senate.
Decline
The decline is said to have begun on August 6, 1284, when the numerically superior fleet of Pisa, under the command of Albertino Morosini, was defeated by the brilliant tactics of the Genoese fleet, under the command of Benedetto Zaccaria and Oberto Doria, in the dramatic naval Battle of Meloria. This defeat ended the maritime power of Pisa and the town never fully recovered; in 1290, the Genoese destroyed forever the Porto Pisano (Pisa's port), and covered the land with salt. The region around Pisa did not permit the city to recover from the loss of thousands of sailors from the Meloria, while Liguria guaranteed enough sailors to Genoa. Goods, however, continued to be traded, albeit in reduced quantity, but the end came when the Arno started to change course, preventing the galleys from reaching the city's port up the river. The nearby area also likely became infested with malaria. The true end came in 1324, when Sardinia was entirely lost to the Aragonese.
Always Ghibelline, Pisa tried to build up its power in the course of the 14th century, and even managed to defeat Florence in the Battle of Montecatini (1315), under the command of Uguccione della Faggiuola. Eventually, however, after a long siege, Pisa was occupied by Florentines in 1405.[9] Florentines corrupted the capitano del popolo ("people's chieftain"), Giovanni Gambacorta, who at night opened the city gate of San Marco. Pisa was never conquered by an army. In 1409, Pisa was the seat of a council trying to set the question of the Great Schism. In the 15th century, access to the sea became more difficult, as the port was silting up and was cut off from the sea. When in 1494, Charles VIII of France invaded the Italian states to claim the Kingdom of Naples, Pisa reclaimed its independence as the Second Pisan Republic.
The new freedom did not last long; 15 years of battles and sieges by the Florentine troops led by Antonio da Filicaja, Averardo Salviati and Niccolò Capponi were made, but they failed to conquer the city. Vitellozzo Vitelli with his brother Paolo were the only ones who actually managed to break the strong defences of Pisa and make a breach in the Stampace bastion in the southern west part of the walls, but he did not enter the city. For that, they were suspected of treachery and Paolo was put to death. However, the resources of Pisa were getting low, and at the end, the city was sold to the Visconti family from Milan and eventually to Florence again. Livorno took over the role of the main port of Tuscany. Pisa acquired a mainly cultural role spurred by the presence of the University of Pisa, created in 1343, and later reinforced by the Scuola Normale Superiore di Pisa (1810) and Sant'Anna School of Advanced Studies (1987).
Pisa was the birthplace of the important early physicist Galileo Galilei. It is still the seat of an archbishopric. Besides its educational institutions, it has become a light industrial centre and a railway hub. It suffered repeated destruction during World War II.
Since the early 1950s, the US Army has maintained Camp Darby just outside Pisa, which is used by many US military personnel as a base for vacations in the area.
Geography
Climate
Pisa has a borderline humid subtropical climate (Köppen climate classification: Cfa) and Mediterranean climate (Köppen climate classification: Csa). The city is characterized by cool to mild winters and hot summers. This transitional climate allows Pisa to have summers with moderate rainfall. Rainfall peaks in autumn. Snow is rare. The highest officially recorded temperature was 39.5 °C (103.1 °F) on 22 August 2011 and the lowest was −13.8 °C (7.2 °F) on 12 January 1985.
Culture
Gioco del Ponte
In Pisa there was a festival and game fr:Gioco del Ponte (Game of the Bridge) which was celebrated (in some form) in Pisa from perhaps the 1200s down to 1807. From the end of the 1400s the game took the form of a mock battle fought upon Pisa's central bridge (Ponte di Mezzo). The participants wore quilted armor and the only offensive weapon allowed was the targone, a shield-shaped, stout board with precisely specified dimensions. Hitting below the belt was not allowed. Two opposing teams started at opposite ends of the bridge. The object of the two opposing teams was to penetrate, drive back, and disperse the opponents' ranks and to thereby drive them backwards off the bridge. The struggle was limited to forty-five minutes. Victory or defeat was immensely important to the team players and their partisans, but sometimes the game was fought to a draw and both sides celebrated.
In 1677 the battle was witnessed by Dutch travelling artist Cornelis de Bruijn. He wrote:
"While I stayed in Livorno, I went to Pisa to witness the bridge fight there. The fighters arrived fully armored, wearing helmets, each carrying their banner, which was planted at both ends of the bridge, which is quite wide and long. The battle is fought with certain wooden implements made for this purpose, which they wear over their arms and are attached to them, with which they pummel each other so intensely that I saw several of them carried away with bloody and crushed heads. Victory consists of capturing the bridge, in the same way as the fistfights in Venice between the it:Castellani and the Nicolotti."
In 1927 the tradition was revived by college students as an elaborate costume parade. In 1935 Vittorio Emanuele III with the royal family witnessed the first revival of a modern version of the game, which has been pursued in the 20th and 21st centuries with some interruptions and varying degrees of enthusiasm by Pisans and their civic institutions.
Festivals and cultural events
Capodanno pisano (folklore, March 25)
Gioco del Ponte (folklore)
Luminara di San Ranieri (folklore, June 16)
Maritime republics regata (folklore)
Premio Nazionale Letterario Pisa
Pisa Book Festival
Metarock (rock music festival)
Internet Festival San Ranieri regata (folklore)
Turn Off Festival (house music festival)
Nessiáh (Jewish cultural Festival, November)
Main sights
The Leaning Tower of Pisa.
While the bell tower of the cathedral, known as "the leaning Tower of Pisa", is the most famous image of the city, it is one of many works of art and architecture in the city's Piazza del Duomo, also known, since the 20th century, as Piazza dei Miracoli (Square of Miracles), to the north of the old town center. The Piazza del Duomo also houses the Duomo (the Cathedral), the Baptistry and the Campo Santo (the monumental cemetery). The medieval complex includes the above-mentioned four sacred buildings, the hospital and few palaces. All the complex is kept by the Opera (fabrica ecclesiae) della Primaziale Pisana, an old non profit foundation that has operated since the building of the Cathedral in 1063 to maintain the sacred buildings. The area is framed by medieval walls kept by the municipal administration.
Other sights include:
Santo Stefano dei Cavalieri, church sited on Piazza dei Cavalieri, and also designed by Vasari. It had originally a single nave; two more were added in the 17th century. It houses a bust by Donatello, and paintings by Vasari, Jacopo Ligozzi, Alessandro Fei, and Pontormo. It also contains spoils from the many naval battles between the Cavalieri (Knights of St. Stephan) and the Turks between the 16th and 18th centuries, including the Turkish battle pennant hoisted from Ali Pacha's flagship at the 1571 Battle of Lepanto.
St. Sixtus. This small church, consecrated in 1133, is also close to the Piazza dei Cavalieri. It was used as a seat of the most important notarial deeds of the town, also hosting the Council of Elders. It is today one of the best preserved early Romanesque buildings in town.
St. Francis. The church of San Francesco may have been designed by Giovanni di Simone, built after 1276. In 1343 new chapels were added and the church was elevated. It has a single nave and a notable belfry, as well as a 15th-century cloister. It houses works by Jacopo da Empoli, Taddeo Gaddi and Santi di Tito. In the Gherardesca Chapel are buried Ugolino della Gherardesca and his sons.
San Frediano. This church, built by 1061, has a basilica interior with three aisles, with a crucifix from the 12th century. Paintings from the 16th century were added during a restoration, including works by Ventura Salimbeni, Domenico Passignano, Aurelio Lomi, and Rutilio Manetti.
San Nicola. This medieval church built by 1097, was enlarged between 1297 and 1313 by the Augustinians, perhaps by the design of Giovanni Pisano. The octagonal belfry is from the second half of the 13th century. The paintings include the Madonna with Child by Francesco Traini (14th century) and St. Nicholas Saving Pisa from the Plague (15th century). Noteworthy are also the wood sculptures by Giovanni and Nino Pisano, and the Annunciation by Francesco di Valdambrino.
Santa Maria della Spina. A small white marble church alongside the Arno, is attributed to Lupo di Francesco (1230), is another excellent Gothic building.
San Paolo a Ripa d'Arno. The church was founded around 952 and enlarged in the mid-12th century along lines similar to those of the cathedral. It is annexed to the Romanesque Chapel of St. Agatha, with an unusual pyramidal cusp or peak.
San Pietro in Vinculis. Known as San Pierino, it is an 11th-century church with a crypt and a cosmatesque mosaic on the floor of the main nave.
Borgo Stretto. This medieval borgo or neighborhood contains strolling arcades and the Lungarno, the avenues along the river Arno. It includes the Gothic-Romanesque church of San Michele in Borgo (990). There are at least two other leaning towers in the city, one at the southern end of central Via Santa Maria, the other halfway through the Piagge riverside promenade.
Medici Palace. The palace was once a possession of the Appiano family, who ruled Pisa in 1392–1398. In 1400 the Medici acquired it, and Lorenzo de' Medici sojourned here.
Orto botanico di Pisa. The botanical garden of the University of Pisa is Europe's oldest university botanical garden.
Palazzo Reale. The ("Royal Palace"), once belonged to the Caetani patrician family. Here Galileo Galilei showed to Grand Duke of Tuscany the planets he had discovered with his telescope. The edifice was erected in 1559 by Baccio Bandinelli for Cosimo I de Medici, and was later enlarged including other palaces. The palace is now a museum.
Palazzo Gambacorti. This palace is a 14th-century Gothic building, and now houses the offices of the municipality. The interior shows frescoes boasting Pisa's sea victories.
Palazzo Agostini. The palace is a Gothic building also known as Palazzo dell'Ussero, with its 15th-century façade and remains of the ancient city walls dating back to before 1155. The name of the building comes from the coffee rooms of Caffè dell'Ussero, historic meeting place founded on September 1, 1775.
Mural Tuttomondo. A modern mural, the last public work by Keith Haring, on the rear wall of the convent of the Church of Sant'Antonio, painted in June 1989.
Museums
Museo dell'Opera del Duomo: exhibiting among others the original sculptures of Nicola Pisano and Giovanni Pisano, the Islamic Pisa Griffin, and the treasures of the cathedral.
Museo delle Sinopie: showing the sinopias from the camposanto, the monumental cemetery. These are red ocher underdrawings for frescoes, made with reddish, greenish or brownish earth colour with water.
Museo Nazionale di San Matteo: exhibiting sculptures and paintings from the 12th to 15th centuries, among them the masterworks of Giovanni and Andrea Pisano, the Master of San Martino, Simone Martini, Nino Pisano and Masaccio.
Museo Nazionale di Palazzo Reale: exhibiting the belongings of the families that lived in the palace: paintings, statues, armors, etc.
Museo Nazionale degli Strumenti per il Calcolo: exhibiting a collection of instruments used in science, between a pneumatic machine of Van Musschenbroek and a compass which probably belonged to Galileo Galilei.
Museo di storia naturale dell'Università di Pisa (Natural History Museum of the University of Pisa), located in the Certosa di Calci, outside the city. It houses one of the largest cetacean skeletons collection in Europe.
Palazzo Blu: temporary exhibitions and cultural activities center, located in the Lungarno, in the heart of the old town, the palace is easy recognizable because it is the only blue building.
Cantiere delle Navi di Pisa - The Pisa's Ancient Ships Archaeological Area: A museum of 10,650 square meters – 3,500 archaeological excavation, 1,700 laboratories and one restoration center – that visitors can visit with a guided tour.[19] The Museum opened in June 2019 and has been located inside to the 16th-century Medicean Arsenals in Lungarno Ranieri Simonelli, restored under the supervision of the Tuscany Soprintendenza. It hosts a remarkable collection of ceramics and amphoras dated back from the 8th century BCE to the 2nd century BC, and also 32 ships dated back from the second century BCE and the seventh century BC. Four of them are integrally preserved and the best one is the so-called Barca C, also named Alkedo (written in the ancient Greek characters). The first boat was accidentally discovered in 1998 near the Pisa San Rossore railway station and the archeological excavations were completed 20 years later.
Churches
St. Francis' Church
San Francesco
San Frediano
San Giorgio ai Tedeschi
San Michele in Borgo
San Nicola
San Paolo a Ripa d'Arno
San Paolo all'Orto
San Piero a Grado
San Pietro in Vinculis
San Sisto
San Tommaso delle Convertite
San Zeno
Santa Caterina
Santa Cristina
Santa Maria della Spina
Santo Sepolcro
Palaces, towers and villas
Palazzo della Carovana or dei Cavalieri.
Pisa by Oldypak lp photo
Pisa
Palazzo del Collegio Puteano
Palazzo della Carovana
Palazzo delle Vedove
Torre dei Gualandi
Villa di Corliano
Leaning Tower of Pisa
Sports
Football is the main sport in Pisa; the local team, A.C. Pisa, currently plays in the Serie B (the second highest football division in Italy), and has had a top flight history throughout the 1980s and the 1990s, featuring several world-class players such as Diego Simeone, Christian Vieri and Dunga during this time. The club play at the Arena Garibaldi – Stadio Romeo Anconetani, opened in 1919 and with a capacity of 25,000.
Notable people
For people born in Pisa, see People from the Province of Pisa; among notable non-natives long resident in the city:
Giuliano Amato (born 1938), politician, former Premier and Minister of Interior Affairs
Alessandro d'Ancona (1835–1914), critic and writer.
Silvano Arieti (1914–1981), psychiatrist
Gaetano Bardini (1926–2017), tenor
Andrea Bocelli (born 1958), tenor and multi-instrumentalist.
Giosuè Carducci (1835–1907), poet and 1906 Nobel Prize in Literature winner.
Massimo Carmassi (born 1943), architect
Carlo Azeglio Ciampi (1920–2016), politician, former President of the Republic of Italy
Maria Luisa Cicci (1760–1794), poet
Giovanni Carlo Maria Clari (1677–1754), a musical composer and maestro di cappella at Pistoia.
Alessio Corti (born 1965), mathematician
Rustichello da Pisa (born 13th century), writer
Giovanni Battista Donati (1826–1873), an Italian astronomer.
Leonardo Fibonacci (1170–1250), mathematician.
Galileo Galilei (1564–1642), physicist.
Giovanni Gentile (1875–1944), philosopher and politician
Orazio Gentileschi (1563–1639), painter.
Count Ugolino della Gherardesca (1214–1289), noble (see also Dante Alighieri).
Giovanni Gronchi (1887–1978), politician, former President of the Republic of Italy
Giacomo Leopardi [1798–1837), poet and philosopher.
Enrico Letta (born 1966), politician, former Prime Minister of Italy
Marco Malvaldi (born 1974), mystery novelist
Leonardo Ortolani (born 1967), comic writer
Antonio Pacinotti (1841–1912), physicist, inventor of the dynamo
Andrea Pisano (1290–1348), a sculptor and architect.
Afro Poli (1902–1988), an operatic baritone
Bruno Pontecorvo (1913–1993), nuclear physicist
Gillo Pontecorvo (1919–2006), filmmaker
Ippolito Rosellini (1800–1843), an Egyptologist.
Paolo Savi (1798–1871), geologist and ornithologist.
Antonio Tabucchi (1943–2012), writer and academic
Sport
Jason Acuña (born 1973), Stunt performer
Sergio Bertoni (1915–1995), footballer
Giorgio Chiellini (born 1984), footballer
Camila Giorgi (born 1991), tennis player
Frickelfest (I love it)
sound.westhost.com/why-diy.htm
Why DIY?
Contrary to popular belief, the main reason for DIY is not (or should not be) about saving money. While this is possible in many cases (and especially against 'top of the line' commercial products), there are other, far better reasons to do it yourself.
The main one is knowledge, new skills, and the enormous feeling of satisfaction that comes from building your own equipment. This is worth far more than money. For younger people, the skills learned will be invaluable as you progress through life, and once started, you should continue to strive for making it yourself wherever possible.
Each and every new skill you learn enables the learning processes to be 'exercised', making it easier to learn other new things that come your way.
Alvin Toffler (the author of Future Shock) wrote:- "The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn."
This is pretty much an absolute these days, and we hear stories every day about perfectly good people who simply cannot get a new job after having been 'retrenched' (or whatever stupid term the 'human resources' people come up with next). As an aside, I object to being considered a 'resource' for the corporate cretins to use, abuse and dispose of as they see fit.
The skills you learn building an electronics project (especially audio) extend far beyond soldering a few components into a printed circuit board. You must source the components, working your way through a minefield of technical data to figure out if the part you think is right is actually right. Understanding the components is a key requirement for understanding electronics.
You will probably need to brush up on your maths - all analogue electronics requires mathematics if you want to understand what is going on. The greater your understanding, the more you have learned in the process. These are not trivial skills, but thankfully, they usually sneak up on you. Before you realise it, you have been working with formulae that a few years ago you would have sneered at, thinking that such things are only for boffins or those really weird guys you recall from school.
Then there is the case to house everything. You will need to learn how to perform basic metalworking skills. Drilling, tapping threads, filing and finishing a case are all tasks that need to be done to complete your masterpiece. These are all skills that may just come in very handy later on.
Should you be making loudspeakers, then you will learn about acoustics. You will also learn woodworking skills, veneering, and using tools that you may never have even known existed had you not ventured into one of the most absorbing and satisfying hobbies around.
Ok, that's fine for the younger generation(s), but what about us 'oldies'? We get all the same benefits, but in some cases, it is even possible to (almost) make up for a lifetime spent in an unrewarding job. As we get older, the new skills are less likely to be used for anything but the hobby, but that does not diminish the value of those skills one iota.
However, it's not all about learning, it's also about doing. Few people these days have a job where at the end of the day they can look at something they built. Indeed, in a great many cases, one comes home at the end of the day, knowing that one was busy all day with barely time for lunch, yet would be hard pressed to be able to say exactly what was achieved. What would have happened if what you did today wasn't done? Chances are, nothing would have happened at all - whatever it was you did simply wasn't done (if you follow the rather perverse logic in that last statement ).
Where is the satisfaction in that? There isn't any - it's a job, you get paid, so are able to pay your bills, buy food and live to do the same thing tomorrow.
When you build something, there is a sense of pride, of achievement - there is something to show for it, something tangible. No, it won't make up for a job you hate (or merely dislike), but at least you have created something. Having done it once, it becomes important to do it again, to be more ambitious, to push your boundaries.
Today, a small preamp. Tomorrow, a complete state of the art 5.1 sound system that you made from raw materials, lovingly finished, and now provides enjoyment that no store-bought system ever will.
#selfportrait I felt you once. Your fingers musing down my spine. We sparked life in one another. And all at once you disappeared as quickly as you came. #sunset #rocky #beach #wave
musicBottles is an interactive installation for visitors to interact with soundwaves encapsulated in bottles. The installation consists of a set of bottle that encapsulate sounds from Boston, Cambridge and the MIT neighborhood. When a visitor opens a bottle, sounds in the bottle evaporate into the atmosphere, giving visitors a glimpse into Bostonian culture through escaping sounds emanating from the glass vessels.
musicBottles is a work by MIT's Tangible Media Group. MIT's Tangible Media Group.
musicBottles is part of the RADICAL ATOMS Exhibition at
the Ars Electronica Cente Linz.
Ars Electronica Center
Ars-Electronica-Straße 1
4020 Linz
Austria
Credit: Florian Voggeneder
Christ Carrying the Cross, Quinten Massijs (I), c. 1510 - c. 1515
olieverf op paneel, h 83cm × w 59cm. More details
Here Massijs, a leading artist in early 16th-century Antwerp, paints an intense picture of Jesus's suffering. Jesus appears close to the foreground, connecting almost tangibly with the viewer: bloodied and bowed under the weight of the cross. This penetrating depiction helped worshippers empathise with Jesus’s pain.
Rijks Museum - National Museum of Netherlands
Vision:
The Rijksmuseum links individuals with art and history.
Mission:
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Il Tangibile e l'Intangibile , gli antipodi...E noi, noi da che parte stiamo? Frammenti di poesia urbana
The Tangible and the Intagible, the antipods.. And us, on which side are we? Fragments of urban poetry
Paolo's space at Postereous website
On July 14, Brookings hosted a one-on-one conversation between the Honorable Mark T. Esper, who served as the 27th U.S. secretary of defense from 2019 to 2020 and as the 23rd secretary of the Army from 2017 to 2019, and Brookings Senior Fellow Michael O’Hanlon. They discussed the National Defense Strategy (NDS) and the challenges the U.S. faces in this new era of great power competition, especially from China and Russia.
O’Hanlon opened their conversation by asking about Esper’s priorities during his tenure as secretary of defense. Esper explained that his main goal was warfighting and the implementation of the 2018 National Defense Strategy along three lines of effort — lethality and readiness, strengthening alliances and growing partners, and reforming the Department of Defense. He said that strategy documents tend to be sound and well written but too often “get caught up in buzz words and catchphrases that don’t have much meaning,” and it is their implementation that is a challenge. As secretary of defense, he made it his goal to “translate [the] strategy into something tangible.”
Asked by O’Hanlon about what made the 2018 NDS stand out from previous strategies, Esper said that it was the first to identify China as the U.S.’s number one focus country. He said, “You’ve got to give the Trump administration credit, I think, for finally consolidating and forming consensus within the United States government that China was our strategic competitor. Again, I would describe them today as our adversary because to me it’s clear that’s what they are.”
Esper underscored that the greatest challenge of the current administration’s 2022 National Defense Strategy is that we haven’t seen it. The Pentagon, Congress, people in the defense industry, the broader Washington, DC community, and U.S. allies and partners need to see the strategy to effectively implement it. “I think it’s critically important that [the NDS] be published in greater detail sooner rather than later,” Esper said. “What is required now is to get a really well-defined, well-articulated document… that we can start pursuing and make sure we understand so we can be effective against the Chinese and, to a lesser extent, the Russians.”
Honing in on China, O’Hanlon asked Esper what kind of contingency worries him the most when looking at Beijing as a potential adversary. The two that Esper cited as his biggest concerns were an incident in the South China Sea and the different scenarios that could play out in Taiwan — whether that be an invasion or a blockade or something else. O’Hanlon followed up and asked Esper if he thought the Chinese were starting to get the message that “the world will never allow it to turn the South China Sea into a Chinese lake.” “I’m worried they really haven’t yet,” Esper said. “I think that’s all the more reason why our freedom of navigation operations should continue.” He then emphasized the importance of working with allies to establish a greater presence in the Indo-Pacific and continue to send the right signals to Beijing.
Broadening his assessment of the region, Esper reiterated his view that “the greatest strategic flashpoint in the world is Northeast Asia.” With three to four of the world’s nuclear powers, top economies, and technological powerhouses, “any type of conflict [in the region] is going to ripple globally.”
Elaborating on the risk of future conflict in Taiwan, Esper argued that Taiwan’s greatest challenges are to increase its defense budget, invest in the right type of technologies — especially asymmetric technologies — and lengthen and toughen its conscription “so that [it has] a true territorial defense force that acts as a deterrent.” He also stressed that the United States has to do its share in helping to deter Chinese aggression in accordance with the Taiwan Relations Act. “At the end of the day, if you don’t stand up to countries, autocracies like China, they read it as a green light,” Esper said. “This is why [Russian President Vladimir] Putin invaded Ukraine on February 24. Nobody really ever stood up to him when he invaded Georgia in ’08… annexed Crimea in 2014, and then tried to take all of Donbas in 2014,” Esper said. “And hopefully, that the West standing up to Putin in Ukraine is a signal to Xi Jinping that we will do the same with regard to Taiwan. And I’m hoping that’s a muscle that we’re building also within the Western Alliance.”
O’Hanlon followed up on this last point and asked whether he thought President Xi might believe the U.S. would not intervene and whether he thought our longstanding policy of strategic ambiguity should change. “I think strategic ambiguity has run its course,” Esper said. “It’s not an inconsequential decision, but I think there should be a debate — a national debate… about strategic ambiguity and how far we will go. I think the fundamental basics have changed to the point where the whole issue of One China and the relationship between all the players needs to be reassessed… so there is not this ambiguity that leads Xi Jinping to think ‘I can conduct a lightning strike… and the United States won’t intervene.’”
Esper stressed the importance of AUKUS trilateral security pact and how it facilitates improved technological cooperation between the United States, Great Britain, and Australia. “The big disruption these days is technology, and the Chinese are advancing their own technologies as well. So, we’ve got to get ahead of them… and we have to do so with allies and partners, so tech sharing is critically important. There’s no reason why we shouldn’t be able to share amongst our closest allies like the Brits and the Australians.”
On the subject of the Russia-Ukraine war, Esper noted that the conflict is a strategic failure for Putin and that all the things Putin did not want — more NATO troops on his border, for Ukraine to become more closely aligned with the West, a more unified NATO, and more NATO members — became true. What was most surprising to Esper was “the lack of competence [of the Russian military] at every single level.” Ultimately, however, the war is “a contest of wills,” and Putin “may redefine victory… he cannot afford to lose.” Esper said that he sees the conflict dragging on at least through the end of the year.
Delving deeper into where the U.S. is positioning its forces, Esper said, “I would not necessarily put more troops in Europe; I would just move them further east.” He noted this was the plan he approved and directed in October 2020, as he writes about in his memoir, “A Sacred Oath.” “But we need to retain that focus on Asia because China is still our most lethal, dangerous, strategic adversary… we’ve got to be cognizant of the long-term strategic threat and to me, it’s coming from Asia, not from Russia.”
Photo credit: Paul Morigi
I tried the best I could to find this exact plane and had no luck..
And on another note, stupid me forgot to set the ISO back to 100 and then I though, "Ohh damn, it's going to be noisy." So I did the best I could to reduce it in LR and this is what I got.. Not happy with it though.
The Tring Tiles, housed within the British Museum, are a collection of rare medieval English floor tiles originating from the town of Tring in Hertfordshire. Dating back to the 13th century, these tiles feature intricate designs and patterns, showcasing the skilled craftsmanship of the era. Their motifs include animals, foliage, and geometric patterns, reflecting the religious and cultural influences of the time. The Tring Tiles provide invaluable insights into medieval art, architecture, and daily life, serving as tangible reminders of England's rich cultural heritage. Their preservation and display in the British Museum offer visitors a glimpse into the artistic achievements of medieval England.
Jacopo Bassano (c. 1510/12-1592), actif dans Bassano
Adoration des Mages, vers 1555-1560
Jacopo Bassano apporte avec ses scènes rurales et leur réalisme tangible un nouveau ton dans la peinture vénitienne. Dans le même temps, il s'avère dans ses meilleures œuvres, auxquelles fait partie cette Adoration des Mages, comme représentant du maniérisme complètement à la hauteur de son temps. Pleine de contrastes de couleurs les plus audacieux et de recherches de forme raffinée, des détails réalistes et de motifs abstraits soudainement sont juxtaposés.
Jacopo Bassano (um 1510/12-1592), tätig in Bassano
Anbetung der Könige, um 1555-1560
Jacopo Bassano bringt mit seinen länglichen Szenen und ihrem handfesten Realismus einen neuen Ton in die venezianische Malerei. Gleichzeitig erweist er sich in seinen besten Werken, zu denen diese Anbetung der Könige gehört, als ein völlig auf der Höhe der Zeit stehender Vertreter des Manierismus. Voll von kühnsten Farbkontrasten und raffinierten Formerfindungen, stehen realistische Details und abstrakte Motive unvermittelt nebeneinander.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Tangible Engine is a new visualizer, configurator, and software development kit that allows developers to easily connect real-world objects to applications running on Ideum multitouch tables. Tangible Engine also comes with a starter kit of object markers and instructions for 3D printing them. Tangible Engine works with Ideum multitouch tables that use 3M touch technology, including the 55" and 65" Platform and Pro.
To learn more please visit the website.
¨Think well to the end,consider the end first¨
Leonardo da Vinci
Quantum flux of macrocosm and microcosm,where tangibility is the wholesome of intangibility.
THE CIRCLE AND THE SQUARE
Location: Leonardo museum, Firenzee
TeleAbsence is the title of the Ars Electronica Garden Cambridge / MIT Media Lab hosted by Tangible Media Group / Massachusetts Institute of Technology (MIT) Media Lab (US).
The Portuguese term saudade refers to a nostalgic longing for someone or something one cares for. We propose TeleAbsence as a counter concept to Telepresence. If Telepresence connects people who are separated but still reachable, the ultimate goal of TeleAbsence’s is to soothe saudade by providing the illusory experience of communicating and interacting with people who are no longer among us.
Photo: MIT Media Lab Tangible Media Group
My submission for the Tangible Project www.flickr.com/groups/thetangibleproject/
It was supposed to be for September, so i guess i'm quite late.
Water, or rather the lack of it. PX100 First Flush left to dry for some weeks.
150 years ago, the Blessed Virgin Mary first appeared to St Bernadette Soubirous in a cleft of the rock of Massabielle. Above that rock, a great church (actually now two basilicas) was built and millions of faithful flock to the shrine.
Her presence is still tangible, here, in this most sacred place where heaven and earth embraced.
Andy works on 3D printing clips to allow different sized wine glasses to fit into conductive bases. This is just one piece of Ideum's work in surface tangibles, in which physical objects placed on one of our multitouch tables can trigger content specific to that object.
To learn more about Ideum's Creative Services projects, visit our website.
His Holiness Shri Ashutosh Maharaj Ji is a visionary saint, whose motto is to establish World Peace by uniting all the inhabitants of the world into one ‘Global Family’ practising Universal brotherhood & human values. His Holiness’s approach transcends the utmost differences of caste, creed, race, class, gender, faith & nationality. Inspired by His Holiness’s appeal, millions of people revere Him as their Spiritual Guru, and experience inner peace, Bliss and harmony.
Divya Jyoti Jagrati Sansthan Founded and headed by Shri Ashutosh Maharaj Ji is a global network, a mission committed to establishing peace in human mind & actions. Ultimately translating the concept of World Peace into a tangible reality and creating universal culture of peace
Vision:
“From Self Awakening to Global Peace.”
Mission:
“To usher into a world wherein every individual becomes an embodiment of truth, fraternity, and justice through the eternal science of self-realization – ‘Brahm Gyan’, uprooting in its wake all social evils and threat.”
Website : djjs.org
High Touch Visuals
Editors: R. Klanten, S. Ehmann, M. Huebner
Language: English
Release: January 2009
Price: € 44,00 / $ 65,00 / £ 40,00
Format: 24 x 28 cm
Features: 208 pages, full colour, hardcover
ISBN: 978-3-89955-232-4
Manifesting creative visions into material objects and spaces is one of the most prominent developments in contemporary design today. Tangible documents how designers are using the stylistic means of graphic design to implement their ideas spatially to create three-dimensional designs, objects and orchestrated spaces. The examples in this book show the unprecedented use of materials and innovative ideas – graphics morph into spatial sculptures, the intangible is made visual through handmade craftsmanship, physical experiences, visual environments and staged spatial installations such as art installations, interiors and architecture as well as urban interventions. Tangible continues the exploration of its trailblazing predecessor Tactile.
Minolta X700 // MC Rokkor 58mm f1.4 // expired fuji YKL 100 24
Assumption Park, Windsor, ON
The City of Windsor's Cultural Affairs Department has just released an interactive map of Windsor's “tangible” cultural resources, a commendable effort to promote a city that truly does have a thriving creative scene in my anecdotal, humble opinion. You can plot a route through the bricks and mortar, the acrylic and watercolour, the ink and coffee beans of Windsor's culture. The things you can stand back and look at and discuss, but not touch. The stuff you can touch and take a picture of your kids riding (think metal elephants). The things you can ingest, or listen to while yelling at your friend over a beer. The different search options of the map, its interactive “living” nature, and the ability to communicate it (by printing it off) to others really is a fantastic concept, and I look forward to see how it evolves.
I think there is some recognition that tangible cannot be separated from intangible, especially when we are discussing culture. It is commendable than that the same department has another initiative, called the “intangible resources,” or “community stories,” of Windsor's culture. Gathering together all the submitted stories they have created a top ten list of the most common narrative themes that come together to make Windsor what it is. The following is the list, and they (and the map) are accessible on the Cultural Affairs Department website:
1. Hiram Walker 2. Underground Railroad 3. Automotive Industry 4. Cultural Diversity 5. Live Music 6. Natural Heritage 7. Performing Arts 8. Border City 9. Settlement and Diversity 10. War of 1812
Each presents some photos and a written narrative of the intangible resource and its relation to Windsor.
Each of these can be tied to a “tangible resource.” You can take a tour and even get married at Hiram Walker. Cultural centres and the North American Black Historical museum in Amherstburg can enlighten you about the Underground Railroad, and how that history has shaped who we are. You can literally sit in the ongoing history of the automotive industry in Windsor and drive around the neighbourhoods that have been tied to the highs and lows of the Big 3. These bricks and mortar would not have achieved the level of importance they have without the wealth of community stories and experiences that have been written and told within and without those spaces. There was a story before the foundation was laid; there was a story of the first day and the trials and tribulations of the formative years; there was a story of every person who walked into that space, or who created a work to hang on its walls, or who learned a song to dance to or perform, or … Well you get the idea.
Those are the stories I am interested in. I appreciate the 250 to 300 words, 4 high resolution photos, and captions for the photos that are involved in submitting to the Cultural Affairs Department. However, this process is just one aspect of the story. There are so, so many stories out there that have not been mashed together to create a general history of the building or the phenomenon. There are the individual stories that really become personal to us, the audience, the members of the community. Maybe it was the owner who, nerves frayed on opening night, had one glass of wine too many and … Or, hands full of used books, you collided with the person who would become everything to you, and … It could have been that story, that poem, that changed your perspective of Windsor – Essex, the filter through which you see the city. Maybe it was stepping on the same tile that your great-grandmother crossed over on her way to …
It is daunting. These stories really are infinite in a loose sense of the word. To collect these stories would be impossible. My interest, however, is in hearing them. Having them touch us for a time, and let them pass on as we hear more stories that will give us a richer relationship with the place we live in. My invitation is for people to share them with me, under the Essex Masque, so that they can be shared with others. Your stories are important, and make for a stronger and healthier community. Contact me via email if you are interested in sharing and we can figure out how you want to tell it. “Like” the page on Facebook, follow on Twitter, and visit at the blog for updates, and hopefully share in the narrative that is Windsor – Essex.
Twitter: @EssexMasque
Also, here is the link to the Cultural Affairs Department for the tangibles and intangibles:
Something or nothing?
There are only two alternatives, something or nothing. Existence or non-existence?
Existence is a fact!
We know something exists (the physical universe),
but why?
Two questions arise …why is there something rather than nothing?
And where did everything that exists come from?
Obviously, something cannot arise from nothing, no sane person would entertain such an impossible prospect. However, an incredible fantasy that the universe actually created itself from nothing, has been proposed by some, high profile atheists, and presented to the public as though it is science. A sort of ‘theory of everything’ that purports to eliminate a creator.
“Because there is a law, such as gravity, the universe can and will create itself from nothing”
Professor Stephen Hawking.
It is not intelligent, sensible or scientific to believe that everything created itself from absolutely nothing.
In a state of infinite and eternal nothingness, nothing exists and nothing happens - EVER.
Nothing means ‘nothing’. Nothing tangible, no physical laws, no information, not even abstract things, like mathematics. If nothing exists there can be no numbers or anything based on numbers.
Furthermore, you don’t need to be a genius, or a scientist, to understand that something CANNOT create itself.
Put simply, it is self-evident that - to create itself, something would have to pre-exist its own creation to carry out the act of creating. And, if it already exists, it doesn’t need to create itself.
And, if anything at all already exists, i.e. in this case ‘gravity’, (which is simply an inherent property of matter), it cannot be called 'nothing'.
Moreover, ‘gravity’ cannot be a creative agent, it is merely an inherent property of matter – it is obvious that a property of something cannot create that which it is a property of. Thus, we are obliged to conclude that nonsense remains nonsense, even when presented by high profile scientists.
“Fallacies remain fallacies, even when they become fashionable.” GK Chesterton.
Such incredible, nonsensical propositions are just vain attempts to undermine the well, established, law of cause and effect, which is fatal to atheist ideology.
Religion?
Once we admit the obvious fact that the universe cannot arise of its own accord from nothing (nothing will remain nothing forever), the only alternative is that ‘something’ has always existed – an infinite ‘something’. For anything to happen, such as the origin of the universe, the infinite something, cannot just exist in a state of eternal, passive inactivity, it must be capable of positive activity.
If we examine the characteristics, powers, qualities and attributes which exist now, we must conclude that the ‘something’, that has always existed, must have amazing (godlike) powers to be able to produce all the wonderful qualities we see in the universe, including: information, natural laws, life, intelligence, consciousness, etc.
This means we need to believe in some sort of ‘godlike entity’. The only remaining question is - which god? Is it a creator or simply nature or natural forces? Seeking an answer to that question is the essential role of religion, which is based on reason, rather than blind faith.
Why God MUST exist ...
There are only two states of being (existence) – temporal and infinite. That. which has a beginning, is ‘temporal’. That which has no beginning is ‘infinite’.
Everything that exists must be one or the other.
The temporal (unlike the infinite) is not autonomous or non-contingent, it, essentially, relies on something else for its beginning (its cause) and its continued existence.
The universe and all natural things are temporal. Hence, they ALL require a cause or causes.
They could NOT exist without a cause to bring them into being. This is a FACT accepted by science, and enshrined in the Law of Cause and Effect.
The Law of Cause and Effect tells us that every, natural effect requires a cause. And that - an effect cannot be greater than its cause/s.
This is a fundamental principle, essential to the scientific method.
No temporal effect can be greater than (superior to) the sum-total of its cause or causes
It is obvious that - something cannot give what it doesn’t possess.
A temporal entity can be a subsidiary cause of another temporal entity, but cannot be the initial (first) cause of the entire, temporal realm - which includes ALL natural effects and entities.
Entropy
The initial (first) cause of the temporal realm had to be something non-temporal (uncaused), i.e. something infinite.
The word ‘temporal’ is derived from tempus, Latin for time. - All temporal things are subject to time - and, as well as having a beginning in time, natural things can also expect to naturally degenerate, with the passage of time, towards a decline in function, order and existence. The material universe is slowly in decline and dying.
The natural realm is not just temporal, but also temporary (finite). Science acknowledges this with the Second Law of Thermodynamics (law of entropy).
As all natural things are temporal, we know that the initial (first), infinite cause of everything temporal cannot be a natural agent or entity.
The infinite, first cause of everything natural can also be regarded as ‘supernatural’, in the sense that it is not subject to natural laws that are intrinsic only to natural things, which it caused.
This fact is verified by science, in the First Law of Thermodynamics, which tells us that there is no ‘natural’ means by which matter/energy can be created.
However, as the first cause existed before the natural realm (which is subject to natural laws, without exception), the issue of the first cause being exempt from natural laws (supernatural) is not something extraordinary or magical. It is the original and normal default state of that infinite something which caused/created the natural realm.
If the material universe was infinite, we wouldn’t have entropy. Entropy is a characteristic only of natural entities.
The infinite cannot be subject to entropy, it does not deteriorate, it remains the same forever.
Entropy can apply only to temporal, natural entities.
Therefore, we know that the material universe, as a temporal entity, had to have a beginning and will have an end.
That which existed before the universe, as an original cause of everything material, had to be infinite, because you cannot have an infinite chain of temporal (material) events. The temporal can only exist if it is sustained by the infinite.
As all natural entities are temporal, the (infinite) first cause could not possibly be a natural entity.
So, the Second Law of Thermodynamics supports and confirms the only logical conclusion we can reach from the Law of Cause and Effect, that a natural, first cause is impossible, according to science.
This is fatal to the atheist ideology of naturalism because it means there is no alternative to an infinite, supernatural, first cause (a Creator God).
Can there be multiple infinite, first causes?
It is evident that there can be only one ‘infinite’ entity. If, for example, there are two infinite entities, neither could have its own, unique properties.
Why?
Because, unless they possessed identical properties, neither would be infinite. However, if they both possessed the very same properties, there would be no distinction between them, they would be identical and thus a single entity.
To put it another way …
God, as an infinite being, can only be a single entity, if He was not, and there was another infinite being, the properties which were pertinent to the other infinite being would be a limitation on His infinite character, and vice versa. So, neither entity would be infinite.
Creation - an act of will?
For an infinite cause to produce a temporal effect, such as the universe, an active character and an act of will must be involved. If the first cause was just a blind, mechanistic, natural thing, the universe would just be a continuation of the infinite nature of the first cause, not temporal (subject to time). For example, if the nature of water in infinite time was to be frozen, it would continue its frozen nature infinitely. There must be an active agent involved.
Time applies to the temporal, not the infinite. The infinite is omnipresent, it always was, it always is, and it always will be. It is the “Alpha and the Omega” as the Bible explains.
Jesus referred to Himself as “I am” which means He was claiming to be the infinite creator.
Therefore, what we know about the characteristics of this supernatural entity, are as follows:
The single, supernatural entity:
1. Has always existed, has no cause, and is not subject to time. (is infinite, eternally self-existent, autonomous and non-contingent).
2. Is the first, original and deliberate cause of everything temporal (including the universe and every natural entity and effect).
3. Cannot be, in any way, inferior to any temporal or natural thing that exists.
In simple terms, this means that the single, infinite, supernatural, first cause of everything that exists in the temporal realm, has the capability of creating everything that exists, and cannot be inferior in any powers and attributes to anything that exists. This is the entity we recognise as the creator God.
The Bible tells us that we were made in the image of this God. This is logical because it is obvious, we cannot be superior to this God (an effect cannot be greater than its cause).
So, all our qualities and attributes must be possessed by the God in whose image we were made.
All our attributes come from the creator, or supernatural, first cause.
Remember, the logic that something cannot give what it doesn’t possess.
We have life. Thus, our creator must be alive.
We are intelligent. Thus, our creator must be intelligent.
We are conscious. Thus, our creator must be conscious.
We can love. Thus, our creator must love.
We understand justice. Thus, our creator must be just, etc. etc.
Therefore, we can logically discern the character and attributes of the creator from what is seen in His creation.
This FACT - that an effect cannot be greater than its cause/s, is recognised as a basic principle of science, and is it crucial to understanding the nature and attributes of the first cause.
It means nothing in the universe that exists, resulting from the action of the first cause, can be in anyway superior to the first cause. We must conclude that, at least, some attributes of the first cause can be seen in the universe.
Atheists frequently ask how can we possibly know what God is like?
The Bible (which is inspired by God) tells us many things about the character of God, but regardless of scripture, the universe itself gives us evidence of God’s nature.
For example: can the properties of human beings, in any way, be superior to the first cause?
To suggest they are, would be to violate the scientific principle that an effect cannot be greater than its cause.
All the powers, properties, qualities and attributes we observe in the universe, including all human qualities, must be also evident in the first cause.
If there is life in the universe, the first cause must have life.
If there is intelligence in the universe the first cause must have intelligence.
The same applies to consciousness, skill, design, purpose, justice, love, beauty, forgiveness, mercy etc.
Therefore, we must conclude that the eternally, self-existent, non-natural (supernatural), first cause, has life, is conscious, has intelligence and created the temporal as an act of will.
We know, from the law of cause and effect, that the first cause cannot possibly be any of the natural processes frequently proposed by atheists, such as: the so-called, big bang explosion, singularity or quantum mechanics.
They are all temporal, moreover, it is obvious that none of them are adequate to produce the effect. They are all grossly inferior to the result.
To sum up:
Using impeccable logic and reason, supported by our understanding of established, natural, physical laws (which apply to everything of a natural, temporal nature) acknowledged by science, humans have been able to discover the existence of a single, infinite, supernatural, living, intelligent, loving and just creator God.
God discovered, not invented!
Contrary to the narrative perpetuated by atheists, a personal, creator God is not a “human invention”, and He is certainly not a backward substitute for reason or science, but rather, He is an enlightened, human discovery, based on unimpeachable logic, reason, rationality, natural laws and scientific understanding.
The real character of atheism.
Is belief in God just superstitious, backward thinking, suitable only for the uneducated or scientific illiterates, as atheists would have us believe?
The widely acknowledged, best brain in modern atheism proposed the following (quoted earlier), which it was claimed by some, made belief in God redundant:
"Because there is a law, such as gravity, the universe can and will create itself from nothing"
This is the essence of Professor Stephen Hawking's so-called, 'theory of everything' summed up in a single sentence.
It doesn’t take a genius to understand it is atheism, not monotheism, which is a throwback to a former unenlightened period in human history. A period when Mother Nature or other natural or material, temporal entities were regarded as having autonomous, godlike, creative powers.
The discredited concept of worshipping nature itself (naturalism) or various material things (Sun, Moon, idols etc.) as some sort of autonomous, non-contingent, creative, or self-creative agents, used to be called paganism. Now it has been re-invented as 21st century, atheism...
"The universe can and will create itself from nothing"- Professor Stephen Hawking.
“It is absurd for the Evolutionist to complain that it is unthinkable for an admittedly unthinkable God to make everything out of nothing, and then pretend that it is more thinkable that nothing should turn itself into everything.” - G.K. Chesterton.
God’s power.
Everything that exists is dependent on the original and ultimate cause (God) for its origin, continued existence and operation.
This means God affords everything all the power it needs to function. Everything operates only with God’s power. We couldn’t even lift a little finger, if the power to do so was not permitted by God.
What caused God?
Ever since the 18th century, atheist philosophers such as David Hume and Bertrand Russell have attempted to debunk the logical evidence for a creator God, as the infinite, first cause and creator of the universe.
The basic premise of their argument is that a long chain of causes and effects, going back in time, did not necessarily require a beginning (no first cause, but rather an infinite regress), and that, if every effect requires an adequate cause (as the Law of Cause and Effect states), then God (a first cause) could no more exist without a cause, than anything else.
This latter point is summed up in the what many atheists deem to be the killer question: “What caused God then?”
This question wasn’t sensible in the 18th century, and is not sensible today, but incredibly, atheists still think it is a valid argument and continue to regularly use it.
As explained previously, the Law of Cause and Effect applies to all temporal entities.
Temporal entities have a beginning, and therefore need a cause. They are all contingent or dependent on a cause or causes without exception.
It is obvious to any sensible person that the first cause, because it is FIRST, had nothing preceding it.
First means first, it doesn’t mean second or third. If we could go back far enough with a chain of causes and effects, however long the chain, at some stage we must reach an ultimate beginning, i.e. the cause which is first, having no previous cause. This first cause must have always existed, it is essentially self-existent from an infinite past - and for an infinite future. It must be completely autonomous and non-contingent, not relying on any cause or anything else for its existence. Not temporal, but infinite.
So, the answer to the question is that - God was not caused.
He is the eternally, self-existent, ultimate, non-contingent, supernatural, first. infinite cause of everything temporal.
As explained earlier, the first cause could not be a natural entity, it had to be supernatural, as all natural entities are temporal and contingent (they all require causes).
What about the infinite regress argument?
This is an atheist argument against the need for a first cause. Their proposition is that; a long chain of causes and effects, going back in time, did not necessarily require a beginning. This proposition is nonsensical.
Why?
It is evident that you cannot have a chain of temporal effects going backwards in time, forever. It is the inherent nature of all temporal things to have a beginning. Likewise, for a long chain of temporal causes and effects, there must be a beginning at some point in time. Contingent things do not become non-contingent, simply by being in a long chain.
Temporal + temporal can never equal infinite.
In addition, the Second Law of Thermodynamics tells us that everything physical is subject to entropy.
It is an absurd notion that there could be an indefinitely, long chain (with no beginning) in which, although every link in the chain is subject to entropy, the complete chain is not, having been able to exist for an infinite past. Incredibly, what these atheists propose is that; a chain consisting entirely of temporal elements, all of which individually require a beginning and depend on causes, and are subject to entropy, as a whole, can be infinitely long, with no beginning. And by some miracle would be unaffected by law of entropy (throughout an infinite past) which would have caused its demise.
What about the fact that infinite regress is acceptable in maths?
Maths is a type of information - and information, like truth, is not purely physical.
It can require physical media to make it tangible, but while the physical media is always subject to entropy, information is not. 1+1 = 2 will always be true, it is unaffected by time, or even whether there are any humans left to do mathematical calculations.
Jesus said; Heaven and Earth may pass away, but my words will go on forever. Jesus is pointing out that truth and information are unaffected by entropy.
For example: historical truths, such as the fact that Henry VIII had six wives, will always be true. Time cannot erode or change that truth. Even if all human records of this truth were destroyed, it would never cease to be true.
As the Christian, apologist Peter Keeft has made clear, maths is entirely dependent on a positive integer, i.e. the number one. Without this positive integer, no maths is possible.
The concept of number 1 also exists as a characteristic of the one, infinite, first cause. - God is one. - God embodies that positive integer (number one/first cause), essential for the operation of maths. Without the number one, there could be no number two or three, etc. etc. There could be no positive numbers, no negative numbers and no fractions.
The fact that an infinite ‘first’ cause exists, means that number one is bound to exist. In a state of eternal and infinite nothingness, there would be no information and no numbers and nothing would be ‘first’. So, like everything else, maths is made possible only by the existence of the one, infinite, first cause (God).
As Peter Keeft puts it ...
“it is often asked why there can’t be infinite regress, with no first being. Infinite regress is perfectly acceptable in mathematics: negative numbers go on to infinity just as positive numbers do. So why can’t time be like the number series, with no highest number either negatively (no first in the past) or positively (no last in the future)? The answer is that real beings are not like numbers: they need causes, for the chain of real beings moves in one direction only, from past to future, and the future is caused by the past. Positive numbers are not caused by negative numbers. There is, in fact, a parallel in the number series for a first cause: the number one. If there were no first positive integer, no unit one, there could be no subsequent addition of units. Two is two ones, three is three ones, and soon. If there were no first, there could be no second or third.”
Consider this simple chain of causes and effects:
A causes B
B causes C
C causes D
D causes E
‘A, B, C & D’ are all causes and may all look similar, but they are not, there is an enormous and crucial difference between them.
Causes B, C & D are fundamentally different from cause A.
Why? Because A is the very first cause and thus had no previous cause. It exists without a cause. It doesn’t rely on anything else for its existence, it is completely independent of causes - while B, C & D would not exist without A. They are entirely dependent on A.
Causes; B, C & D are also effects, whereas A is not an effect, only a cause.
So, we can say that the first cause ‘A’ is both self-existent and necessary. It is necessary because the rest of the chain of causes and effects could not exist without it.
We also must say that the subsequent causes and effects B, C, D and E are all contingent. That is; they are not self-existent, they all depend entirely on other causes to exist. We can also say that A is eternally self-existent, i.e. it has always existed, it had no beginning.
Why? Because if A came into being at some point, there must have been something other than itself that brought it into being … which would mean A was not the first cause (A could not create A) … the something that brought A into being would be the first cause. In which case, A would be contingent and no different from B, C, D & E. We can also say that A is adequate to produce all the properties of B, C, D & E.
Why? Well, in the case of E, we can see that it relies entirely on D for its existence. E can in no way be superior to D, because D had to contain within itself everything necessary to produce E.
The same applies to D, it cannot be superior to C. Furthermore, neither E or D can be superior to C, because both rely on C for their existence, and C had to contain everything necessary to produce D & E.
Likewise, with B, which is wholly responsible for the existence of C, D & E.
As they all depend on A for their existence and all their properties, abilities and potentials, none can be superior to A, whether singly or combined. A had to contain everything necessary to produce B, C, D & E including all their properties, abilities and potentials.
Thus, we deduce that; nothing in the universe can be superior in any way to the very first cause of the universe, because the whole universe, and all material things that exist, depend entirely on the abilities and properties of the first cause to produce them.
Conclusion …
A first cause must be uncaused, must have always existed, and cannot be in any way inferior to all subsequent causes and effects. In other words, the first cause of the universe must be eternally, self-existent and omnipotent (greater than everything that exists). No natural entity can have those attributes, that is why a Supernatural, Creator God MUST exist.
______________________________________________
FOUNDATIONS OF SCIENCE
The Law of Cause and Effect. Dominant Principle of Classical Physics. David L. Bergman and Glen C. Collins
www.thewarfareismental.net/b/wp-content/uploads/2011/02/b...
"The Big Bang's Failed Predictions and Failures to Predict: (Updated Aug 3, 2017.) As documented below, trust in the big bang's predictive ability has been misplaced when compared to the actual astronomical observations that were made, in large part, in hopes of affirming the theory."
The Story
Edsel Ford's 1934 Model 40 Special Speedster
Part of the permanent collection of Edsel & Eleanor Ford House in Grosse Pointe Shores, Michigan, the 1934 Model 40 Special Speedster is an example of the elegance and artistry of Edsel Ford's impact on design and the style revolution of the 1930s.
Its rich history began in 1932 after Edsel returned from a trip to Europe. He asked Ford's chief designer, E.T. "Bob" Gregorie to design and supervise the construction of a personal sports car similar to those he'd see "on the continent."
The first design reportedly disappointed Edsel because it wasn't lower and racier. But Gregorie, who was adept at turning Edsel's visions into tangible designs, went to work on a more dramatic, streamlined design. This "continental" roadster may have started with a stock 1934 Ford (aka Model 40) frame, but its subsequent chassis was radically altered. The Model 40 Special Speedster was unlike anything Ford Motor Company had built up to that time.
At 113 inches, the Speedster's wheelbase is approximately the same as the standard 112-inch wheelbase of a 1934 Ford roadster. Yet, it appears longer and lower. This illusion was achieved by modifying and lowering the car's chassis, positioning the cockpit toward the rear of the car and extending the tail section.
Gregorie, Robbie Robinson, supervisor of the Lincoln plant, and Ford Aircraft Division personnel, fabricated a topless, taper-tailed aluminum body with cut-down door openings and mounted it over a custom welded tubular aluminum structural framework.
It was believed that the Speedster's fenders were modified Trimotor Aircraft "wheel pants," but Ford's aircraft fabricators undoubtedly fashioned them from scratch. The custom-designed front cycle wings were mounted so they turned with the car's Kelsey-Hayes wire wheels. The all-aluminum bodywork followed the best aircraft practice - light and very strong.
The Speedster was painted Pearl Essence Gunmetal Dark; the interior upholstered in complementary gray leather. The flat, engine-tuned instrument panel incorporated period Lincoln instruments. The 2,100-pound Speedster was powered by a stock 75-bhp, Ford Model 40 flathead, with straight exhausts that were enclosed by the bodywork with only the tips protruding.
The Speedster had low-mounted faired-in headlights; an enclosed radiator with a concealed cap, a starter button on the instrument panel; minimal chrome trim and no running boards - features that didn't appear on production Fords for years.
The Speedster's shapely hood had louvered side panels that subtly matched the angle of the radiator grille and the windscreen. A pair of narrow vee-ed grilles with a single row of louvers (vents) running the length of each side of the hood limited the flow of cooling air. The Speedster had a tendency to overheat.
Two period photographs of the car show two different louver treatments. One shows a single row of side louvers; the other features two rows of louvers, one atop the other. It's reasonable to suspect that because of overheating issues, the hood was modified between the times these photos were taken.
Reportedly, a winter freeze in 1939-40 cracked the engine block; a new 239-cid, 100-bhp 09A Mercury V-8 was installed. This would have been the most powerful version of the Ford flathead V-8 available at the time.
By 1939, Gregorie had designed wider twin grilles for the Lincoln-Zephyr, so it followed that he would take the same approach for the Speedster. He redesigned the Speedster's front end by shortening the upper grilles and fabricating a wide, horizontal grille for improved cooling. The new design, which required extensive modifications to the hood, was likely completed in 1940. The instrument panel may have been updated at the same time with a 160-mph racing type speedometer and matching Stewart-Warner accessory instruments.
"The Model 40 Special Speedster was only enjoyed by Edsel for a few short years before his death in 1943, but its journey was just beginning," said Ford House President Kathleen Mullins. "Ford House is proud to give life to Edsel's original vision for a unique, continental roadster."
The Model 40 Special Speedster has moved through almost eight decades of owners and modifications and has returned to its early design elegance. After Pebble Beach, its journey will continue, ultimately returning home . . . to Ford House.
[Text from www.fordhouse.org]
www.fordhouse.org/experience/edsel-fords-1934-special-spe...
The Special Speedster was one of the cars displayed as part of the 'Art Deco Cars' exhibit, shown in the North Carolina Museum of Art while I was in Raleigh. The car is quite stunning, and was a 'must' for a future build.
I like real, tangible, practical creature effects. I like knowing there's an actor in a rubber suit standing in front of scenery that has been designed and built or possibly hand-painted to create a matte effect. Most of all I love stop motion effects. And all the best were by Ray Harryhausen.
You can see the detail in each creature. The way the fur and hair moved because you know that's where it was held to make that minuscule movement that once pieces together would create a living beastie. But you forget that it's probably only ten inches tall and made out of latex and clay. Therein lies the magic.
CGI does help create fantastical worlds but it feels like it lacks certain artistry. It's like buying from Ikea instead of from a furniture maker who does everything by hand.
Think I might have to watch Clash of the Titans now.
Tangible Engine is a new visualizer, configurator, and software development kit that allows developers to easily connect real-world objects to applications running on Ideum multitouch tables. Tangible Engine also comes with a starter kit of object markers and instructions for 3D printing them. Tangible Engine works with Ideum multitouch tables that use 3M touch technology, including the 49" 55" and 65" Platform and Pro.
To learn more please visit the website.
Tangible representations of the internet:
1. Spam
2. Skype/communication
3. Music, Youtube
4. PORN!
5. Photography, Flickr
6. Socialising, Utata
7. Shopping
8. Researching, Wikipedia
9. Gambling/gaming
OK, so I'm halfway through my project on taking a photo of the internet. The theme throughout the 10 photos is going to be tangible items that look like the net.
These have all been shot with an 8mm fisheye lens giving the appearance (i hope) of a webcam view.
I've still got to convert all these onto medium format film, which will take some more time.
Work in progress....
GOVERNOR TOMBLIN WELCOMES ELK TO WEST VIRGINIA
Twenty elk released at Tomblin Wildlife Management Area
CHARLESTON, W.Va. (December 19, 2016) - Governor Earl Ray Tomblin today joined representatives from the West Virginia Division of Natural Resources, the Rocky Mountain Elk Foundation and The Conservation Fund to welcome elk from Kentucky to West Virginia. Today's welcoming ceremony, held at the Tomblin Wildlife Management Area, included the arrival of 20 elk to Southern West Virginia.
"Today, I was proud to join both state and federal partners to celebrate a historic conservation effort in the Mountain State," Gov. Tomblin said. "Today's reintroduction is the beginning of a wonderful success story, one that has received overwhelming support from sportsmen and women across West Virginia. I look forward to the increased recreational wildlife opportunities and the economic impact this project will have on our state now and for decades to come."
Elk were native to West Virginia more than 140 years ago. Legislation in 2015 authorized the Division of Natural Resources to begin an active elk restoration plan, starting with finding enough suitable land for the elk management area to sustain an elk population.
Through a partnership with The Conservation Fund, more than 32,000 acres of publicly accessible land has been acquired for wildlife management and wildlife recreation. The DNR also recently acquired an additional 10,000 acres under lease agreements. In total, the DNR now manages more than 42,000 acres of land within an 11-mile radius of the initial elk release site.
"The reintroduction of a once-native wildlife species to sustainable populations is part of the mission of the Division of Natural Resources, and all of our staff are proud to be part of this effort to bring elk back to our state," said DNR Director Bob Fala. "With many thanks to one key partner, The Conservation Fund, we have added the largest single land parcel in state history to provide for both our fledgling elk restoration program and for other wildlife as well. We also are deeply appreciative of all the support provided by the Rocky Mountain Elk Foundation, which has provided assistance from the beginning and continues to do so as this project will expand in coming years."
"The Rocky Mountain Elk Foundation applauds Gov. Tomblin, Director Fala and all who have a role in bringing back elk to the Mountain State. It's a tremendous payday for RMEF's volunteers and members in West Virginia and the surrounding area," said Blake Henning, RMEF chief conservation officer. "We are proud to be part of such a successful collaborative partnership that made this happen in a relatively short time but with great leadership shown by the folks in West Virginia state government."
The restoration of elk into West Virginia is a major conservation initiative, involving a number of partners, including: U.S. Forest Service, Land Between the Lakes National Recreation Area; U.S. Fish and Wildlife Service; The Conservation Fund; Rocky Mountain Elk Foundation; West Virginia Department of Agriculture; West Virginia Department of Environmental Protection - Division of Mining and Reclamation; Kentucky Department of Fish and Wildlife Resources; Virginia Department of Game and Inland Fisheries; National Fish and Wildlife Foundation - Walmart Acres for America Program; Knobloch Family Foundation; Richard King Mellon Foundation; Ecosystem Investment Partners; Ark Land Company; Alpha Natural Resources; Arch Coal; West Virginia State Chapter of the National Wild Turkey Federation; West Virginia Bowhunters Association; West Virginia Trophy Hunters Association; the Outdoor Heritage Conservation Fund; and numerous volunteers.
SUPPORTING QUOTES:
Joe Manchin, U.S. Senator, West Virginia
"As a lifelong sportsman I am thrilled to see elk successfully reintroduced into West Virginia. The reintroduction of elk will bring new economic opportunities to southern West Virginia by showcasing our wild and wonderful outdoor heritage. I wish to applaud all those involved with the successful reintroduction of elk into the Mountain State."
Shelley Moore Capito, U.S. Senator, West Virginia
"It has been over 100 years since wild elk freely roamed our state, and I am thrilled the Division of Natural Resources is reintroducing this species to a place they previously called home. I was a strong advocate for this project, signing a letter of support that enabled funding to bring this idea to fruition. This is exciting news for our state, and I hope all West Virginians will have the opportunity to see and appreciate these magnificent animals."
Evan Jenkins, U.S. Representative, West Virginia's 3rd District
"Thanks to public and private efforts to protect elk habitat, we are now able to successfully reintroduce elk to West Virginia. Wild elk have not lived in West Virginia since 1865, but decades of work have paid off as these majestic creatures make their home again in our great state. I congratulate everyone involved in making this ambitious project a reality."
Joe Hankins, West Virginia Director, The Conservation Fund
The Conservation Fund is helping the State conserve 32,396 acres of working forestland in southern West Virginia-the largest single conservation acquisition in State history-to create a large, protected block of prime habitat for elk restoration.
"The Conservation Fund is proud to partner with the West Virginia Division of Natural Resources in establishing a vast protected landscape of sustainably managed land for the new elk population. This historic effort is creating new opportunities on land that once supported the state through it resources, and it is redefining conservation in West Virginia to provide multiple tangible economic and environmental benefits to local communities. We thank Governor Tomblin for his leadership, the DNR for seeing this vision through, and U.S. Senators Manchin and Capito and U.S. Representative Jenkins for their continued support of this project and important conservation programs like the Pittman-Robertson Wildlife Restoration Program."
Jeff Trandahl, Executive Director and CEO, National Fish and Wildlife Foundation
A grant from the Acres for America program, established by Walmart and the National Fish and Wildlife Foundation, supported the transfer of 10,922 acres from The Conservation Fund to the WV DNR in 2016.
"The return of any species to its native range is a reason for celebration. Bringing such a magnificent species as the elk back to the hills of West Virginia is one of the most significant reintroductions in recent years. The National Fish and Wildlife Foundation applauds the work of the State of West Virginia and we are proud to help support this effort."
John Clark, Vice President of Store Planning, Walmart
"Walmart is proud to support the longstanding efforts to bring elk back to West Virginia today. We know they will both thrive and help to inspire future generations of West Virginians to take care of and appreciate the state's incredible wildlife and natural resources."
Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”
What follows is nothing more than some ramblings from a less than articulate mind. Don't feel that you have to read it. It was inspired by a couple of recent posts from two of my favorite contacts and was meant for yesterday, but yesterday was far too turbulent.
Twelve years ago, the light that I had found comfort and strength in and that had nurtured me for 26 years; was quietly and peacefully extinguished….or so I thought. There was an enormous amount of weight associated with that realization. Tangible weight, like a physical presence, making it difficult to reason and seemingly, even breathe. Of course those feelings are associated with the grieving process, but were so intensified then. I couldn’t imagine life without the light; I mean what would be the point of trying to?
I found that very early in this experience that I had assumed the role of consoler. Everyone meant well, but as we find at times like this, they didn’t know what to do or say. Comforting others has the effect of providing a level of functionality and helps start the healing process. Still, I banged around in the dark for quite a few weeks. Work and volunteer commitments kept me occupied.
Then something amazing happened; when I least expected it, I saw a glimmer of light. I was overwhelmed and surprised. Here was a bit of the spark that I had so wanted to regain. I began to look for it everywhere, but it remained elusive. It teased and taunted me, tapped me on the shoulder, pinched my ear and even flirted with me. I know, it really didn’t do all of that, but it made itself known in other ways. I saw it in the face of the checkers when I bought my meager groceries; no longer was I receiving “that” look. I saw it in the face of a young Leukemia patient at the finish line of a 100 mile ride that friends and I did in her honor. I told a very close friend that I’d never marry again; I saw it in her smile when she responded “that’s ridiculous, of course you will. You love being married.” I felt it in my former mother-in-laws hug when I told her that I had started to date. My sister (an amazing source of strength and support) even mentioned that my eyes were beginning to shine again.
I found that I had been given the gift of a new start. Two years later a new light was lit as Jeanne (remember the very close friend from above?) and I exchanged vows. Now with two beautiful little girls (and one annoying yet adorable dog) it sustains me through the trials of life.
The old light; it’s still there. It keeps the memory of the person that I was from fading away. After all, that was part of the journey that brought me here. I still see it from time to time. It will make itself visible in the light on a child’s face from her birthday candles. I’ll see it in the subdued splendor of a Christmas tree. And on occasion, it will come out to simply dance on the water….
I wish you all peace and light.
D
Why? Lifting the veil: wakey wake key ~
It’s time to awaken from the larval dream. It’s time to emerge from the chrysalis and metamorphose. It’s time to step out of the plastic straitjacket and remove the blindfold tightly tied around body and mind by insecure family, indoctrinating schooling and insincere relationships. It’s time to decide who you really are, what you’re truly here for - and why.
It’s time to ask, “what’s ‘work’, what’s a ‘job’, what’s freedom, and what in hell is everyone doing – and why?” It’s time to stop making non-existent illusory money and garnering disinterested social approval by giving your time and energy to speed the destruction of Planet Earth’s biosphere – time to live a real life in a real living world instead of running a rat race through a pseudo civilisation of loathsome architect-designed concrete toilets in a pointless maze of toxic termite towers.
Yes, yes, you’ve heard it all before and you already know what’s going on. You don’t need to be told. You know what you need to do. You already know how you really could be living, thanks very much. You’ll get around to it in your own sweet time, when you’ve paid off your debts, when your family’s grown up, when you get some free time to pause and change tack, when you retire, when you win the lottery. When you’re good and ready.
Sure, buddy. Sure sis. You’ll get around to doing the right thing when you’re dead – in your next incarnation on a planet you’ve helped to thoroughly degrade and ruin – when you’re reborn in Bangladesh or Mongolia or sub-Saharan Africa, instead of in a better, blessed place where you can actually be free and make a difference, like here and now.
It’s time to find ways to share what remains of our beautiful planet with honour and without guilt. It’s time to decide whether to live a life of truth and beauty or die for a lie you know to be false. You’ve already chosen; your actions and ‘lifestyle’ are your choice, and the time has come to reassess your decisions and remake your destiny.
It’s time to realise why you’ve given yourself such an incredibly rare and privileged life that you actually have the space, mentality and leisure time to sit back and read this little diatribe. Now is the time and you are the person on the spot. You’re the one we need to save the world - now, at this critical juncture betwixt future and past. Living for life or dying for death? Choose. Now.
The system is set up to make you think you’re either on the high road to material success or sliding down a slippery slope to a loser’s failure; yet it’s designed to ensure you fail in the end. ‘Society’ is set up to ensure anything you build or create is taken from you, bit by bit, clod by clod, and stolen from any you choose to bequeath it to. Putrescent obsolescence is built into everything you’re sold and all that you’re told.
In modern all-consuming societies you’re taxed more highly than any ancient feudal serf, and even when you buy something outright you’ve just begun paying for it with the only thing you can ever really own - your time. The time of your life is taxed and stolen by those you vote for on behalf of remote controllers who think they ‘own’ the world. There are plenty of alternatives to their manipulated systems, but they’re all carefully concealed from you.
Most humans base their entire lives – plans, hopes, fears, dreams and strategies - on outdated assumptions programmed into them by brainwashed timeservers. They smother their kids in regimental uniforms and don’t care enough to notice how playtime becomes muted, how minds are restrained and freedom retrained into uniform mindlessness. They follow in the footsteps of torpid dolts and wonder why a regimented life is boringly doleful. Trained to subservience by millennia of feuding feudalists, humankind can only approach absolute truths (and long term survival) by roundabout routes that invariably lead people further astray.
Schooling isn’t education. It’s a system where open minds are successfully closed and everything not forbidden is compulsory. ‘Modern’ schooling ensures that cheats always prosper and that bullies and liars always prevail in the ‘real’ outside world of business and finance. Today’s educational establishments are dopey money factories designed to extort obedient volunteer slaves. No intelligent independent minds are found in them; none can survive there.
Schools, colleges and universities are quagmires of brainwashing, cultural imperialism and mindless training for destructive jobs that will soon cease to exist – training yards designed to serve the momentary needs of industries owned and run by short sighted paranoid sociopaths. They’re the birthplace of hierarchy and corruption. You know it’s true. Any real learning achieved is incidental. Scores and scoring a cushy job where you can lord it over others are everything. Learning and knowledge are secondary, sacrificial goals.
The system is thoroughly rigged by and for the worst elements to make sure that only most egregious people rise to the top of the dung heap and prosper. Only the worst control freaks and insecure jerks with killer ‘instincts’ claw their way to the summit. You know it’s true. There’s no ‘survival of the fittest’ (or even of the most adaptable) involved. Societies aren’t interested in change and evolution, but in security, status and stasis. And sooner or later stasis always means extinction, not survival.
But you can be different. So can your children. Deny the unloving death of blind conformity and confirm a free loving life with every action. Be what you always wanted to be, ’ere it harm none. If you’re well intentioned and wise the multiverse will provide. Choose. Now.
People are bigger than their straightjackets. You have the power to remove any blindfold and widen your vision whenever you choose. You have the ability to concentrate, meditate, cogitate and liberate. Only you can do it. Only you can free yourself, heal yourself, grow and learn. No-one can do it for you and anyone who says they can is a liar you need to avoid. And you have to do these things or die blind, lonely and incomplete before your time.
You’re a psychic immortal who gets precisely what you created. Only when people develop the inner divining and dowsing facilities latently inherent in all conscious beings are they able to discern truth from lies –able to actually tell the truth. You can only be free when you drop all that cultural conditioning and learn to open your inner sight. You can only decide what’s what, what to do and why when you have genuine personal insight.
Welcome to the new Aeon, a time when dangerous old myths can finally be laid to rest and healthier new legends allowed to arise from the ashes of yesterday’s ignorance.
One easy way to learn the truth is to ask two simple questions; ‘Why?’, and ‘Who Profits?’ Keep these liberating queries in mind as you progress onward…
Here’s a handy list of dangerous myths we need to lay to rest (and drive stakes through the hearts of. Repeatedly).
‘What did you do to save the world, daddy/mummy?’
Lie #1: The planet will soak up any mess humans make.
It won’t - not in any timeframe recognisable by you. We’ll all be dead before the planet is repaired and reforested unless WE go out and clean up our messes, stop the destruction of living treasures, replant entire continents of forests and weed and nourish them for generations, starting yesterday. Most brain-deprived, depraved ‘leaders’ seem to think the planet merely needs to be repaved. Don’t fall for their bandaid ‘solutions’. Opt out of death-dealing ‘civilisation’ and help start fresh societies in the green living world beyond the walls.
1b: Trees are a renewable resource. Forests will grow back if we cut them down.
They won’t. They haven’t. When the soil has washed away, the seed stock is gone and rainfall has disappeared (because forests make most of our rain, and store most of our fresh water) you’ve killed all the most interesting, nourishing and beneficial plants and animals and inherit a desert of sand, clay and rocks. It takes centuries for trees to be large enough, with large enough hollows, to support viable animal populations – including humans. Forests without animals are scrubby denuded death zones bereft of nutrients.
Idiots are still cutting down trees for money when there are better, cleaner, cheaper and totally renewable solutions for everything provided by natural forests - for everything except clean water, food and air! Somewhere near you, now, today, a forest is being felled. Help anyone who’s trying to stop them. Now.
Without global forests you’ll have no water fit to drink, no air fit to breathe and no crops to eat. The truth isn’t ‘out there’ – it’s obvious to any who actually look with unblinkered eyes.
Lie #2: Burning toxic fuels with lethal exhausts isn’t dangerous to the ecosystem or to people, and we need to keep doing it to fuel a prosperous civilisation.
It is. We don’t. If you don’t know about better technologies that are already available your head is in the sand with the in dust ‘realists’, looking for another oilfield or coal seam to vampirise. Some advanced nations are already totally fuelled by clean renewable energy. Literally hundreds of patents for new energy technologies are literally suppressed and stolen by ‘intelligence’ and ‘the military’ on behalf of ruthless killer corporations every year. Clean, free energy systems have been available for over a century and repeatedly eliminated, along with their investors (see nexusilluminati.blogspot.com/search/label/free%20energy ). One name should suffice to explain much; Nikola Tesla.
The truth isn’t ‘out there’ – it’s being actively suppressed all around you. Why? The answer is a nested series of onion skins; the Russian dolls of money, control and power wrapped round an inner core of ultimate terrified insecurity.
2b: Human-made global warming is a lie spread by some unnameable group to control our lives and make us poorer.
It isn’t. The fossil fuel power mongers have lied to you so successfully that many or most people have been convinced ecologists have some vested interest in misleading them – instead of the profiteering planet killers who make gazillions from mining and selling you toxic and unnecessary products. CO2 IS a ‘greenhouse gas’, whose levels have dictated global temperatures for billions of years.
Whether we inject enough heat into the biosphere to forestall an impending cyclic ice age or simply create a global desert, every industry that injects carbon dioxide into the biosphere is doing so as a byproduct of pumping far more deadly chemicals into your body all the time, in the interests of meaningless profit. Anyone who tells you otherwise is simply lying or ignorant.
Any time someone tells you that carbon dioxide isn’t a greenhouse gas or that manmade global warming is a lie, challenge them for some data – any real facts – and you won’t get any that aren’t constructs of half-truths, misdirecting distractions and outright lies. Humans ARE heating the planet with toxic emissions regardless of what industry shills and conspiratorial ignoramuses tell you (see nexusilluminati.blogspot.com/search/label/co2 ).
Time for an inconvenient and little-appreciated fact: when climate scientists tell you there will be, say, a five degree Celsius rise in global temperature they’re talking about global averages – including sea temperatures, which will hardly rise at all. A ‘five degree average rise’ means a TEN DEGREE rise - or more - on the land (outside the tropics) – where you and everything that makes it possible for you to survive actually lives. Forget drowning cities and sinking islands – all that will be left is desert and dust if we allow our ‘leaders’ to keep taking bribes from blindly competitive in dust ‘realists’.
There is no truth on the side of profiteering corporations, surprisingly enough – and the only ‘invested interest’ environmentalists have is the wish to survive and thrive. Have you heard of the Precautionary Principle? If you haven’t, google it. The truth isn’t ‘out there’, it’s simple: stop using toxic products fuelled by toxic fuels that make profits for toxic monopolies run by toxic people.
Authorised Docterds
Lie #3: We’re repeatedly informed that ‘education is liberation’. It isn’t. Learning is liberation; education swiftly becomes rote indoctrination. The most dangerous, authoritarian ignoramuses are those who stayed in school the longest. No-one with a doctorate is entirely sane. No-one who demands money in exchange for healing the sick, protecting another’s rights and freedom, repairing the ecosystem or providing education can be trusted; they know nothing of truth and are part of the problem, not the solution. Anyone who profits from another’s misery, toil or terror is actually, functionally, a heartless sociopath.
In ‘advanced’ notions today, more people die from medical errors than from any other cause. Only a few years ago docterds ensured that just about everyone in ‘developed’ notions had organs removed from their bodies ‘just in case’ something went wrong. Every child was expected to have their tonsils and adenoids (lymph glands), appendix and wisdom teeth ‘removed’, just in case their docterd couldn’t afford a flashier car or another mistress. And many an operation led to another, to correct the mistakes made in the first. It was all bullshit and almost everyone fell for it, because, like priests and lawyers, docterds claim a false monopoly on access to life and death and rule only by terror. See hermetic.blog.com/2012/09/16/freeing-god’s-slaves-the-e...
Today fluoridation, toxic vaccines, poisonous drugs and a host of other techniques bestow slow death and perpetual dissolution on the incredibly patient (trusting, ignorant and terrified) patient.
See nexusilluminati.blogspot.com/search/label/fluoridation and nexusilluminati.blogspot.com/search/label/vaccines
Your health and mind are in your hands. Sawbones/surgeons can occasionally be handy in real emergencies but best avoided at all other times. Once in a while you may damage yourself so much you need some repairs, but the only actual healing is done by you, your self, your body. The placebo effect – whereby if you believe something will heal you it will, regardless of whether it has any active ingredients or not – is estimated by reputable sources as being around forty percent – that’s 40%! This means that almost half of all cures are widely accepted as being basically magical –consciousness-driven - in nature. The other sixty percent are as well.
Time for some Truths
Cui Bono? Who Profits? Who is it good for?
Truth #1: Who profits? No-one who doesn’t have another planet or two readily available profits from old style industrial societies. Yet there will always be some deluded power monger willing to kill millions – to wreck an entire planet and civilisation - so that they can have a flashier car or another mansion complex surrounded by bodyguards and electric fences.
There are always those who’ve been so successfully brainwashed they’ll actually believe that Santa Claus, the Tooth Fairy, the Messiah, a Redeemer, a big bearded genocidal racist asshole in the sky, his fallen foes or his mythical toady son are real – and these naïfs make fine prey for patriarchal paedophilic proselytising pederast priests. Who but the most ignorant innocents fall for such superstitious claptrap? Who but an insecure control freak with delusions of grandeur would want to interpose themselves as a middleman between you and your divine psychic heritage?
Anyone who tells you the Divine is only available through some frock wearing po-faced priest, or from some Bronze Age tome cobbled together by merciless barbaric dictators, or through some graven image or guru or savant, is lying. All who ‘worship’ some odd bod god or other fetish are simply trained to doff the forelock, kneel, bow, scrape and be subservient to a dead or deadly psychopathic control freak. Watch out, little girls! Bums to the wall, boys!
Christinanity, Islime and Moronism – to name a few - are nothing more than some of the more recent pernicious death cults focused on lies of pies in the skies at the expense of happy, healthy lives in the only real place - here and now. All other ‘great religions’ are as bad or worse. Religion is a region with a li(e) in it. But they make gigantic tax-free profits! Cui bono?
The truth is always simple. The only beliefs that are true are those that spread life, light, health and diversity – the hallmarks of true survival and wisdom. Everything else is deceptive bullshit.
If you really want to learn how to access the godhead that is the birthright and crown of all beings, all you have to do is listen to the endless programs running through the rat wheel of your mind – and transcend them. Everyone can do it if they try, but the younger and fresher you start deprogramming yourself and tuning into ‘higher’ or ‘deeper’ consciousness the better. See nexusilluminati.blogspot.com/search/label/meditation and nexusilluminati.blogspot.com/search/label/magic if you want to learn how.
Enlightenment will always be available to any true seeker with an open mind and compassionate heart. Guides are always available if you simply search, but accept no substitute for self-gained awareness – and anyone who demands money in exchange for spreading the light of universal awareness is not a person you want anything to do with.
The Lore of the Land
Truth #2: There is no government. There is no law. There are no companies or corporations. Money does not exist. They are fables, illusions, widely accepted truisms – but they aren’t things. They don’t actually exist, except as agreements between people. They have no inherent power. They are clever pernicious illusions.
If you take a closer look you’ll discover that none of your country’s laws has a basis in any fact. In fact, you’ll find that your nation is also merely a notion, a fable agreed to by a sectional segment of some of the people; not all, or even necessarily most, but merely those who profit the most from the fable.
No ‘higher power’ or external ‘divine plan’ or government controls your life. No dog, no master. Thou art god(dess). All human-made laws are simply constructs and contracts, and none are writ in stone. The only real inherent law is the lore or karma and dharma – the ‘golden rule’: Do unto others as you’d be done by. It’s the only law and lore that works, and needs no intercessor or interpreter, no priest, monk, scholar or savant to preserve or transmit through the ages. It’s free for all, forever.
The real Law is no mystery and has no officers. It needs no prophets, liars/lawyers, judges or arbitrators. As above, so below. You are part of a giant hologram, where the whole is greater than the sum of its parts and every part contains the whole. In a holographic universe where everyone shares the same consciousness, anything you do to or for anyone else is something you do to or for your self.
Don’t kid yourself that ‘good deeds for others will reap rewards’. Of course they will. But anything you do for your children, family or strangers you’re actually doing for yourself. Caring about your family more than anyone else is perfectly understandable on a mechanical, biological and genetic level – but it’s also the basis for the worst traits of humankind. Racism, genocide, slavery and most forms of discrimination are outgrowths of such ‘love’, which is actually selfish at its root. Everyone is your family.
In fact, everyone is you, and you are everyone, for thou art god(dess), recreating the manifest world from instant to moment at a level beyond and behind linguistic thought.
Abundance and Scarcity: It’s Falseconomy, Stupid!
Truth #3: Money doesn’t exist. It’s a global pyramid scam whereby only the first ones in get to the top of the pyramid – everyone else loses. We have the ability to provide everyone on the planet with enough food, water and shelter – but we don’t appear to have enough of an entirely imaginary commodity to do it with. Something is very wrong.
The ‘science’ of economics is bullshit, as any true scientist can tell you. Arbitrary rules are continually altered and no ‘economist’ can make accurate predictions based on ‘economics’. It’s just another scam to make you think ‘authorities’ know what they’re doing and can be trusted to look after your best interests. Lol.
Money is simply invented. It’s created at the flick of a keyboard. It’s all made up; simply invented by (in)vested interests with ‘interest’. When the illusion is so arranged as to make it appear the ‘economy’ is circling the drain you go down the tubes – but the banksters, monarchs and in dust realists who own actual, tangible things don’t, as we all ought to recognise. This happens regularly and repeatedly. I won’t go on – see nexusilluminati.blogspot.com/search/label/banksters and never take out a loan. Don’t use banks. There are plenty of alternatives.
Become as self-sufficient and live as sustainably as possible.
People are told they must pay money to inhabit a patch of the planet, and because they’ve been trained to accept a vast raft of lies by feudal societies run by hideous robber barons surrounded by gunmen they simply accept it.
People are told they must go to school and work every day to provide enough food, water, shelter and entertainment for themselves and their families. It’s a lie. That only has to happen because we’ve allowed industrious robber barons and banksters to steal everything and arrange it that way when we have a wide choice of much better possibilities. Now, at the dawn of the Third Millennium, the new industrious revolution has begun and advancing automation, nanotech and new processed like 3d printing mean that the jig is up. Full ‘employment’ is no longer possible or desirable. Now we have to provide shelter, food, water, transport and other necessities to everyone, even the rich, for free – because now, at last, we can!
If you work at any job that isn’t actively healing the planet you’re almost certainly actively destroying it. If you go into debt you’re destroying it. If you flush a toilet into a river or ocean, if you use fossil fuelled transport to and from work or to power your home (and nuclear fuels are fossil fuels, too) you’re destroying it. If you aren’t growing at least some of your own food and medicine you’re destroying it. If you leave your kids in some regimented school (or even a childcare centre) to be mindlessly raised to do and be the same as you were brainwashed into, you’re destroying it – and them.
If you’re trapped on a treadmill with no easy way out but to simply jump off and take your chances – JUMP OFF.
You’ll be so glad you did!
Competitiveness = Death Dealers
Truth #4: The ‘killer instinct’ is no instinct – it’s a result of training. Bullies and psychopaths are made, not born – and they can be unmade if you catch, restrain and retrain them early enough. Without bullying children don’t learn hate, fear and fight. Without bullies children don’t learn to be subservient. Bullies must be separated from other kids until they can be trusted among them. The same is true for adults.
The only reason to have a gun is to murder. They’re made for no other reason. They’re the coward’s long distance death dealing weapon of choice. Only people terrified of their neighbours own guns – and that, of course, terrifies their neighbours. Violence begets violence and weapons beget weapons. They’re feedback loops. Weapon ownership is always an arms race, the stupid doctrine of Mutually Assured Destruction writ small for small minded loony hoons, terrified cowards and immature halfwits who like to menace others. Anyone who wants a gun – like anyone who wants a presidency – is precisely the person you don’t want to trust with one.
Allowing gun ownership in human society is just a form of collective lunacy. No popguns will save you from a modern army – or government swat team. They’ll just get you killed more quickly and assuredly. That’s the real lesson of modern history, for anyone who cares to look; don’t fall for the lies of weapon profiteers. In modern conflicts the survivors are those who successfully avoid the fighting. Save your money and save a life; you can’t have peace with a gun in your hand and it’s almost certain that no-one will aim one at you if you don’t. War or peace; you can’t serve two masters. Choose. Now.
All free societies have a fine time without weaponised populations perpetually living under a Sword of Damocles. The US, for instance, is not a free society but a corporatocracy that’s had its freedoms surgically removed since neoconmen ensured King George II stole the (p)residency. Freedom is free. How could it be otherwise? If you have to do something to defend or promote ‘freedom’, it isn’t freedom and you aren’t free. The contrary view is oxymoronic absurdity.
Flags are just coloured rags used to blindfold sacrificial lambs and enshroud their mangled bodies. Wars are always fought to enrich a few cowardly, spiteful old dorks and their trophy girlfriends hiding in some castle or penthouse. There is no honour involved in killing – it’s simply the worst form of working for The Man.
The only people who profit from wars and weapons are weapon makers, ammunition merchants, oil barons and the politicians they coerce and bribe. No-one who kills for a wage is anything but a (poorly) paid killer. This includes virtually all soldiers – not just mercenaries – and everyone who makes a profit from raising, hunting or killing animals for food.
You may have fallen for the bullshit that humans need to eat corpses to be healthy. The opposite is true. No-one (regardless of blood type or haplogroup) needs meat to survive. It’s a choice, a habit, an appetite – an addiction, nothing more.
Cattle and ‘meat animals’ are condemned to lives of pain and torture. They’re castrated, poisoned, fed garbage, corralled into cages, beaten, shocked and terrified into submission (rather like modern domesticated primates). If you saw what happens to animals before they end up in your mouth you wouldn’t touch the poisons collected at the top of the food chain and pump them through your bloodstream. Most young kids vomit the first time they’re fed eggs or meat. Ever wonder why?
Before you accept the lie that ‘vegetarians kill too – everything kills to survive’, consider that eating the fruits, vegetables and seeds of plants doesn’t kill any plant. The plant lives on, and reproduces. Just on more lie told by profiteers; one more unexamined false assumption.
If you choose to create endless unnecessary suffering by slaughtering innocent, terrified animals you deserve all that’s coming to you. Remember that ‘karma’ thing? Choose. Now.
See nexusilluminati.blogspot.com/search/label/vegetarianism
The Road to Hell is Paved with False Assumptions
When we’re kids we all ask, “Why?” Some kids mean, “Why does it work like that?” Others are asking, “Why on Earth would people do something so stupid?”
Bereft of imagination, in dust ‘realists’ force everyone to inhabit their bland, artless, heartless concrete toilets - blocky headstones designed by award winning wannabes and built by money-mastered so called craftsmen. Chintzy malls and ugly mausoleums masquerading as a civilisation. We can do much, much better.
Everything we’ve built has foundations of clay. All our sciences, beliefs and political systems are based on antiquated false assumptions; on lies, to be absolutely clear. Truth is always in here, within, waiting to be recognised by a freshly awakening mind. It isn’t going anywhere – unlike the outmoded scams perpetuated by a dying breed of conmen and the pernicious women hiding behind their thrones.
You’d think they’d know by now - you can service two mistresses but you can’t serve two masters! Life or Mammoney: Choose! Now!
It’s beyond the scope of this little entreaty to cover all these bases in detail – but they’re all explored in more (and more) depth at this website: become one of the New Illuminati by perusing truths and subscribing via one of the many ways available @ nexusilluminati.blogspot.com/
- Welcome to the New Millennium and have a great New Aeon
R. Ayana
For more by R, Ayana see nexusilluminati.blogspot.com/search/label/r.%20ayana
- See ‘Older Posts’ at the end of each section
From nexusilluminati.blogspot.com.au/2013/06/why-lifting-veil-...
Chieti, Italy. This is the new arch of Porta Pescara, just a few meters below the original one. It's a tangible sign of the expansion of the city.
You can now get prints of my photos (including this one!) on paper and canvas! Click here!
Hythe is now a large and busy town, stretching from the terminus of the Romney Hythe and Dymchurch Railway in the west (and even a little further), to the long sandy beach and coast road that lead to Sandgate and Folkestone. It also creeps west, up the downs and valleys of the North Downs. It also is the start of the Military Canal. Hythe also has a vibrant high street, with many independent shops, as well as both a Sainsbury's and Waitrose. Which speaks about the town's demographic.
It even has an industrial area, where Jools works, and a stony beach which serves as a harbour for a small fleet of fishing boats as the harbour itself silted up in antiquity.
St Leonard itself sits up on the slopes of the down, in a flattened area that was some feat in itself. The church is very large and heavily Victorianised, but well worth an hour or two of anyone's time. And it is most well known for the ossuary which lies beneath the chancel, and is open during the non-winter months.
It is some climb up from the town, up two layers of roads which run parallel with the main street, up steepish steps, past the old Hospital, now two flats call Centuries, until you come to the church, but then there are more steps up to the porch and then into the church itself. And if there hadn't already been too much climbing, there are more steps up to the chancel and side chapels.
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A large civic church, as befits one of the original Cinque Ports. Traces of the Norman building may still be seen in the blocked round-headed windows in the north wall of the nave and the excellent Norman arch at the east end of the south aisle. The chancel is thirteenth century in origin, completed by Pearson in 1886. The pulpit is a great piece of Victorian craftsmanship, designed by George Edmund Street in 1876. The three-light stained glass in the east window is by Wallace Wood and dates from 1951. There are Royal Arms of the reign of William and Mary. The chancel has a triforium gallery, an unexpected find in a parish church. A circular staircase runs from the north-west corner linking the triforium, rood loft and roof. Under the chancel is an interesting processional passage, open to the public during the summer, which contains hundreds of skulls collected from the churchyard during clearances. In the churchyard is the grave of Lionel Lukin, who obtained a patent for his invention - the lifeboat - in 1785.
www.kentchurches.info/church.asp?p=Hythe
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lthough it is now difficult to imagine, Hythe's rise and development stems from its former role as a busy Channel port.
St Leonard's stands far from the sea today, but when the first Norman church was built, in c.1080, the high Street formed the quayside of the Cinque Port of Hythe.
The earliest known reference to a church in the town is found in the contemporary Doomesday Monarchum. Some writers believe that the north transept, now called St Edmund's Chapel, may have then incorporated a Saxon place of worship; a Saxon-style arch is still plainly visible.
In medieval times St Leonard's was described as "Hethe Chapel" despite possessing a magnificence which other Kentish folk would have envied.
Successive Archbishops of Canterbury held a large estate at Saltwood near Hythe and are believed to have been responsible for the enlargement of the church in c.1120, probably using some of the craftsmen who built the cathedral in Canterbury.
Aisles and transepts were added and a new, more elaborate choir with small apse was fashioned. Entry was through a west door where the interior tower wall still stands. Many Norman features can still be seen; the arches in the south aisle and in the choir vestry, as well as the remains of two windows above the north aisle.
By c.1220 fashions in architectural style had changed. With a growing number of pilgrims visiting the church, further enlargements were carried out. Perhaps in an attempt to build a mini-Canterbury Cathedral, and certainly with that inspiration, the civic pride of the townsfolk gave birth to the present church.
The ambitious project was launched when Hythe was at the height of its prosperity, and the magnificent chancel and ambulatory beneath ( now incorrectly known as the crypt ) are the result.
The only reason we can still see the remains of the previous churches is that the town's prosperity later waned and the plan could not be fully carried out.
Some improvements were made in the 14th Century, notably the building of the tower and the porch with a room above to house the parish priest, but these were on a less lavish scale than before.
During the Reformation the rich decoration which filled the church was stripped away. Wall paintings, rood screen and statues were destroyed, alters removed and pews added for the first time.
Throughout the 16th and 17th centuries the interior would have appeared remarkably plain. Only the iron "Armada" chest which used to contain the parish registers survives as a tangible reminder of the period.
The west tower of the medieval church collapsed in 1739; possibly it had finally succumbed to weakness created by a severe earthquake of 1580. The ferocity of the tremors was reported to have made the church bells ring and caused dangerous cracks in nearby Saltwood Castle.
A newspaper reported: "We learn from Hythe that on Thursday morning last, about eleven o'clock, the steeple of their church fell down, and that they have been busy digging out the bells, being six in number. About ten persons were present when it fell, waiting for keys in the church porch to go up the steeple for a view. But some delay being made in bringing them, they all happily saved their lives, and no other damage than being terribly frightened.
The tower was subsequently reconstructed in 1750, using the old materials, with the south transept being rebuilt the following year, largely through the generosity of the Deedes family, many of whose ancestors are buried there.
There was a clock in the tower before 1413, although the present instrument dates from 1901.
A peal of at least five bells is recorded before the 1480s. Subsequently there were normally eight, two bells being added in 1993 to make the full peal of ten.
In the 18th century the nave was surrounded by galleries to provide enough seating for the town's growing population. Poorer people sat up there while the best pews below were ' rented out ' to wealthier worshippers.
In 1751 the Deedes family rented one such pew for themselves and four more for their servants.
The mayor and the town corporation had their own pews at the front. Present councillors still sit at the front, in the pews with carved poppy-heads.
urial vaults were made outside the church in the later 18th and early 19th cenuries.
In 1875 and 1887 restorations to the church were carried out at a cost of £10,000. Two of the finest
Victorian architects, George Street and John Pearson, were employed. Street designed the Law Courts
in the Strand.
At St Leonard's the two men successfully completed many of the features which the original medieval craftsmen had intended to incorporate before the funds dried up. The vaulting to the chancel and aisle roofs was completed in 1887, albeit five centuries overdue. The present barrel-shaped roof in the nave dates from 1875. The pulpit with its fine Venetian mosaic work, composed of 20,000 pieces, is of the same date.
Many of the fittings introduced at that time were in keeping with the medieval devotional life of the church. Amongst these is an especially fine marble reredos which originally stood behind the alter, but is now situated in the south choir aisle. This is a masterpiece of artistic work, given by a former curate in memory of his wife. There is a Pre-Raphaelite touch in the depiction of the angels, and its deep swirling lines give it an almost sultry appearance. It was carved from a single piece of carrera marble in 1881 by Henry Armstead to the designs of George Street. It was moved to its present position in 1938.
Two features in the church bring the visitor abruptly into the 20th century. In the south aisle a remarkable stained-glass window commemorates 2nd Lieutenant Robert Hildyard who was killed, with over a million others, on the Somme in 1916. The window has a dreamy, surreal effect, and is a fine example of the art nouveau style.
The present fine organ built in 1936 by Harrison & Harrison, is the latest in a long line dating back to the 15th century.
Most visitors are impressed by the main east window which shows Christ, surrounded by angels, ascending to heaven. The Victorian glass which once occupied the space was destroyed in 1940 when a german bomb struck the ground at the east end of the church causing extensive damage.
The present east window was dedicated in 1951 and reflects the long-term role played by the town of Hythe in the front line of England's defence. A Cinque Port ship can be seen in the panel at the bottom left, and an anti-aircraft gun and searchlights in the right-hand panel.
The only structural alteration to the church in the 20th century was the building of the choir vestry on the north side in 1959, enclosing the fine Norman arch of the second church.
St Leonard's maintains a strong musical heritage with concerts and recitals being held regularly in the church. The worship continues to be enriched by a strong choral tradition which stretches back several centuries. The church building is continuously being developed and restored through the fundraising efforts of the parishioners.
St Leonard's church remains passionately committed to discovering God wherever he might be encountered in the word, in sacraments, in the beauty of this place and in the love shared between its parishioners.
New approaches and styles of worship, as well as the traditional forms of service, all seek to deepen further the spiritual health and maturity of the faithful, who keep returning, time and time again, to seek God in a holy place.
www.stleonardschurchhythekent.org/stlh.html
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THE parish of Hythe, at this time within the liberty of the Cinque Ports, and the corporation of the town of Hythe was antiently, with part of the parish of West Hythe, within an hundred of its own name.
It is called in some antient records, Hethe; in Domesday, Hede; and according to Leland, in Latin, Portus Hithinus; Hithe signifying in the Saxon, a harbour or haven. (fn. 1) In the year 1036, Halden, or Half den, as he is sometimes, and perhaps more properly written, one of the Saxon thanes, gave Hethe and Saltwood, to Christ-church, in Canterbury. After which they appear to have been held of the archbishop by knight's service, by earl Godwin; (fn. 2) and after the Norman conquest, in like manner by Hugo de Montfort, one of those who had accompanied William the Conqueror hither, at which time it was accounted only as a borough appurtenant to the manor of Saltwood, as appears by the book of Domesday, taken in the year 1080, where, under the title of lands held of the archbishop by knight's service, at the latter end of the description of that manor, it is said:
To this manor (viz. Saltwood) belong two hundred and twenty-five burgesses in the borough of Hede Between the borough and the manor, in the time of king Edward the Confessor, it was worth sixteen pounds, when he received it eight pounds, and now in the whole twenty-nine pounds and six shillings and four-pence .
Besides which, there appears in the description of the archbishop's manor of Liminge, in the same record, to have been six burgesses in Hede belonging to that manor. Hythe being thus appurtenant to Saltwood, was within the bailiwick of the archbishop, who annually appointed a bailiff, to act jointly for the government of this town and liberty, which seems to have been made a principal cinque port by the Conqueror, on the decay and in the room of the still more antient port of West Hythe, before which it had always been accounted within the liberty of those ports, which had been enfranchised with several privileges and customs, though of what antiquity they were, or when first enfranchised, has not been as yet, with any certainty, discovered; and therefore they are held to enjoy all their earliest liberties and privileges, as time out of mind by prescription. The quota which the port of Hythe was allotted to furnish towards the mutual armament of the ports, being five ships, and one hundred and five men, and five boys, called gromets. (fn. 3)
The archbishop continued in this manner to appoint his bailiff, who acted jointly with the jurats and commonalty of the town and port of Hythe, the senior jurat on the bench always sitting as president, till the 31st year of king Henry VIII. when the archbishop exchanged the manor of Saltwood, together with the bailiwick of Hythe, with the king for other estates elsewhere. After which a bailiff continued to be appointed yearly by the crown, till queen Elizabeth, in her 17th year, granted them a particular charter of incorporation, by the name of mayor, jurats, and commonalty of the town and port of Hythe, under which they continue to be governed at this time; and she likewise granted to the mayor and his successors, all that her bailiwick of Hythe, together with other premises here, to hold by the yearly fee farm of three pounds, by which they are held by the corporation at this time.
The liberty of the town and port of Hytheextends over the whole of this parish, and part of that of West Hythe, which indeed before the harbour of it failed, was the antient cinque port itself, and to which great part of what has been said above of the antient state of Hythe likewise relates, but not over the scite of that church. The corporation consists of a mayor and twelve jurats, of which he is one, and twenty-four common councilmen, together with two chamberlains and a town-clerk. The mayor, who is coroner by virtue of his office, is chosen, as well as the other officcers of the corporation, on Feb. 2d yearly, and, together with the jurats, who are justices within this liberty exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of record, the same as at Dover; and it has other privileges, mostly the same as the other corporations within the liberties of the five ports. It has the privileges of two maces. The charters of this corporation, as well as those of the other cinque ports, were in 1685, by the king's command, surrendered up to colonel Strode, then governor of Dover castle, and were never returned again.
Hythe has no coat of arms; but the corporation seal represents an antique vessel, with one mast, two men in it, one blowing a horn; and two men lying on the yard arm.
The PRESENT TOWN OF HYTHE is supposed to owe its origin to the decay of the antient ports of Limne and West Hythe, successively, the harbours of which being rendered useless, by the withdrawing of the sea, and their being banked up with sand, occasioned this of Hythe to be frequented in their stead, and it continued a safe and commodious harbour for considerable length of time, till the same fate befel it likewise, and rendered it wholly useless; and whoever, as Lambarde truly observes, considers either the vicissitude of the sea in different places, and the alterations which in times past, and even now, it works on the coasts of this kingdom, will not be surprized that towns bordering upon the sea, and supported by traffic arising from it, are subject in a short time to decay, and become in a manner of little or no consequence; for as the water either flows or forsakes them, so they must of necessity flourish or decay, flowing and ebbing, as it were, with the sea itself. (fn. 4) Thus after the sea had retired from the town of West Hythe and its haven, the former fell to decay, and became but a small village of no resort, and the present town of Hythe, at two miles distance, to which it was continued by a number of straggling houses all along the shore between them, rose to prosperity, and its harbour became equally noted and frequented in the room of it; so that in a short time the houses and inhabitants increased here so greatly, that Leland says there was once a fair abbey in it, and four parishes and their churches, one of which was that of our Lady of Westhithe, which shews that West Hythe was once accounted a part of the town itself. But this must have been in very early times; for long before king Richard II.'s reign, I find it accounted but as one single parish. The town and harbour of Hythe were by their situation always liable to depredation from enemies; in particular, earl Godwin, when exiled, returned in 1052, and ravaging this coast, took away several vessels lying at anchor in this haven, and Romney; and in king Edward I.'s reign, anno 1293, the French shewed themselves with a great fleet before Hythe, and one of their ships, having two hundred soldiers on board, landed their men in the haven, which they had no sooner done, but the townsmen came upon them and slew every one of them; upon which the rest of the fleet hoisted sail, and made no further attempt. In the latter part of king Richard the IId.'s reign, a dreadful calamity happened to it, when more than two hundred houses of it were burnt down in one day; (fn. 5) and five of their ships were lost, and one hundred men drowned, by which misfortunes the inhabitants were so much impoverished and dispirited, that they had thoughts of abandoning the place, and building themselves a town elsewhere; but king Henry IV. by his timely interposition, prevented this, and by charter released them from their quota of shipping for several turns. The following is Leland's description of it, who wrote in king Henry VIII.'s reign, "Hythe hath bene a very great towne yn lenght and conteyned iiii paroches, that now be clene de stroied, that is to say, S. Nicholas paroche, our Lady paroche, S. Michael paroche, and our Lady of West Hithe, the which ys with yn less than half a myle of Lymne hill. And yt may be well supposed that after the haven of Lymne and the great old towne ther fayled that Hithe strayt therby encresed and was yn price. Finally to cownt fro Westhythe to the place wher the substan of the towne ys now ys ii good myles yn lenght al along on the shore to which the se cam ful sumtym, but now by banking of woose and great casting up of shyngel the se is sumtyme a quarter, dim. a myle fro the old shore. In the tyme of king Edw 2 ther were burned by casuelte xviii score houses and mo, and strayt followed a great pestilens, and thes ii thinges minished the towne. There remayn yet the ruines of the chyrches and chyrch yardes. It evidently appereth that wher the paroch chirch is now was sumtyme a fayr abbey, &c. In the top of the chirch yard is a fayr spring and therby ruines of howses of office of the abbey. The havyn is a prety rode and liith meatly strayt for passage owt of Boleyn; yt croketh yn so by the shore a long and is so bakked fro the mayne se with casting of shingil that smaul shippes may cum up a large myle towards Folkestan as in a sure gut." Though Leland calls it a pretty road, yet it then seems to have been in great measure destroyed by the sands and beach cast up on this shore, by the desertion of the sea, for he describes it as being at that time as only a small channel or gut left, which ran within shore for more than a mile eastward from Hythe towards Folkestone, that small vessels could come up it with safety; and the state of the town and trade of it in queen Elizabeth's time, may be seen by a survey made by her order in her 8th year, of the maritime parts of this county, in which it was returned, that there were here, a customer, controller, and searcher, their authority several; houses inhabited, 122; persons lacking habitation, 10; creeks and landing places two; th'on called the Haven, within the liberties; th'other called the Stade, without the liberties. It had of shipping, 17 tramellers of five tunne, seven shoters of 15; three crayers of 30, four crayers of 40; persons belonging to these crayers and other boats, for the most part occupied in fishing, 160.
Soon after this, even the small channel within land, above-mentioned, which served as the only remaining harbour, became likewise swarved up and lost, though it had the advantage of the Seabrook, and other streams, which came down from the down hills, as a back water, to keep it scowered and open; and though several attempts were from time to time afterwards made, at no small expence and trouble, to open it again, yet it never could be effected; and the abovementioned streams, for want of this channel, flow now towards the beach on the shore, and lose themselves imperceptibly among it.
The parish of Hythe, which is wholly within the liberty of the corporation, extends from the sea shore, the southern bounds of it, northward up the hill a very little way beyond the church, which is about half a mile, and from the bridge at the east end of the town westward, about half way up the hill towards Newingreen, being more than a mile and an half. The town, which contains about two hundred houses, is situated exceedingly pleasant and healthy, on the side as well as at the foot of the quarry-hill, where the principal street is, which is of a handsome breadth, and from the bridges at the extremities of it, about half a mile in length. It has been lately new paved, and otherwise much improved. The court-hall and market place are near the middle of it, the latter was built by Philip, viscount Strangford, who represented this port in parliament anno 12 Charles II. His arms those of the five ports; of Boteler; and of Amhurst, who served likewise in parliament for it, and repaired this building, are on the pillars of it. There are two good inns; and near the east end of it St. John's hospital. Higher up on the side of the hill, where the old town of Hythe is supposed once to have stood, are parallel streets, the houses of which are very pleasantly situated; several of them are handsome houses, occupied by genteel families of good account, the principal one of them has been the seat of the family of Deedes for several generations.
This family have resided at Hythe, in good estimation, for upwards of two hundred years; the first of them that I meet with being Thomas Deedes, who by Elizabeth his wife, sister of Robert Glover, esq. Somerset herald, a most learned and judicious antiquary, had one son Julius Deedes, whose youngest son Robert had a grant of arms confirmed to him, and Julius his nephew and their heirs, by Byshe, clarencieux, in 1653, Per fess, nebulee, gules and argent, three martlets, counter changed , which have been borne by the different branches of this family ever since. William, the youngest son but one, left a son William, the first who appears to have resided at Hythe. He died in 1653, and was buried in this church, which has ever since remained the burial place of this family. He had one only son Julius Deedes, esq. who was of Hythe, for which he was chosen in three several parliaments, and died in 1692, having had three sons, of whom William, the eldest, was ancestor to the Deedes's of Hythe, and of St. Stephen's, as will be mentioned hereafter; Henry, the second son, was of Hythe, gent. whose eldest son Julius, was of Hythe, esq. and died without surviving issue, upon which this seat, among the rest of his estates, came by the entail in his will, to his aunt Margaret Deedes, who dying unmarried, they came, by the same entail, to her cousin William Deedes, esq. late of Hythe, and of St. Stephen's, being descended from William, the eldest son of Julius, who died in 1692, and was a physician at Canterbury, whose son Julius was prebendary of Canterbury, and left one son William, of whom hereafter; and Dorothy, married to Sir John Filmer, bart. of East Sutton, by whom she had no issue. William Deedes, esq. the only surviving son before-mentioned, of Hythe and St. Stephen's, possessed this seat at Hythe, with several other estates in this neighbourhood, by the above entail. He married Mary, daughter of Thomas Bramston, esq. of Skreens, in Essex, and died in 1793, leaving surviving two sons, William, of whom hereafter; John, who married Sophia, daughter of Gen. Forbes, and one daughter Mary, unmarried. William Deedes, esq. the eldest son, is now of Hythe, and married Sophia, second daughter of Sir Brook Bridges, bart. by whom he has two sons and three daughters.
Further westward is St. Bartholomew's hospital. Opposite Mr. Deedes's house, but still higher up, with a steep ascent, is the church, the hill reaching much above it northward. On the upper part of this hill, are several springs, which gush out of the rock, and run into the streams which flow at each end of the town. All the houses situated on the side of the hill, have an uninterrupted view of the sea southward, Romney Marsh, and the adjoining country. The houses throughout it are mostly modern built, and the whole has a neat and chearful appearance. There is a boarding-school kept in the town for young ladies, and on the beach there are bathing machines for the accommodation of invalids. There was formerly a market on a Saturday, which has been long since discontinued, though the farmers have for some time held a meeting here on a Thursday, for the purpose of selling their corn; and two fairs yearly, formerly held on the seasts of St. Peter and St. Edmund the King, now, on July 10th and December 1st, for horses and cattle, very few of which are brought, and shoes and pedlary.
¶ Here is a small fort, of six guns, for the protection of the town and fishery, which till lately belonged to the town, of which it was bought by government, but now rendered useless, by its distance from the sea, from the land continuing to gain upon it; the guns have therefore been taken out. Soon after the commencement of the war, three new forts, of eight guns each, were erected, at the distance of a mile from each other, viz. Twis, Sutherland, and Moncrief; they contain barracks for 100 men each. Every summer during the present war a park of royal artillery has been established on the beech between the forts and the town, for the practice of guns and mortars; and here is a branch of the customs, subordinate to the out port of Dover. This town is watered by two streams; one at the east end of it, being the boundary between this parish and Newington; and the other at the west end, called the Slabrooke, which comes from Saltwood, and runs from hence, by a channel lately made for that purpose, into the sea, which has now left this town somewhat more than half a mile, much the same distance as in Leland's time, the intermediate space being entirely beach and shingle-stones, (the great bank of which lines this shore for upwards of two miles in length) on which, at places, several houses and buildings have been erected, and some parts have been inclosed, with much expence, and made pasture ground of, part of which is claimed by different persons, and the rest by the corporation as their property.
The CINQUE PORTS, as well as their two antient towns of Rye and Winchelsea, have each of them the privilege of returning members, usually stiled barons to parliament; the first returns of which, that are mentioned for any of them, are in the 42d year of king Edward III.
Design Insights XLIX
Roman architectural history has always been a two-way street. In one lane, there are the tangible pieces of evidence attesting to provenance, like stamped bricks which firmly date a structure to a specific time period and probable patron. In the opposite lane, the breakneck speed of imperial propaganda might well be the only story that survives to this day, just as, I suspect, the patron(s) of any project would have intended.
I specifically chose the example of opposing lanes of traffic for the Thermæ Alexandrinæ as it perfectly describes the friction of evidence versus narrative therein. On the one hand, the vanishingly few excavations carried out on the site have revealed remnants of an elaborate baths complex with building material firmly dating its construction to the third century reign of Alexander Severus. On the other hand, the complex is still interchangeably referred to as the Baths of Alexander [Severus] and as the Baths of Nero. But Nero's claim to the baths on this site are far less certain and much more circumstantial.
The Baths of Nero were built on or near this site, according to multiple sources. Nero's proclivities toward excess, however, resulted in backlash which saw many of his architectural projects either torn down or used as foundations for later overbuilding. Were the Baths of Alexander built on top of Nero's baths? Were Alexander's baths arranged according to the imperial thermæ standard, or did Nero's baths set that standard 150 years earlier? These are just some of the many questions we shall ask - but inevitably fall short of answering - as we explore the Thermæ Alexandrinæ.
Don't miss this all-new DESIGN Insights post highlighting Phase III of my ongoing efforts to build all of Ancient Rome, circa mid-4th century CE!
😎 These insights are EXCLUSIVE to Corinthian patrons, and peel back the curtain months before these designs will be shared publicly. The renderings, on the other hand, are shared with patrons of all tiers.
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"Gypsy Madonna", around 1510
Despite the closed triangle of the group of figures, the "Gypsy Madonna" (probably so called due to her dark complexion) gives the impression of relaxed naturalness. Unlike his teacher Giovanni Bellini, Titian moulds the body not by means of wrapped robes and veils but rather by use of sparing white high-lights and subdued shadows. The painter thereby shows himself to be of a younger generation for whom the world has become more sensual and tangible. This devotional picture is one of the oldest works of the painter still preserved.
Tizian (um 1488-1576), tätig in Venedig
"Zigeunermadonna", um 1510
Trotz der geschlossenen Dreiecksform der Figurengruppen gibt die (wohl nach ihrem dunklen Teint benannte) "Zigeunermadonn" den Eindruck entspannter Natürlichkeit. Anders als sein Lehrer Giovanni Bellini modelliert Tizian die Körper nicht durch rundgeführte Gewänder und Schleier sondern durch sparsame Weisserhöhungen und dezente Schattenpartien, darin erweist er sich als Maler einer jüngeren Generation, deren Welt sinnlicher, konkreter geworden ist. Das Andachtsbild gehört zu den ältesten erhaltenen Werken des Malers.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits