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(3/14/2017) - Nearly 1 in 6 of Hawaiʻi's Kupuna (elderly) regularly go hungry.  - MARCH FOR MEALS (Hawaiʻi State Capitol, 3/14/2017) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1489644396130-QM3GEXHM03M5G6QLEPGM/L1000839_Kupuna-Rally_Capitol_sm.jpg March for Meals (3/14/2017) - Nearly 1 in 6 of Hawaiʻi's Kupuna (elderly) regularly go hungry.  - MARCH FOR MEALS (Hawaiʻi State Capitol, 3/14/2017) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1489644324453-ZZEC7Y4VCF9KYP50HKGY/L1000839_Kupuna-Rally_Capitol_sm.jpg March for Meals (3/14/2017) - Nearly 1 in 6 of Hawaiʻi's Kupuna (elderly) regularly go hungry.  https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1489644502547-9WTF0TTX3300OI43PRQF/L1000840_Lanakila-meals_crp_sm.jpg March for Meals (3/14/2017) - Nearly 1 in 6 of Hawaiʻi's Kupuna (elderly) regularly go hungry.  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https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278063517-URXEANDRRJFPPQO79BW0/SSL_2788_morons-get-arrested.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278090089-Q9N2HKUL3ICJT6EQABFA/SSL_2797_No-Ban-No-Wall.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278105968-1UTMUIGTAQIF3YDQOXK2/SSL_2798_Impeach_sm.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278109777-EG83TMU25XZ8YUFVQO6P/SSL_2799_no-hate-no-nazis-no-kkk.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278129693-VMONZNTS6LLYBNK06EON/SSL_2802_Proud-Boys.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278203182-7GUZBIM0I2MYS7ZRZOV3/SSL_2821_not+incubators_PPvsTrump_.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278154109-83TIR7028MONJKVQ4QQJ/SSL_2807_So-Bad.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278132373-SHP9HMRZ30AY10655ZOD/SSL_2804_SuperCallous-etc_sm.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278152038-WK3M0TQ5POEI7FCRBGTW/SSL_2809_Hitler-legal-MLK.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278176687-ZNRD3B3K9LN0O4MD2VY5/SSL_2811_Trump-out-Refugees-in.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278173447-0MQWW23Z8WKR6OQXBD6W/SSL_2810_No+more+lies.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278226281-VKDUUA1XFABBIMOOMUP0/SSL_2835_You-Were-Not-Here_Willie.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278189030-GK919Q95TTDIHMOAJY7U/SSL_2814_Hawaii-Friends-Civil-Rights.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278209119-FZD6FGRSIVLSGS2F8Z31/SSL_2832_Healthcare-not-Wealthcafre.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278232729-QLAZG6GZNNMM1XIF6ZOA/SSL_2836_ALOHA-RESIGN.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278253722-J62CX305783OO5D1GXH9/SSL_2851_All-Immigrants.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278249595-T7S3VQTAP7OY8V50J1GD/SSL_2840_Dump-Trump.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278325920-38WMKYX4P4HMDE8IJ66O/SSL_2885_Resist-Hate.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278277768-GFSQWC7783Q3M71QJ9UD/SSL_2861_NO.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278337476-7YH0JXQL0AF8OPJS42NY/SSL_2899_Save-Medicaid-HI.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278302405-O5QW3FRVWC5TTVYFLJJR/SSL_2863_Make-Am-Good-Again.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278319271-SAT46IPDN2EQUZY5YV7Q/SSL_2871_cannot-believe-still-protest.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278300616-3MHS0AN2CRSVKA9S7C2F/SSL_2870_Save-PR-DACA-etc.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278275969-HF5R5FTRTYL1PI5OOJ7H/SSL_2862_HI-3-Trump-0.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278361521-YJAYYD7I02BMQYKYKT07/SSL_2912_Sugar-Spice-Worthy-of-Rights.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278361523-J29FKM1T85UTORULCRL6/SSL_2914_SAD-33percent.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510278343231-XSDLDXA0XO6GGX508RLY/SSL_2892_State-Cap-protest.jpg 2017-11-3 Anti-Trump Protest, Honolulu, HI http://www.sslanzilotti.com/tallgrass-prairie-2017 daily 0.75 2017-11-16 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547138066-ZZ8K8GZXDMFGJ7TX4N0O/SSL_8644_Tallgrass-Prairie-Natl-Preserve_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Tallgrass Prairie is the nation's second newest national preserve (2005). It is located in the Flint Hills region of Kansas, north of Strong City. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547138066-ZZ8K8GZXDMFGJ7TX4N0O/SSL_8644_Tallgrass-Prairie-Natl-Preserve_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Tallgrass Prairie is the nation's second newest national preserve (2005). It is located in the Flint Hills region of Kansas, north of Strong City. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547246928-PEWC4YUMU36B6ECUKW4Y/SSL_8687_Tall-Grass-Prairie-stonewall_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Tallgrass Prairie National Preserve includes 10,861 acres. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547397616-EKDGNNIELT2LQRCN7QA7/SSL_8766_bison-peering_tall-grass.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Tallgrass prairie once covered 170 million acres of North America; today less than 4% remains, mostly in the Kansas Flint Hills. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547394657-JMJSX479X4B0UZP9D5VG/SSL_8768_four-bison_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Bison, which once totaled about 30 million in number, were kings of the prairie, roaming the range in herds of dozens to millions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510651348119-295IBX4MMMPOA8OW4M1L/P1000395_walking+bison+and+herd_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - The great herds of bison once roamed North America between the Appalachian Mountains and the Rocky Mountains. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547454601-FQYSUEX9T71W4R3VOI66/SSL_8854_Bison_stare_crp_smfl.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Plains Bison were introduced to the Preserve in October 2009; the first time bison were on the property for over 100 years. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510652837376-XM0H1LWJVOIJTLHBNBBU/P1000398_mom-and-calf-feeding_sm2.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Calf feeding. Healthy female bison will typically have one calf per year, born usually in April-May. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547340386-O7NES65CY0HQ8GQTK106/SSL_8737_calf-bull.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - The original herd of 300 bison at Tallgrass Prairie Preserve has grown to the optimum over-wintered size of about 2,100. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547313965-AJQFJI1LI7XKGO3EVEKS/SSL_8721_Bison-at-rest_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Bison can weigh as much as 2,000 pounds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547314532-GAKVQ1NNS64Y4F9AR1IT/SSL_8719_bison-standing_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Bison can stand over six feet tall and live as long as 40 years. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547365091-0O1OB1RWZN7PV56T79JN/SSL_8763_bison-bull-crp_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Despite their size, bison are able to run at speeds of up to 35 mph. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547282207-YNLOGIAZP1XHE1TPV2T4/SSL_8712_sleeping-bison_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - On the other hand, this one did not move at all when the Preserve bus passed by. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547443082-IV5PA05UTGT6FHVRNOC5/SSL_8842_bison-eating-grass-mid-morn.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Bison are grazers and prefer grasses to other prairie plants, such as wildflowers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547423861-TD0XVSV03XMBSMI3HXKM/SSL_8784_white-flowers_II_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Pale evening primrose - Native Americans ate the fruits for food, boiled the seeds in soups, used the dried flowers as ceremonial medicine, and smoked the plant as a tobacco substitute. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510649336767-XSOSVVN811I0NRO7AVX0/P1000391_Bison-ON-the-path_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - We were warned that bison can be aggressive; and told that we had to give them space of 100 yards and walk around if they blocked our path. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547484397-RO0DB87IZ4QAVH35ANS1/SSL_8856_bison-in-path-3hikers_sm3.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Later, we had to walk around the bison via the grass, which might have been harboring some of the 39 species of snakes that live in the Preserve. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547418753-2C7JJTRQ1YD857OXHY3J/SSL_8804_yellow-breasted-bird_2_crp_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - There are 150 species of grassland area birds, such as this Dickcissel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547537888-IH8XDP472A5F3HD5AB7N/SSL_8880_Killdeer_flight_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - The Killdeer is so called because when excited its far carrying voice makes the sound "kill-deer." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547509526-YOAT8H8JH8I1P21H0467/SSL_8867_beetle.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Dung beetles feed on bison manure, using it to provide housing and food for their offspring and for prairie and pasture nutrient recycling. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547541545-GCIHQ5QBRFRI2FB47YTK/SSL_8931_White-horse-in-Spring-Hill-corral_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Spring Hill Farm and Stock Ranch was initially founded in 1878 by Stephen Jones, a successful cattleman from Colorado. He eventually amassed 7,000 acres, which is now part of the Preserve. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547566620-ZQVIF4RI04EXKFPKKJY8/SSL_8993_Spring-Hill-Ranch-corral_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Jones and his wife Louisa started building a residence on the farm in 1878 and eventually enclosed the entire ranch with 30 miles of five-­foot high stone fence to accommodate his cattle operations. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510654865022-X23IN6XH5P3R8NODK4NP/SSL_8941_Spring-Hill-Ranch-Office_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Spring Hill Farm and Stock Ranch office was located in the Jones' residence, which was completed in 1881 at a cost of $25,000. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510659241953-3FV5HD49LI8340AYB7SF/SSL_8948_Spring-Hill-Ranch-dining-room_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - The Jones' dining room was located on the first floor of their residence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510659313833-4IBBZV6OPESKDWA79VPD/SSL_8961_Jones+residence+-+bedroom+at+Spring+Hill+Ranch_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Stephen and Louisa Jones, with their daughter Loutie, lived in the house until 1888 when Jones sold his grand estate and property to his neighbor and banking partner, Barney Lantry, for $95,000. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547190268-4X6LUMO0D3CGXOAMGGB3/SSL_8645_Tallgrass-Prarie-barn-silo_5-25-2017_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - The three-story limestone ranch barn, measuring 110 x 60 feet, was built into hillside in 1882 to provide a well-insulated environment for the animal stables located on the lower floor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547195152-KV8Q2ATBBH3M3P229NNM/SSL_8648_Carriage-1905-circa_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Two-Horse-Drawn Carriage, circa 1905, now kept in the barn with other equipment from the history of the farm and stock ranch. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547215426-XNNX5BNDBDTD7IRBINSE/SSL_8656_five-disk-corn-seeder_2.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - John Deere-Van Brunt 5-disk drill - a one-horse machine designed for seeding between rows of standing corn. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547218467-8E9M7ULMITJJHUNPBUIU/SSL_8666_old-timers-seeding-machine_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Two Kansas elders share stories about two-row lister planter that replaced one-man horse plow. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547247790-T6CRJUZD0D9SHV3LSF2W/SSL_8670_barn-interior_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - The lower floor was used to stable some of the livestock and for storage of saddles and harnesses in the tackroom. Jones had 30 horses, 4 mules, 8 milkcows, 200 swine, and 450 cattle in 1885. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510822708998-N1TZ2FFHA8DOTY8995L3/SSL_8680_cat_3_sm_edited-1.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - The tack room served the purpose of storage, whether it was saddles, harnesses, collars, or grain. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547566625-34S6BSVKV9U51F7OI8A1/SSL_8997_Tallgrass-Prairie-barn-corrall-silo_sm2.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - The ranch barn and stable cost $15,000 to build, with most of its limestone quarried from the property. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547347221-8SNN7OEU51R4MVJSBR1Y/SSL_8760_Tallgrass-Prairie-family-portrait_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Family picture with kids wearing bonnets worn by travelers on the Sante Fe Trail, opened in 1821 for trading - Missouri through this area of Kansas to Mexico. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510655197868-NQWEIKPCYUHHV7PE3RE6/SSL_8915_Madonna-of-the-Trail_crp_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Madonna of the Trail (2005) is one of a 12 statue series dedicated to the spirit of the pioneer women in the US; located in Council Grove, KS, one of the last stops on the Santa Fe Trail. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510655722322-J8F7Y5NTDM1LXVROXSZT/SSL_8909_Hays-House-1857_sm.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Hays House est. 1857 founded by Seth M. Hays on the Sante Fe trail; he was the first European-Am settler who came to the Council Grove area in 1847 to trade with the Kaw tribe. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1510547473146-4IDO9UN35NYTN1N2W63D/SSL_8855_lone-bison_II_sm3.jpg Tallgrass Prairie National Preserve, KS (2017-5-25) - Due to the work of Nat'l Preserves, bison, once reduced to 1,000 at the lowest point, today have rebounded to about 350,000, only 1% of their original numbers, but no longer in danger of extinction. http://www.sslanzilotti.com/carlsbad-caverns daily 0.75 2017-12-23 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838680573-HJBL8VY52O5AETGR1BU5/SSL_8300_Carlsbad-Caverns-entrance_5-22-2017_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Carlsbad Caverns National Park, New Mexico, Natural Entrance. The Natural Entrance route descends more than 750 feet into the earth following steep and narrow trails through a tall and spacious trunk passage called the Main Corridor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838680573-HJBL8VY52O5AETGR1BU5/SSL_8300_Carlsbad-Caverns-entrance_5-22-2017_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Carlsbad Caverns National Park, New Mexico, Natural Entrance. The Natural Entrance route descends more than 750 feet into the earth following steep and narrow trails through a tall and spacious trunk passage called the Main Corridor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838757061-1HX0E3EXBRBYBRYFNYOH/SSL_8307_entering-caverns_cl_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Descending into the cavern at the Natural Entrance The Carlsbad Caverns are deep beneath the Chihuahuan Desert in southern New Mexico - a labyrinth of more than 300 limestone caves, carved over 250 million years ago; it is a 1¼-mile (2 km) descent, equivalent to about 79 stories, with 30 miles of mapped passages.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513895003795-IL1ZUBXKJH28CCVW9V3R/SSL_8320_Twilight-Zone_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - The Twilight Zone This is the upper part of the cave where there is still enough natural light to see. Without artificial light, the deep cavern beyond this point would be totally dark. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1514008259054-K8RV8WCVZ2GBYAO6AGMX/SSL_8322_Twilight-Zone-green-algae_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - The Twilight Zone with its green algae Green algae grows on rocks here, but few other plants can survive in the dim light. Snakes, mice, racoons, and ringtails sometimes seek shelter here. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513904758655-G6P3E9BQA5JMAI8BG9OG/SSL_8338_initial+cavern_crp_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Column speleothem (cave formation) Columns are formed when the stalagmite forming from the floor below and the stalactite forming from the ceiling directly above continue to develop until they meet and create one formation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838756758-0674YK2OMN46L701LYQV/SSL_8318_Stalactites-on-entry_Bat-Cave_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - The Bat Cave One of the most notable sights at Carlsbad Cavern is the spectacle of the park’s 400,000 Brazilian free-tailed bats leaving the cave each night at sunset in dramatic clouds of flapping wings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1514059509245-XWBPZOPTCAYAENC4DVH0/SSL_8341_Stalactites-and-Stalagmites_shad_sm3.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Speleothems - Stalactites and Stalagmites When water flows down through the ground and into a cave, it dissolves a mineral called calcite (a major building block of limestone) and carries it through cracks in the ceiling forming a stalactite - which usually grows anywhere between a quarter-inch and an inch every century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1514062652187-LXWGTC5Q4XNP99DQ9NLP/SSL_8349_Whales-Mouth_Draperies_sm-and-Flowstone_crp.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Whales Mouth Draperies and Flowstone Speleothems in the Whales Mouth area of the Carlsbad Caverns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838806726-3SFESKYMQ1KHFBS2G28R/SSL_8368_Stalactite_crp-tone_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Chandelier Stalactites Chandeliers are complex clusters of ceiling decorations. This stalactite hangs like an icicle. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838852970-2WMEWL4YDK8EQWIESGC6/SSL_8368b_Stalactite_crp-tone_BW_fin_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Chandelier Stalactites (B&W) Carlsbad Caverns National Park, New Mexico https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1514066849581-6GMKG17RB9WDYIIT0TFF/SSL_8402_Boneyard_rotate_crp_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Boneyard The limestone here is riddled with holes like a Swiss cheese. Explorers named this place "The Boneyard" because the rounded shapes of the rocks reminded them of old bones. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838907118-I6KVBYU5HGILNNC6JPRZ/SSL_8425_Speleothem-Drapery_toned_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Stalactite with stalagmite growing below Iron and other minerals, as well as acids from surface vegetation, combine with calcite crystals to add shades of red, orange and black to the color of speleothems, such as this stalactite and the stalagmites below. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838862167-JKNEEQD7S0V5YBAWFBCQ/SSL_8424_Draperies+and+Stalagmites_crp2_sm3_BW.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Stalagmites are often found in pairs with stalactites. The water dripping from the end of a stalactite falls to the floor of a cave and deposits more calcite into a mound. A stalagmite will form in a conelike shape, as seen here. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838905829-71S0WPNF2ASOWSGISD7W/SSL_8433_stalactites-T_crp2_sm_fin.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Variety of Speleothems (cave formation) Here are examples of soda straws, stalactites, and drapery. Soda straw stalactites form along a drop of water and continue growing down from the cave ceiling forming a tubular stalactite, which resembles a drinking straw in appearance. Their internal diameter is exactly equal to the diameter of the water drop. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838955466-QKJWPYBETP9VQXBN4CVC/SSL_8435_Three-Stalagmite-Domes_BW_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - The Big Room - Hall of Giants Stalagmites in the Big Room - a natural limestone chamber almost 4,000 feet (1,220 m) long, 625 feet (191 m) wide, and 255 feet (78 m) high at the highest point. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513838961496-M3C0CQQH9XHK6SU773PD/SSL_8441_Hall-of-Giants_stone-flow-stalagmites-stalactites_crp_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - The Big Room The Big Room is the largest known natural limestone chamber in the Western Hemisphere, with floor space estimated at more than 600,000 square feet, an area comparable to 14 football fields. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839023172-7GJ385T6B2QYUJENXYZS/SSL_8469_stalactites_T_cl_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Stalactite Formation of most stalactites is initiated as soda straws. If water flows on their external surface, they begin to grow in thickness and obtain a conical form. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839027096-JT3AMGNOYX0ZC6EFC7AD/SSL_8469_Stalactites-diagonal_lt_BW_b_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Stalactite (B&W) Most scientists believe that the color of speleothems are determined by the mineral content. Pure calcite is white and almost colorless. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839078848-359NK3CJB3QUQ59BBU14/SSL_8484_stalactites-flow_crp_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Drapery Speleothems Draperies or curtains are thin, wavy sheets of calcite hanging downward. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839183890-EN7PS9EXIV61MOO0XJ53/SSL_8485_Stalactite-c-speleothem-flow_crp2.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Drapery Speleothems When some stalactites touch each other they form a drapery with a curtain-like appearance. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839069130-N71IL5LL4OL3UKX9OVSG/SSL_8483_Rock-of-Ages-Column_Stalagmite_tip_BW_FIN_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Rock of Ages Stalagmite Tradition has it that this stalagmite got its name from an event that occurred in the early 20th century when a renowned baritone, Cameron McClean, while touring the cave burst into the hymn Rock of Ages when he saw this formation in the Big Room. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839138754-BLOZERHC9RLIO7PRCIO4/SSL_8486_Cavern_Carlsbad_crp-cl2_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Variety of Formations in the Big Room Speleothems form at varying rates as calcite crystals build up. Two important factors that determine rate of growth are the temperature outside (which affects the rate of decay of plants and animals, hence the amount of carbon dioxide in the soil), and the amount of rainfall. The shapes of speleothems are determined by how the acidic water enters the cave (by dripping, seeping, or splashing) and how the water stands or flows after entering the cave. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839432105-IKX9PYP5J9VAIEK4C1SU/SSL_8467_stalagmites_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Column Speleothem As compound cave formations, Columns include among their ranks the tallest free-standing speleothems in the world. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839198164-DGT4U8MYAU2NP45BLQM6/SSL_8489_stalactiites-c-flow_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Drapery Speleothem When a water drop emerges on a vertical wall, gravity drags it down the side of the wall depositing calcite in a line. Each additional deposit builds up this fine line until it looks like hanging material. Draperies with red hues, caused by iron and other minerals in the calcite solution, look like bacon strips. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839241974-G9N5OA4ZHU99EHOCS9FY/SSL_8489_stalactiites-flow_BW_fin_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Drapery Speleothem (B&W) As these formations grow, small undulations in the bedrock cause the draperies to become slightly curved. With time these curves become more and more accentuated so that the draperies become highly folded or furled along their lower edges. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839330233-T6DPD4QK6DIE3X16DUWY/SSL_8507_Dolls-Theater_ro2_crp_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Doll's Theater The Doll's Theater, with its soda straws and small columns, is located in the Big Room, near the end of the loop path. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839331591-UP7UISL5UK485AEYD9YT/SSL_8511_stalactites-stalagmites_c-crp_sm_fin.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Curtain Speleothem All changes in the amount of water change the relation calcite/iron oxide and therefore the color of the depositing calcite crystals. As the curtain grows in layers, there are stripes inside the curtain, normally from the beginning to the end of the curtain. This characteristic of curtains leads to names like the "bacon" or "bacon rind" formation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839273569-ZGA3NHZQR70DTS1CIVXC/SSL_8490_stalactiites_crp_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Drapery Speleothem Carlsbad Caverns National Park, New Mexico https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839284986-KKIY0V6K0LDT5R3HZ4CL/SSL_8490_stalactiites_lt-BW_Final_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Drapery Speleothem (B&W) Carlsbad Caverns National Park, New Mexico https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839421589-3XCACYFJB86U6HT2LAT6/SSL_8416_flowstone-speleothems_crp-tone_bl_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Flowstone speleothem Flowstones are composed of sheetlike deposits of calcite or other carbonate minerals, formed where water flows down the walls or along the floors of a cave. Here are drapery and ripple-shaped patterns of flowstone speleothems in the Big Room. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839386659-1EYO42QZWYOSLYI01V0D/SSL_8516_stalgmites-and-stalacites_HDR-exp_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Variety of Speleothem Formations, e.g., Cave Popcorn Cave popcorn can form as water seeping through limestone walls or splashing onto them leaves deposits when CO2 loss causes its minerals to precipitate (i.e., become solid from a solution). When formed in this way the resultant nodules have the characteristics of small balls of flowstone. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1513839374761-FIA09PSFUCSLFPATA7VQ/SSL_8535_oil-burn-Roswell-NM_5-22-2017_sm.jpg Carlsbad Caverns National Park, New Mexico (5/22/2017) - Drive back to Roswell, NM after visiting Carlsbad Caverns. http://www.sslanzilotti.com/2017-my-smithsonian daily 0.75 2018-02-28 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777390739-R6GSV92Q2XOOPX9REM37/SSL_0704_Egret-Kawainui-Marsh_2016-6-3_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - Egret Landing at Kawai Nui Marsh, Oʻahu (Natural World) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777390739-R6GSV92Q2XOOPX9REM37/SSL_0704_Egret-Kawainui-Marsh_2016-6-3_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - Egret Landing at Kawai Nui Marsh, Oʻahu (Natural World) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519775785300-84M3Q71SSX0L88381J4G/SSL_0704_Egret-Kawainui-Marsh_2016-6-3_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776342105-LTAM7NZM96NAE1ZK7WVW/P1020784_seal-Outrigger-Beach-Oahu_2017-4-16_sm_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - 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Surfing Kaʻena Point, Oʻahu (People) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776753126-5JT27PNQPVCA9DURO2VX/SSL_4280_Father-daughter-hike2_2017-2-4_R_SN-A.JPG 2017: My Smithsonian Magazine Contest Entries - Hiking Kaʻena Point with Dad, Oʻahu (Altered Image) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776804938-NLVCEQCHUSFTPSZKHY41/SSL_4384_Albatross-Preen_crp_c2_2017-2-4_R_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - Laysan Albatross Preens While Nesting at Kaʻena Point, Oahu (Natural World) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776820758-DWM03RWXSL40GL98NDVE/SSL_4550_monk-seal-sunning-Kaena_sat_2017-2-4_R_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - Hawaiian Monk Seal Camouflaged at Kaʻena Point, Oahu (American Experience) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776866406-IS7UYJQ8P5FPKP6CWXNN/SSL_4628_albatross-chick-faced_2017-2-4_R_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - Laysan Albatross and Chick, Kaʻena Point, Oahu (Natural World) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776882141-WDBCMKZ918JCFLG9COQU/SSL_5141_Byoda-In-Bell-and-Shu-Moku_sm_SN-T.jpg 2017: My Smithsonian Magazine Contest Entries - Sacred Bell (Bon-Sho) and Wooden Log (Shu-Moku), Byodo-In Temple, Oahu (American Experience) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776949725-NA9JTZXV8OMZUELN4TX5/SSL_5142_Byodo-Temple-Swan-2015-11-27_BW_sm_SN-A_rev_PUN2018_rev.jpg 2017: My Smithsonian Magazine Contest Entries - Byodo-In Temple & Reflecting Pond with Black Swan and Koi, Oʻahu (Altered Image) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776943858-B56J7H5PG5VJZXMDXI91/SSL_5179_Byodo-In-Temple-garden-reflecting-pool-hijab_2015-11-27_BW3_SN-A.JPG 2017: My Smithsonian Magazine Contest Entries - Muslim Family Strolls the Japanese Garden & Reflecting Pond at Byodo-In Temple, Oahu (Altered Image) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777000915-CWMERDPLOF34WG9DJUKH/SSL_6526_Lipan-view-GC_2017-5-16_sm2_SN-A_T.jpg 2017: My Smithsonian Magazine Contest Entries - Lipan Point View of the Grand Canyon, Arizona (Altered Image) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519776999419-YR46HYMNM2ON7W92DG1J/SSL_7039_condor-No-87_2017-5_17_sm_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - Condor #87 Circling Battleship Formation, Grand Canyon, AZ (Natural World) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777042234-MORJ52OS7KBO1NXRDC7V/SSL_7145_Idiots-Bluff-Grand-Canyon_2017-5-17_sm2_SM-P.jpg 2017: My Smithsonian Magazine Contest Entries - Idiot's Bluff, Grand Canyon National Park, AZ (People) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777065350-O84TOFOJMN93BDQ2CAHA/SSL_7238_Elk-lunch-GC_2017-5-17_SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - Elk Lunching in the Forest, Grand Canyon National Park, AZ (Natural World) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777098568-2H94PZQD8HA7Q4GMEESL/SSL_7264_sunlight-through-clouds-GC_2017-5-17_sm_SN-A-T.jpg 2017: My Smithsonian Magazine Contest Entries - Afternoon Sun & Parting Clouds Paint the Grand Canyon, AZ (Altered Image) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777129806-57BUS49KAH67O92IN95C/SSL_7321_Raven-over-GC_R_2017-5-17_3_sm_SN-A.jpg 2017: My Smithsonian Magazine Contest Entries - Raven Search for Prey Over the Grand Canyon, AZ (Altered Image) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777162047-0VWRH6PQ7DKIBCNBQFLX/SSL_8766_Bison-in-tall-grass_2017-5-25_Tallgrass-SN-NW.jpg 2017: My Smithsonian Magazine Contest Entries - Bison Roam Again at Tallgrass Prairie National Preserve, KS (Natural World) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1519777175229-EA8T6ZCCI7QOZU7K9QE3/SSL_8997_Tallgrass-Prairie-barn-corrall-silo_2017-5-23_R_SN-AE_sm.jpg 2017: My Smithsonian Magazine Contest Entries - Jones' Spring Hill Farm & Stock Ranch, Tallgrass Prairie National Preserve, KS (American Experience) http://www.sslanzilotti.com/2018324_march-for-our-lives daily 0.75 2018-03-27 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088569820-G6GQOXHDWRIW6X1M8SIQ/SSL_3733_fear-has-no-place_sm.jpg 2018-3-24_March For Our Lives - In 2014, 2,549 children (age 0 to 19 years) died by gunshot and an additional 13,576 were injured. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088569820-G6GQOXHDWRIW6X1M8SIQ/SSL_3733_fear-has-no-place_sm.jpg 2018-3-24_March For Our Lives - In 2014, 2,549 children (age 0 to 19 years) died by gunshot and an additional 13,576 were injured. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088720326-5TL1F55DO6AU0CE2GK7G/SSL_3679_HI-Blessing_II_cl.jpg 2018-3-24_March For Our Lives - There are more than 350 million guns in circulation in the United States — approximately 113 guns for every 100 people. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088738758-6LJFRWCDNNCOXZK8Y7LW/SSL_3687_We-had-enough_sm.jpg 2018-3-24_March For Our Lives - In 2017 alone, 11 mass shootings in the US caused 117 fatalities and 587 injuries occuring in concert, religious, workplace, airport, and shopping venues and in community. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088718231-LMCA4LLPXNIEA2T1XTUP/SSL_3666_protectour-kids-not-guns.jpg 2018-3-24_March For Our Lives - 1.7 million children live with unlocked, loaded guns - 1 out of 3 homes with kids have guns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088821526-5Z5S6LOMFCIR6G5KAG7U/SSL_3708_This-Mom.jpg 2018-3-24_March For Our Lives - Every day, 88 Americans are killed with guns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088540471-4BP5R33NUQ6TFWVXK8BT/SSL_3754_zones_protect_sm.jpg 2018-3-24_March For Our Lives - In states that require background checks for all handgun sales, there is 48 percent less gun trafficking. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088822422-CKLJZ9X5YG9KQRPR4QCM/SSL_3705_Gun-Control.jpg 2018-3-24_March For Our Lives - The gun homicide rate in the U.S. is 20 times higher then other developed nations. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088760461-22CKFJMR84T0PVX9UFN2/SSL_3692_Invest-in-Education.jpg 2018-3-24_March For Our Lives - Those people that die from accidental shooting were more than three times as likely to have had a firearm in their home as those in the control group. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088785622-KR8M4MBE8BA0GPE5WB2G/SSL_3701_Books-not-bullets.jpg 2018-3-24_March For Our Lives - Among children, the majority (89%) of unintentional shooting deaths occur in the home. Most of these deaths occur when children are playing with a loaded gun in their parent’s absence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088761930-4L6I9B0D6A6GRS87OOMV/SSL_3696_Priorities-Straight_sm.jpg 2018-3-24_March For Our Lives - People who report “firearm access” are at twice the risk of homicide and more than three times the risk of suicide compared to those who do not own or have access to firearms. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088738151-U2S0J7LMRZ6QV3Q8Q2Z0/SSL_3691_protect-kids.jpg 2018-3-24_March For Our Lives - So many people die annually from gunfire in the US that the death toll between 1968 and 2011 eclipses all wars ever fought by the country. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089440696-ACGMVMHZNLKTCUFQV775/SSL_3860_enough-is-enough.jpg 2018-3-24_March For Our Lives - According to research by Politifact, there were about 1.4 million firearm deaths between 1968 and 2011, compared with 1.2 million US deaths in every conflict from the Revolutionary War to Iraq. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088787196-UFG2NT2D24OHLVNF4OON/SSL_3703_Moment-vs-Movement.jpg 2018-3-24_March For Our Lives - Assault-style weapons are responsible for a minority of guns deaths in the US, but have become the weapon of choice for the assailant whose intent is chaos and casualties. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088842832-XEI78Z7S6THA0NDYX356/SSL_3711_Ban-Weapons-of-War.jpg 2018-3-24_March For Our Lives - As of Nov. 2017, 95 mass shootings have occurred since 1982, from which approximately 76 semi-automatic handguns and 85 assault weapons and weapons with high magazine capacity were recovered. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088867193-A9HOWMT2X0SPY52TMXHS/SSL_3717_Teachers-March_sm.jpg 2018-3-24_March For Our Lives - At Sandy Hook Elementary School in Newtown, Conn. in 2012, Adam Lanza reportedly fired more than 150 shots in less than five minutes from his assault-style rifle with a high capacity magazine. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088870068-ON2H722ISEVCQWL5ZHKI/SSL_3720_protect-our-children_sm.jpg 2018-3-24_March For Our Lives - States that restrict assault weapons also have the lowest per capita homicide rates. However, because guns are easily trafficked in interstate and international commerce, federal rules are needed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088886029-MCNAMOZ6NY64S34AJKN6/SSL_3721_Teachers-Guns-Pres-Books_sm.jpg 2018-3-24_March For Our Lives - Research shows: from 1982 to 2011, mass shootings occurred every 200 days on average. Since late 2011, they found, mass shootings have occurred at triple that rate—every 64 days on average. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088893641-S49MCXRYTE9051NVO7ST/SSL_3727_My-right-to-live_sm.jpg 2018-3-24_March For Our Lives - Approximately one of three handguns guns is kept loaded and unlocked and most children know where their parents keep their guns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088910412-9H4K7GPNEB7WLSLJF5GY/SSL_3728_serve-students_sm.jpg 2018-3-24_March For Our Lives - In one year on average (ages 0-19), 17,102 American children and teens are shot in murders, assaults, suicides & suicide attempts, unintentional shootings, or by police intervention. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088916558-IH9NNBVT1G0THM351D09/SSL_3730_AR15-BlackLives_sm.jpg 2018-3-24_March For Our Lives - Black men are nearly ten times as likely to be murdered with a gun as white men, and black women are three times as likely to be murdered with a gun as white women. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088942605-2J2NA2M8J2FVIO06V20O/SSL_3737_NRA-GTFO_sm.jpg 2018-3-24_March For Our Lives - According to federal election data, eight federal lawmakers have been on the receiving end of at least $1 million in campaign contributions from the NRA over the courses of their careers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088958415-SFNUMC4WFPE04CV3TL8O/SSL_3738_Arms-Hugging_sm.jpg 2018-3-24_March For Our Lives - The Gun Control Act of 1968 prohibits persons under eighteen years of age, convicted criminals, the mentally disabled, dishonorably discharged military personnel, and others from purchasing firearms. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088965362-HXZ9UUJRG9YTNGZZ1FY6/SSL_3744_no-more_sm.jpg 2018-3-24_March For Our Lives - In 1993, the Brady Handgun Violence Prevention Act mandated background checks for all unlicensed persons purchasing a firearm from a federally authorized dealer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088983562-YDHZUN4E7U6Z90X70Y6T/SSL_3745_I-am-6_sm.jpg 2018-3-24_March For Our Lives - Federal law provides the basis for firearm regulation in the United States, but states and cities can impose further restrictions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088989576-LKND2O08ASGT06FHQFIA/SSL_3750_Not-Smart_sm.jpg 2018-3-24_March For Our Lives - In Jan. 2016, Pres. Obama took action to decrease gun violence, including a measure requiring dealers of firearms at gun shows or online to obtain federal licenses and conduct background checks. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089014599-S1HHSZ04BLWY8IA5FFIP/SSL_3755_Vote-them-out.jpg 2018-3-24_March For Our Lives - There was a federal prohibition on assault weapons and large-capacity magazines between 1994 and 2004, but Congress allowed these restrictions to expire. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522138555406-SAJ1TQT37BXRD1B4TZFW/SSL_3756_no-more-massacres_II.jpg 2018-3-24_March For Our Lives - As of 2017, there were no federal laws banning semiautomatic assault weapons, military-style .50 caliber rifles, handguns, or large-capacity magazines. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089043134-626QSNTYML5CX6GLV2FC/SSL_3783_Take-stand-vs-NRA.jpg 2018-3-24_March For Our Lives - The United States, with less than 5 percent of the world’s population, has about 35–50 percent of the world’s civilian-owned guns, according to a report by the Switzerland-based Small Arms Survey. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089067604-JSVM7CUSEYGU6U7UA1MZ/SSL_3785_Die-old-age.jpg 2018-3-24_March For Our Lives - The United States also has the highest homicide-by-firearm rate among the world’s most developed nations. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089064656-PKCGK25HJTDJVWK8SWR0/SSL_3788_Tulsi-take-a-stand.jpg 2018-3-24_March For Our Lives - In terms of lobbying, the NRA officially spends about $3m per year to influence gun policy - the recorded spend on lobbying in 2014 was $3.3m. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089079850-5HVV67KL69MBRY71YBC6/SSL_3793_Raise-daughters-change.jpg 2018-3-24_March For Our Lives - School-based counseling and violence prevention programs are effective at teaching students how to resolve conflicts and problems without resorting to violence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089102857-P5F5C4B8XQTTW34P0YB5/SSL_3795_Windward-Resisters_sm.jpg 2018-3-24_March For Our Lives - According to data from the Centers for Disease Control and Prevention, there are approximately 81,300 nonfatal injuries and 31,672 deaths every year involving guns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089101150-7GMFUAS280JFMJ7BDR94/SSL_3796_Tell-our-story_sm.jpg 2018-3-24_March For Our Lives - The NRA spends about $250m per year, far more than all the country's gun control advocacy groups put together. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089128494-H67KZMT59UX36EAV97U3/SSL_3804_Never-A-Gun_family_sm.jpg 2018-3-24_March For Our Lives - Children are almost 100 times more likely to be murdered outside of school than at school, which makes massive expenditures for school building security seem like a misallocation of tax dollars. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089131042-SXGWRDLZVCJ71CVFEGLI/SSL_3805_Ballots-beat-bullets_sm.jpg 2018-3-24_March For Our Lives - The NRA publicly grades members of Congress from A to F on their perceived friendliness to gun rights. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089152247-G5CA1ZNHRHZ4WAUKP84Y/SSL_3806_Trump-Endangers_sm.jpg 2018-3-24_March For Our Lives - The NRA has lobbied heavily against all forms of gun control and argued aggressively that more guns make the country safer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089152606-WFAPGM05B70HR8T9ZVKH/SSL_3810_Bless-kids-Ban-guns_sm.jpg 2018-3-24_March For Our Lives - Among children, the majority (89%) of unintentional shooting deaths occur in the home. Most of these deaths occur when children are playing with a loaded gun in their parent’s absence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089165439-VXX2HE9FTZLZVOHVOL88/SSL_3813_Act-Now.jpg 2018-3-24_March For Our Lives - 91% of all children who die from firearms in high-income countries across the world come from the United States, and guns are the third leading cause of death for all children between ages 1 and 17. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089166880-VJG94F8UGBG29XZB5HFH/SSL_3814_Hawaii-stands.jpg 2018-3-24_March For Our Lives - One in ten children’s deaths in 2014 and 2015 resulted from a gunshot wound. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089190560-6ZLGKQWSW6DYH5R03R6B/SSL_3814_TuTu-Message.jpg 2018-3-24_March For Our Lives - A study based on the National Violent Death Reporting System estimates that accidental deaths from guns are actually 80% higher for children under age 15. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089176642-0AMPIE3KC4SFE3R4MAQ2/SSL_3815_In-our-America.jpg 2018-3-24_March For Our Lives - The correlation between city unemployment at the overall rate of gun deaths is considerable (.55), and the correlation between it and gun-related murders is even higher (.72). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089200431-VDP3LIGS38OB2J0KEAGN/SSL_3817_Kids-not-guns_sm.jpg 2018-3-24_March For Our Lives - An average 1,297 children die (two children per 100,000) and 5,790 are treated for injuries caused by guns each year.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089216135-WU370L3MZW9XBKYAPJN2/SSL_3820_March-for-Lives_sm.jpg 2018-3-24_March For Our Lives - A 2012 study found gun deaths to be higher in states with higher levels of poverty and lower incomes, as well as in red states and those with more blue-collar working class economies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089224511-TEOBR2ZV3N61PYB96S1B/SSL_3822_Arm-with-nonviolence_sm.jpg 2018-3-24_March For Our Lives - Gun ownership increases the risk of completed suicides compared to all other means of suicide combined, i.e., by pills, cutting, jumping, even hanging. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089243111-2GLRBPEXK0DOZ4IY2PHG/SSL_3824_LIsten+to+Gun+Contrl_crp.jpg 2018-3-24_March For Our Lives - Women are 16 times more likely to be killed by guns in the US than in any other developed nation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089258608-B3VZ4TJXDNOD73PHS1Y8/SSL_3824_Proud.jpg 2018-3-24_March For Our Lives - The Gun Violence Archive, a clearinghouse of gun violence statistics, reports that in 2016 alone, 446 children (aged 0–12) and 2,072 teenagers were injured or killed in gun violence incidents. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089288748-5NQ00R475SCD7Z6FL5EG/SSL_3829_Nonsensical.jpg 2018-3-24_March For Our Lives - In an average month, 50 American women are shot to death by intimate partners and many more are injured. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089286429-FFHUJYHQ1R29YSX46TK5/SSL_3832_21st-c-weapons.jpg 2018-3-24_March For Our Lives - The NRA staunchly opposes most local, state and federal legislation that would restrict gun ownership. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089309031-6UD0MQKM6HWP0PVUPCZF/SSL_3832_kids-alright-vs-nra.jpg 2018-3-24_March For Our Lives - The NRA strongly supports legislation that expand gun rights such as "open-carry" laws, which allow gun owners to carry their weapons, unconcealed, in most public places. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089311298-9V94YH2YJNVO9CYFQ9PK/SSL_3838_guns-kill-people_sm.jpg 2018-3-24_March For Our Lives - IN 2010 World Health Org (WHO) statistics showed homicide rates in the US were seven times higher than in other high-income countries, driven by a gun homicide rate that was 25.2 times higher. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089334511-9OULZY7NOP69KG95Y15R/SSL_3844_enough-t-shirt_sm.jpg 2018-3-24_March For Our Lives - The 2010 World Health Org (WHO) statistics also showed a USA firearm suicide rate 8 times higher and an unintentional firearm death rate that was 6.2 times higher than in other high-income countries. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089334779-PF4IJBUG1Y30O063OBOF/SSL_3842_USA-not-NRA_sm.jpg 2018-3-24_March For Our Lives - Among high-income countries, WHO 2010 statistics showed: 90% of women, 91% of children aged 0 to 14 years, 92% of youth aged 15 to 24 years, and 82% of all people killed by firearms were from the US. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089359471-ZYDWWU817EBSJK23V1A0/SSL_3853_psychologist_sm.jpg 2018-3-24_March For Our Lives - Gun violence is not just the product of troubled or deranged individuals, as is commonly portrayed, but is both associated with and embedded within the economic and social context of places. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089370714-WEB4RZ9EINEWQXRNMEUP/SSL_3854_peace.jpg 2018-3-24_March For Our Lives - Research finds strikingly consistent associations between gun violence and key markers of socio-economic disadvantage — poverty, income, education, class, and race. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089388774-K30NI6FISNIYLBVNWCYD/SSL_3855_no-guns-in-schools.jpg 2018-3-24_March For Our Lives - The American Federation of Teachers and the National Education Association, the nation’s two largest teachers’ organizations, oppose allowing guns in schools. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089408505-W9OEAVO2XGEJSPFIOL97/SSL_3856_protect-kids_sm.jpg 2018-3-24_March For Our Lives - The federal government’s chief legal, law enforcement, public health, & education agencies all agree that allowing civilians to carry guns in schools is not a sound security practice. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089409601-ZHVCQVQKHOZ7QKGY8LV5/SSL_3858_Mom-demand.jpg 2018-3-24_March For Our Lives - Studies show that Introducing guns on school campuses increases the potential for tragedies due to unintentional shootings and verbal altercations escalating in violence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089473482-ZY11TXPLA1VHTT43SIPO/SSL_3863_no-more-silence.jpg 2018-3-24_March For Our Lives - An FBI review of active shooter incidents from 2000-2013 found that only 1 in 160 incidents ended when a civilian shot the shooter—and that one “civilian” was a former U.S. Marine. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089513311-MFI2FREF3CMDNU1EKIPN/SSL_3873_No-Rationale_sm.jpg 2018-3-24_March For Our Lives - Armed civilians make active shooter situations more difficult and dangerous. Armed civilians put law enforcement in danger, delay law enforcement response, and pose a risk to innocent bystanders. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089443733-1OYWJNRH1YIQOC57HJUQ/SSL_3861_USA-not-NRA.jpg 2018-3-24_March For Our Lives - Research casts significant doubt on the idea that civilians can shoot as well as trained police officers in active shooter situations. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089613569-B5180VJ15V36ENFQKKK8/SSL_3870_NRA.jpg 2018-3-24_March For Our Lives - When a man shot and killed three people at a Walmart in Thornton, CO, law enforcement reported shoppers drawing weapons in self-defense “absolutely” slowed the process of identifying the suspect. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089482099-JFX3DD106D7C5SXUQ4GY/SSL_3862_Kindness_sm.jpg 2018-3-24_March For Our Lives - Instead of arming teachers, states can save lives by enacting Red Flag laws, creating a way to intervene before a disturbed potential shooter arrives at the schoolhouse door. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089496990-FDEUDCY8Y08O681XQE30/SSL_3868_Keiki.jpg 2018-3-24_March For Our Lives - Red Flag Laws empower law enforcement and immediate family members to petition a court for an Extreme Risk Protection Order, sometimes called a Gun Violence Restraining Order. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089522765-H43PZL9EEUQ51LG17ZBW/SSL_3875_18th-c-gun-laws.jpg 2018-3-24_March For Our Lives - Red flag laws have been enacted in 5 states, and have been introduced in 18 additional states so far this year. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089554804-Y2NMDNGJKDWEVIQ7G3P5/SSL_3876_Stop-gun-violence_sm.jpg 2018-3-24_March For Our Lives - The proliferation of guns on school campuses will increase the risk of lethal violence in spaces that are, for the very large majority of students and classrooms, currently safe. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089578746-AX5IPLZOJ1XXI0GF0O2M/SSL_3883_books-not-bullets.jpg 2018-3-24_March For Our Lives - There is no evidence to suggest that any percentage of armed teachers will stop a shooter intent on causing mass violence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089606368-GYOINC9JKUHM2R9GJBP4/SSL_3893_stop-gun-violence.jpg 2018-3-24_March For Our Lives - Reduce easy access to dangerous weapons by banning high capacity magazines and bump stocks, requiring universal background checks without loopholes & instituting waiting periods. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089633349-3MOO7QWP0L7JM9KS00PM/SSL_3906_vs-NRA_it-matters.jpg 2018-3-24_March For Our Lives - Reduce firearm access to youth and individuals who are at risk of harming themselves or others, including those guilty of intimate partner violence, etc. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089630860-QNCQBGBO05KGI8HQJYZR/SSL_3915_ban-assault-weapons.jpg 2018-3-24_March For Our Lives - The Washington Post calculated that since the Columbine High School massacre in 1999, more than 187,000 children and teens at 193 schools have been exposed to a shooting on campus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522088848843-BYMLXL5NVBQL18YIRTZK/SSL_3714_Nightmare-End_sm.jpg 2018-3-24_March For Our Lives - Hold the gun industry accountable and ensure there is adequate oversight over the marketing and sales of guns and ammunition. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089660452-V49S36FGP7ILVCJG1YXI/SSL_3921_rights_sm.jpg 2018-3-24_March For Our Lives - Domestic violence increases in severity and deadliness when guns are present in the home; access to a firearm increases the risk of homicide eight-fold for women in physically abusive relationships. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522137984614-AYPGVCB0R9DYYH9XJ7MU/SSL_3726_March-for-our-lives_sm.jpg 2018-3-24_March For Our Lives - Multiple studies from Johns Hopkins University have found that "permit to purchase" laws, which include a particularly strong background check, reduce homicides, suicides and gun trafficking. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522089661995-E01ZKJ3RU90S9JKFRXJD/SSL_3928_TIME.jpg 2018-3-24_March For Our Lives - Support the establishing of a comprehensive health system in which violence prevention is a health system responsibility and imperative. http://www.sslanzilotti.com/national-civil-rights-museum daily 0.75 2020-06-16 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522746543139-VYC0SMQVRYD62YMTZU8H/SSL_9311_Lorainne-Motel-destination_sm.jpg Lorraine Motel - National Civil Rights Museum - STRUGGLE FOR HUMAN RIGHTS The National Civil Rights Museum honors and preserves the legacy of Dr. Martin Luther King, Jr., and chronicles the American civil rights movement and the ongoing struggle for human rights, which today has been taken up by the Black Lives Matter and the Fight Fair Action movements, amongst others. The Museum includes the the Lorraine Motel where Dr. King was assassinated in the spring of 1968. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522746543139-VYC0SMQVRYD62YMTZU8H/SSL_9311_Lorainne-Motel-destination_sm.jpg Lorraine Motel - National Civil Rights Museum - STRUGGLE FOR HUMAN RIGHTS The National Civil Rights Museum honors and preserves the legacy of Dr. Martin Luther King, Jr., and chronicles the American civil rights movement and the ongoing struggle for human rights, which today has been taken up by the Black Lives Matter and the Fight Fair Action movements, amongst others. The Museum includes the the Lorraine Motel where Dr. King was assassinated in the spring of 1968. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744587871-VHVV6IF4TP7AZSZP6ZAJ/SSL_9333_Natl-Civil-Rts-Museum.jpg Lorraine Motel - National Civil Rights Museum - STRUGGLE FOR HUMAN RIGHTS The Museum’s website states: “Our Museum is a monument to what can be achieved with persistence, tenacity, determination and courage." These qualities are represented today through the work of such people as Stacy Abrams, Patrisse Cullors, Alicia Garza, Opal Tmeti, Esmeralda Simmons, Melanie Campbell, James Rucker, Lateefah Simon, and many others. (e.g., see https://www.usatoday.com/story/money/2020/06/07/19-of-the-most-influential-civil-rights-leaders-of-the-21st-century/111907158/). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522746349220-4ZU7YMEQNIBQ5L9Q2MLQ/SSL_9311_Lorainne-Motel-destination_sm.jpg Lorraine Motel - National Civil Rights Museum https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744509619-O36H6BFFLCJ07VFPB03V/SSL_9328_Lorraine-Motel-sign.jpg Lorraine Motel - National Civil Rights Museum - FROM SLAVERY TO MURDER IN THE STREETS The Museum’s displays focus on the effects of systematic racism and inequality in America through: slavery; segregation in educational institutions, private businesses, and public facilities; violations of constitutional rights of peaceful protest through intimidation and brutality; and finally, the murder and assassination of civil rights leadership. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744542952-VUALVLGX1OJTV3K547I4/SSL_9339_Movement-to-Overcome_sm.jpg Lorraine Motel - National Civil Rights Museum - OVERCOMING SLAVERY This sculpture, "Movement To Overcome," suggests the slow upward climb of the civil rights struggle. That climbed started with the first 20 or so African slaves who were brought to America in August, 1619 on the English ship the White Lion. Most of the slaves were bought by Governor Sir George Yeardley and head merchant Abraham Piersey and kept in Jamestown, VA, America’s first permanent English settlement. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591839467609-1PD7PNU1G4TP9SGODC6U/SSL_9341_slave-sale-statues_dress_gb_drk_crp_sm.jpg Lorraine Motel - National Civil Rights Museum - SLAVERY VS HUMAN RIGHTS The sculpture, A Culture of Slavery, shows a mother and child being sold on the slave block. While the country's Declaration of Independence, penned in 1776, stated that "all men are created equal," slavery was not abolished in the U.S. until the 13th amendment was ratified on December 6, 1865. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592046102720-54TF7ZDRNUMHQ1W44E02/Edward_Savage_The_Washington_Family_1789-1796_L.jpg Lorraine Motel - National Civil Rights Museum - SLAVERY VS HUMAN RIGHTS In 1799 most of George Washington’s 318 enslaved people were field workers, more than half of whom were women. Field slaves lived in small shacks with a dirt floor and little or no furniture. Artists of the 18th century often included enslaved people in the background of portraits. As valuable property, a slave served as a symbol of prosperity, just as a portrait subject might wear a costly silk gown or pose in an expensive mahogany chair. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591931888204-RLNGHK8AYUP37J9JIPN1/SSL_7994_Wome-slave+quarters-GW-mtvernon_FIN.jpg Lorraine Motel - National Civil Rights Museum - SLAVERY VS HUMAN RIGHTS On the grounds of President George Washington's home at Mount Vernon a woman dressed as a slave explains the Female Slave Bunk Room, originally built in 1791-1792 during his first term as President (4/30/1789 to 03/4/1797). The room held 10 to 15 slaves and perhaps their children. The women’s lives were defined by their work. They lived close to the Mansion, where a few were house slaves, and close to the outbuildings, where others sewed clothing, cooked, or did laundry for the Washingtons. Some of these women were single, while others had husbands living elsewhere. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591920921197-1TGNGDG144JYPFJV72DW/SSL_9349_battle+for+school+integration_crp_sm.jpg Lorraine Motel - National Civil Rights Museum - CONSTITUTION VS "SEPARATE BUT EQUAL" EDUCATION FACILITIES Even though the Supreme Court declared racial segregation in schools to be unconstitutional in the historical 1954 ruling Brown v. Board of Education, school districts are often segregated by income. On 5/2/2019 the New York Times reported, “More than half of the nation’s schoolchildren are in racially concentrated districts, where over 75 percent of students are either white or nonwhite.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592047737774-TBPTRA8QLQKEQWURZ6P1/SF1-0007+three+amigos_Stoddard+Fleischer+JrH-1975.jpg Lorraine Motel - National Civil Rights Museum - RACE AND ECONOMIC EQUALITY VS DE FACTO SEGREGATED EDUCATION Americans often forget that as late as the 1960s most African-American, Latino, and Native American students were educated in wholly segregated schools funded at rates many times lower than those serving whites and were excluded from many higher education institutions entirely. Today, two-thirds of minority students still attend schools that are predominantly minority, most of them located in central cities and funded well below those in neighboring suburban districts. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744637972-J2A99L7EYMIK2E3FTMLZ/SSL_9346_A-Right-For-All.jpg Lorraine Motel - National Civil Rights Museum - RACE AND ECONOMIC EQUALITY VS DE FACTO SEGREGATED EDUCATION Future employment problems, poverty and incarceration continue to be created by existing segregated education systems and the lack of quality education opportunities for all. “Because of race and class segregation and its relationship to local school revenues, students in high-poverty racially segregated schools are not exposed to high-quality curricula, highly qualified teachers, or important social networks as often as students in wealthier, predominantly White schools.” Anne E. Casey Foundation, 11/25/2006 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744640007-27FCTIN2LSRWBNH15ZYS/SSL_9352_Rosa-Parks_sm.jpg Lorraine Motel - National Civil Rights Museum - BOYCOTT VS "SEPARATE BUT EQUAL" JIM CROW LAWS FOR PUBLIC FACILITIES On 12/1/1955, in Montgomery, AL, Rosa Parks refused to obey a bus driver's order to give up her seat in the "colored section" to a white passenger, after the whites-only section was filled. Rosa Parks said, “The only tired I was, was tired of giving in.” Her defiance sparked the Montgomery Bus Boycott. Its success launched nationwide efforts to end racial segregation of public facilities. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744666577-YDJSCG3GF6YYU0YH8S5T/SSL_9355_Sit-In_sm.jpg Lorraine Motel - National Civil Rights Museum - SIT-INS VS "SEPARATE BUT EQUAL" JIM CROW LAWS FOR PRIVATE BUSINESSES In early February 25, 1960, a group of 35 black students at Alabama State College took seats at the lunchroom in the county courthouse attempting their own form of nonviolent resistance. The store owners closed the lunch counter and a mob of pro-segregationists physically assaulted the students. Governor John Patterson ordered the university to expel any student participating in sit-ins. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744679210-B92OX5KMSHYS8MYNYDHW/SSL_9359_Freedom-Riders-bus_lev_sm.jpg Lorraine Motel - National Civil Rights Museum - FREEDOM RIDERS VS NON-ENFORCEMENT OF DESEGREGATION OF PUBLIC BUSES On 5/14/1961, a Greyhound bus carrying black and white "Freedom Riders" through Alabama was bombed and it burst into flames; the Freedom Riders escaped the bus but were brutally beaten. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591957409815-1CE9KV4AZUEO0WXQPYF8/SSL_9365_MLK-March-on-Washington_sm.jpg Lorraine Motel - National Civil Rights Museum - MARCH ON WASHINGTON FOR JOBS AND FREEDOM Martin Luther King Jr. gave his "I Have A Dream" speech at The March on Washington, August 28, 1963, where 250,000 people gathered to advocate for the civil and economic rights for African Americans and an end to racism. The “I Have a Dream” speech portrays racial equality as a fulfillment of the promises of America’s Founding Fathers and documents. (see http://www.let.rug.nl/usa/documents/1951-/martin-luther-kings-i-have-a-dream-speech-august-28-1963.php) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591956947169-E6V58I7APRS43393R39Z/SSL_9376_March-Washington-close_sm.jpg Lorraine Motel - National Civil Rights Museum - MARCH ON WASHINGTON FOR JOBS AND FREEDOM In his “I Have a Dream” speech King pointed out that the country’s founders had signed a “promissory note” that offered great freedom and opportunity. As appropriate today as it was in 1963, he stated, “Now is the time to make real the promises of democracy; now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice; now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood; now is the time to make justice a reality for all of God’s children.” The speech played an important role in helping pas the 1964 Civil Rights Act. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592055182939-Q0QYWJGGW03KZ011O1KS/President+Johnson+signs+Civil+Rights+Act+1964.jpg Lorraine Motel - National Civil Rights Museum - CIVIL RIGHTS ACT, 1964 VS DISCRIMINATION In 1964, President Lyndon B. Johnson signed the Civil Rights Act of 1964, with the intention of ending discrimination based on race, religion, and national origin. Johnson was flanked by Martin Luther King Jr. and other civil rights leaders as he signed the Act. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744742736-5WKXY1YRSPS7MH40JZUD/SSL_9404_Selma-Voting-Rts_sm.jpg Lorraine Motel - National Civil Rights Museum - MARCHES FOR VOTING RIGHTS VS VOTER SUPPRESSION The 1965 Selma Voting Rights Campaign included three marches from Selma to Montgomery AL to demonstrate the desire of African-American citizens to exercise their constitutional right to vote. Fifty-five years later, we continue to struggle with voter suppression, e.g., suppression efforts range from overzealous voter ID laws and cuts to early voting, to mass purges of voter rolls and systemic disenfranchisement. In addition, legislators have redrawn district lines that determine the weight of your vote. Certain communities are particularly susceptible to suppression and in some cases, outright targeted — people of color, students, the elderly, and people with disabilities. (source: ACLU) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591870649193-1AGT80Y81YVUC85RT6IG/SSL_9409_Selma+Bloody+Sunday+clubbing.jpg Lorraine Motel - National Civil Rights Museum - MARCHES IN PROTEST OF POLICE VIOLENCE & VIOLATIONS OF CIVIL RIGHTS On February 18, 1965, in Marion, the county seat of Perry county, near Selma, a state trooper shot Jimmie Lee Jackson, a young African American man, during a peaceful voting rights march. Leaders called for a march to the state capital, Montgomery, to bring attention to the injustice of Jackson’s death, the ongoing police violence, and the sweeping violations of African Americans’ civil rights. On March 7, 1965, the first attempt of the Selma to Montgomery March was halted at the Edmund Pettus Bridge by State troopers and county possemen who attacked 600 unarmed marchers with bully clubs and tear gas; 50 of them had to be hospitalized. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591873345412-NBVBHL1SBMUD6M9QPZR8/Tear+gas+protest+white+house_Roberto+Schmidt-Getty.jpg Lorraine Motel - National Civil Rights Museum - MARCH IN PROTEST OF POLICE VIOLENCE & VIOLATIONS OF CIVIL RIGHTS Law enforcement used tear gas on a peaceful protest near the White House against people who were gathered to protest the murder of George Floyd and police violence, and demand punishment for Derek Chauvin, a former Minneapolis police officer, and his accomplices. (Vox, June 2, 2020, Roberto Schmidt/AFP via Getty Images) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522753292574-6M9IE7S6T02BFUECNXQS/SSL_9411_Bloody-Sunday_sm.jpg Lorraine Motel - National Civil Rights Museum - MARCH IN PROTEST OF POLICE VIOLENCE & VIOLATIONS OF CIVIL RIGHTS The march from Selma, Alabama, to the state’s capital, Montgomery, that occurred March 21–25, 1965, led by Martin Luther King, Jr., was the culminating event of several tumultuous weeks during which demonstrators twice attempted to march but were stopped, once violently, by local police. As many as 25,000 people participated in the roughly 50-mile (80-km) march. Together, these events became a landmark in the American civil rights movement and directly led to the passage of the Voting Rights Act of 1965. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592050192939-B0TU17NE89K48IDAFW74/2015+Obama+Family+Selma+March.jpg Lorraine Motel - National Civil Rights Museum - MARCH TO INSPIRE, TO GIVE COURAGE In 2015, on its 50th anniversary of the Selma marches, then President Obama and his family marched from Selma to Montgomery, Alabama with Civil Rights leaders. He said, "The Americans who crossed this bridge, they were not physically imposing. But they gave courage to millions. They held no elected office. But they led a nation. They marched as Americans who had endured hundreds of years of brutal violence, countless daily indignities –- but they didn't seek special treatment, just the equal treatment promised to them almost a century before.” In 2020, President Obama’s message to all is, “VOTE!” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591875599778-SCI1APZSNR819YKDAVMZ/wh-protest-church-smoke-gty-ps-200604_hpEmbed_3x2_992_sm.jpg Lorraine Motel - National Civil Rights Museum - MARCH IN PROTEST OF POLICE VIOLENCE & VIOLATIONS OF CIVIL RIGHTS On June 1, 2020, police officers in riot gear pushed back demonstrators in front of St. John's Episcopal Church outside of the White House, in Washington D.C., during a protest over the death of George Floyd, police violence, and racism in America. President Obama and Dr. King both spoke of our country’s promise of equal treatment that African Americans have yet to realize. In 2020, tens of thousands of people of all races are protesting racial and economic inequality, providing each other and the nation with the courage to continue the struggle to have that promise realized. (Photo: 6/4/2020 ABC News report, Jose Luis Magana/AFP via Getty Images) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592091724765-T3WVWFJV6KXVVUDRCUHE/0220_staceyabrams03_oneuseonly_300.jpg Lorraine Motel - National Civil Rights Museum - FAIR FIGHT VS VOTER SUPPRESSION According to an AP report, a Trump reelection adviser, Justin Clark, stated that the Republican efforts in 2020 at voter suppression would be “a much more aggressive program, a much better-funded program.” Mechanisms being used to suppress voting are being focused on communities with a large number of people living on low incomes or people of color from exercising the voting rights. Stacy Abrams’ (pictured above) Fair Fight Action organization is working against voter suppression, stating that the issue is making sure that we have a fair fight, i.e.,the side that can actually turn out its voters wins legitimately based on simply who shows up, and not based on any barriers. (Photo:Bob Andres/via AP). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744774252-BS45IIMH0NT35OJL1SLR/SSL_9414_I-AM-A-MAN_3-29-1968_sm.jpg Lorraine Motel - National Civil Rights Museum - MARCH & PROTEST: I AM A MAN On March 29, 1968 over five thousand demonstrators, carrying signs which read "I Am A Man," participated in a march in Memphis with Dr. King in support of striking African American sanitation workers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591889601238-DQTF3YWVT1BG2DA77VFQ/washington-floyd-protest-20-06-1_BLM.jpg Lorraine Motel - National Civil Rights Museum - MARCH & PROTEST: BLACK LIVES MATTER The I AM A Man signs carried by 1960 African Americans have been replaced in 2020 with BLACK LIVES MATTER signs carried by multi-racial protesters at Capitol Hill calling for justice for George Floyd and racial equality in the aftermath of the death of George Floyd in Minneapolis while in police custody. [Reuters: Thousands march on White House to protest violence by US police. Published: 07 Jun 2020 01:21 AM BdST Updated: 07 Jun 2020 05:01 AM BdST] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591957967881-4TWHIFXQEX8SB9GX6XKF/SSL_9317_Lorraine-Mot-autos_sm.jpg Lorraine Motel - National Civil Rights Museum - THE LORRAINE MOTEL AND SEGREGATION The African-American visitor to the Lorraine Motel in the 1950’s or 1960’s might arrived in the white 1959 Dodge Royal with lime green fins or the white 1968 Cadillac parked in front of the Motel. Dr. King often was driven to Memphis events in a white Cadillac owned by the late local activist and community leader Cornelia Crenshaw. Today the two cars sit below the wreath that commemorates the spot where Dr. King was shot. Martin Luther King, Jr., was the Lorraine Motel’s most famous guest. He stayed at the motel numerous times while visiting the city, https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744371853-A27GUIANM059L64EBJPK/SSL_9311_Lorainne-Motel-destination_sm.jpg Lorraine Motel - National Civil Rights Museum https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591958890663-TO1ANAUBZKWZ4TK59FMM/The_Negro_Motorist_Green_Book.jpg+%282714%C3%973778%29+crp.jpg Lorraine Motel - National Civil Rights Museum - THE LORRAINE MOTEL AND JIM CROW SEGREGATION Before it was the Lorraine, it was the Marquette Hotel that catered to black clientele in segregated Memphis. Then, in 1945 black businessman Walter Bailey purchased the hotel, which he re-christened the Lorraine after his wife Loree. The motel became a destination for blacks and appeared in the Negro Motorists Green Book or “Green Guide,” which identified establishments that welcomed black travelers when Jim Crow (Separate but Equal Laws) restrictions offered limited options for services and lodging. Entertainers like Louis Armstrong, Cab Calloway, Nat King Cole, Sarah Vaughn, Sam Cooke, Aretha Franklin, and Otis Redding were all guests at the motel, and two famous songs, Wilson Pickett’s “The Midnight Hour” and Eddie Floyd’s “Knock on Wood,” were both composed at the Lorraine. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744476225-7WO9BPTCUQ55K5BDUUIR/SSL_9332_MLK_sm2.jpg Lorraine Motel - National Civil Rights Museum - LORRAINE MOTEL: FROM SEGREGATION TO NATIONAL CIVIL RIGHTS MUSEUM A large white carnation wreath hangs on the balcony outside Room 306, where Dr. King stayed while he was in Memphis to support a sanitation workers strike and stood at the time of his assassination. A memorial plaque sits below the room referring to Dr. King’s dream of equality and challenging all that have gone after to him to make that dream a reality. People have taken to the streets to protest the murder of George Floyd and more recently, Rayshard Brooks, to stop the nightmare that is racial hate, racial injustice, racial inequality. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744802878-VZVDDV3XASWSVB2N8UKH/SSL_9424_MLK-Lorraine-room_crp_sm.jpg Lorraine Motel - National Civil Rights Museum - LORRAINE HOTEL: COLLABORATE TO RESTORE NON-VIOLENCE IN MEMPHIS STRIKE Dr. King shared this room (Rm. 306) with Ralph Abernathy, Southern Christian Leadership Conference colleague, the night before the assassination, when he gave his prescient “Mountaintop” speech on April 3, 1968, in which he said: “We’ve got some difficult days ahead, but it really doesn’t matter with me now, because I’ve been to the mountaintop … I’ve seen the Promised Land. I may not get there with you. But I want you to know tonight, that we, as a people, will get to the Promised Land” (King, “I’ve Been,” 222–223). He was seeking to restore nonviolence back to the movement in Memphis. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591876844256-707DV343G9UKCVT1UVHV/April+4+1968+MLK+on+balcony.jpg Lorraine Motel - National Civil Rights Museum - LORRAINE HOTEL: CIVIL RIGHTS LEADERS AND PROGRESS On 4/3/1968, the Rev. Martin Luther King Jr. stood with Hosea Williams, Jesse Jackson, and Ralph Abernathy on the balcony of the Lorraine Motel. That night he spoke at the Bishop Charles Mason Temple and as he concluded his speech he began to reminiscence about his near fatal stabbing in September 1958. He exclaimed that he would have missed the emergence of the student sit-ins in 1960, the Freedom Rides in 1961, the Albany Movement in 1962, the March on Washington for Jobs and Freedom in 1963, and the Selma to Montgomery March in 1965. These were examples of the use of non-violent tools successfully used to protest injustice. [AP Photo/Charles Kelly, File, AP Was There: The assassination of Martin Luther King Jr. April 4, 2018] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744771943-Y9EKH492HREZ5DJ0DIK2/SSL_9420_+MLK-Balcony-to-Young-Morrow-Bldg_sm.jpg Lorraine Motel - National Civil Rights Museum - LORRAINE MOTEL: FROM THE MOUNTAINTOP TO THE END, WHEN HE HAD JUST BEGUN In a prophetic finale to his “Mountaintop” speech, King revealed that he was not afraid to die: “Like anybody, I would like to live a long life—longevity has its place. But I’m not concerned about that now. I just want to do God’s will…. And so I’m happy tonight; I’m not worried about anything; I’m not fearing any man. Mine eyes have seen the glory of the coming of the Lord.” The next day, April 4, 1968, at 6:01 p.m., Dr. Martin Luther King was assassinated on this balcony while waiting for a limousine to take him to dinner at Reverent Billy Kyles’ home. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744855466-40ADPCAU14GMO93H7F81/SSL_9432_kill-shot-view_sm.jpg Lorraine Motel - National Civil Rights Museum - ASSASSIN PLAN From the Young and Morrow Building and Boarding House 2nd floor bathroom there is a perfect view to the Lorraine Motel balcony where Dr. King and his guests were standing - you can see the wreath. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591887980015-02FYKI0UG3TJ4YY2XF4U/mlk-assassination+4-4-1968.jpg Lorraine Motel - National Civil Rights Museum - LORRAINE HOTEL: ASSASSIN'S BULLET AND REVEREND'S BLOOD With Dr. King lying on the balcony, his companions pointed to the building across the street, the Young & Morrow Building, as the location of the shooter - James Earl Ray, hate in hiding. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591859983541-PGOAYXLT7HHL3FT3HK8N/SSL_9459_bathroom+window-Young-Morrow+Bldg.jpg Lorraine Motel - National Civil Rights Museum - ASSASSIN DISGUISE James Earl Ray rented a room in the Young and Morrow Building & Boarding House sits across from the Lorraine Motel under the name Eric Starvo Galt. With one shot, hiding in the 2nd floor bathroom (circled in red ) of the rooming house, he was able to murder Dr. KIng. With one knee on his neck, out in plain sight, Derek Chauvin was able to kill George Floyd; with two bullets in the back, at a Wendy’s parking lot, Garrett Wolfe was able to kill Rayshard Brooks. When does it stop? https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744840779-E302Q1OFWFG21Z0EOYJC/SSL_9437_bathroom-boarding-house-JERay_sm.jpg Lorraine Motel - National Civil Rights Museum - ASSASSIN ACT On April 4, 1968, Ray stood in the bathtub of the bathroom of the Young and Morrow Building & Rooming House, balanced his rifle on a window ledge and shot King as the civil rights leader was standing on a balcony outside of his motel room. After shooting King, Ray immediately fled, setting off a manhunt that would last more than two months and cover five countries. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591851444547-T4Q4QMV1YVMHZCJA34YV/SSL_9429_.30-06+Remington+rifle_Ray_sm.jpg Lorraine Motel - National Civil Rights Museum - ASSASSIN WEAPON Ray bought the .30-06 Remington rifle he used to kill Rev. King for just under $250 in Birmingham. It is displayed across the street from the Lorraine Motel in the Young-Morrow Building & Boarding House. Evidence suggests that Ray had little stomach for the integration policies that were sweeping the country. By the way, a review of the academic literature by Hepburn & Hemenway, in 2004 looking at Firearm availability and homicide found that evidence indicates that gun availability is a risk factor for homicide, both in the United States and across high-income countries. Specifically, studies show that in homes, cities, states and regions in the U.S., where there are more guns, both men and women are at a higher risk for homicide, particularly firearm homicide. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591862607103-1CEKHZJXP7KU7I34IK6Z/SSL_9441_Young+and+Morrow+Building+on+S.+Main+Street.jpg Lorraine Motel - National Civil Rights Museum - ASSASSIN ESCAPES Fleeing the scene after the shooting, James Earl Ray abandoned his rifle in the right hand doorway of the Young & Morrow Building on Main Street, Memphis, TN. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591853588096-BNF0S0Z0F4S1DLDZBOJN/SSL_9427_1966+Mustang_JERay_sm.jpg Lorraine Motel - National Civil Rights Museum - ASSASSIN FLEES THE COUNTRY WHILE PRESIDENT JOHNSON ORGANIZES James Earl Ray fled in a 1966 White Mustang, drove 11 hours to Atlanta, abandoned the Mustang (where it was found by the FBI) and fled north to Canada. On April 5, President Johnson met with an array of leaders including, Vice President Hubert Humphrey, U.S. Supreme Court Chief Justice Earl Warren, Supreme Court Justice Thurgood Marshall, and federal judge Leon Higginbotham; government officials such as D.C. Mayor Walter Washington; legislators Mike Mansfield, Everett Dirksen, William McCulloch; and civil rights leaders included Whitney Young, Roy Wilkins, Clarence Mitchell, Dorothy Height, etc. At the meeting, Mayor Washington asked President Johnson to deploy troops to the District of Columbia. Richard Hatcher, the newly elected black mayor of Gary, Indiana, spoke about white racism and his fears of racially motivated violence in the future. Many of these leaders told Johnson that socially progressive legislation would be the best response to the crisis.The meeting concluded with prayers at the Washington National Cathedral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592104475868-S86X0QIA74LN6R40T76R/Leffler_-_1968_Washington%2C_D.C._Martin_Luther_King%2C_Jr._riots_300.jpg Lorraine Motel - National Civil Rights Museum - RIOTS IN THE STREETS AND LEGISLATION IN CONGRESS In response to Dr. King’s assassination on 4/4/1968, there were riots, known as the Holy Week Uprising, a wave of civil disturbance which swept the United States. Some of the biggest riots took place in Washington, D.C. (Photo: Soldiers stand near ruined buildings in Washington, D.C.), Baltimore, Chicago, and Kansas City. According to press secretary George Christian, President Johnson was not surprised by the riots that followed: "What did you expect? I don't know why we're so surprised. When you put your foot on a man's neck and hold him down for three hundred years, and then you let him up, what's he going to do? He's going to knock your block off." However, in opposition to those calling for military deployments, Johnson chose to focus his political capital on a fair housing bill proposed by Senator Sam Ervin, and urged Congress to pass the bill. These events led to the rapid passage of the Civil Rights Act of 1968, Title VIII of which is known as the "Fair Housing Act". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591854132189-O6IC6VAME8PGV16HLEJZ/FBI+Wanted+Poster+JE+Ray.jpg Lorraine Motel - National Civil Rights Museum - ASSASSIN PURSUED AND CAPTURED More than 3,000 FBI agents investigated the case, following thousands of anonymous tips, making it "the largest manhunt in American history up to that point." Finally, on July 19, 1968, the FBI caught up with Ray in London and extradited him to the United States. Ray pleaded guilty to the murder, something he'd spend the rest of his life trying to reverse, and was sentenced to 99 years in prison. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1522744863207-DO3WXJG6U5AST7AIQNXD/SSL_9455_MLK-4-3-1968_D_sm.jpg Lorraine Motel - National Civil Rights Museum - POSITIVE VISION FOR THE FUTURE The gate on the entrance to the Young & Morrow Building contains a quote from Dr. King’s “Mountaintop” speech - “We as a people will get to the Promised Land.” The Black Lives Matter website, (blacklivesmatter.com/about/, states, “We are working for a world where Black lives are no longer systematically targeted for demise. We affirm our humanity, our contributions to this society, and our resilience in the face of deadly oppression. The call for Black lives to matter is a rallying cry for ALL Black lives striving for liberation.” It would seem that “Liberation” would lead to the fulfillment of the “promissory note.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591890606703-UHXLXAKIAVVNE5YN7ZU9/Floyd+being+choked.jpg Lorraine Motel - National Civil Rights Museum - BLACK LIVES MATTER VS POLICE VIOLENCE AND UBIQUITOUS RACISM June 3, 2020, fired police officer Derek Chauvin was charged with second-degree murder after an official autopsy confirmed thatGeorge Floyd's death was the result of homicide. Three other officers who were involved in George Floyd's murder were charged with aiding and abetting second-degree murder. Chauvin was filmed with kneeling on Floyd’s neck while Floyd pleaded for air. Protesters around the world called for justice for Floyd and a halt to racial discrimination and police violence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592102546292-QFVUYCJO5MEV26SLHQVY/Deaths-in-police-custody-research-George-Floyd-720x480.jpg Lorraine Motel - National Civil Rights Museum - BLACK LIVES MATTER VS POLICE VIOLENCE AND UBIQUITOUS RACISM Pictured is a memorial for George Floyd outside the Cup Foods convenience store in Minneapolis in May 2020. (Flickr/Lorie Shaull). In spite of the the Death in Custody Reporting Act of 2013, in 2019 federal officials had not yet gathered the data and made it public. However, the news media has become a source of data concerning these types of deaths as it became more likely to cover black men’s fatal encounters with police following the August 2014 death of 18-year-old Michael Brown, who was fatally shot by a police officer in Ferguson, Missouri. In addition, police-involved deaths after Michael Brown’s death have been more likely to be reported on as part of a larger pattern of police violence against Black citizens. It would seem that general public awareness is the first step toward political change. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1591886763146-K68WXUSWDPTQRXAQCNQ0/SSL_9449_Civil+Rights+Museum+campus_crp_sm.jpg Lorraine Motel - National Civil Rights Museum - POSITIVE PLEA FOR THE FUTURE: STOP THE PAIN Philonise Floyd, brother of George Floyd, implored lawmakers to act so that his brother’s death after being brought into police custody, which he had watched over and over again, was “not in vain.” He explained to the House Judiciary Committee hearing on Policing Practices and Law Enforcement Accountability: “I’m tired! I’m tired of pain, the pain you feel when you watch something like that. I’m here today to ask you to make it stop. Stop the pain. Stop us from being tired.” Thus, Mr. Floyd asked CONGRESS to “change history,” as the banners on this walkway suggest, and to fulfill the promise of our forefathers, for only that can stop the pain. http://www.sslanzilotti.com/2018630families-belong-together daily 0.75 2018-07-06 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530856834237-YIG8DDLYLZJFL3R350XI/SSL_8890_Sen-Hirono_sm.jpg 2018-6-30_Families-Belong-Together - Senator Mazie Hirono addresses the protesters to Trump's immigration policy and how seekers of asylum and entry are being treated. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530856834237-YIG8DDLYLZJFL3R350XI/SSL_8890_Sen-Hirono_sm.jpg 2018-6-30_Families-Belong-Together - Senator Mazie Hirono addresses the protesters to Trump's immigration policy and how seekers of asylum and entry are being treated. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530849356413-DXTTBEG6FJ42IO3BJHGY/SSL_8848_Then-they-came_sm.jpg 2018-6-30_Families-Belong-Together https://static1.squarespace.com/static/567de29d841abaa3c9152fbd/5b3ee7c2352f532fb846c746/5b3ee97b70a6adf4a59a7d12/1530856692498/ 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530849412197-YF2R0P576JWI6UJ9O5JE/SSL_8849_never+is+now.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530849425332-BU2X4HC2T4R5IUSYZER5/SSL_8852_Families-Belong-Together_sm.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530849687029-DHZREWWO553RI06THPA1/SSL_8890_Sen-Hirono_sm.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530849449663-P8L91S65QDYMPHZ6DIPV/SSL_8856_Liberty-and-Justice_sm.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530849464683-8H2PYCEFM3IR5PZ9R65T/SSL_8858_ICE-Table_sm.jpg 2018-6-30_Families-Belong-Together - 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I don't mind a difference of opinion. 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2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530851478851-YYKNEIVRJTIMMBRXIWVR/SSL_9193_They-are-our-future.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530851503683-GZ94DQ3WLQYH8IDCKL50/SSL_9203_no-internment-camps.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530851493224-89COCI2ZWH3N5IM6LP61/SSL_9216_future-enemies.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530851525786-WKDPF5BBYC0F609C4XUT/SSL_9220_family-history_sm.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530851528030-KWYF46ABG2FGU1XNYHOR/SSL_9230_do-i-look-like-alien_sm.jpg 2018-6-30_Families-Belong-Together https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1530851534238-851YNG50NX1MIAU9GNJR/SSL_9245_Not-Proud_sm.jpg 2018-6-30_Families-Belong-Together https://static1.squarespace.com/static/567de29d841abaa3c9152fbd/5b3ee7c2352f532fb846c746/5b3f052e70a6adf4a59d4869/1530857494395/ 2018-6-30_Families-Belong-Together http://www.sslanzilotti.com/2018104_mensmarchagainstviolence daily 0.75 2019-02-17 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1539074956994-XXK97PB4N9WINCRR7EXE/P1080651_MMAV-Lead-Banner_names_sm_fine2.jpg 2018-10-4_Men's-March-Against-Violence - Arnold Martines (Exec VP, Central Pacific Bank), Mayor Kirk Caldwell, Randy Perreira (Exec Dir, HGEA), Roy Amemiya (Managing Dir, C&amp;C Honolulu), Justin Kollar (Prosecuting Attorney, Kauaʻi County) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1539074956994-XXK97PB4N9WINCRR7EXE/P1080651_MMAV-Lead-Banner_names_sm_fine2.jpg 2018-10-4_Men's-March-Against-Violence - Arnold Martines (Exec VP, Central Pacific Bank), Mayor Kirk Caldwell, Randy Perreira (Exec Dir, HGEA), Roy Amemiya (Managing Dir, C&amp;C Honolulu), Justin Kollar (Prosecuting Attorney, Kauaʻi County) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538727311042-JIXEHUSA9C2AMZ00JKUZ/P1080627_HI-State-Capitol.jpg 2018-10-4_Men's-March-Against-Violence - Hawaiʻi State Capitol - site of Menʻs March Against Violence Opening Ceremony in which the six people who were murdered in 2018 were remembered. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1539074402710-IP65A8FFXVFI99SYX55T/P1080651_MMAV-Lead-Banner_names_sm_fine.jpg 2018-10-4_Men's-March-Against-Violence - Arnold Martines (Exec VP, Central Pacific Bank), Mayor Kirk Caldwell, Randy Perreira (Exec Dir, HGEA), Roy Amemiya (Managing Dir, C&amp;C Honolulu), Justin Kollar (Prosecuting Attorney, Kauaʻi County) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538727605849-RSRVWCFYFQTKLALS2V5K/P1080628_Queen-Lil+oukalani.jpg 2018-10-4_Men's-March-Against-Violence - Queen Liliʻuokalani statue at Hawaiʻi State Capitol https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1539071049581-H5R5NZ1H34C4PFLB0F7E/P1080651_MMAV-Lead-Banner_names_fin_sm_cl2.jpg 2018-10-4_Men's-March-Against-Violence - Arnold Martines (Exec VP, Central Pacific Bank), Mayor Kirk Caldwell, Randy Perreira (Exec Dir, HGEA), Roy Amemiya (Managing Dir, C&amp;C Honolulu), Justin Kollar (Prosecuting Attorney, Kauaʻi County) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538729087486-TPREU1TT8471JD3K99RY/P1080651_MMAV-Lead-Banner_names_fin_sm.jpg 2018-10-4_Men's-March-Against-Violence - Arnold Martines (Exec VP, Central Pacific Bank), Mayor Kirk Caldwell, Randy Perreira (Exec Dir, HGEA), Roy Amemiya (Managing Dir, C&amp;C Honolulu), Justin Kollar (Prosecuting Attorney, Kauaʻi County) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538727607880-Q1AMVALCJQTVWPKHQV4N/P1080637_MMAV-T-shirts.jpg 2018-10-4_Men's-March-Against-Violence - Domestic Violence Action Center staff prepare table to distribute free Menʻs March Against Violence T-shirts to marchers https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538727635910-QA3M5L8XQIYZP2A8C9LH/P1080641_DVAC-CC-Tables.jpg 2018-10-4_Men's-March-Against-Violence - Tables with information were set up by a variety of social service organizations, including Catholic Charities and the Domestic Violence Action Center, two of the Marchʻs sponsors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538727722667-YUEXCAC21KM824YSLGBP/P1080655_police+march.jpg 2018-10-4_Men's-March-Against-Violence - Honolulu Police Department has supported the March for the past 24 years. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538727745861-57Q5MHPBQU27OGW3TRZE/P1080656_Stand-Together.jpg 2018-10-4_Men's-March-Against-Violence - Women join us to "Stand together against domestic violence." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538727746888-UGPCSH9AJ0C56L33NV6R/P1080659_Stand-up-Speak-out.jpg 2018-10-4_Men's-March-Against-Violence - Stand Up... Speak Out Against Violence! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538727764598-Z5CGDM6NXN2OTRAPJQZP/P1080660_marchers3.jpg 2018-10-4_Men's-March-Against-Violence - Men of all ages and walks of life participated. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722657030-SF8WPX20A12P42H0D4U6/P1080651_MMAV-Lead-Banner_names_fin_sm.jpg 2018-10-4_Men's-March-Against-Violence https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722723270-X83J7USI5F35NMOQS3AM/P1080664_Support-MMAV_sm.jpg 2018-10-4_Men's-March-Against-Violence - Another man against violence! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722757667-H64K967HXI4RGB8I7YW5/P1080661_MMAV_The+Y-marchers_sm.jpg 2018-10-4_Men's-March-Against-Violence - YMCA represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722758851-UBYGG3TISWOZL5RB0489/P1080665_teach-our-children_sm.jpg 2018-10-4_Men's-March-Against-Violence - Offender defined as "Children we failed" https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722796279-FED552SAB5H7SIMSGQDN/P1080668_No-excuse-Alexander-Baldwin.jpg 2018-10-4_Men's-March-Against-Violence - Representatives of Alexander &amp; Baldwin Company marching. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722837727-K586P3JN2RZ12T6VRB30/P1080676_Stop-Violence.jpg 2018-10-4_Men's-March-Against-Violence - HMSA represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722808849-Y5CCJ3O1I4UTC22BORJU/P1080671_Strive-for-Peace_sm.jpg 2018-10-4_Men's-March-Against-Violence - HMSA - Strive 4 Peace https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722838041-SD3E6FDLC7KM4ZLK829N/P1080672_Respect-Women_sm.jpg 2018-10-4_Men's-March-Against-Violence - HMSA (Hawaiʻi Medical Service Association) represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722845126-KQ79T6BZTEW2AD57TKT5/P1080678_Thrive.jpg 2018-10-4_Men's-March-Against-Violence - Kaiser Permanente represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722879197-WHBEPTDX98D3I81L1WNB/P1080683_Aloha_crp.jpg 2018-10-4_Men's-March-Against-Violence - "Nā Leo Kāne," a community initiative in Hawaiʻi focused on expanding the conversation of what it means to be a man distributed fans and marched. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722845366-LOCYA9GJ9TIMKT0JT1Y2/P1080682_Men-Stand-Up.jpg 2018-10-4_Men's-March-Against-Violence - Our objective - men speaking-up against violence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722867766-4VX3Y00IF9R32576OYUR/P1080684_Seeds_Sharks_crp.jpg 2018-10-4_Men's-March-Against-Violence - Seeds of Service, American Savings Bank represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1539244276377-X7VAY14XAB4PHZZ81Y9B/P1080686_HPU-Sharks.jpg 2018-10-4_Men's-March-Against-Violence - Hawaii Pacific University "Sharks" basketball team represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723009774-3W4B6QKYCV3Q5AONFCJJ/P1080690_Damien-Memorial_crp.jpg 2018-10-4_Men's-March-Against-Violence - Damien Memorial High School represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723001569-DCV2VHRC8ED5XWFEY1NN/P1080691_marchers_crp.jpg 2018-10-4_Men's-March-Against-Violence - Bank of Hawaiʻi represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723050760-YZO7I0BID4BI49RZNJL6/P1080695_Youth-2-Youth_crp.jpg 2018-10-4_Men's-March-Against-Violence - Youth 2 Youth, a JobCorp program represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723051866-A5BX17HC22KOSAITN2FD/P1080698_Bank-of-Hawaii_sm.jpg 2018-10-4_Men's-March-Against-Violence - Bank of Hawaiʻi represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723123282-W10CYR69YSMHWPE016DO/P1080701_Big-Brothers-Sisters_sm.jpg 2018-10-4_Men's-March-Against-Violence - Big Brothers Big Sisters represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723073025-34IX6EVUWOPCSBRNNRY4/P1080703_St-Louis-HS_sm.jpg 2018-10-4_Men's-March-Against-Violence - St. Louis High School represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1539246133328-64S4NN4HJ331G6X0Z9IR/P1080704_A+first-time+marcher+supports+DV+awareness_sm.jpg 2018-10-4_Men's-March-Against-Violence - Marching in support of Domestic Violence awareness for the first time. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723104063-AJUM6TDA4Q5NAQ9HL0LG/P1080708_First-HI-Bank_sm.jpg 2018-10-4_Men's-March-Against-Violence - First Hawaiian Bank represented. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1539244776042-ZVAA4U6L9G053TC3DQDP/P1080693_Peace-Begins-With-Me.jpg 2018-10-4_Men's-March-Against-Violence - Peace Begins With Me https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538722798191-9AJBVBO7C8GYQ3HE4OXP/P1080669_Iolani-Palace-grounds.jpg 2018-10-4_Men's-March-Against-Violence - 1,067 marchers entered the Iolani Palace grounds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723175102-TYK46NN0639OAHH2AWVD/P1080713_Iolani-Palace-tables-MMAV.jpg 2018-10-4_Men's-March-Against-Violence - Social organizations provided refreshments, as well as information concerning their programs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723181872-NN4YIRKV5YEDBKAIHDQQ/P1080714_Info-tables.jpg 2018-10-4_Men's-March-Against-Violence - Corporate involvement has had a positive effect on helping to raise awareness of DV in their employees and increasing participation in the March. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723209904-55OAVN7V2T97A88Q1Z2U/P1080721_Randy-to-crowd.jpg 2018-10-4_Men's-March-Against-Violence - Randy Perreira, Exec Director, HGEA, spoke of the need for men to model positive relationships and voiced his concerns over attitudes toward women currently being expressed on the national level. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723249608-P9GWZL2LITS54Q0K5JND/P1080733_Randy-Perreira_sm.jpg 2018-10-4_Men's-March-Against-Violence - Randy Perreira, Executive Director, Hawaiʻi Government Employees Association (HGEA). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723224670-L4K0VRIQPAZ7LX92FZ9E/P1080719_Mayor-Roy-parents-David-Marci.jpg 2018-10-4_Men's-March-Against-Violence - Mayor Caldwell, Roy Amemiya, Father of DV victim, with friend on his right, Marci Lopes (DVAC), David Tumilowicz (Kaiser Permanente), Justin Kollar, Dr. Jamie Ford (Emergency Medicine) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538985913153-E5UP2KG2H8YREG9S96G2/P1080741_Kollar-accept-award_revise.jpg 2018-10-4_Men's-March-Against-Violence - Justin Kollar accepts Distinguished Citizen Award presented by Nanci Kreidman (DVAC) and David Tumilowicz https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723264024-SUNLO23H6WSOJZR1DFCY/P1080748_David-Lei-Ceremony_crp.jpg 2018-10-4_Men's-March-Against-Violence - Keliʻi Beyer directs the Lei Ceremony in which David Tumilowicz symbolically passes positive values of respect in relationships to the next generation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1538723346933-FUA7CF6YZHBFCXEVK7TC/P1080754_MMAV-Steering-Com_sm.jpg 2018-10-4_Men's-March-Against-Violence - Members of MMAV Steering Committee: (front l-to-r) K.Beyer, D. Tumilowicz, J. Kollar, N. Kriedman, T. Kajimura; (back l-to-r) S. Lanzilotti, DVAC staff, P. Haro, M. Lopes, http://www.sslanzilotti.com/2019630_protestatiolanipalace daily 0.75 2019-07-08 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558105231-1YRBQP7CFOWFPTMABHC1/2019-6-30_SSL_1793_not-cater_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - While Mayor Caldwell caters to developer interests along Ala Moana Blvd. the people using Ala Moana Beach Park protest his catered affair at Iolani Palace. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558105231-1YRBQP7CFOWFPTMABHC1/2019-6-30_SSL_1793_not-cater_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - While Mayor Caldwell caters to developer interests along Ala Moana Blvd. the people using Ala Moana Beach Park protest his catered affair at Iolani Palace. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558174072-JOCQX9VOMBTNASTZKSUU/2019-6-30_SSL_1781_open-green-space.jpg 2019-6-30_Protest-at-Iolani-Palace - We need more green space - more park land - not amenity amusement parks for the children of the rich. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558157448-1MPM53NIB1I5HO0LZG1I/2019-6-30_SSL_1784_Act-Now_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Climate change - considered by many as the most important issue facing humanity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558193960-1FR3YEUBPCXCICVWF8KC/2019-6-30_SSL_1785_Mauna-Kea_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Protests continue against the building of a new Thirty-Meter Telescope (TMT) on this sacred mountain. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558215178-PZKY9NGW5NP90NE70IQE/2019-6-30_SSL_1788_What+is+really+going+on_ii_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Good question, but no answers coming from City Hall. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558220656-ADQQON4GBZKTSX1G9X60/2019-6-30_SSL_1789_Impeach-recall_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The Mayor has lost the support of the people. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558321811-IDQE5FQGEJCG0X13TRT3/2019-6-30_SSL_1794_no-treaty-no-law.jpg 2019-6-30_Protest-at-Iolani-Palace - Calling for the end of U.S.A. occupation of the Hawaiian Nation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558315419-HYN70U3TEVMNK8XPRKL5/2019-6-30_SSL_1799_Save-Sherwoods_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Save our Sherwoods: The Mayor attends meetings but does what he wants. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558355596-VMLEIJ31XVNWOJTL03YR/2019-6-30_SSL_1800_Fix-what-we-have_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Simple message - take care of what we have. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558360196-16Q3YRQ9H1G6IJPTT844/2019-6-30_SSL_1802_Do-something-for-locals_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Message for the Mayor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558400553-VNT0UQGO22DCY0MV5YTW/2019-6-30_SSL_1803_flawed-modeling_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The Ala Wai Project includes Makiki, Mānoa, and Pālolo streams, which flow to the Ala Wai Canal, a 2-mile-long, man-made waterway constructed during the 1920s to drain extensive coastal wetlands. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558400552-A8P69FWVQJR42YOB0WY6/2019-6-30_SSL_1804_save-sherwoods_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Almost 9,000 people have signed an online petition in opposition to a multi-million-dollar plan to build a new sports field complex at the beach park, located on land known as Sherwood Forest. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558444542-BQ8TCF8N5SKSWHW6R7WL/2019-6-30_SSL_1809_Listen-to-people_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Save Ala Moana Beach Park Hui members express their frustration with the Caldwell administration. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558465892-QGP5Q869ONU510WALW1G/2019-6-30_SSL_1811_twins-no-new-fields_fin_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - One protester with two messages - Save Sherwoods and no telescope on Mauna Kea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558497696-UG1BC3J26A41FMK48XL6/2019-6-30_SSL_1813_SAVE-AMBP_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Many issues, no trust. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558528978-BMGYHMSU8I2V7XAEEBMX/2019-6-30_SSL_1814_Huli-Caldwell_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - No Hear - No Care, that is what brings us to the streets. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558548981-ITWJP1CEG1YO4JM8REPA/2019-6-30_SSL_1816_nuff-already_listen_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - 'Nuff Already!!! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558561096-UEJPL83Q8YIG9HES0N5L/2019-6-30_SSL_1818_Restoration-Maintenance-AlaWai_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The Ala Wai Canal Project includes several upstream detention basins in our valleys and a 4' reinforced concrete wall around portions of the Ala Wai Canal. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558592103-XZ2VV9AHQYXMLEY6WHMU/2019-6-30_SSL_1819_Stop-AlaWai-Project_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The current $345 million plan is designed to protect primarily Waikiki, while leaving other mauka areas unprotected. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558609862-GI5P2S5XN2O948E2HMGB/2019-6-30_SSL_1820_Public-Lands-Not-For-Sale_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The Ala Moana Beach Park Project allows developers to build a 500-capacity children's amusement park instead of providing more park land. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558643546-T57P5NP52TXI02AJO7SW/2019-6-30_SSL_1821_NO-world-class-plgr_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The "World Class Playground" is a marketing ploy by developers who want to sell their condos and provide an amenity for their clients. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558652206-RW1ZQI84WUWYEQTX2BXY/2019-6-30_SSL_1824_no-detention-basins-etc_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - There is a floodgate alternative that is significantly less costly, less detrimental to the environment, and poses less of a threat to residents' property. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558689067-2463700RBRD8KCM6GWYE/2019-6-30_SSL_1825_Protect-streams_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - We are NOT AGAINST flood mitigation or the protection of Waikiki; but it must be done through less invasive means. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558708641-PCTCEUH3ZMZJ4E3C6CY6/2019-6-30_SSL_1826_Stop-Bad-Plans_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Detention basins are poor methods for flood protection. Up to 1000 feet of natural stream will be dug up to construct EACH basin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558733775-LOKT5YVSENXLHMYMRBLG/2019-6-30_SSL_1827_Stop-AlaWai-Proj_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - We urge the public to sign this petition to call attention to the United States Army Corp of Engineers and demand a change in current plans. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558755167-RCD14A59P7W1AL6QJ2XH/2019-6-30_SSL_1831_Impeach-Caldwell_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Impeach - the Mayor's ill advised and poorly planned projects are raising our taxes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558780196-C4UFX0TYPPDILA6BB96U/2019-6-30_SSL_1832_Fix-What-We-Have_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Improve what we have so that those who live here can continue to enjoy their island. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558791185-ZB31QGQLSP1ZTJKKIXO7/2019-6-30_SSL_1835_our-beach.jpg 2019-6-30_Protest-at-Iolani-Palace - We need to protect our beach parks and improve current uses. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558856342-0I5M7CBD10TYWOI06O9P/2019-6-30_SSL_1838_Hawaiian-Flag_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Protect Mauna Kea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558909736-OT181EMN7JWV9ROYQONK/2019-6-30_SSL_1839_Ku-KIa-i-Mauna_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - "Stand Guard Over the Mountain" - Native Hawaiians see the Thirty Meter Telescope as further desecration of their sacred mountain. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558951718-IC5QPBZ8TEV45O9QF4VQ/2019-6-30_SSL_1844_HPD_AlaWai-Sherwoods_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Police at the protest maintained a relaxed presence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558960942-RYYESGEP3P90SF2DSTO5/2019-6-30_SSL_1845_protest-line_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Members of Save Ala Moana Park Hui, Save Sherwoods, and Stop Ala Wai peacefully protest while their Mayor ignores them. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562558991696-QM67MTTZDILH574J3P0R/2019-6-30_SSL_1847_Caldwell-not-for-people_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Caldwell's main problem - people who would otherwise be spending a quiet Sunday evening at home are out protesting because he has lost their trust. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559005112-VXBVSEDZVTJ5B71F6EAX/2019-6-30_SSL_1850_entry-to-Iolani-Palace_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Ready to greet Mayor Caldwells guests from the US Mayor's Conference. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559032387-N4G34RD81N7CNLXW0XNH/2019-6-30_SSL_1856_save-sherwood-to-guests_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The Conference guests begin to arrive at Iolani Palace grounds; some look with interest. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559060843-HKUPQAXJBX0XTSHAWAZ1/2019-6-30_SSL_1858_Mayor-Kent-Guinn_Ocala-Fl__sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Mayor Kent Guinn from Oscala Florida walks past the Hawaiian TMT protesters trying to ignore them. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559075584-QYY947PY4JN7N8H3SZK9/2019-6-30_SSL_1860_Mayor-Vandersteen_Sheboygan-WI_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Mayor Vandersteen from Sheboygan, Wisconsin closes his eyes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559101245-6DG8R7V2C940CHDPZNID/2019-6-30_SSL_1869_Virg-Bernero_former-Mayor-LansingMI.jpg 2019-6-30_Protest-at-Iolani-Palace - Verg Bernero, former Mayor of Lansing, Michigan looks defiant as he videos the protest. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559127097-FVQSGCZG2UYOXCN5QB1J/2019-6-30_SSL_1881_Iolani-Palace-guests_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Guests enter Iolani Palace grounds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559136860-0HBDFT6IV8IM27C5IGSL/2019-6-30_SSL_1883_MarkPulido_CerritosCA_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Mayor Mark Pulido, Cerritos, California and his family stop briefly to listen. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559173014-VPMOS59MCKWC1EQMURR5/2019-6-30_SSL_1895_Mayor-R-Waterman_CampbellCA_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Mayor Rich Waterman, Campbell, California (front, solid blue shirt). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559187434-J7WKD3RXXGPXAWX4YTEF/2019-6-30_SSL_1899_Mayor-BradSellers_OH_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Mayor Brad Sellers, Warrensville Heights, Ohio https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559217754-M9F532PYYFEJIFTU2PMK/2019-6-30_SSL_1912_meet-and-greet_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Protesters against Mayor Caldwell seen by US Mayors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559226285-49BB4L024WPEMQ124OQW/2019-6-30_SSL_1915_Bruce-Engage-USCM-Staff_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - US Conference of Mayors staff discuss protest issues with Bruce Lum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559263411-9C1AIF8BI0GAZ11ZTFJG/2019-6-30_SSL_1925_music-protest_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - A little music adds to the atmosphere of the protest. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559276326-0STSCLB2VB181JBLL3DK/2019-6-30_SSL_1942_Iolani-entrance-protest-isuies_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - As guests arrive they are met with calls enumerating the various protest issues. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559317515-R5S765E1WLN7I2Q4YJGS/2019-6-30_SSL_1949_enforce-laws-occup_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Under the international laws of occupation, the aboriginal Hawaiian population of 322,812 in 2009 would continue to be 84% of the Hawaiian national population. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559339504-4DFLW6AINPG3RZ5VZSKA/2019-6-30_SSL_1950_no-treaty-law-land_crp.jpg 2019-6-30_Protest-at-Iolani-Palace - No Treaty, No Law, No Land. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559397535-H0P2XX9UQCQQKG913FTV/2019-6-30_SSL_1961_Iolani-entrance_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - City personnel and the Mayor's cabinet members acted as escorts and guides as the guests arrived. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559413333-5RRE17FBD10F26F462KS/2019-6-30_SSL_1962_Huli-Caldwell_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Chant against Mayor Caldwell and his policies to arriving guests, most of whom looked uneasy as they tried to ignore what was all around them. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559461260-M7SZVYOATZMLUW74SYDB/2019-6-30_SSL_1964_AM-People-Park_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The People's Park - this is why Caldwell is getting so much resistance to his project at Ala Moana - he is pushing the People out of their park. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559484435-V3Q6978JFYQXZK2L5FRM/2019-6-30_SSL_1965_Keep-Nalo-Country_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - A call to keep Waimanalo country; residents do not want a regional multi-purpose sports park at Sherwoods. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559511256-6QSP3P4Q21CXH5MKS745/2019-6-30_SSL_1967_Mayor-Dee-Margo_ElPaso_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Mayor Dee Margo, El Paso, Texas https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559534056-MRG67WIEQO1AZPTC6CG7/2019-6-30_SSL_1970_Mayor-Tom-Butt_RichmondCA_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Mayor Tom Butt, Richmond, California https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559565750-G8YOG6ED1ZN1DKHZ3O0Z/2019-6-30_SSL_1973_Mayor-Spencer-DenoIV_FL_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Mayor Spencer Deno IV, Village of Virginia Gardens, Florida https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559587262-1XBNYD40NVTZQK1LIVYY/2019-6-30_SSL_1976_Dropoff+at+Iolani_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Arriving conference guests pass through the protest line. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559601077-18LYJP3FV4JUIAW3ZXRH/2019-6-30_SSL_1992_the-catered-affair_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The US Conference of Mayors catered affair at Iolani Palace. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559673017-3W74MYD80YCYGM2GWFRO/2019-6-30_SSL_1993_Confluence-of-issues-people_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - People arriving, flags flying, protesters yelling, and the Mayor hiding from the people. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559679133-MHLVKRY2K3OX9RJSP578/2019-6-30_SSL_1995_Caldwell-greeters_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Caldwell's "Polynesian" experience for his guests. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559746227-F8DH212V9JAETDKSDEJT/2019-6-30_SSL_1997_Repair-Parks_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - The City poorly maintains its present parks but the Mayor wants to build a multi-purpose sports complex at Sherwoods that will increase maintenance and operations costs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559796347-UGQILFPOR82XLKF6HGQE/2019-6-30_SSL_1998_Protest-Police-People_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - Iolani Palace entrance surrounded by protesters. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1562559719535-GINGO9N3OUG0PMVYNI2A/2019-6-30_SSL_1996_Listen-to-The-People_sm.jpg 2019-6-30_Protest-at-Iolani-Palace - If we had one message that our Mayor could/would hear.... http://www.sslanzilotti.com/2019725_shangrila daily 0.75 2019-08-04 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564715946537-TBIDK7QZ6CQL4VVX09X6/Fig-1-f64uu-75-DD-Cromwell-leis-1935_sm.jpg 2019-7-25_Shangri-La - Doris Duke and James Cromwell arrived in Honolulu in August 1935 as the final stop on their honeymoon tour and the Cromwells extended their island stay by four months. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564715946537-TBIDK7QZ6CQL4VVX09X6/Fig-1-f64uu-75-DD-Cromwell-leis-1935_sm.jpg 2019-7-25_Shangri-La - Doris Duke and James Cromwell arrived in Honolulu in August 1935 as the final stop on their honeymoon tour and the Cromwells extended their island stay by four months. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564717357721-ZUHNTEJ8INOJGTDWBE2O/P1110443_ocean-DH-view-Shangri-La_sm.jpg 2019-7-25_Shangri-La - Doris Duke described the Hawaiian islands as “…one of the most beautiful places in the world. It has a marvelous climate all year round, and I love the ocean, and I like the people.” &nbsp;&nbsp; https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564720672218-7YG3DHNUABSI6FA4CBO1/Fig-33_Duke-James+Cromwell-S_Kahanamoku_C-Daniels_Waikiki%2C+circa+1935-sm.jpg 2019-7-25_Shangri-La - 1935, Duke fell in love with Hawai’i’s natural beauty and multicultural environment and decided to build a residence. (above Duke and James Cromwell, Sam Kahanamoku (lft) and Chick Daniels in Waikiki. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564643931476-Y1H61PL4UMQON7M6XF2R/2019-7-25_P1110283_DD_three-screens_sm.jpg 2019-7-25_Shangri-La - On her honeymoon, traveling through the Middle East, India, Indonesia and China, Duke became fascinated with the rich cultural traditions, in particular the Islamic ones, she encountered. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564643933284-J06EZPIH5PRC48XS3Q7F/2019-7-25_P1110287_DD_Garden-and-pool_sm.jpg 2019-7-25_Shangri-La - The Mughal Garden, adjacent to the entry court, was influenced by Duke's travels to Humayun's tomb, the Taj Mahal, and the Red Fort and Agra Fort gardens, all in India. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564643974603-IDZ82985Q1OR8HCH6K5G/2019-7-25_P1110291_DD_China-camel-doorway_sm.jpg 2019-7-25_Shangri-La - Doris Duke acquired a pair of 18th century Chinese stone camels not long after Shangri La was built and immediately located them at the entry to the main house where they remain to this day. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564712626247-CE1YJ7QSJ5T2X8XPOVCK/Fig-21-DD+with+Sam+Kahanamoku+1938-1_sm.jpg 2019-7-25_Shangri-La - Doris Duke with Sam Kahanamoku (bronze medalist in the 100-meter free-style swim, 1924 Olympics) in 1938 (with camel). Their friendship continued until his death in 1966. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564643974794-AKFB0E0XXX1DLO2VTH5D/2019-7-25_P1110289_DD_front-door-DD_sm.jpg 2019-7-25_Shangri-La - The front door to Shangri La was made in either Egypt or Syria around 1900 with wood and a copper alloy. (I could not find translations for the arabic inscriptions on the door.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644023325-3D5S5GBS7CIFPD9IBYTI/2019-7-25_P1110302_Moroccan-ceiling-foyer_sm.jpg 2019-7-25_Shangri-La - The fine workmanship of the foyer ceiling that was custom-made for Shangri La by Moroccan artisans in 1937 working under the supervision of the Rabat-based firm S.A.L.A.M. René Martin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644076348-3A8FSCJK97DN2OQXQ2NN/2019-7-25_P1110310_Foyer_Nancy-floor-lamps_sm.jpg 2019-7-25_Shangri-La - The foyer's copper alloy and silver floor lamps were made in either Iran, Egypt or Syria in the late 19th to early 20th c. Duke bought the foyer's 17th and 19th c. Turkish wall-tiles in Italy in 1937. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644098963-BDV9RTFDTPR79UZJIDC7/2019-7-25_P1110312_DD-inlade-cabinet_sm.jpg 2019-7-25_Shangri-La - Also located in the foyer is this beautiful "Mother-of-Pearl Inlaid Wooden Chest with Floral Motifs" from 19th century Syria. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564646669903-IUU9FAQXXO69T34VBVFU/2019-7-25_P1110308_DD-ceiling-lamp-wall_sm.jpg 2019-7-25_Shangri-La - Duke had this wood carved screen made in Morocco in 1937; it separates the foyer from the central courtyard. Later you will see the large blue ceramic panel that is only seeping through the screen. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644111499-T3RKUSYZW7FUMC2OF9EV/2019-7-25_P1110317_DD-ceiling-lamp_sm.jpg 2019-7-25_Shangri-La - The Hanging Lamp was made from copper alloy in Egypt or Syria around 1900. The lamp itself is 48 inches long, with a diameter of 21.5 inches. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644135522-HYLUY978950AG7O8KONM/2019-7-25_P1110320_DD_Iran-Princely-Hunt-wall_sm.jpg 2019-7-25_Shangri-La - A 19th c. Iran tile panel, "Princely Hunt Scene," made from stone-paste [a type of pottery in which frit (ground glass) is added to clay to reduce its fusion temperature] and polychrome glazes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644057796-C0KMVF5CGKNAHV9H8EWR/2019-7-25_P1110305_Foyer_vase-stained-glass_sm.jpg 2019-7-25_Shangri-La - In the foyer, a 19th c. plaster and colored glass window from Egypt or Syria. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644151708-M7SVARY9CL5C0MLGDV69/2019-7-25_P1110321_DD_Deer-Wall-Tiles_sm.jpg 2019-7-25_Shangri-La - "Polychrome Tile Panel with Vase and Deer," 17th to 18th c. Iran, ceramic &amp; colored glazes (36 3/4 x 55 1/2 in). "Mistakes" in repetitions may be intentional as only God can produce perfection. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644198575-ES2EAKETB9CMOSRL8TYS/2019-7-25_P1110323_DD_inner-garden_sm.jpg 2019-7-25_Shangri-La - The inner hallway to Duke's bedroom includes a private lanai (porch) and a garden with a small waterfall and koi pond. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644222183-NL7FPRA9128HPWZYLA5Z/2019-7-25_P1110324_DD_Syrian-wall-tiles_sm.jpg 2019-7-25_Shangri-La - On the private lanai, a five point star (formed both in positive and negative space) made from stone, carved and painted in 18th to 19th century Syria (Damascus). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644236807-EBG8DZMFBM4QI9Y1PR9A/2019-7-25_P1110326_DD_Ave-Maria-Tiles_sm.jpg 2019-7-25_Shangri-La - Also in the lanai area, this 1921 tile panel from Spain reads: "Ave Maria Gracia Plena Dominus Tecum." ["Hail Mary, full of grace, the Lord is with thee." (I remembered from grade school!)] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644267407-G1FAN6J53TR0XL3HJUFK/2019-7-25_P1110327_DD-Vase-floral-tiles-hang_final_b_sm.jpg 2019-7-25_Shangri-La - On the lanai, from Tunisia (once a part of the Ottoman Empire) this not quite symmetrical 19th c. "Tile Panel With Vase" made from earthenware and underglaze-painted. (Purposeful "mistakes"???) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644281576-4FU11LBBFZD3GICI76KT/2019-7-25_P1110328_DD-Bedroom_sm.jpg 2019-7-25_Shangri-La - After visiting the marble tombs, palaces, mosques and gardens of cities like Agra and Delhi, Duke decided to create a Mughal-inspired bedroom suite for her home. It was completed in late 1938. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564732263448-38464E3MZW81WV4NWQOK/2019-7-25_P1110336_DD_Bedroom-jali_window_sm.jpg 2019-7-25_Shangri-La - Seven large door jalis (perforated marble screens) for the bedroom were made by India Marble Works, Agra, India. The jali can slide open or shut to provide varying degrees of light, air, and privacy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644301733-35F6HUE2A4ZBZVW1IHGM/2019-7-25_P1110330_DD_BR_Jewelry_1-display_sm.jpg 2019-7-25_Shangri-La - One of two jewelry wall vitrines in the Mughal bedroom suite. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644390943-L3AXU083V09V5UMTZ0AC/2019-7-25_P1110332_driver-hathi+howdah_sm.jpg 2019-7-25_Shangri-La - Made in India during the 19th - 20th century this jewell encrusted hathi howdah measures 4 x 2 3/8 x 3 3/8 inches and is made of ivory, gold, seed pearls, glass pendants, hardstones, with a wood base. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644385100-2GF3MITI7KX17VOKXU1X/2019-7-25_P1110335_DD_Peacock-curio_sm.jpg 2019-7-25_Shangri-La - The peacock on the top shelf of the vitrine was made of enameled gold and gemstones in 19th c. Northern India and measures 2/5/8 x 2 1/16 x 2 7/8 inches. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644294918-QI72GDRNFLF0H6VQ6WCU/2019-7-25_P1110330a_Diamond-Pearl-Sapphire-necklace_sm.jpg 2019-7-25_Shangri-La - The 19th c. Indian necklace is made of enameled gold, diamonds, sapphire beads, pearls, seed pearls, blue glass beads, with Quatrefoil Motifs and Enamelled (Kundun) Floral Ornamentation on Reverse. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564734559893-7MZ2C1A9Q598V8GVL7EY/2019-7-25_P1110330b_Gold-Pearl-Emerald-earings_sm.jpg 2019-7-25_Shangri-La - Also in the vitrine, these 19th-20th c. India "Gold-Set Pearl and Emerald Chandelier Earrings," height: 6 3/4 in., with enameled gold, seed pearls, glass beads, diamonds, and cord. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564805903489-TWSIVG881IYF0AH1V5SM/Fig-25_Doris_jewelry-necklace_ceramic-tiles_sm2.jpg 2019-7-25_Shangri-La - In 1966 Doris Duke shows a necklace for readers of Vogue (internet pic). This necklace is seen on the bottom row (middle) of the other wall vitrine in the Mughal bedroom suite (see next picture). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644446425-FXRVYWKUF3JPN35LSRRP/2019-7-25_P1110341_DD_Jewelry-Case2_BR_sm.jpg 2019-7-25_Shangri-La - A second jewelry vitrine in the Mughal bedroom suite. Bottom row, middle contains the necklace that Duke was showing in 1966 to the photographer from Vogue in the previous picture. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564802257194-GMKAY2S01Y5W1CEI4XIT/Fig-36_Duke-Cromwell-India-elephant_sm.jpg+copy.jpg 2019-7-25_Shangri-La - In 1935, Doris Duke and James Cromwell on their honeymoon in India riding an elephant. Perhaps that is one reason the two vitrines contain jewell encrusted elephants. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644416934-B0BGQNBUDDOTFYFA3PDK/2019-7-25_P1110338_DD_No-India-hathi+howdah_sm.jpg 2019-7-25_Shangri-La - "Elephant with Driver and Rider in the Hathi Howdah" was made of enameled gold and diamonds in the 19th to 20th c. in Northern India and stands 2 3/4 x 1 /18 x 2 3/16 in. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644426589-3F3B9EXU3FDA92ZNZX5H/2019-7-25_P1110340_DD_No-India-warrior-elephant_sm.jpg 2019-7-25_Shangri-La - "Hunter with Spear on Elephant" was made of enameled gold and diamonds in the 19th to 20th c. in Northern India and stands 1 3/4 x 1 3/16 x 1 7/8 inches. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644530043-2CIMUXLE2L3VXBUX33QR/2019-7-25_P1110346_DD_BaRo_jalis_Pietra-Dura_sm.jpg 2019-7-25_Shangri-La - As part of the 1935 commission, India Marble Works, Agra made four small window jalis and a dado (lower wall) with inlaid floral patterns (called "pietra dura") for the Mughal Suite bathroom. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644564632-ABYU5ULTCNAFDLIMXPLP/2019-7-25_P1110350_DD_BaRofloor-tile-pietra-dura_sm.jpg 2019-7-25_Shangri-La - From the ancient Roman opus sectile, 14th to 17th c. Florentine artisans developed "pietra dura" ("hard stone"), the technique of creating intricate inlaid pictures from shaped colored stones. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644525528-97Y7WKC49AJYQJMF2H3A/2019-7-25_P1110349_DD_Pietra-Dura_BaRo_sm.jpg 2019-7-25_Shangri-La - By the early 17th c. small objects produced by the Florentine artisans were widely diffused throughout Europe, and as far East to the court of the Mughals in India, and thereby viewed by Shah Jahan. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644486395-XA23ZGA29XC997VLGBPD/2019-7-25_P1110344_DD_BaRo_Pietra-Dura-Taj_sm.jpg 2019-7-25_Shangri-La - Each jail is carved with a different floral design. Like Shah Jahan's Taj Mahal itself, Duke’s white marble suite was inlaid with semiprecious stones, including lapis lazuli, jade, and malachite. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644486962-SSU496ETQHNBSFHRCRSY/2019-7-25_P1110345_DD_arch-basin-bathtub_sm.jpg 2019-7-25_Shangri-La - A carved marble arch frames a lotus-shaped wall basin and a deep rectangular bathtub below. It is surrounded by pieta dura floral designs in marble. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644457210-YVJAKA2OKPG87COCD8O2/2019-7-25_P1110343_DD_bathroom-mirror-ceiling_sm.jpg 2019-7-25_Shangri-La - Like the Shish Mahal in the Agra Fort built by Shah Jahan between 1631-40 that Duke visited during her 1935 honeymoon, the ceiling of her Mughal Suite bathroom contains mirrors to reflect the light. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644634871-B0NRHM8O9VLXRCIZGN3L/2019-7-25_P1110365_DD_central-courtyard_sm.jpg 2019-7-25_Shangri-La - Shangri La is designed around this central courtyard fronted by public spaces such as the living room, Turkish Rooms, and pool. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644176037-U5W3RYM3CCGJPWT0UDO8/2019-7-25_P1110322_DD_wall-tile-Leopard-Goat_rev_sm.jpg 2019-7-25_Shangri-La - In the courtyard, a 19th to early 20th c. Iranian tile mosaic panel in a cartouche form depicting a black and white spotted leopard at left attacking a brown deer at right on a turquoise background. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644562322-EYJNNBON9O6IJ6LATUJ4/2019-7-25_P1110353_CC_13thc-Syrian-tile-wall__sm.jpg 2019-7-25_Shangri-La - From 13th c. Iran, "Cobalt Blue and Turquoise Glazed Tile Panel with Molded and Bossed Decoration." Above the tile, is the Moroccan wood screen that was described earlier as part of the foyer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564651714863-3OL3NIP7WMT4S8JIJY57/2019-7-25_P1110366_CC-cut-mosaic-tile-panel_sm.jpg 2019-7-25_Shangri-La - This "Polychrome Cut-Mosaic Tile Panel," which we glimpsed through the screen while on the foyer, measures 20 ft. x 11 ft. and was custom-made for Shangri La in Iran in 1938. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644590807-NS5GFL3QA34KADRM4QE8/2019-7-25_P1110355_DD_center-courtyard-tile_sm.jpg 2019-7-25_Shangri-La - "Polychrome Tile Panel with Medallions and Trees" - As is evident from this intricately designed 17th c. Iranian ceramic tile panel, things did not always get to Hawai'i in one piece. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564816574718-5O9QWULD0QGTHM1TGAKJ/2019-7-25_P1110360_DD_center-courtyard-bird-tile_sm.jpg 2019-7-25_Shangri-La - "Tile Panel with Birds, Flowers, and Leopards," Iran, 17th c. measures 45 3/4 x 19 1/8 in. In the Qur'an 16:79, the mysterious ability of birds to fly is offered as proof of God's existence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564651968256-D3ZQ2AGAQSER53JCRRA9/2019-7-25_P1110387_DD_courtyard-walkway_sm.jpg 2019-7-25_Shangri-La - In 1937, Duke had a set of 12 columns, made for Shangri La's central courtyard (inspired by Safavid Persian models) by a company in Chicago. The columns were made of wood, pigments, and mirrors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647728877-GPADZEO4JZYX8OOZBWPF/2019-7-25_P1110475_Layla+and+Majnun+in+Wilderness_sm.jpg 2019-7-25_Shangri-La - "Tile Panel with Layla and Majnun in the Wilderness," depicts a tragic story of undying love much like Romeo &amp; Juliet; made in 19th c. Iran - stonepaste, polychrome glazes (40 x 49 1/2 in.). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644671520-TAK8CSIRKSEHPLH22JPW/2019-7-25_P1110375_DD_view-from-LR_sm.jpg 2019-7-25_Shangri-La - From the central courtyard we entered the living room, whose west wall is a glass panel that descends fully into the ground and provides this view of Diamond Head and Shangri La's inner lawn area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564820916917-EG3W7Q1KYT92VCST4FLL/Fig-2-ph_dd+and+friends_lawn_sm.jpg 2019-7-25_Shangri-La - Relaxing on the inner lawn with friends ca. 1938 from left: Louis and Viola Kahanamoku, Anna Furtado and Sargent Kahanamoku, Doris Duke and Sam Kahanamoku. (Doris Duke Photograph Collection) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644705735-IF7KI0HNO1DGNQMAUA8W/2019-7-25_P1110384_DD_living-room_sm.jpg 2019-7-25_Shangri-La - The living room’s coffered ceiling was custom-made for Shangri La in 1937 by Moroccan artisans using wood (cedar), pigments, gilding, and varnish; it measures 47 ft 1 3/4 in. x 23 ft. 10 in. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564882175013-6Y2FILV6KI9XRSM7ARJ5/2019-7-25_P1110385_DD_LR_vases_sm2.jpg 2019-7-25_Shangri-La - Shelves at the east end of the living room display Persian and Syrian ceramic vessels and storage jars dating from the eighth to seventeenth centuries. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644689013-84AXS4MC1UEVM74A013R/2019-7-25_P1110385_DD_8th-11thc-Iran-StorageJar.jpg 2019-7-25_Shangri-La - Storage jar from 8th to 11th c. Iran. Earthenware and underglaze-painted (i.e., painted decoration applied before it is covered with a transparent ceramic glaze and fired in a kiln). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564883735568-V14E39W3OHKO92QV6ZT0/P1110407_DD_vase-into-lamp_rev_sm.jpg 2019-7-25_Shangri-La - What do you do when you just have too many storage jars collected from the 8th to 17th centuries? For functionality, Duke decided to turn this one into a lamp. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647432905-YF3TGF2YPTWIGODU9U5R/2019-7-25_P1110392_DD_LR_inlaid-chair_rev.jpg 2019-7-25_Shangri-La - In the living room, an early 19th c. Iranian chair made of wood, bone, ivory, copper alloy, silver alloy, and with upholstery from Northern India (46 3/8 x 24 1/4 x 26 1/4 in.). BEAUTIFUL! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647401536-02ZSRYISYUL704C0263E/2019-7-25_P1110391_DD_LR-Spain-Tiles-1525-1550_sm.jpg 2019-7-25_Shangri-La - Tile from 1525-1550 Spain (Seville), made of earthenware, underglaze-painted &amp; overglazed-painted in luster w/octagonal coffer design with a blossom surrounded by rayed circles (9 1/2 x 10 in). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647442233-3UYF07F5WEZF4SSJZPLL/2019-7-25_P1110396_DD_LR_stirrups_sm.jpg 2019-7-25_Shangri-La - Possibly 19th c. stirrups from Ottoman Turkey. “The first stirrups seem to have spread from the Kushan Empire, 100 CE, to northern China, 3rd c., then to the western steppes of Iran (6th c.).” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647510915-7RTN41P0K1V8D83PB36F/2019-7-25_P1110413_Mihrab_tomb-Imamazada-Yaha_sm.jpg 2019-7-25_Shangri-La - Veramin luster mihrab (prayer niche), Iran (Kashan), 1265 CE, 12.6 ft x 7.5 ft x 8 1/2 in. A mihrab is a recess or niche in a wall that indicates the direction of Mecca, thus the direction of prayer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647455691-SI1E9BPUR74KZMELLL71/2019-7-25_P1110413_detail_Mihrab-Lamp-Allah_1265CE_sm.jpg 2019-7-25_Shangri-La - The bottom portion (middle) of the 13th c. mihrab includes a lamp hanging in a niche, a motif commonly found in Islamic art, since God (Allah) is likened to a lamp in a niche in the Qur’an (24:35). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564656732791-2V0S9KPS1LTECQ0QTKAN/P1110422_DD_prayer-rug_Mecca_lamp_sm.jpg 2019-7-25_Shangri-La - "Silk Prayer Carpet with Hanging Lamp Motif" from 19th c. Turkey, measuring 50 x 70 in. The point in the carpet's design is set toward the direction of Mecca for prayer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647389156-RYY4JRYBE45AQ04Y8ZBK/2019-7-25_P1110390_Mihrab-Rm_+Ilkhanid+luster+tile_sm.jpg 2019-7-25_Shangri-La - "Turquoise &amp; Cobalt Blue-Glazed Molded Lusterware Tiles with Quranic Inscription," Iran, 1310 C.E. The inscription on this frieze is from the Qur’an’s well-known "Throne Verse" (2: 255) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564644740857-3UJ92EWUMLT7QKFIDAQS/2019-7-25_P1110390_Lady+Khadija-tomb-cover-1313CE.jpg 2019-7-25_Shangri-La - "Lady Khadija Tomb Cover," Iran, July, 1313 C.E., consists of three large luster tiles covered in cobalt calligraphy in relief, the latter includes verses from the Qur’an (76:1–4) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564893491071-1A7A8IF212O21REWCYVO/2019-7-25_P1110420_DD_Dining-Room_sm.jpg 2019-7-25_Shangri-La - In 1938 Duke commissioned from Iran (Isfahan) the "Polychrome Mosaic-Tile Panel with Floral Motifs," shown here on the dining room wall (stonepaste, glaze; 26 ft x 7 ft, 1in). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647576354-50HM2XP4MQQAL3YJDPUD/2019-7-25_P1110431_DD_Dining-Room-chandelier_sm.jpg 2019-7-25_Shangri-La - The rather ornate (for my taste) dining room chandelier was made in France around 1840. It is comprised of color, as wells as, colorless glass and measures 80 x 60 in. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564653753374-LF9IZYSETFOHHOHB61SY/P1110439_selfie-LR-lanai_sm.jpg 2019-7-25_Shangri-La - Standing on the dining room lanai, my selfie via the reflection of the dining room glass door. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564886029440-F5U778V8FOV73XV7LAKH/2019-7-25_P1110435_Mosaic+tile+panel-DR-lanai_sm.jpg 2019-7-25_Shangri-La - Geometric forms were used by Islamic artists to stress the importance of unity and order. Mosaic tile panel on the lanai - Iran, probably 19th c., assembled as mosaic; 153 x 160 in. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647658566-KNA6PDJSL87UJOU58CNJ/2019-7-25_P1110465_DD_internal-grounds_sm.jpg 2019-7-25_Shangri-La - Exterior view of Mughal bedroom suite (left), with the Jali Pavilion above, and dining room window (middle) with steps leading to the inner lawn. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564711990518-N0NI1T2H4BW2M3X8JWD9/Fig-27_DD-lawn-Vogue-1966-Horst.jpg 2019-7-25_Shangri-La - Vogue 1966, Doris Duke at home in her Shangri-La estate on Honolulu, Hawaii. (Photo by Horst P. Horst/Conde Nast via Getty Images) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647617819-MF3DK63K8TO1L3TPLRGP/2019-7-25_P1110440_DD_coastline-view_sm.jpg 2019-7-25_Shangri-La - Boat landing (rt), swim basin (middle), Diamond Head breaker adjacent to Shangri La, with Diamond Head Crater in the background. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564824540883-9U3VS0M2FJS8O6KCKRBC/Fig-29_DD-Pualani+Topping+canoe-race_sm.jpg 2019-7-25_Shangri-La - With her canoe racing team Duke climbs into their outrigger for the Pualani Topping Canoe Race Offshore. Piloted by Sam Kahanamoku, with Duke as a "crewman," they finished first. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647695594-CLPEZM26IGX2F6BHG25X/2019-7-25_P1110473_DD_Playhouse_sm.jpg 2019-7-25_Shangri-La - On the west end of the property and adjacent to the ocean, the Playhouse is a poolside pavilion inspired by the Chehel Sutun (c. 1647–50) palace in Isfahan, the capital of Iran from 1598 to 1722. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564710790289-45VYTD364MJBIARGD27H/fig-5-ph_DD-SamK-ukelele.jpg 2019-7-25_Shangri-La - Doris Duke and Sam Kahanamoku playing guitars in the Playhouse, 1939. Photo by Martin Munkácsi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647685911-R2FYEF0OA9PGP3VM1V66/2019-7-25_P1110471_Doris-Duke-Trustee-1956_sm.jpg 2019-7-25_Shangri-La - Our guide showed this picture of Doris surrounded by all men at Duke University Board of Trustees, 1956. Trinity College changed to Duke U. after her grandfather James donated $40million in 1924. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564643848958-HN7L11FY6M89AQN3A5PZ/DD-Kahanamoku+brothers-1937_IMG_2507_sm.jpg 2019-7-25_Shangri-La - Doris Duke flanked by the Kahanamoku brothers, c. 1937 (left to right) Sargent, Louis, Sam, Bill (seated), Doris Duke, David, and Duke Kahanamoku (anonymous photograph) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647723752-SEYNYFKJO41FMBMWPF6T/2019-7-25_P1110474_Polychrome+Spandrel+Tile+Panel+w-Floral+Motifs_sm.jpg 2019-7-25_Shangri-La - Duke decorated this arch with "Polychrome Spandrel Tile Panel with Floral Motifs," which she commissioned from Iran (Isfahan) in 1938 (width: 82 in.). Stonepaste, glaze https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564900688619-0K73QKB31OS6026Y3W17/2019-7-25_P1110479_DD_Nancy-Pace-TurkishRm-wonder_sm.jpg 2019-7-25_Shangri-La - The wonder of it all! The Syrian/Turkish Rooms contain "Polychrome Wooden Panels with Arabic Poetry Inscriptions" from 1854-1855 CE. The decor is mostly from the Quwwatli family house in Damascus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647813540-D97IJ1LKIR19UD0KV01O/2019-7-25_P1110484_arabic-inscriptions-panels_sm.jpg 2019-7-25_Shangri-La - The "baby" Syrian Room includes wall elements (pink framing panels, calligraphic cartouches) framing a niche (masab). The wood is painted, gilded, with metal leaf &amp; translucent glazes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647783263-4OMAM96TJ1MY1MURP7F2/2019-7-25_P1110484a_pink-panels-masab_rev_sm.jpg 2019-7-25_Shangri-La - A prominent feature of historic Syrian interiors was an elaborate wall niche (masab) where cherished objects could be displayed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647798633-MRE8AGBWSNMWG251QJ7C/2019-7-25_P1110485_detail_16thc-Turkey-Dish_sm.jpg 2019-7-25_Shangri-La - "Cusped-Rim Polychrome Ceramic Dish with Floral and Saz Leaf Motifs" from 16th c. Turkey (Iznik). In the 1950s and 1960s, Duke purchased a number of Iznik dishes at auction in New York. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647806570-ONSK4I9LLI7OL4VYX1R1/2019-7-25_P1110487_DD_16thc-Turkey-dish_SyrianR_sm.jpg 2019-7-25_Shangri-La - Also from 16th c. Turkey (Iznik), in the vitrine next to the masab is this "Blue and White Ceramic Dish with Floral Motifs" (11 1/2 in. diameter; Stonepaste, pigments). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647864083-3CUMDNLXJK968FMJP5NJ/2019-7-25_P1110500_Quwwatli-home-wood-panel_sm.jpg 2019-7-25_Shangri-La - Details of the painted wood panels originally in the Quwwatli house in Damascus, Syria, now in the baby Syrian Room https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564647637230-NZ2VFXTTVP17DT48JK2N/2019-7-25_P1110462_Shangri-La-steps-to-ocean_sm.jpg 2019-7-25_Shangri-La - During my visit I saw this young woman doing yoga on the Shangri La rock breakwater. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1564907450097-AHZNCJD6XHN7CI05RKVE/Kahanamoku-casts-net-DD-JC_sm.jpg 2019-7-25_Shangri-La - Doris Duke enjoyed the area as one of Kahanamoku brothers casts his fishing net. Duke became the first non-Hawaiian woman to take up competitive surfing under the tutelage of the Kahanamokus. http://www.sslanzilotti.com/2019-10-5-aloha-aina-unity daily 0.75 2021-02-18 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572811607424-LW79TWQ0QW5ZC38DFP78/SSL_3549_This+is+our+home.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - *Ēwe hānau o ka ʻāina. (Natives of the Land.) The Aloha Unity Rally was held at Kapi’olani Park, Oahu on 10/5/2019. *Other than the translations of Hawaiian words found on shirts and signs, the proverbs and sayings that accompany this set of pictures can be found in ʻŌLELO NOʻEAU, Hawaiian Proverbs & Poetical Sayings, by Mary Kawena Pukui, published by Bishop Museum Press, Honolulu, Hawaiʻi, 1983. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572811607424-LW79TWQ0QW5ZC38DFP78/SSL_3549_This+is+our+home.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - *Ēwe hānau o ka ʻāina. (Natives of the Land.) The Aloha Unity Rally was held at Kapi’olani Park, Oahu on 10/5/2019. *Other than the translations of Hawaiian words found on shirts and signs, the proverbs and sayings that accompany this set of pictures can be found in ʻŌLELO NOʻEAU, Hawaiian Proverbs & Poetical Sayings, by Mary Kawena Pukui, published by Bishop Museum Press, Honolulu, Hawaiʻi, 1983. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613120510152-B84GC4Z7R9LB83DPQ8NT/SSL_3670_concert+relaxing_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻAʻohe ʻauwaʻa paʻa i ka hālau i ka mālie. (No canoes remain in the sheds in calm weather.) Everybody goes fishing in good weather. Also used when people turn out in great numbers to share in work or play. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816126704-GBF04FFDFK6KK9LMIHSO/SSL_3488_flag-raised-high_KP_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Kū i ka pono. (Stand for righteousness.) The manʻs t-shirt reads (top) “Protect Hawaiian Lands;” (middle) Kū i no ka ʻāina (Stand for the land) - Stand for Justice; and (bottom) “Kū i ka pono.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816210837-ZIQEY1PLERO129KKGYSY/SSL_3490_Together.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Hoʻokāhi ka ʻilau like ana. (Wield the paddles together.) Work together. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816262538-D4FHZ4Y41V0C4NA7K7FM/SSL_3494_peaceful-flags_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E waikāhi ka pono i mānalo. (It is well to be united in thought that all may have peace.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816277255-4QJCGVVZ7G2AQE5VEI7Q/SSL_3512_wahine-toa_crp.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Wahine toa (Woman warrior/brave woman) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816305488-EPZ85U6YSK1I6V29HNIJ/SSL_3513_Aloha+Aina.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Kū Kiaʻi Mauna (Guardians of the mountain.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613186906681-JQQOUC1NTE9Q7KEBENZG/SSL_3513_Shaka.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E wehe i ka umauma i ākea. (Open out the chest that it may be spacious.) Be generous and king to all. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816352315-HQCTBD0CXDQE1JMYHV8S/SSL_3515_Ku-Kia-i+Kahuku.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Kū Kiaʻi Kahuku - Aʻole Wind Turbines This Kuhuku-based community group, organized to protect Kuhuku from proposed negative effects of a wind turbine farm project, attended the unity rally in solidarity with the TMT protesters. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816438371-WX6QXVAOFKL162NGWXTC/SSL_3520_Rolling-into-KP_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Aloha ʻĀina (Love of the Land) Protesters came with their children carrying signs and wearing their thoughts and aspirations. Statements here included: “Aloha ʻĀina,” “Stop Stealing Hawaiian Land,” and “See You on the Mauna.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816392498-R6X3PRSZN7EUQ6BP4VKG/SSL_3518_consider-sacred_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻAʻohe ola o ka ʻāina i ke aliʻi haipule ʻole. (The land cannot live under an irreligious chief.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816510222-GFV82NZUS7DGPCFIAG6Y/SSL_3536_Kelii.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻAʻohe mea nana e hoʻopuhili, he moho no ka lā makani. (There is no one to interfere, for he is a messenger of a windy day.) Said in admiration of a person who lets nothing stop him from carrying out the task entrusted to him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613205290182-84M6DF9UQMGV6ASE4DMC/SSL_3560_flag-bearer.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - La Hoihoi Ea (Sovereignty Restoration Day) King Kamehameha III established this holiday following the rightful return of sovereign government to Hawaiʻi by the United Kingdom. He proclaimed, “Ua mau ke ea o ka ʻāina i ka pono” - the ea (sovereignty, life, breath) of our land is perpetuated through justice. The celebration was revived in 1985 by Uncle Kekuni Blaisdell and others. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816447054-OPHAVO3VJDV9A8IYG2FX/SSL_3522_Pono.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Protector: Maunakea kuahiwi ku haʻo i ka malie. (Mauna Kea - mountain standing alone in the calm.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816524957-NLPBWGJITXC97XGSY38O/SSL_3533_Ku+Kia+i+Mauna+Kea-dad_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ka ʻike a ka makua he hei na ke keki. [The knowledge of the parent is (unconsciously) absorbed by the child.] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613344167531-MZVGLJU5R8L2NL3SFGXO/SSL_3546_Mahelona_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Mauna a Wakea (Mountain of the god Wakea, the "Sky Father.") https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816495990-A2VUN3HZY1JI8ESSS2UH/SSL_3524_Onipaa-Kakou.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Naʻau pono (literally translated means "right-minded.ʻ) In Hawaiian, this is what describes the sense of balance we feel when all aspects of our lives are in harmony. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816574302-4YFKFKLNTR4CZHNQXDIH/SSL_3539_Dad-sons_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ua Mau ke Ea o da ʻĀina i ka Pono. (The sovereignty/life of the land is perpetuated in righteousness.) This Hawaiian phrase, located on this man’s shorts was adopted in 1959 as the motto of the state of Hawaiʻi. Some people translate the phrase emphasizing “life” and others emphasize “sovereignty” as the meaning of “ea.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613343412554-K3AOYM9PQCL97QM8O4Q9/SSL_3656_Kanaka.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Kanaka Maoli (true people) Native Hawaiians call themselves Kanaka Maoli (t-shirts on women standing). They are descendants of the early Polynesians woh arrived in the islands 1500-2000 years ago. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613343945193-JGMHBG40TRV5B5PIM9ZU/SSL_3542_Marching+into+KP.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - "We Are Mauna Kea" The indigenous Hawaiian cosmology, Mauna Kea is the origin place of the Hawaiian people. The Hawaiian genealogy teaches that the summit of the mountain is the meeting place of Earth Mother, Papahānaumoku, the Sky Father Wākea and that the Hawaiian people are directly descended from this union. Therefore, Mauna Kea is utmost sacred ground; it is the piko (umbilical chord) of Native Hawaiian existence. (Resilience, August 15, 2019) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816556662-1P4CIW0W2P9EGPYJP1DI/SSL_3537_State-No-Legal-Title.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ho ʻonipaʻa kaʻoiāʻiʻo. (Truth is not changeable.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613344636340-X8IICQ5LXMZMAMQOL2U9/SSL_3547_Moms+enter+KP_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E kuahui like i ka hana. (Let everybody pitch in and work together.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816703915-OQXVNKQLOBN9B1WZTVVL/SSL_3551_Kapu+Aloha.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He hulu makua. (A feather parent.) When most of the relatives of the parentsʻ generation were gone, the few left were referred to as hulu mākua and considered as precious and choice as feathers. Hulu can refer to relatives as far back as three generations. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613202927812-YEMJXZL6MTHFB6CHBG9O/SSL_3558_Woman-flag.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He meheuheu mai na kūpuna. (Habits acquired from ancestors.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613344798465-242BX6L6SQB77V5UUWWF/SSL_3556_Palama_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ola na iwi. (The bones live.) Said of a respected oldster who is well cared for by his family. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816795274-SJK7Y5C9WFEGK1NCYDV2/SSL_3554_Family-march.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ha lani ke keiki, he milimili na ka makua. (The child is a chief to be fondled by the parents.) A child requires as much care as a chief. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613206418838-HPIA8ZYDEBTKI53EHD2O/SSL_3562_Resting-quietly3_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E okolo ana no ke ēwe i ke ēwe. (The rootlet will creep toward the rootlets.) Of the same origin, kinfolk will seek and love each other. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572817181163-OQCKQ4GMSREZSJGEZ76S/SSL_3572_Red-Cross-Flag_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Hoʻomoe wai kāhi ke kāoʻo. Let all travel together like water flowing in one direction. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572817128304-AD6ZMC02MYYLHH8HWX0P/SSL_3566_Keiki-Banyan.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - I ulu no ka lālā i ke kumu. (The branches grow because of the trunk.) Without our ancestors we would not be here. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613526900127-BL2W51UVDLV327OUMG2M/SSL_3559_family-march.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ua ola loko i ke aloha. (Love gives life within.) Love is imperative to oneʻs mental and physical welfare. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824111048-APJKBPMN24YEVDX5PN92/SSL_3615_Stop-Desecrating_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He aliʻi ka ʻāina; he kauwā ke kanaka. (The land is a chief; man is its servant.) Land has no need for man, but man needs the land and works it for a livelihood. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572817137250-T39BDR80YSVEZ0XFQYQ6/SSL_3571%E2%80%93Ku+Kea+Mauna.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻAʻohe puʻu kiʻekiʻe ke hoʻāʻo ʻia e piʻi. (No cliff is so tall that it cannot be scaled.) No problem is too great when one tries hard to solve it. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572817232435-76URQ7R7DA2YWPSAJNAS/SSL_3588_young-child-flag.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He liʻiliʻi ka ʻukulele, naue naʻe kino nui. (A flea may be small but it can make a big body squirm.) Never belittle anyone because of his small body; he may be able to do big things. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572817245977-IMEFHJDRRIABAKE9XAOM/SSL_3580_culture.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - I maikaʻi ke kalo i ka ʻohā. (The goodness of the taro is judged by the young plant it produces.) Parents are often judged by the behavior of their children. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824063199-92PNX5HYJPGW3OCOQU1W/SSL_3611_Heretama-Nui3_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻAʻohe hana nui ke alu ʻia. (No task is too big when done together by all.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824005029-XQNVEYFKNGWWV89ENUGU/SSL_3600_three-for+Mauna.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He lei poina ʻole ke keiki. (A lei never forgotten is the beloved child.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824157083-18W1GZZ75ZH61ZILP36Y/SSL_3616_discuss2.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻAʻohe pau ka ʻike i ka hālau hoʻokāhi. (All knowledge is not taught in the same school.) One can learn from many sources. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824155646-1VI5HZ0TUUMF98EL6MC3/SSL_3617_Thumbs+up.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻOi kau ka lā, e hana i ola honua. (While the sun yet shines do all you can.) While there is earthly life (ola honua), do all you can. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824168589-W6OBRNXTSOBXBS1VN8QK/SSL_3621_Why+Hard+HI.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He ʻike ʻana ia i ka pono. (It is a recognizing of the right thing.) One has seen the right thing to do and has done it. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824244152-4HSFHLJWQGS1Y1KZPLDU/SSL_3623_See+you+Mauna.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Kiaʻi (Protector) Kiaʻi went to Maunakea to protect it from the building of the Thirty Meter Telescope. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613200083364-HQ55UU1XFQMPWO4N38C2/SSL_3640_tree-rest_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He ʻohu ke aloha; ʻaʻohe kuahiwi kau ʻole. (Love is like mist; there is no mountaintop that it does not settle upon.) Love comes to all. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824289085-EWEM4579VM7YZOBXA6ZA/SSL_3634_Pu+Uhonua.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Puʻuhonua (A place of refuge.) July 13, 2019, the Royal Order of Kamehameha I, in collaboration with, and in support of the kiaʻi (protectors) of Maunakea designated and established Puʻu Huluhulu, at the base of Maunakea, as a Puʻuhonua, or place of refuge to ensure the safety of all people gathering to protect Maunakea from further desecration and destruction by the proposed Thirty Meter Telescope. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824356144-OZ82HV3N8SH2HCYBZ4HE/SSL_3647_dad-son.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E kuhikuhi pono i na au iki a me na au nui o ka ʻike. (Instruct well in the little and the large currents of knowledge.) In teaching, do it well; the small details are as important as the large ones. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824348226-1LC0AV2GG829QBOWUBGM/SSL_3643_We+are+Mauna_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Mai hōʻaleʻale i ka wai i lana mālie. (Do not stir up water that is still.) Do not stir up contention when all is peaceful. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824387811-JTNUUCI0VDB55EOLQ0Y7/SSL_3650_Eolakalahui+Hawaii_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ka Lahui Hawaiʻi Members of Ka Lahui Hawaiʻi, a native Hawaiian initiative for self-determination, relax on the shaded benches of the Kapiʻolani Park bandstand during the Aloha Unity Rally in support of the protest against the building of the Thirty Meter Telescope on Mauna Kea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572816278972-YBV6RN58EPJU22EZ05KI/SSL_3510_Rise-Together-T-shirts_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ma ka hana ka ʻike. (In working one learns). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613358144112-SHV9E0H01S55XRS7UV94/SSL_3651%E2%80%93Aloha-Aina.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ua Mau ke Ea o ka ʻĀina i ka Pono https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824402704-HERYW4M4SUU6FOM8HX6U/SSL_3652_Mauna-and-Flags.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Aia no ka pua i luna. (The flower is still on the tree.) A compliment to an elderly woman. Her beauty still remains. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824461345-NG133O88HBU8LI30CZ9O/SSL_3655_sea+of+red_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Hoʻokāhi wai o ka like. (All of one color.) All the same; harmonious; in unity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824575064-8SFN53F7CSOCGL0T7TWG/SSL_3659_Mauna-Up.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Aʻeaʻe mōhala i luna o ke kukui. (Whiteness unfolds on the kukui trees.) Used in reference to a person who grays, comparing him to a blooming kukui tree laden with white flowers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613454286272-F7JAH5AT6NQWRXGI7EEQ/SSL_3663_This+Is+Our+Home_crp_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻAʻohe ipu ʻōpio e ʻole ka mimino i ka lā. [No immature gourd can withstand withering in the sun (without care)]. No child can get along without adult supervision. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824717165-PN5MZLPXZZFO3O7LL3ZV/SSL_3671_concert.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Hele wale a lulu i na manu. (The birds are so numerous that they cast a shadow.) Said of a great crowd of people. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824553101-Y5FNUFFXVTBHDEWI9BEZ/SSL_3660_Kids-play-flags.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Na lāʻae ʻoia. (The days that were days indeed.) The days of youth, prosperity, and strength. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613521425554-48OUU59DLQ8B28VUO5WJ/SSL_3682_Ku+Kia+I+Mahuna.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Waiho wale kahiko. (Ancients exposed.) Old secrets are now revealed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613460533142-PNPX677U56AXS834FBFK/SSL_3678_asleep+under+flags_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E kolo ana no ke ēwe ī ke ēwe. (The rootlet will creep toward the rootlets.) Of the same origin, kinfolk will seek and love each other. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824880820-IU98YKA1B3IUY1FBBZWT/SSL_3706_Stand-for-Aina_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Kama ʻia ke aloha a paʻa i loko. (Bind love that it may remain fast within.) Be a person who knows love. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613463813710-RT7P64AI00IV4I19T1FX/SSL_3693_Hawane%2BRios.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E ala, e hoa i ka malo. (Get up and gird your loincloth.) A call to rise and get to work. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613548384865-OT03QOA0ODWMOJSMML32/SSL_3708_Pono_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - O ka pono ke hana ʻia a iho mai na lani. (Continue to do good until the heavens come down to you.) Blessings come to those who persist in doing good. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824932474-XIXDXZP5IPRHSKQUYBX7/SSL_3714_Hae-Pule_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - PolyStrong PolyStrong (see sign on left being held) is a non-profit organization established in 2017 to instill and empower Pacific Islanders with a new vision of who they are, the value of their culture, and the innate capacity they possess to become leaders in todayʻs global industries and society. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824961553-29KMXOLP6FEQSH733UBE/SSL_3716_Native-HI-Survey.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - La Hoihoi Ea (Sovereignty Restoration Day) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613127316938-KPYWXNJ43VBA5JV68BZJ/SSL_3719_Chilren-play_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Aʻo i ke koa, e aʻo no i ka holo. (When one learns to be a warrior, one must also learn to run.) It is no disgrace to run when there is danger of being destroyed; perhaps there may be another day when one can fight and win. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572824990095-NTIIEG6QR89EQHM0UD1U/SSL_3735_Mauna.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E hume i ka malo, e hoʻokala i ka ihe. (Gird the loincloth, sharpen the spear) A call to prepare for war or to prepare for the project at hand. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825067304-TIUYIDRY4GYQQXF4NGK1/SSL_3744_Aole+TMT_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Aʻole TMT (No Thirty Meter Telescope) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825095520-J91AIB0JEJS69PP3HI9R/SSL_3745_Mom+and+child_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ka lei hāʻule ʻole, he keiki. (A lei that is never cast aside is oneʻs child.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825137795-N1PVRRY6ZJA8MLOEZXLD/SSL_3747_Keolalaulani_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - I ka nānā no a ʻike. (By observing, one learns.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825245268-36EA21D1MDZQI58F9SRT/SSL_3753_Ha2.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻUmia ka hanu! Hoʻokāhi ka umauma ke kīpoʻohiwi i ke kipoʻohiwi i ke kīpoʻohiwi. (Hold the breath! Walk abreast, shoulder to shoulder.) Be of one accord, as in exerting every effort to lift a heavy weight to the shoulder and to keep together in carrying it along. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825281849-Q4NAON10XZ2TM8100L99/SSL_3756_Two-men.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ua ola no i ka pane a ke aloha. (There is life in a kindly reply.) Though one may have no gift to offer to a friend, a kind word or a friendly greeting is just as important. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825515028-DN3CHM5AL3AGIY696BXZ/SSL_3786_Organizing-for-Protocols_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ua piha a hū ke kīʻaha. (The glass was filled to overflowing.) Oneʻs wrongdoings exceeded the limit. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825534644-L429BI9FI5NZ86Y5C23B/SSL_3791_group+Pu.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - The Pū Hawaiians for countless generations have used a pū to announce the arrival of canoes, the entrance of aliʻi, and the beginning of protocols. Today, its one-note fanfare is used to start a meeting, bless a home, or call a gathering to order. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613537569630-P7LXXQ91OGTUETRMACG4/SSL_3798_group+Pu_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - The Pū In the early evening, rally goers used bamboo pū to call the rally attendees together so that they can dance hula in protest to TMT. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825531661-61LEDM3D47DEV988FHFY/SSL_3794_kids-Pu.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ka hana a ka mākua, o ka hana no ia a keiki. (What parents do, children will do.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825584421-3TNJSWRGXE7O5LFY0D2W/SSL_3799_Flag-Distress_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ke hoʻi aʻe la ka ʻōpua i Awalau. (The rain clouds are returning to Awalau.) Said of a return to the source. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825698111-TXVWAU6NX51TZH6QK55K/SSL_3809_begin-chant_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E ala! E alu! E kuilima! (Up! Together! Join hands!) A call to come together to tackle a given task. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825977332-64U1E4LM99X1OHEYW6DY/SSL_3841._Protocols_Drums_XIIIj_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - I leʻa ka hula i ka hoʻopaʻa. (The hula is pleasing because of the drummer.) The lesser details that one pays little attention to are just as important as the major ones. Although the attention is given to the dancer, the drummer and chanter play an important role in the dance. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613614980045-7VY085MBEQ89GBII2NU0/SSL_3814_Hula-Protocol-II_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - ʻUma ka hanu! Hoʻokāhi ka umauma ke kīpoʻohiwi i ke kīpoʻohiwi. (Hold the beath! Walk abreast, shoulder to shoulder.) Be of one accord, as in exerting every effort to lift a heavy weight to the shoulder and to keep together in carrying it along. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825382862-A6XYG06SP0FIN1QSPP3X/SSL_3764_Aloha+Aina.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Aloha ʻAina The Aloha ʻAina Party, created in 2015, is a political party in Hawaiʻi that advocates for the sovereignty of Native Hawaiians. Aloha ʻAina is a central idea of Native Hawaiian thought, cosmology and culture. To many, Aloha ʻAina means Hawaiian patriotism; love for the land and itʻs people. It is an in-depth relationship between the places and communities that hold significance to the individual. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825459214-MWHMVFO6HBLISEDXS096/SSL_3778_Hawane+Rios-w-help_III_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He aikāne, he pūnana na ke onaona. (A friend, a nest of fragrance.) Sweet indeed is a good friend. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613550984780-AQCEFUR1TJ5LPIH44ZS9/SSL_3815_Hula-Protocol_III_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Oi hoʻi he hana hāʻawe o kaumaha. (It isnʻt work to carry this heavy burden on the back.) Itʻs no trouble at all. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613623190521-ZGQV83LBTXEI4ZIQJLAV/SSL_3838_Hula-Protocols_XI_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Hoʻi ka ʻoʻopu ʻai lehua i ka māpunapuna. (The lehua-eating ʻoʻopu has gone back to the spring.) Said of one who has gone back to the source. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613525317106-JRM3CRELLT8ELT9GHJRJ/SSL_3827_Hula-Protocol_IX.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He ʻūlei kolo. (A creeping ʻūlei.) An expression applied to a tough, strong person. The wood of the ʻūlei plant is very strong and was used as a fishing spear in olden times. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826013545-T8349Y6DU6XOOFARJS9I/SSL_3844_Protocols_Hula+Ke+Ola_XIV_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Mauna Kea, kuahiwi ku haʻo i ka mālie. (Mauna Kea, standing alone in the calm.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826052888-36P473ZW9P0B1F7A9A2B/SSL_3848_Protocol-Hula_XVII_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826094067-GQ1XZ4QG9VJFNNVZLW3Q/SSL_3849_Protocols-Hula_XIX_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - E pūpūkāhi. (Be of one clump.) Be united in thought. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826098317-CX8ZL9WDYZ7UL7NVTSYT/SSL_3850_Protocols-Hula_XX_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826756147-9Z2D3HSMQV9IER7JPZSY/SSL_3872_Protocol-Hula_Hawane+Rios_XXV_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613618553117-VCRJ57A4UGTHVONPKYWS/SSL_3869_Protocol-Hula_Hawane+Rios_XXIV_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ho poʻi na kai uli, kai koʻo, ʻaʻohe hina pūkoʻa. (Though the sea be deep and rough, the coral rock remains standing.) Said of one who remains calm in the face of difficulty. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826826796-3G4D1XZU0QKCZI35YQ37/SSL_3873_Protocol-Hula_XXVI_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Poliʻahu, ka wahine kapa hau anu o Mauna Kea. (Poliʻahu, the woman who wears the snow mantle of Mauna Kea.) Poliʻahu is the goddess of snows; her home is on Mauna Kea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826801663-F89IXQENTLH2JQZ3HAY2/SSL_3876_Protocol-Hula_Hawane+Rios_XXVIII.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613622661501-RIZGABOMU2WZVU17I4U2/SSL_3883_Protocol-Hula_XXIX_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - He waiwai nui ka lōkāhi. (Unity is a precious possession.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613611443232-DJUYOPBMKQL7FLXPQ2ZN/SSL_3892_Protocol-Hula_Hawane+Rios_XXX.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572839619718-EZ93UNTJOMAGXDBXOON4/SSL_3894_Protocol-Hula_Hawane+Rios_XXXI.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826903409-3RLIZ83HHYD2X7DMSMLM/SSL_3897_Protocol-Hula_Hawane+Rios_XXXII.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826953261-N3QVH93OUGJO4TRFDB60/SSL_3905_Protocol-Hula_XXXIII.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572826950596-VEI4YJP9SK6BBY9TP3Y3/SSL_3917_Protocol-Hula_XXXIV.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Huʻea i kai na pihaʻā moe wai o uka. (Washed down to the sea are the stones and debris of the upland stream beds.) Said of a cloudburst that washes the stones from the stream beds, or of a person who, like the torrents, leaves no scandal untold.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613524790612-1ZX6ILMH4Q9C9Z0L13PD/SSL_3919_Protocol-Hula-AlohaAina_XXXV.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Hōʻaleʻale Mānā i ke kaha o Kaunalewa. (Mānā ripples over the land of Kaunalewa.) Said of the movements of a dance. A play on ʻaleʻale (to ripple like water), referring to the gestures of the hands, and lewa (to sway), referring to the movement of the hips. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572827063963-8O3GW4TFD3GYXIPLDSJU/SSL_3925_Protocol-Hula_Hawane+Rios_XXXVI_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572827152837-F5CY4BC3Z110OMGBWDFC/SSL_3929_Protocols-Hula_Hawane+Rios_XXXVII_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572827162281-V9RQAJS6F5EJB4XTAJA9/SSL_3947_Proocol-Hula_XXXVIIII.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ku i ka māna. (Like the one from whom he received what he learned.) Said of a child who behaves like those who reared him. Māna is food masticated by an elder and conveyed to the mouth of a small child. The haumāna (pupil) receives knowledge from the mouth of his teacher. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572827316444-KZAYEIJFZZ3OMVONJBQ2/SSL_3964_Hula_XLI_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Huʻea pau ʻia e ka wai. (All scooped up by rushing water.) Everything is told, no secrets are kept. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613611709923-IG94FI7HT8VX4JC1PY37/SSL_3968_Hula_XLIII_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Kūlia i ka nuʻu. (Strive to reach the highest.) Motto of Queen Kapiʻolani. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613622411396-6A7RYCWSEMZK36NPBIRF/SSL_3970_Hula_XLIV_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Hewa i ka wai. (Great as a body of water.) A great multitude; so many that one cannot count. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613617027915-VOBHE7S5JQHTFJZQXAEG/SSL_3979_Protocol-Hula_XLV_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Eia ʻiʻo no, ke kolo mai nei ke aʻa o ka wauke. (Truly now, the root of the wauke creeps.) It was not destroyed while it was small; now itʻs too big to cope with. Said by Keawemaʻuhiliʻs warriors of Kamehameha. They were at the court of Alapaʻi when the order was given to “Nip off the leaf bud of the wauke plant while it is tender” (E ʻōʻū i ka maka o ka wauke oi ʻōpiopio). This attempt to kill the baby didnʻt succeed, and the child grew into a powerful warrior who quelled all of his foes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572825205091-UZG6U142BMS7D5JVVHEB/SSL_3749_Branscom-Richmond.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Nānā ka maka; hoʻolohe ka pepeiao; paʻa ka waha. (Observe with the eyes; Listen with the ears; shut the mouth.) Thus one learns. [Branscombe Richmond observing the rally just before he joined in dancing hula. See following pictures, rt.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572827678299-0259R91BVJ96F4CCMSRP/SSL_3983_Protocol-Hula_XLVIII_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Kalo kanu o ka ʻāina. (Taro planted on the land.) Natives of the land from generations back. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1613619107934-CSGCMISMSNVQ2EHHPIIF/SSL_3982_Protocol-Hula_XLVII_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ua lehulehu a manomano ka ʻikena a ka Hawaiʻi. (Great and numerous is the knowledge of the Hawaiians.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572827693685-0PXOXM2RM5YVFGJHH7C7/SSL_3984_Hula_XLIX_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ikiiki i ka lā o Keawalua. (Depressed with the heat of Keawalua.) Sick and tired of living in an atmosphere of unkindness and hatred. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572828270003-HIF4CAGMQXZIKUYKRHJK/SSL_3986_Protocol-Hula_LI_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ke ʻula mai la ka pili. (The pili grass turns red.) The natural color of the grass is covered by an army of warriors ready for war. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572828268204-38CFM6PT2C02A5AG5A25/SSL_3987_Protocol-Hula_LII_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Lawe i ka maʻalea a kūʻonoʻono. (Take wisdom and make it deep.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1572829693133-YQY3P194UWEGMIF7T9AH/SSL_3994_Protocol-Hula_LIII_rev_sm.jpg 2019-10-5 Aloha Aina Unity Rally at Kapiolani Park - Ke ēwe hānau o ka ʻāina. (The lineage born of the land.) http://www.sslanzilotti.com/20191217-trump-impeach-remove daily 0.75 2019-12-19 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576749181643-MZ4YQDHFI2MDOJCZCE4J/P1140083_Defend+Constitution.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576749181643-MZ4YQDHFI2MDOJCZCE4J/P1140083_Defend+Constitution.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576749240090-IGVMNVCJKUF89K6EFQQR/P1140075_NO.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576749296654-5RCSD2HHD46C7AI3IHG0/P1140079_Save.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576749296064-3C7P4KTVLUCNJ7LOG25D/P1140080_IMPEACH.jpg 2019-12-17-Trump Impeach-Remove Rally 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Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576751122547-Q6CBRLI9IBS2LBNGV9VY/P1140154_President+not+equal+King.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576751138833-BWWGRNRPQ3OY5NFXHZ27/P1140155_Impeach.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576751153939-4EQSOSSIEOWKFNSZVL5X/P1140156_Not+Popular+Prez.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576751787243-CJJC7VHCI8POCOSEUQQF/P1140176_baby+trump.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576751148505-IFG04IUB5GJQUERV1QF7/P1140159_Bert-No+One+Above+Law.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576751162263-G9GBSFN9Z1ELIX8I3G6W/P1140165_more+love.jpg 2019-12-17-Trump Impeach-Remove Rally https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1576751219498-31DTZT7P1U3K6TEHVERB/P1140179_Impeach+sunset.jpg 2019-12-17-Trump Impeach-Remove Rally http://www.sslanzilotti.com/201911vincenzo-rosina daily 0.75 2022-09-07 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580352880534-X1N1BL78H17CJ2D8TG3D/SSL_6077_Olive+orchard+SMdF_Fin_sm.jpg 2019-11-Vincenzo-Rosina - My paternal grandfather was born on a farm located on Brugnano Road, San Martino di Finita. Today the road is replete with olive groves and farms, perhaps just as it had been when Vincenzo was born. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580352880534-X1N1BL78H17CJ2D8TG3D/SSL_6077_Olive+orchard+SMdF_Fin_sm.jpg 2019-11-Vincenzo-Rosina - My paternal grandfather was born on a farm located on Brugnano Road, San Martino di Finita. Today the road is replete with olive groves and farms, perhaps just as it had been when Vincenzo was born. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580352861320-SBETL2EYT08AC6AGLZW4/SSL_6081_olives.jpg 2019-11-Vincenzo-Rosina - Olives have been grown in this region since the 8th century B.C. Today, roughly 10 million tons of olives are produced in Calabria, 99% of which is used to make olive oil. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580352945997-3HL1JPKOB8V8L8ZLW4MH/SSL_6087_Brugnano+Street_crp.jpg 2019-11-Vincenzo-Rosina - Farm on Brugnano Road. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353019095-7XYA6IAWSMDAS4VTXYCL/SSL_6095_Entering+SMdF+850_sm.jpg 2019-11-Vincenzo-Rosina - Approach to San Martina di Finita. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580352811630-877UL6JSLZ99JHFFB628/SSL_6072_drive+to+SMdF_sm.jpg 2019-11-Vincenzo-Rosina - Carolea is the oldest and most representative regional variety of olive in Calabria, producing the Calabrian olive oil which is referred to as "green gold" due to its deep color. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353002265-7C50UOIDXVWE27PIIKQX/SSL_6092_View+from+SanMartinodiFinita.jpg 2019-11-Vincenzo-Rosina - View of plain below San Martino di Finita. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580352993130-S6YN4NARNHK3HHQ5JZDN/SSL_6094_fence+on+Brugnano+SMdF.jpg 2019-11-Vincenzo-Rosina - Brugnano Road view of valley below San Martino di Finita. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353519585-TDY4NC0IECA3RKI82GZZ/SSL_6163_SMdF+sign_sm.jpg 2019-11-Vincenzo-Rosina - Entrance to San Finita di Martino from Brugnano Road. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353130897-Q800K72DKUFO30QNDDTX/SSL_6097_San-Martino-di-Finita_11-19_WWi-II_sm.jpg 2019-11-Vincenzo-Rosina - The first thing we saw entering the town was its war memorial next to a cafe. We parked the car to get some coffee but first wanted a look at the memorial. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353137545-ZKLNXJ68XD1THEB1F0L7/SSL_6103_SMdF+Chiesa_sm.jpg 2019-11-Vincenzo-Rosina - Chiesa of San Martino Vescosvo (Saint Martin of the Bishop) is across the street from the San Martino di Finita War Memorial. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353208128-XKWCUETCY2IUQXYVUKCC/SSL_6105_Lanzillotta-1915-18_War+Memorial_sm.jpg 2019-11-Vincenzo-Rosina - I was pleasantly surprised and honored to see among the names of the dead from World War I listed was Nicola Lanzillotta. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353196736-M1ICTQDX60R0YA1R0BBZ/SSL_6107_SMdF_WWI-WWII+casulties_side-II_sm.jpg 2019-11-Vincenzo-Rosina - The other side of the Memorial listed Antonio Lanzillotta as missing in action, https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580352760635-J3BR1LYLYTB9IGN5LKW0/IMG_3145_SMdiF-war+mem_1915-1918.jpg 2019-11-Vincenzo-Rosina - With the discovery of names related to my paternal grandfather on the town's war memorial I felt a sense of belonging. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368053105-5AD4T3GHAPDWOSSYYYOG/SSL_6118_San-Martino-di-Finita_sm.jpg 2019-11-Vincenzo-Rosina - Building housing the offices of the Municipal of San Martino di Finita. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580367968174-A8TUPBEMQARSJWX3UBJ1/IMG_3132_Commune+San+Martino+di+Finita.jpg 2019-11-Vincenzo-Rosina - Louise and I were anxious to get inside the Municipal Building of the San Martino di Finita but first a picture of the official coat of arms. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580352793885-P70L1Q5JW8SUASL316EW/P1130167_Louise-Certificate+Nascita+Office+SMdF.jpg 2019-11-Vincenzo-Rosina - Louise waiting at the counter in the office of Certificates for Birth, Matrimony, and Death. As we were waiting a young man came in to register the birth of a child with his grandfather as witness. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353278810-V48U9VN2BYB0V68PQAIB/SSL_6112_D-Gaetana+Pinnola_SMdF-Commune.jpg 2019-11-Vincenzo-Rosina - Gaetana Pinnola arrived the same time we did and began pulling records. Here she is looking in the 1887 book of recorded births. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580354384773-HZ7G0Q4L0OW1BBS5OZN6/SSL_6113_VLanzillotta-BC_Atti+Di+Nascita_rev.jpg 2019-11-Vincenzo-Rosina - Gaetana found the record of my paternal grandfather's birth as it was recorded in 1887. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353360895-TDB2Z4QRZW2WZT3C2E1W/SSL_6122_amphitheater-SMdF_sm2.jpg 2019-11-Vincenzo-Rosina - Amphitheater across from San Martino di Finita City Hall. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580354329531-LIHBNLKZFN5JID3SQRQ8/IMG_3141_ssl+lkl+SMdiFinita+valley.jpg 2019-11-Vincenzo-Rosina - The San Martino di Finita Amphitheater and countryside behind us and we are excited to have found the information about Vincenzo on our first try, only possible due to my cousin Michele's research. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353327240-6ZB3HC1XACFESM7BRNTL/SSL_6119_entry+to+SMdF_sm.jpg 2019-11-Vincenzo-Rosina - Road to San Martino di Finita cemetery. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353352379-L87X5KQ4CW0DPZNNHKOV/SSL_6153_rooftops-SMdF.jpg 2019-11-Vincenzo-Rosina - Church steeple and tiled rooftops are staples of the hilltop towns in southern Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353534923-R76VMK9MX236HED43Z0M/SSL_6157_SMdF-valley+view+II_sm.jpg 2019-11-Vincenzo-Rosina - Looking out over the Calabrian countryside I realized how difficult it must have been for my grandfather to adapt to 1905 Philadelphia and why he loved working in his garden even at 96 years of age. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353592305-NAD7S9EG6A0BMG8QWIS4/SSL_6164_SMdF-cemetery+entrance_sm.jpg 2019-11-Vincenzo-Rosina - We decided to go to the San Martino di Finita cemetery to see if there were Lanzillottas buried there and therefore have an indication that I might still have distant relatives in the area.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580354487241-XBEEZL1PF9A8CBNWRVCW/SSL_6168_crypt-fallen-heroes-1915-1918_sm.jpg 2019-11-Vincenzo-Rosina - In the center of the cemetery was a crypt for soldiers who had "Fallen for their country" in World War I. On the right of the crypt was listed the name of the honored dead on a marble slab. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580356599873-M5044ATY08RNJQ8FP2TR/SSL_6171_hero+list+w-ssl_sm.jpg 2019-11-Vincenzo-Rosina - I found Nicola Lanzillotta listed on the crypt. He was of the same generation as my grandfather, possibly a brother or cousin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353727981-1XEJQXURD4QXT3P0U1LO/SSL_6183_walk+to+crypts_sm.jpg 2019-11-Vincenzo-Rosina - In addition to these individual graves, as we walked up the cemetery lane we saw that there were general crypts and family crypts. We went to investigate. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353681954-XIXFP8LVJLXCRZ88YWKY/SSL_6181_Lanzillotta+Giovannina-crypt_sm.jpg 2019-11-Vincenzo-Rosina - Louise found a crypt that contained the remains of Giovaninna Lanzillotta who had died in 1992. She was of contemporary of my parents. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580619768432-4BL1OLYUQZIP0P9B4ZGW/SSL_6205_row%2Bof%2Bcrypts_sm.jpg 2019-11-Vincenzo-Rosina - We began walking up and down the isles of the cemetery looking for Lanzillottas. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353726825-BLMM9ZTDXRQOZ9H0WJYW/SSL_6190__Rosa+Lanzillotta+crypt-pic_sm.jpg 2019-11-Vincenzo-Rosina - We found many Lanzillottas, e.g., Rosa, who was born in 1889 and therefore a contemporary of my grandfather, possibly a cousin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353793624-I924P0Y20IB3GDKHKOKQ/SSL_6203_ssl-Lanzillotta+crypt_SMdF_sm.jpg 2019-11-Vincenzo-Rosina - And then VOILA! We found a "LANZILLOTTA" crypt! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580355712908-0DMPDA28N27CWOCNFEFX/SSL_6193_Giovanni+Lanzilottia_sm.jpg 2019-11-Vincenzo-Rosina - We continued our search and found many possible relatives buried in the cemetery, such as Giovanni, a contemporary of my father and his siblings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580353887229-WGQJUA31NJU2PCGC9V45/SSL_6220_SMdF-exit_sm.jpg 2019-11-Vincenzo-Rosina - Leaving San Martino di Finita I was elated that I had been able to find information relating to my paternal grandfather and that there are probably many relatives living in the area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580355463927-YT7OUHRRJRD8OI8SUTFN/SSL_6058_sunset+SMdF_sm.jpg 2019-11-Vincenzo-Rosina - Calabria sundown. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1583201740751-J87V2T56O9ICIFD85Z5M/SSL_5778_Drive%2Bto%2BTerranova_SchoolBus_sm2.jpg 2019-11-Vincenzo-Rosina - Next we drove through the Povince of Cosenza to the birthplace of my paternal grandmother, Terranova da Sibari. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357245329-95MFHSLGRKYT6P802EJ8/SSL_5786_Terranova-da-Sibari+hilltop_sm.jpg 2019-11-Vincenzo-Rosina - Our first view of the hilltop town of Terranova Da Sibari. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358145141-Y6G7ROMR5ANVITJPFUX0/SSL_5863_view+across+to+TdS_sm.jpg 2019-11-Vincenzo-Rosina - Approach to Terranova da Sibari with a hint of an olive grove on the side of the hill. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358139145-R5KZKGG3AX7BXO4JB19U/SSL_5861_olive+orchard+from+TdS_sm.jpg 2019-11-Vincenzo-Rosina - Olive groves abound throughout Calabria. Its olives rank second of all Italian olive-oil producing regions and it has a unique olive-growing portfolio in the world, comprising 33 olive cultivars. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357324082-92GOB110V8LFBAYXQGJ1/SSL_5794_ssl-Terranova+di+Sibari_sm.jpg 2019-11-Vincenzo-Rosina - Welcome to Terranova da Sibari, the Land of Two Popes! Refugees from the ancient city of Thurii founded Terranova after the destruction of their city in the war against Croton. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357165191-1GQVZJ4PN2ECF2LMX394/SSL_5750_lLAgricola-Diodati_sm.jpg 2019-11-Vincenzo-Rosina - We had driven into town the day before, a Sunday, and had seen this store with the Diodati name. Thus, I thought we would be able to find the information we sought about my paternal grandmother. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357556711-SAJQUUHPOIAYC5EEZMF5/SSL_5734_busts-two-popes_dist4_sm.jpg 2019-11-Vincenzo-Rosina - A museum in Terranova da Sibari with busts of the two popes who came from the town. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357094161-JY3VSCYD35B2YOQR9GE9/SSL_5731_San+Dionisio_pope-259-268AD_sm.jpg 2019-11-Vincenzo-Rosina - San Dionisio was Pope, 259 to 268 A,.D, He reorganized the Roman church after the persecutions of the Emperor Valerian I and the edict of toleration by his successor, Emperor Gallienus, after 260 A.D. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357093850-83RY2AOR6B48WG63OOSG/SSL_5734_busts-San+Teleforo-pope+125+AD.jpg 2019-11-Vincenzo-Rosina - San Telesforo, the 8th Bishop (Pope) of Rome of the Catholic Church from 126 A.D. to his death 137 A.D. He was of Greek ancestry and born in Terranova da Sibari. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357311720-7AW5K0HQUA6I9SY5O7C2/SSL_5799_TdS-Piazza+Monument+to+the+Fallen_sm.jpg 2019-11-Vincenzo-Rosina - Piazza Monumentoai Caduta (Plaza of the Memorial to the Fallen), Terranova da Sibari. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357356343-T8M5R5HR3H7MH5VEXD1F/SSL_5801_Terranova+War+Memorial_sm.jpg 2019-11-Vincenzo-Rosina - The Terranova da Sibari memorial to its fallen soldiers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358257174-9GL9OFM2NCKYY5C9S9HT/SSL_5883_Elderly+Center_Centro+Anziani_TdS.jpg 2019-11-Vincenzo-Rosina - Across from the Memorial of the Fallen was the town's Centro Anziani (Senior Center). One of the men saw me photographing and came to inquire who we were/what we were doing, etc. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580359142569-XHE7ICHG5KYSCN64NNVI/SSL_5884_elder-fountain_TdS_sm.jpg 2019-11-Vincenzo-Rosina - Small park across from the Senior Center replete with a water fountain and elders resting under shade trees. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358293905-GWA4FUDY2I1M3TL6QOBS/SSL_5886_elder+center+discussion.jpg 2019-11-Vincenzo-Rosina - Francesco, in the checkered shirt, after conversing with his friends, came across the street, talked to us and then decided he needed to take us to the City Hall so that we could find information. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580356986997-VY9IKAXGZSLELQOIEYG9/IMG_3171_Maxmillian-NIcastro-Office-BirthCert.jpg 2019-11-Vincenzo-Rosina - Francesco brought us to the City Hall and introduced us to everyone there, including the person in charge of records and to the Deputy Mayor, Massimiliano Esposito (on my right). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357042218-V7CIKMHFV88V3VOL4AK0/IMG-6428_Antonio+DeRose-Ternanova+da+Sabari.jpg 2019-11-Vincenzo-Rosina - The Registrar found the birth record of my paternal grandmother, born in 1885. Francesco was happy to have been of service and everyone had been so helpful. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580359113189-KPEY8PSYIIPKQDVKU2L9/P1140394_Diodati+birth+record4.jpg 2019-11-Vincenzo-Rosina - Record of the birth of Rosina Diodati from the original book, 1885. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357007279-RYFKQPXLE9MKU8VGTFOG/IMG_3173_NIcastro-Max-GMDiodota-BirthCert.jpg 2019-11-Vincenzo-Rosina - Massomiliano, the Deputy Mayor, was intrigued so he read the record and decided to take us to via del Popolo, the street on which Rosina was born. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358365452-32FI3LTTQLRUOTUBREQD/SSL_5912_Massimiliano+on+via+del+Popolo_sm.jpg 2019-11-Vincenzo-Rosina - We piled into Massimiliano's car and soon turned into via del Popolo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358321850-3AOERUP1JNS7PCH6IVOJ/SSL_5909_via+del+Popolo_TdS_sm.jpg 2019-11-Vincenzo-Rosina - As in every Italian neighborhood in Philadelphia, a neighbor was watching. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358404225-J3IKIV1XM30G5F12HXF8/SSL_5918_greeting_via+del+Popolo_sm.jpg 2019-11-Vincenzo-Rosina - After talking to different people on the block Francesco and a neighbor took us to a house she remembered as belonging to a Diodati but the occupant told them that she was not related. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580356946177-W2IHA5ROY7KF3OC8AVYX/IMG_3116_Eugenio+Luigi+da+Sibari.jpg 2019-11-Vincenzo-Rosina - Massimiliano dropped us off at San Antonio Chiesa; he had called Luigi di Blasi (middle), the town church historian and Eugenio Antonio Noia (left), who spoke English to be the interpreter for Luigi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357021782-JAWRKQR8OQRWZXFWGUWV/Piazzale_S._Antonio_rev.jpg 2019-11-Vincenzo-Rosina - The Church of San Anthonio was founded in 1542 by the Minor Observers with the title of Saint Mary of the Graces. Luigi took us inside and began discussing its beauty and history of the Church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358442695-0QOOQLDQP7OJUVP3BE9C/SSL_5926_Louise-Chiesa+di+SanAntonio-TdaS_sm.jpg 2019-11-Vincenzo-Rosina - San Antonio Chiesa inside has a richly decorated vault, with flowery patterns and three frescoes on the ceiling: the Visit to Elizabeth, the Crowning of the Virgin (top) and the Annunciation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580627435016-S65OIYF6P5WECTNOZ8F1/SSL_5927_San+Antonio+visit+of+Elizabeth_TdS.jpg 2019-11-Vincenzo-Rosina - The "Visit to Elizabeth" depicts St. Mary, who was pregnant with Jesus, to St Elizabeth, who was pregnant with John the Baptist. (Gospel of Luke, Luke 1:39-56). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580635416620-6C3UQLGKDJGQRPG0VQJ4/SSL_5926_The+Annunciation_ceiling+San+Antonio_2.jpg 2019-11-Vincenzo-Rosina - "The Annunciation" - the announcement by the angel Gabriel to the Virgin Mary that she would conceive a son by the power of the Holy Spirit to be called Jesus (Luke 1:26-38). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580692202910-36QQMXE3EWLUYCPX2UGP/SSL_5933_Two+TdS+Popes_Crowned+Mary+_Christ_sm.jpg 2019-11-Vincenzo-Rosina - The entire picture shows the two popes from Terranova da Sibari, San Dionysius (left) and San Teleforo (right), kneeling before a crowned Mary and Jesus, thus telling the special history of the town. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580678637937-M096B7D5IV03S9I1AWGX/SSL_5930_Luigi+di+Blasi_byz_REV.jpg 2019-11-Vincenzo-Rosina - Luigi di Blasi explained the images in this painting with its references to Thurii, the city of Magna Graecia (Greater Greece), whose place was taken by Sybaris, and then by Terranova.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580680788655-NT2UTTVSKQ4LF663D73A/SSL_5932_Mary-Child+section+city_sm_rev.jpg 2019-11-Vincenzo-Rosina The banner labels the town Thurium (Latin for the Greek Thurii), possibly Nova Thurium, with the rendering of what Terranova da Sibari looked like during the 16th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358586735-6M8E4SRR0CXGVJ950W7C/SSL_5940_S-Antonio+da+Padua+pic_sm.jpg 2019-11-Vincenzo-Rosina - The chapel of Saint Anthony of Padua. He is often shown with Christ balanced on a book, symbolizing his intimacy with God and his knowledge and preaching; the lily symbolizes his purity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358649204-PXWIKGD5ZGYEV9Z9YU7I/SSL_5948_Bathing+Jesus_sm.jpg 2019-11-Vincenzo-Rosina - In addition to the heavenly images, the church had pictures such as this that gives insight into the everyday-life activities, such as in bathing a baby Jesus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358666396-ZE35PZDPIFEOL8I97NMP/SSL_5950_bagpipe+Jesus_sm.jpg 2019-11-Vincenzo-Rosina - I especially liked this image where instead of three kings around the manger we have peasants kneeling and a bagpipe player providing the music for the birth of Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358744957-D04VOVBBDZZ1HU9MKTW5/SSL_5960_interior+court+Chiesa+di+San+Antonio_sm.jpg 2019-11-Vincenzo-Rosina - In the courtyard of the convent of San Antonio church at the well with Eugenio, Louise, and Luigi. The frescoes in the arches in the walkway of the courtyard showed events of San Francesco's lif. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358726717-HJD56FQK28L0XCZG9MMM/SSL_5952_Transition+of+Francesco_10-3-1226_sm.jpg 2019-11-Vincenzo-Rosina - "Transition of San Francesco" in the year 1226 painted by Francesco Severio Ricci, a Terranova artist in the early years of the 17th century (located in an arch in the walkway of the courtyard). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358779107-26XUEMPPJSYVKWLUGFNQ/SSL_5969_S+Anthony+Padua_Christ-Lilies_sm.jpg 2019-11-Vincenzo-Rosina - In the sacristy of San Antonio another image of San Antonio of Padua with Christ on a book and the lily in his left hand. St. Anthony became a Franciscan due to the acts of St. Francis. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358842035-G834N6CPKQBOXEBWSOHQ/SSL_5973_Eugeino+explains+picture_sm.jpg 2019-11-Vincenzo-Rosina - Eugenio interprets Luigi's comments on the life of St. Anthony of Padua. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358816528-1CDY4MNAN26Z1AHYOHT5/SSL_5973_8-Hungarian-Martyrs-killed-by-Turks-1-17-1532e.jpg 2019-11-Vincenzo-Rosina - Fresco painted on the sacristy wall in the first years of the 18th century by Francesco Savero Ricci from Terranova shows Franciscans in Hungary as martyrs at the hands of Turks in the year 1532.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358899970-RP72CH5QQ9DH0X8UO9WE/SSL_5988_Luigi+di+Blasi+convent+walls_sm.jpg 2019-11-Vincenzo-Rosina - Walking around the outer walls of San Antonio convent area takes one back to the 1540s when the church and convent were built. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580697848858-II44550J6LUNQDF1QD86/SSL_5994_interior%2Bfeudal%2Bconvernt%2Bcourtyard_sm.jpg 2019-11-Vincenzo-Rosina - In 1542 nuns and priests walked these areas attending to the spiritual needs of the people of Terranova. In the same year Hernando de Soto died while searching for gold near the Mississippi River! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358967197-7FK5JUJU9QBT95WLZQIB/SSL_5999_eugenio+and+louise_sm.jpg 2019-11-Vincenzo-Rosina - With the tour of San Antonio finished, Luigi departed and Eugenio decided he would take us on a tour of the old city. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357998242-CP7LFAN8QSJD407B8A5O/SSL_5823_archway+near+castle_sm.jpg 2019-11-Vincenzo-Rosina - We went through the arch of the wall remains from the old feudal castle that has been integrated into the modern life of Terranova. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357177020-HU05R5GPS4E96VL4OSOP/SSL_5740_Castello+feudale_Terranova_sm.jpg 2019-11-Vincenzo-Rosina - The feudal castle, shown earlier in the painting with the two popes, was originally built by the Normans in the 11th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358213688-JMCOUQBWZRZ9HWPELR2Q/SSL_5881_via+San+Dionisio_feudal+castle_sm.jpg 2019-11-Vincenzo-Rosina - The village of Terranova da Sibari was built around the castle in the 15th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357922842-B8316AKSZZNAMJ1YPME6/SSL_5805_Feudal+Castle_rev3_sm.jpg 2019-11-Vincenzo-Rosina - A part of everyday life - this young woman walks under the castle's donjon, the heavily fortified central tower or keep, built after the 15th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580357926202-5BF7H59L8SOGYESMPP4G/SSL_5810_Electro+Shop_sm.jpg 2019-11-Vincenzo-Rosina - Mobile sales in the hill town Terranova translates to a merchant driving through the narrow streets of town selling a variety of household goods. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358058680-PYD9RKNROTMM3XI0WVCR/SSL_5828_elder-cane-walk-TdS_lt-c_sm.jpg 2019-11-Vincenzo-Rosina - An early morning walk by a Terranova elder in the old part of town. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358073474-PSF0L5J3413772MPVEKH/SSL_5856_old+city+street_sm.jpg 2019-11-Vincenzo-Rosina - Walking in old town Terranova da Sibari toward Saint Peter's Church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580358990285-9KE7WG07KQLJ0KGT965X/SSL_6002_St+Peter+Church+TdS_sm.jpg 2019-11-Vincenzo-Rosina - Piazzetta San Pietro and Saint Peter's Church in old part of Terranova da Sibari. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580359045715-IZVGPGV9MHU3K50OLHH2/SSL_6010._cat-on+roof_sm.jpg 2019-11-Vincenzo-Rosina - Leaving the old part of town we continued to be observed, this time by the town's cats. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580359062017-T6W0UCHRUOFA1KGB8FTA/SSL_6036_Jonatha_TdS_sm.jpg 2019-11-Vincenzo-Rosina - After a great tour I offered to take Eugenio to lunch; but there were no restaurants open. So, he took us to his store/house where we were served lunch by his mother, a classic Italian mother. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580356941915-8FKI12AXG8U4VQEAQCDY/IMG_3118_ssl-mom-Eugenio-LKL_TdaSibari2.jpg 2019-11-Vincenzo-Rosina - Inside Eugenio's clothing store with his mom. The first thing she did when we sat down in the kitchen was to place the provolone and salami on the table. Familiar? https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580701161166-T3JU7H2RY8XWJ0PEQKCQ/SSL_5978_T_sm.jpg 2019-11-Vincenzo-Rosina - We left Terranova da Sibari feeling the warmth of the people of Cosenza, Calabria, Italy. They took us into their hearts and made two strangers feel like family. http://www.sslanzilotti.com/201911francescogiovannina daily 0.75 2021-03-25 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368981381-6DJ4M5AQJAIPKC8R740B/SSL_6384_Nicastro-Norman%2BCastle_II%2Bcopy.jpg 2019-11-Francesco-Giovannina - My maternal grandparents were born in Nicastro, a 9th century town founded when Calabria was part of the Byzantine Empire and with a Norman Castle built in late 11th to early 12th century,. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368981381-6DJ4M5AQJAIPKC8R740B/SSL_6384_Nicastro-Norman%2BCastle_II%2Bcopy.jpg 2019-11-Francesco-Giovannina - My maternal grandparents were born in Nicastro, a 9th century town founded when Calabria was part of the Byzantine Empire and with a Norman Castle built in late 11th to early 12th century,. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369776549-D38AJVUPP8XCSRWL088G/SSL_6461_S+Peter+and+Paul+Duomo+facade_sm.jpg 2019-11-Francesco-Giovannina - The Roman Catholic cathedral dedicated to Saints Peter and Paul in the town of Nicastro, now part of the city of Lamezia Terme, in the province of Catanzaro, in the Calabria region of southern Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580373473097-7CTUZC1UDD2VKTKYRIKY/SSL_6688_Nicastro+Duomo+Sts+P-P_sm.jpg 2019-11-Francesco-Giovannina - On the façade of Saints Peter and Paul Duomo are busts of popes Marcello II (1539-40) and Innocent IX (1560-75), who were bishops of Nicastro. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369790066-A68JBLXHYLHHIYS8416O/SSL_6465_s+Peter+and+Paul+Duomo+side_fin_sm+.jpg 2019-11-Francesco-Giovannina - The first church on the site probably dated from the Byzantine era, and was destroyed during Saracen raids prior to the year 1000. The Normans in 1094 erected a church following Latin rites. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369634121-XNQMYI048KAEONZKO2SR/SSL_6424_Nicastro+S+Pter+and+Paul+Duomo+dome_sm.jpg 2019-11-Francesco-Giovannina - This cathedral was destroyed by an earthquake on March 7, 1683. A new cathedral was raised from the ruins and completed in 1675. The façade was redone in 1925 in a Neoclassical style. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369638634-1GIF7B5POG594HX0AQEJ/SSL_6427_Nicastro+S+Peter+and+Paul+Duomo+interior_sm.jpg 2019-11-Francesco-Giovannina - Interior of dome in Saints Peter and Paul Duomo, Nicastro. The cupola was completed in 1935. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369715294-DICF4QX5OF0HENH00EJ7/SSL_6429_S+Peter+and+Paul+Altar-etal_sm.jpg 2019-11-Francesco-Giovannina - Saint Peter and Paul Duomo altar - decorated with stags, representing the soul's desire for purification through Baptism & the Holy Eucharist, drinking the water of life (God's word) from a stream. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580462405609-ZGINROAWUGDG448XMOMV/SSL_6429_S+Peter+and+Paul+Duomo+Tympanum-Sts+Peter+and+Paul.jpg 2019-11-Francesco-Giovannina - Altar tympanum with picture of St,. Peter holding the keys to the kingdom of heaven and St. Paul with a book representing his epistles and a sword referring to his being decapitated outside of Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580373713220-B6C4P13AFGMLNGWFNX6P/SSL_6472_Comune%2Band%2BS%2BPeter%2Band%2BPaul_sm.jpg 2019-11-Francesco-Giovannina - A colonnade of four columns supports a pediment at entrance of Nicastro City Hall, which is adjacent to the Duomo, where we went to find the birth recordings of my mother's parents. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369573263-X7I3VFOBJRPITPNYPAD3/SSL_6420_Lou-Nicastro+City+Hall_sm.jpg 2019-11-Francesco-Giovannina - Louise inside the House of the Commune (City Hall) for Nicastro. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369560847-8I0LRLGH0EO1KNPUHL08/SSL_6419_Certificate+Nascita.jpg 2019-11-Francesco-Giovannina - Room 22: Office for certificates of birth, matrimonial, and death. Today, as in times past, people walk into the office with a witness and record their event.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1616660956115-SVCMNP5YP97NZ13UWOWV/P1130168_Francesco+Torcasio+BirthCertificate_rev.jpg 2019-11-Francesco-Giovannina - Detail of the Official Form documenting "ACTS OF BIRTH" copied from a record made in 1885 of the birth of my mother's father. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369719943-O8399ONVHG22DIWEIXQR/SSL_6435_Nicastro+War+Memorial_Fin_sm.jpg 2019-11-Francesco-Giovannina - Directly across from the Duomo is the monument to the dead and missing from Nicastro in World Wars I and II. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370639297-ER64SNDD7L1O0FMH30FJ/SSL_6625_Ai+Suoi+Morti+In+Guerra-Nicastro_sm.jpg 2019-11-Francesco-Giovannina - We visited the memorial and were surprised to find three members of my mother's family and four from my father's family listed as dead from WW I and WWII. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368362507-HB1RT0G2ANM7NA97N3X9/IMG_3178_NIcastro+WarMem_lkl+ssl.jpg 2019-11-Francesco-Giovannina - I must admit I felt some pride and a sense of belonging as my distant relatives were listed publicly as having given their lives for the country. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368363758-0WKTT64RLV50IWVN4NE8/IMG_3176_Nicastro-couple-warmem.jpg 2019-11-Francesco-Giovannina - As we were taking photos at the memorial this Italian couple stopped to talk to us in English about the monument. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369933865-GSVRM94M4Q51LZD9PCN0/SSL_6512_S+Lucia+Chiesa_sm.jpg 2019-11-Francesco-Giovannina - The people at the Nicastro City Hall could not find any records of my mother's mother and suggested we try the local churches. We started at Chiesa SanNicola/Santa Lucia. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370937488-8154ASXQWB6PXTQWPF0E/SSL_6865._Santa+Lucia_interior.jpg 2019-11-Francesco-Giovannina - St. Lucy, whose name means 'light," is the patron saint of the blind. She was born in 283 A.D. in Syracuse, Sicily, and was killed there in 303 A.D. during the Roman persecution of Christians. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369892468-OH6F6BNNDZ28GLL88ED7/SSL_6504_Sac-Vittorio+Dattilo-S+Lucia+ext_sm.jpg 2019-11-Francesco-Giovannina - Father Vittorio Dattilo explained to us that he had a meeting with the bishop but he would meet with us the next morning to see if he could find records of my maternal grandmother. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580376829070-BMTODCLYRTVSKOMMEENW/IMG_3221+_Pizzo_rev.jpg 2019-11-Francesco-Giovannina - We decided to drive to Pizzo, a town on the Tyrrhrenian Sea coast. After lunch I had TARTUFO di Pizzo, a large ball of chocolate and hazelnut ice cream filled with molten chocolate fudge sauce! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580375515007-72PDKON0LMQYGFDB04ME/P1130188_PIzzo.JPG 2019-11-Francesco-Giovannina - Louise on the Pizzo seaside promenade with fishermen. In fact, Pizzo is known as a fishing village, especially for its tuna and coral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580447797311-5PYJI7CTZGX7D5SR87D1/SSL_6764_inlet+boat+repair_Pizzo_sm.jpg 2019-11-Francesco-Giovannina - After lunch we walked the Pizzo beach and came upon an inlet below the town of Pizzo where men were repairing boats. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580376890131-TETQPRENQPZDHM61QN5R/SSL_6772_Pizzo+cove_sm.jpg 2019-11-Francesco-Giovannina - Upon leaving the inlet we were treated to the glow of the late afternoon sun. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370004839-8PQ9EA4PDTJV92OX4RC4/SSL_6528_Nicastro+skyline+to+castle_sm.jpg 2019-11-Francesco-Giovannina - A view of Nicastro with the 11th-12th century Norman castle on the left and San Teodoro Chiesa, with its bell tower, on the right. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370251845-O8E39EEX207L16WLL0N6/SSL_6582_Largo+dei+Normani-castle-sale_4.jpg 2019-11-Francesco-Giovannina - We parked next to the castle and walked down toward San Teodoro Chiesa. This area is known as Largo Dei Normani and is the older part of Nicastro. The door has a sign - "VENDESI", i.e., "For Sale". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370080656-95N5207M7RJB3RCKDCS2/SSL_6562_Nicastro-Largo+Dei+Normani-Area-Bldg_V_sm.jpg 2019-11-Francesco-Giovannina - As is evident, the streets are quite narrow - room for driving very small cars only. Many towns are selling abandon houses for $1.00 with the proviso that you make it habitable within 3 years. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368386997-01KDJGO2XIUQJU0H2FGE/IMG_3189+Nicastro+Mol+Ladies.jpg 2019-11-Francesco-Giovannina - Looking for San Teodoro Chiesa we asked these women for directions and explained our quest. The woman next to Louise was living with a man who had the same family name as my maternal grandmother. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370160661-ENNK284Z0IUJX29MXVT7/SSL_6576_San+Teodoro+1511AD_day_sm.jpg 2019-11-Francesco-Giovannina - We arrived at San Teodoro but it was closed. Saint Theodore is known as a warrior saint. He was martyred by being thrown into a furnace in the 4th century because he burned a pagan temple. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370239846-5XNIANKRZPDKJAWS0CYC/SSL_6591_LKL-Castello+Normano-XI-XII+sec_sm.jpg 2019-11-Francesco-Giovannina - Louise below the 11th-12th century Norman Castle in Nicastro. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370031858-DFJFU0LNX1US5ZKF7NS4/SSL_6541_NIcastro+hillside+street_sm.jpg 2019-11-Francesco-Giovannina - Driving in the streets of Nicastro was a unique experience as we headed to our 9:00 a.m. meeting with Father Vittorio at San Nicola/Santa Lucia Chiesa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580443662395-GNHCNF4WPZVCUY1NHIOO/SSL_6500_Ave+Maria_S+Lucia+Chiesa_sm.jpg 2019-11-Francesco-Giovannina - in San Nicola/Santa Lucia, a picture of the two Saints kneeling at the feet of Mary and Jesus. Father Vittorio was waiting for us at 9:00 a.m. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580371216109-BJVS33TXGFHKY3Z2H8Q5/SSL_6867_Sac+Vittorio-Dattilo_sm.jpg 2019-11-Francesco-Giovannina - Father Vittorio Dattilo went to his cabinet and retrieved this box full of record books marked on the spine by years. We were looking for 1886. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370981101-K3ZVVINMKQB6CYO5PJCL/SSL_6874_Vittorio-Dattilo-searching_sm.jpg 2019-11-Francesco-Giovannina - Although there were some names similar to my maternal grandmother in other years, there was nothing in 1886. Thus, Father Vittorio recommended going to San Teodoro, after 5:00 p.m. mass. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580379310882-88SBS6M41TV93G6I64M2/SSL_6877_Vittorio-Louisa-SSL-II_sm.jpg 2019-11-Francesco-Giovannina - We both took a picture with Father Vittorio so I combined the two into one. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369970262-PG4HX8FV2EETLNJ11EMV/SSL_6520_Lamezzia+Terme+view+from+Nicastro_sm.jpg 2019-11-Francesco-Giovannina - View over Nicastro toward the coastal plain, Piana di Sant Eufemia, which was created by drying a wide marshy area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370630520-6ORPDYM4L2CNB37UN72L/SSL_6620_Normano+Castello_sm.jpg 2019-11-Francesco-Giovannina - A great Benedictine abbey, St. Eufemia, was founded here in 1062 by the Norman Count Robert Guiscard. Side view of the 11th century Norman Castle. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370706359-02G9UO4I0EFNP4ESXEV7/SSL_6638_San+Antonio+of+Padua+wall+art-Nicastro_sm.jpg 2019-11-Francesco-Giovannina - Walking around Nicastro I noticed many buildings decorated with San Antonio of Padua who is known as the patron saint of the poor, of sailors and fishermen, of priests and travelers, a wonder-worker. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370756846-QQKTCJ0G1BW35K0MJ5RX/SSL_6659_San+Antonio+Di+Padova_sm.jpg 2019-11-Francesco-Giovannina - San Antonio (born in 1195) depicted with Christ on a book, symbolizing his intimacy with God and his knowledge, teaching & preaching: and a lily, symbolizing his purity and lifelong struggle vs. evil. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370694150-BIS6JCY3IFTIHSU7AHV0/SSL_6654_Nicastro+trash+truck_sm.jpg 2019-11-Francesco-Giovannina - As shown earlier, the streets of Nicastro are very narrow, thus the miniature trash truck backing out of this street. Love it! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370754987-NARJDDTZWAQKT3EVU3N4/SSL_6685_dancing+women+pic+wall_NIcastro3_sm.jpg 2019-11-Francesco-Giovannina - I thoroughly enjoyed this building's facade - decorated with paintings of dancing and resting figures but wanted its beauty restored. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580370830113-2VWLCC4L45WT0E8ZPI25/SSL_6860_Antonio+General+Store_Nicastro_II_sm.jpg 2019-11-Francesco-Giovannina - This store reminded me of hardware stores that were ubiquitous when I was growing up in Philadelphia. Today they are all but extinct due to the big box chain store/outlets. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580371188745-CAXYNMXRBL5L5HRSDJH2/SSL_7101_highway+castle_sm.jpg 2019-11-Francesco-Giovannina - Given we were going to a 5:00 p.m. mass, we took a day trip to Tropea. On the way we were treated to a view of this CASTLE sitting above a highway tunnel! Amazing. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580371155710-W6SK3S9ZPYD78BVGBOFS/SSL_7020_Santa+Maria+dell+Isla_Tropea_sm.jpg 2019-11-Francesco-Giovannina - In Tropea we saw the Sanctuary of Santa Maria dell'Isola, a 6th century Benedictine monastery built on a rock overlooking the sea. The church had to be rebuilt due to earthquakes in 1783 and 1905. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580382474383-E3AVKVGR4XW04IE958RY/P1130198_Tropea-cove.JPG 2019-11-Francesco-Giovannina - Tropea is known for its white-sand beaches located on a stretch of coast called La Costa Degli Dei (The Coast of the Gods) along the Tyrrhenian Sea on the east coast of Calabria. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580371116063-6YPRWUI68Q5GBVXBAFD1/SSL_6969_Louisa-Tropea+Beach_sm.jpg 2019-11-Francesco-Giovannina - Louise enjoyed being on the beach at Tropea, especially with a fantastic rock formation for her background. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369339113-QDS8AZW1MJ9TVETWCPC6/P1130248_Nicastro-evening-from-SanTeodoro_sm.jpg 2019-11-Francesco-Giovannina - And so we left Tropea and were back on the narrow streets of Nicastro and headed for San Teodoro Chiesa, as now we knew exactly where it was. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368540273-8F3FJB5STTLU9JPHK7SU/P1130207_Lou+walk+to+San+Teodoro_sm.jpg 2019-11-Francesco-Giovannina - With Louise leading the way for the 5:00 p.m. mass at San Teodoro and me, as usual, lagging behind taking photos with this wondrous early evening light. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369314943-FP8FTJBY5WKNBWGTDQJ8/P1130245_San+Teodoro_evening.jpg 2019-11-Francesco-Giovannina - Evening at San Teodoro Chiesa, Nicastro, Catanzaro, Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368549671-6QA6D301YTUD7QZ31GA0/P1130209_St+Teodoro+mass_Fr+Giuseppe.jpg 2019-11-Francesco-Giovannina - Father Giuseppe Critelli saying mass for nine women dressed in black and one nun in grey..... and Louise and me. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368674890-8FXG3DUQ7CL7BM3QAXKI/P1130220_Fr+Giuseppe+consecration_sm.jpg 2019-11-Francesco-Giovannina - Transubstantiation - changing bread into the body of Christ and (Catholics believe) the risen Jesus becomes truly present in the Eucharist. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368675503-AQZNYCJGYA59SRXD29R0/P1130230_Parrocchio+S+Teodoro_sm.jpg 2019-11-Francesco-Giovannina - After mass I introduced myself to Father Critelli and explained my search for information. He brought us the Church office where the women had already gathered, as they were curious, https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368829707-8W6QKURO0LZT2XSZPZMX/P1130231_Fr+Giuseppe-Records.jpg 2019-11-Francesco-Giovannina - Father Giuseppe retrieves the books containing records of parishioners of the past. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369025405-B2OZC9MXUSRL1GAFGS3S/P1130233_Parrocchia+S+teodoro+1601-1705.jpg 2019-11-Francesco-Giovannina - The preface in Libro No 1 - Book number 1 - della Parrocchia di Nicastro San Teodoro states its entries span from the year 1601 to 1705. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369057099-AZ0ZIQ7ZA2EZGRQFRJHI/P1130234_San+Teodoro+records+1601_sm.jpg 2019-11-Francesco-Giovannina - An actual page with records from 1601 of parishoners' events at San Teodoro. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580369224306-IDSWGKF0RBREADJ644CL/P1130237_Fr+Giuseppe+research_sm.jpg 2019-11-Francesco-Giovannina - Father Giuseppe looking through the record books for Giovannina's birth or baptism records. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580454964691-MC8TG8MXTG7Z3GJYHQV3/IMG_3225+Joanna+Bap+May+2+1886_contr.jpg 2019-11-Francesco-Giovannina - Finally, Father Giuseppe found the entry of my maternal grandmother's baptism. Incredible!!! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1580368386540-PKWODPFBWWZ1RPCRDIQP/IMG_3228+Fr+Giuseppe_San+Teodoro.jpg 2019-11-Francesco-Giovannina - As was Father Vittorio of San Nicola/Santa Lucia Chiesa, Father Giuseppe was a wonderfully kind, gentle, accessible and caring individual. http://www.sslanzilotti.com/saint-mary-magdalen-de-pazzi daily 0.75 2025-06-16 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582274134108-1UOEURTAUJWD80CV947A/IMG_3824_SMMagdelen_exterior_FIN2.jpg Saint Mary Magdalen de Pazzi - I recently read about Saint Mary Magdalen de Pazzi Church (712 Montrose Street) in "Little Italy in the Great War: Philadelphia's Italians on the Battlefield and Home Front," by Richard N. Juliani. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582274134108-1UOEURTAUJWD80CV947A/IMG_3824_SMMagdelen_exterior_FIN2.jpg Saint Mary Magdalen de Pazzi - I recently read about Saint Mary Magdalen de Pazzi Church (712 Montrose Street) in "Little Italy in the Great War: Philadelphia's Italians on the Battlefield and Home Front," by Richard N. Juliani. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582253864868-8FYRP43S18ZK43NB9DFW/IMG_3860_Historic+sign+SMM.jpg Saint Mary Magdalen de Pazzi - In the U.S. Census of 1850 only 117 residents within the original City of Philadelphia and the districts of Southwark and Moyamensing were natives of Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255345104-DYW2VLAAEUP91HLQJF6F/P1140721_SMM+front+door+steps.jpg Saint Mary Magdalen de Pazzi - SMM's original parishioners were Northern Italian immigrants, e.g., from Liguria; later arriving immigrants from Southern Italy were provided (in 1897) Our Lady of Good Counsel Church (8th Christian). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255352458-BNN0I839MOKXDN99XI84/P1140722_SMM+Parish+1891+door+arch-P_sm.jpg Saint Mary Magdalen de Pazzi - My mother told me that as a little girl she was refused by a priest at St. Paul's (the Irish parish) to give a dying woman the last rites and told to go to SMM because THAT was the Italian parish. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582343641040-87M6OQ7KF5FXE7GUA2PQ/IMG_3827_SMM+basement+statues.JPG Saint Mary Magdalen de Pazzi - In the basement - a statue St. Januarius (rt), Bishop of Carthage and Martyr. He is the principal patron of Marsico Nuovo, a town in the province of Potenza in the Basilicata region of southern Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582253849921-2HX9CBINPA897O6G2O2H/IMG_3829_SMM-M-JC+statues.jpg Saint Mary Magdalen de Pazzi - Saint Mary Magdalen de Pazzi (statue on left), was a Carmelite nun and mystic born in Florence, Italy in 1566 and died there in 1607. She was beatified in 1626. Mystical ecstasy is the elevation of the spirit to God in such a way that the person is aware of this union with God while both internal and external senses are detached from the sensible world. Mary Magdalen de Pazzi was so generously given this special gift of God that she is called the “ecstatic saint.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255092419-CVS7WZXUGG70F7Z11SHA/P1140709_SMM+basement+-+Mary+Christ+Heaven_sm.jpg Saint Mary Magdalen de Pazzi - My brother, sister, and I went up winding stairs that delivered us to the sacristy with entry to the altar and the church proper. I could not help but be pleased surrounded by Italo-centric images. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255145263-R01CHXM87FMTB22X651W/P1140711_SMM+sacristry+garments.jpg Saint Mary Magdalen de Pazzi - The vestments were hung and ready for the next mass. In the year 2000, SMM Church was designated as a "worship site" and merged with St. Paul's parish (10th & Christian). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255201266-2RKVX27RW7B1J8F1WUVB/P1140716_SMM+Drawing+sacristy_crp.jpg Saint Mary Magdalen de Pazzi - I had not been in a sacristy since my choir-boy days at St. Paul's Church when I was in 6th grade. I admired this drawing of the baroque St. Charles Borromeo (born 1538, Milan) Church in Vienna. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582347802979-7TK94CIHLWD16Q0NOX3J/SCBorromeo+Vienna.jpg Saint Mary Magdalen de Pazzi - I found an actual picture of St. Charles Borromeo Church in Vienna: During the Milan plague and famine of 1576, Borromeo tried to feed up to 60,000 to 70,000 people daily. In 1576 there was famine at Milan due to crop failures, and later an outbreak of the plague. Although the Governor and many members of the nobility fled the city, the Bishop Borromeo remained, to organize the care of those affected and to minister to the dying. He used up his own funds and went into debt to provide food for the hungry. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255205707-OMQAQTGBQ5NV6ESC7HIU/P1140717_Eucharists+in+jar_sm.jpg Saint Mary Magdalen de Pazzi - Another discovery was two containers of Eucharist wafers, which are made from wheat flour, oil and salt and do not contain a leavening agent, e.g., yeast, that would cause the dough to rise. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255250273-RKF4CX71PJWZOD5M3EAI/P1140719_Walk+in+the+Woods_sm.jpg Saint Mary Magdalen de Pazzi - The setting of this painting interested me. Christ seems to be teaching as he walks leisurely through a forest. It feels more like a 19th century scene to me - probably the artist's intent to relate.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254631363-J3U3P8J06LKS22AR54V8/P1140694_SMM-Int_SAnthonyPadua-SMM_sm.jpg Saint Mary Magdalen de Pazzi - The interior Saint Mary Magdalen de Pazzi Church has a series of stained glass windows dedicated to specific parishoners with scenes from Christ's life in the lunettes above. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254565205-PYSBPLCBII72NB4YWPU8/P1140693_Christ-cross-archway_sm.jpg Saint Mary Magdalen de Pazzi - St. John, the only disciple that was at the foot of the cross, depicted here with the Blessed Mother and Mary Magdelene. John's gospel (19:25) states that Mother Mary's sister, Salome, was also there. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254350097-8UQU38H3UYI4GIA5JFEU/P1140679_Pati+Non+Mori_sm.jpg Saint Mary Magdalen de Pazzi - Above the main altar Saint Mary Magdalen de Pazzi in heaven with the banner, "Pati Non Mori," i.e., "Let me suffer and not die," her response when asked about her pain while critically ill. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582350231186-CNGLWJYFO3GLLS4966SH/IMG_A156407E07EA-1900+statue+SMM+copy.jpg Saint Mary Magdalen de Pazzi - While in pain SMM de Pazzi said, "Those who call to mind the sufferings of Christ, and who offer up their own to God through His passion, find their pains sweet and pleasant." Statue of the Saint in St Mary Magdalen de Pazzi's (Italian) Church, Philadelphia (1900) from “The Life and Works of St Mary Magdalen de Pazzi,” Compiled by the Rev Placido Fabrini, Philadelphia, 1900, Translated from the Florentine Edition of 1852 and Published by the Rev Antonio Isoleri, Miss. Ap. Rector of the new St Mary Magdalen de Pazzi's Italian Church, Philadelphia, Pa, USA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582341412442-FQSJIL8BXW9083G6K6LO/P1140675_SMM+Main+Altar_sm.jpg Saint Mary Magdalen de Pazzi - Saint Mary Magdalen de Pazzi main altar with scenes of the Carmelite nun in the presence of Christ and the Blessed Virgin on the walls and the last supper below the altar. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582342059824-1YIO8R4I7ZJ5SYI5PCDZ/P1140678_SMM+Altar+Last+Supper.jpg Saint Mary Magdalen de Pazzi - What I found interesting about this rendition of the Last Supper was that it is made of ceramic tiles in the image of Leonardo da Vinci's Last Supper, which is located on a convent wall in Milan. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582357591709-8R75OVBSAAPRIZD8LQ93/Last-Supper-Ticket+copy.jpg Saint Mary Magdalen de Pazzi - "The Last Supper" by Leonardo da Vinci, painted between 1494 & 1497 within the framework of a major renovation of the Church of Santa Maria delle Grazie commenced by order of Ludovico Sforza in 1492. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582358760368-90ODXMUSLE4KSJIYXM75/P1140687._SMM-Kneels-Mary-Christ_sm.jpg Saint Mary Magdalen de Pazzi - Mary Magdalen de Pazzi professing her vows to Mary and Christ. At 16 she entered the Carmelite convent in Florence because she could receive Communion daily there. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254334367-UA226HMHNO8ZT6MFH69X/P1140670_SMM+receives+Communion+from+JC_sm.jpg Saint Mary Magdalen de Pazzi - St. Mary Magdalen de Pazzi shown receiving communion from Christ. The painting most likely refers to the fact that immediately after Mary Magdalen de Pazzi made her profession of vows she fell into an ecstasy that lasted about two hours. This was repeated after Communion on the following 40 mornings. These ecstasies were rich experiences of union with God and contained marvelous insights into divine truths. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254041498-PADXGFC3P6W3NNJO77WX/P1140658_Cahill_Jesus-Nazareth-King-Jews_Forgive_sm.jpg Saint Mary Magdalen de Pazzi - Text: "Donavit R. Cahill" / "Forgive R. Cahill". "In Memoriam Filii Sui" / "In Memory of Our Son, 1891." Also, "INRI" - "Iesus Nazarenus Rex ludaeorum" / Jesus of Nazareth, King of the Jews. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254404107-UDRTWNWWPZHUN5VC6NRS/P1140680_SMM-Assumption_ceiling_sm.jpg Saint Mary Magdalen de Pazzi - The Church's ceiling (center) portrays the Blessed Mother Mary ascending into heaven while the faithful below beseech her help. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582253991709-EECBCUHF2GNH61VXQ03W/P1140650_Julia+Botto-window.jpg Saint Mary Magdalen de Pazzi Text: “Donavit” / Forgive. Julia Botto, in memory of her husband Andrea and son Augustini, 1891. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582253860840-YVFJB6LYKNDXY3DIPV22/IMG_3840_Pieta_c_SMM.jpg Saint Mary Magdalen de Pazzi - A version of the Pieta, a popular subject among European artists. It means Pity or Compassion, and represents Mary sorrowfully contemplating the dead body of her son, which she holds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254202641-2MORQFF3BJBOFEOVZZKY/P1140665_Joannes+Raggio_forgive.jpg Saint Mary Magdalen de Pazzi - Text: Forgive. Joannes D. Raggio in memory of his son Raymond, 1891. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254495029-MPTX0B7KQ87OTF6MUAHO/P1140684_Chapel_SMM+reaches+to+Christ_sm.jpg Saint Mary Magdalen de Pazzi - Above the chapel showing Christ on the cross and Ascending into heaven, the lunette shows Saint Mary Magdalen de Pazzi receiving the word/the truth directly from Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254264210-5Z6NBLLOY9MHRPN684VT/P1140668_Scred+Heart_window_3sm.jpg Saint Mary Magdalen de Pazzi - Text: From the arms of his wife, Anna Frances, so in your charity pray for Filippo Rebola. Rest in Peace. Amen https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254408637-SMWGD77E3HQS2IVS9EEU/P1140682_St+Bernadette+Chapel+SMM_sm.jpg Saint Mary Magdalen de Pazzi - An altar for St. Bernadette of Lourdes, a 14-year old French peasant girl, claimed to have seen the Virgin Mary in a grotto of a rock promontory near Lourdes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254663070-UEWNOVIHUAN748D1LV7X/P1140696_SMM+Int+Window+Arch_sm.jpg Saint Mary Magdalen de Pazzi - This window, next to the rear balcony states: “Donavit” (Forgive). Julia Botto, in memory of her husband Andrea and son Augustini, 1891. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254628014-Q3CNCSEIU1B24XREJ5XR/P1140695_Young+Christ+teaches+Temple_sm.jpg Saint Mary Magdalen de Pazzi - The lunette above the Julia Botto window shows a 12 year-old Christ teaching at the Temple in Jerusalem. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255066812-JLILZ3MH6GMYV6YYHWKB/P1140708_SMM-2-balconys_sm.jpg Saint Mary Magdalen de Pazzi - A feature that makes this beautiful, landmark church unique is its two balconies. The lower one is for seating, and the top one holds the typical organ and choir loft. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582253965091-LVFNWXHTUP8VD5GOEPIJ/P1140651_Bishop+John+Neumann.jpg Saint Mary Magdalen de Pazzi - As I attended St. John Neumann High School, I was pleased to see a statue of the Bishop who designated St. Mary Magdalen de Pazzi as the first national Church and Parish for Italians. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582254029558-NPVDOTXBSM4E7AML7OIE/P1140654_St+Rocco_Rochus-sick_sm.jpg Saint Mary Magdalen de Pazzi - This alcove with candles contains a statue of St. Rocco (Roch), born in 1295. I always considered "Rocky" as a nickname. It was great to read about an actual Saint, as Rocco was stepfather's name. The statue shows St. Rocco with a sore from when he contracted the plague. St. Rocco is considered the patron saint of invalids, of falsely accused people, and is invoked as a protector against the plague and all infectious diseases. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582409341203-8MVM2YZ30XKPB573UAE4/IMG_3851_sibs+SMM_Balconies.jpg Saint Mary Magdalen de Pazzi - Me, my sister Maryanne and brother Vince. Although brother Anthony is not with us anymore, his spirit certainly is, especially remembered via the white statue of St. Anthony of Padua* in the basement. *(See the 5th picture (above) for the white St. Anthony of Padua statue (2nd from left) with him holding young Christ in one hand and a lily in the other. This image can be seen throughout the small towns of southern Italy in churches and on the walls of homes and buildings.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1582255300828-18X4VQ32W8O0EQ94VNNZ/P1140720_St+Mary+Magdelene_ext.jpg Saint Mary Magdalen de Pazzi - What started out as an academic exercise in exploration and discovery evolved into a very personal connection to my cultural history, my family history, and my personal past. A truly great adventure! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1584412011829-Z9NIH2AZN65HS2UPJX0T/IMG_3886.JPG Saint Mary Magdalen de Pazzi http://www.sslanzilotti.com/2019-11salerno daily 0.75 2020-04-13 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586426223326-PF9A0U6UF8QP4TR0KQ58/SSL_7135_monument%2Bto%2Bsailors_Piazza%2Bdella%2BConcordia_sm.jpg 2019-11-Salerno - Monument to the sailors in the Piazza della Concordia, Salerno, designed by Antonio Berti and opened in 1963. Obelisk is 65.5 feet high surmounted by a statue of the Virgin Mary in golden bronze. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586426223326-PF9A0U6UF8QP4TR0KQ58/SSL_7135_monument%2Bto%2Bsailors_Piazza%2Bdella%2BConcordia_sm.jpg 2019-11-Salerno - Monument to the sailors in the Piazza della Concordia, Salerno, designed by Antonio Berti and opened in 1963. Obelisk is 65.5 feet high surmounted by a statue of the Virgin Mary in golden bronze. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419566802-SG946K2T250QEW81O3AI/SSL_7140_Piazza+della+Concordia_Virgin+Mary_crp_II+copy.jpg 2019-11-Salerno - Statue of Virgin Mary, golden bronze, atop the Berti Sailor Monument obelisk. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419413389-E1SZHYLU5YNHO7OMUC1X/SSL_7111_Salerno+entry-sidewalk-coast_sm.jpg 2019-11-Salerno - After parking our car at the Piazza della Concordia, we walked along the Lungomare (promenade) Guglielmo Marconi in search of food and a hotel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419473589-8T7NQ5SVCLOUEP1BRJBC/SSL_7120_Salerno+coastline_sm.jpg 2019-11-Salerno - Late afternoon Salerno looking toward the southeast and the Tyrrhenian Sea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419516841-L9VSH7E45ZUH3ZKOZ3Y9/SSL_7133_fishing+Salern_smo.jpg 2019-11-Salerno - Fishing the Tyrrhenian Sea in the late afternoon. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419457603-I5BLTBNZBYH7OZ93G3ZZ/SSL_7119_Salerno-Sunset_sm.jpg 2019-11-Salerno - Sunset over the Tyrrhenian Sea looking northwest toward the Amalfi Coastline. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421895168-Y2FNBXFMPWN21HINC6FG/P1130270_LKL-SSL-Salerno-Night-Beach_sm.jpg 2019-11-Salerno - After finding a most wonderful hotel across the street from the Tyrrhenian Sea we took an evening stroll along the promenade by the sea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586417797742-J0TLQICXWTGY3XVE4WAN/P1130278_SanMatteo-main-entrance-umbrella_sm.jpg 2019-11-Salerno - Saint Matthew Cathedral (San Matteo Duomo) was begun by the Norman, Robert Guiscard in 1076 and consecrated by Pope Gregory VII in 1084. Its shape and plan as chosen by Alfano I, Archbishop of Salerno https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419067098-TK9JAXW2ZQ4KJYHN5VFS/P1130396_San+Matteo+entry+steps_sm.jpg 2019-11-Salerno - Sunday morning mass-goers climb steps on both sides of the mid-17th century baroque-style facade in order to enter the Cathedral atrium. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586417874637-VRWJJW9P2WJ1IEOWAXSW/P1130282_SanMatteo-front-entrance-courtyard_sm.jpg 2019-11-Salerno - The double steps of the Cathedral meet on a landing where parishioners, pilgrims, and tourists enter through the "Porto Dei Leoni" into the atrium of the Cathedral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586486044897-KZEZYKSB52YTB4OJ4XIV/P1130282_SanMatteo-front-entrance-Principalities.jpg 2019-11-Salerno - On the architrave (main beam of the door frame) of the entrance an inscription, in Roman capital characters, reminds those who enter about the alliance between the Principalities of Salerno and Capua. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586424531576-5V9QBGK8AD6E7YI0K39O/P1130282-b_SanMatteo-write-gospel_entrance_sm.jpg 2019-11-Salerno - The lunette above the architrave and "Porto Dei Leoni" contains a 17th century fresco depicting St. Matthew writing the gospel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419099918-BFN8M3Y7HZGEGJF1N9WP/P1130404_Port+dei+leoni_sm.jpg 2019-11-Salerno - The ancient Romanesque portal called the "Porto dei Leoni " because of the two lion statues on either side of the jambs, one, the male, symbolizes strength and the other, a lioness with a cub, charity https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586417890208-Z618T4X8FX38BT4H2RLC/P1130283_SanMatteo-courtyard_sm.jpg 2019-11-Salerno - The Duomo’s 11th-century atrium contains 28 antique columns taken from the ancient Greek ruins of Paestum. Behind them are Roman sarcophagi recycled in the Middle Ages as tombs for dignitaries. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419084841-IBCY819ALBSI08Z1W4VI/P1130391_St+Bonosio-St+Matteo-St+Grammazio_1737-38.jpg 2019-11-Salerno - Atrium statues above a central doorway, include St. Matthew, completed in 1737 - bottom engraved with the sculptor's name, Matteo Bottigliero. Also, are statues of St Bonosio and St. Grammazio. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419023324-TMSWZU5VDRQK8K1B5MPS/P1130389_Jesus+Christ-Bronze+door+portal_translate.jpg 2019-11-Salerno - Lunette: St. Matthew with bible, welcoming the faithful. Inscription: "A church has been given to thee, O Apostle, by Duke Robert. In return for his merits, may he be granted the kingdom of heaven." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419022666-BYEYQLBOLFZYLVR9WNCH/P1130388_Constantinople-bronze+doors_Christ_sm.jpg 2019-11-Salerno - Below statues and lunette are Byzantine-style bronze doors from Constantinople (1099), with 54 panels, 46 in relief with a stylized cross and 8 etched panels; framed by a marble portal with two lions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418844006-35IS6I27FHL2H1HOHZPK/P1130377_Virgin+Mary+bronze+door_SMC_sm.jpg 2019-11-Salerno - Virgin Mary door panel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586423623442-1UYTL85PVUAVHUGD5ZWX/P1130381_St.+Peter-Apostle_SM-bronze+dr._sm.jpg 2019-11-Salerno - Peter the Apostle door panel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418864536-LIO9U74BWJ95YFVOCTZQ/P1130378_Simon+relief-Bronze+Door-SM_sm.jpg 2019-11-Salerno - Simon the Apostle door panel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418904375-05CDLMPC36ECOR4R3AWE/P1130380_Paul-Apostle_SM+bronze+door_sm.jpg 2019-11-Salerno - Paul the Apostle door panel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418964218-H46R2RM36E70TTH215XN/P1130382_Matheus-Apostle_SM+bronze-dr_sm.jpg 2019-11-Salerno - Matthew the Apostle door panel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418990568-9ZGOMNR3IFGKK2VDKIAK/P1130383_Jesus+Christ_SM-bronzedoor_sm.jpg 2019-11-Salerno - Jesus Christ panel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419235668-K06E3NVAK7K1ORQZ9N3L/P1130405_Bell+Tower.jpg 2019-11-Salerno - The mid-12th c. bell tower, with small arcades, approximately 184 feet high and in Arabic-Norman style. It contains 8 large bells. The patron was Guglielmo da Ravenna, Archbishop of Salerno, 1137-1152 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586493855243-ZAK43BCV6NRKUUO5ZAMS/P1130287_Lft+courtyard+corridor+col-SM_sm2crp3.jpg 2019-11-Salerno - Romanesque atrium columns with rounded arches decorated with polychrome inlays, and above each a circular rosette; above all is a loggia with mullioned windows. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586494631842-90JJM56RJ8ZRM0LUO96E/P1130288_SM-right-chapel+altar_sm2.jpg 2019-11-Salerno - The upper central nave part of Saint Matthew Cathedral. On either side of the chairs in the middle of the picture are two ambo, (oblong pulpits with steps on each side) from which the Gospel is read. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586504879917-MP7P9KY4VZX8RE0HNQ62/SSL_7289_central+altar-side_sm_crp3.jpg 2019-11-Salerno - The central apse shows Mary surrounded by angels and saints. Saint Matthews Cathedral was built on an early Christian church dedicated to the holy Mary of the Angels. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421630202-QLVIKDWZU6CZVJB7JB89/SSL_7335_Ambo-where+read+Gospel_sm.jpg 2019-11-Salerno - 12th-c D’Ajello Ambo (right side of the nave), its function mainly linked to the liturgy of Holy Easter, sits on 12 columns with capitals with carvings of figures & mosaic quincunx decorations above.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586417985038-M8M6LG1S5G3NPQMQLGHC/P1130293_Transition-of-St-Joseph_MChiarelli-18c_sm.jpg 2019-11-Salerno - In the Cathedral's north nave, past the first Chapel with its Baptismal font, we came to Chapel II, dedicated to Saint Joseph by Archbishop Bonaventura Poeria - Appointed 11/11/1697, Died 11/18/1722. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586417931564-XBDV6OMK4710TX4LMRAA/P1130293_Transition-of-St-Joseph_MChiarelli-18c_sm_crp.jpg 2019-11-Salerno - Painting, "The Transition of St. Joseph" by Matteo Chiariello, 18th-c. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586507484128-L9E1QS238FDFBP667CZ1/P1130303_Pinto+Family+Plaque_sm+copy.jpg 2019-11-Salerno - Chapel III, the Pinto Family Chapel, was built by the will of the Pinto family in 1708.. Fortunado Pinto was an Archbishop of Salerno - Confirmed 6/26/1805; Died - 11/20/1825. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418032421-LPHPVJ2YOXNZKSGQBKWY/P1130298_Blessed+Virgin+w-Sts+Fillipo-Neri-Michalel+Archangel_sm.jpg 2019-11-Salerno - The Pinto family Chapel altar in polychromic marbles made by the master lapicide (stonecutter) Viginio Ogna. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586417977878-D6WB1XC6STTBGT8T05JI/P1130298_Blessed+Virgin+w-Sts+Fillipo-Neri-Michalel+Archangel_sm_crp+copy.jpg 2019-11-Salerno - The Pinto altar painting represents "The Blessed Virgin with Saints Filippo Neri and Michael the Archangel" attributed to Michele Riicciardi, an artist working in the first half of the 18th c. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586544732056-4FIU207KY97XNYQ4ZQ0Z/P1130302_St+Matthew+and+Angel_2011S_+Trapanese_sm.jpg 2019-11-Salerno - The painting "Saint Matthew and the Angel" by Stefano Trapanese, 2011 is owned by the Salerno municipality and will be located in the future Court City of Salerno when it is completed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586509941573-655SFU7ZJGKZZ0EB8MA3/P1130301__Mathew+and+Maria+Pinto+Chapel+Plaque_1857_sm.jpg 2019-11-Salerno - The tomb stones placed on the Pinto Chapel walls, and the one on the floor in front of the chapel (left side), remember the sepulchers of the family members, e.g. Matteo Carlo Maria Pinto, died 1857. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418057216-X92R60HSIWT4901IFDMW/P1130306_Lembo+or+Pentecost+Chapel_sm.jpg 2019-11-Salerno - Chapel IV, The Pentecost Chapel, originally belonged to the Lembo family and later to the Lauro-Grotto family. It was executed by Ferdinando Sanfelice in 1717; Virginio Ogna made the marble altar. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418004759-YPDK2C2KSDHE1Z7RY2OB/P1130306_Lembo+or+Pentecost+Chapel_sm_crp+copy.jpg 2019-11-Salerno - Above the Lembo altar is the painting depicting the Pentecost (the coming of the Holy Spirit upon the Apostles 40 days after Easter and 50 days after the Jewish Passover) by Francesco De Mura in 1722. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586645990272-TUOQOEK388W3ME5TBML0/P1130307_NIcholas+Lembo+plaque_fin_sm.jpg 2019-11-Salerno - Dedication on wall of the Lembo family's Pentecost Chapel to Nicholas Lembo who died in 1717. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586645990264-TFOU2KBYVRQGIOCYVK2U/P1130308_NIclaus+Lembo+bas+relief_sm.jpg 2019-11-Salerno - The medallion represents the founder of the Pentecost Chapel, Nicholas Lembo (d. 1717). It was sculpted by Matteo Bottigliero in 1722 and is located below the dedication marker. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586722634787-4SEP0Q43KS9IKW3T824X/IMG_4140_Madonna%2Bof%2Bthe%2BAngels-1364-1378.jpg 2019-11-Salerno - Chapel V (northern nave) belonged to the De Ruggerio family. At the beginning of the 19th c. Archbishop Fortunato Pinto placed here the wooden sculpture of "Saint Mary of the Angel" (dated 1364-1378). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586597742695-7DFE2MGAHGM480IMLB4U/P1130316_St+Frances+di+Paolo_sm-2.jpg 2019-11-Salerno - Chapel VI originally belonged to the Di Donato family, was dedicated to San Francesco di Paola. Later it became the property of the Della Corte family. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418114996-DQ9HPIVWEZE1MX8MLK16/P1130318_della+Corte+restore+1858+StFrancisdaPaolo+Chapel_sm.jpg 2019-11-Salerno - The painting shows "Saint Francis of Paola in Accendence to Glory" and has been dated as having been completed sometime in the 1730's. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586584669280-3QHLJLSN79BF5SAK7TJ8/P1130320_Gesu_DellaCorte_StFrances-Paola-Chapel_sm_crp.jpg 2019-11-Salerno - Chapel VI, statue of Christ kneeling with wounds from his crucifixion in front of a tomb memorial of a Della Corte family member. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418123414-RKH2AN3O23UXVGYTH5E8/P1130321_Mary_DellaCorte-StFrancesChapel_sm.jpg 2019-11-Salerno - Chapel VI, above the statue of Christ, a painting possibly depicting an apparition of the Virgin to Saint Francis of Paola (3/27/1416 - 4/2/1507), born in Paola, Cosenza, and patron saint of Calabria https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418161441-FCXZ067C9KF071J4Z3KS/P1130323_Ruggerio+Chapel_Madonna.jpg 2019-11-Salerno - Chapel VI, alcove containing a statue of the Virgin Mary with cherubs at her feet. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586601442572-TB4C6RXFHWF21YAYHOPI/P1130327_Story+SanMatteo_reprod-tombstone_sm.jpg 2019-11-Salerno - Entering the crypt area the Saint Matthew's tombstone in Latin with translation (below) describes how his remains were found and brought in 1091 to rest in the crypt under the Cathedral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418190970-5T5B12C1398594VP4IBU/P1130330_SM-crypt-south+and+central_sm.jpg 2019-11-Salerno - We enter Saint Matthew's crypt under the Cathedral in its southern nave. The crypt was the first nucleus in the construction of the Cathedral in 1091. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586425641266-ZHZ9TJJ81IS2QNWNTZAS/SSL_7196_Gaudiosus+Archbishop+of+Salerno_sm.jpg 2019-11-Salerno - Along the walls of the crypt are busts of Archbishops of Salerno, such as Gaudiosus, shown here. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418214871-GRC0VS5D0ZV9GBEGBTT3/P1130331_south+ceiling+SM-crypt_sm.jpg 2019-11-Salerno - The ceiling of the crypt has a Baroque garment (curving forms including oval forms - concave and convex) following the 17th c. (1606-1608) work by the architects Domenico and Giulio Cesare Fontana. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418548010-3W2MNZ0L3BOPPMFY3TUB/P1130337_north+nave+crypt+san+matteo_sm.jpg 2019-11-Salerno - This picture of the north nave of the crypt shows the stone inlay designs on walls and paintings depicting events in the lives of Jesus Christ and St. Matthew, and Salerno. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420455793-YMTGKPY62YHUM43CPGYT/SSL_7221_Pregnant+Mary+leave+home+to+go+to+Bethlehem_fin_sm.jpg 2019-11-Salerno - "Mary's Visitation to Elizabeth" (Luke 1:39-56) by B.Corenzio. Mary is pregnant with Jesus and Elizabeth is pregnant with John the Baptist and is filled with he Holy Spirit hearing Mary's greeting. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420470201-4Q3ZAVFTJMTX3DM7QVGX/SSL_7222_Jesus+in+manger_sm.jpg 2019-11-Salerno - In his depiction of "Jesus in the Manger," Belisario Corenzio places Jesus in humble surroundings with everyday people who have traveled to see him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420396049-AKOIE4ZHUU6HO1W47VD0/SSL_7217_Circumcision+of+Jesus-8th-day_Luke_sm.jpg 2019-11-Salerno - "The Circumcision of Christ," by Belisario Corenzio and based on Luke 2:21, is celebrated on January 1, eight days after birth following Jewish law. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419725649-U4X2RMN0X1RV1QP2ZDBY/SSL_7190_Joheph-Mary_Christ+baby_Belisario+Corenzio_sm.jpg 2019-11-Salerno - "Flight to Egypt" by Belisario Corenzio. Matthew 2:13-23 recounts an angel appeared to Joseph in a dream telling him to flee to Egypt with Mary and infant Jesus since King Herod would seek to kill him https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420355737-LW45RDCCIV6IRI4N0TXC/SSL_7216_Mary+Presents+Jesus+at+Temple_Luke2-22-40_sm+copy.jpg 2019-11-Salerno - "Presentation of Jesus in the Temple" (Luke 2:22-40) Mary and Joseph took Jesus to the Temple in Jerusalem 40 days after his birth to complete Mary's ritual purification after childbirth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420408696-MBWN11ZKDVNVBIEZZMN3/SSL_7218_The+Finding+in+the+Temple-age+12_sm.jpg 2019-11-Salerno - "The Finding in the Temple" from the Luke 2:41-52. Jesus at the age of 12 yrs. went with Mary, Joseph on pilgrimage according to Passover custom. He is depicted in discussion with elders. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586662544780-9H95Z2YUKJR7ML8TO419/SSL_7188_Christ+approaches+boat_Belisario+Corenzio_sm.jpg 2019-11-Salerno - "Jesus Calls the First Disciples" Matthew 4:18-22. By the Sea of Galilee Jesus seeing two brothers, Simon (Peter) and Andrew, casting a net said, "Follow me, and I will make you fishers of men." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418271831-SXSAFCN1E06TNKAG5MPW/P1130333_SM-St+Peter-to-Christ+walking+on+water_sm.jpg 2019-11-Salerno - "Jesus Walks on Water" (B. Corenzio). Matthew 14:22-23 - Jesus walking on water saved Peter who had asked to join him but became afraid and sank. Jesus said, "You of little faith, why did you doubt?" https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419751278-ZRXYIMKDOY4YF00K7C14/SSL_7199_Christ+at+water+well-Samaritan+woman_BCorenzio_sm.jpg 2019-11-Salerno - "The Water of Life Discourse" as described in John 4:4-4-26 Jesus tells a Samaritan woman, Photine, that those who drink the water he has to give will never be thirsty and states he is the Messiah. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586675542063-8I6KP88Q39Q0UJ24NJVZ/SSL_7214_Wine+pour+at+dinner_sm.jpg 2019-11-Salerno - "Wedding at Canaa" (Belisario Corenzio). John 2:2-22 tells the story of how Jesus turned water into wine at a wedding in Canaa of Galilee when told by his mother that they had run out of wine. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420631798-KB1AT1F9YXPJ5U5M7HR3/SSL_7257_Sea+of+Galililee+Storm_sm.jpg 2019-11-Salerno - "Calming of the Storm" (B. Corenzio) in Matthew 8:23-27. Jesus rebukes the winds and waves and the lake becomes calm after asking the fearful apostles, "You of little faith, why are you so afraid?" https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418539784-SXGIGO090XHYJRCZF2E2/P1130340_two+women+view+crypt-SM_sm.jpg 2019-11-Salerno - A view of structure of Saint Matthew's crypt with its two aisles and the crypt in the middle, and the vaulted ceiling with the paintings by Belisario Corenzio (1558-1643). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418283946-O3ABSI50BWMX5VPVF2XB/P1130332_crypt-San+Matteo_crypt_sm.jpg 2019-11-Salerno - Saint Matthew, the Apostle's remains were buried here in July 1094 in the presence of Alfano I, Emperor Michele and Duke Roberto il Guiscardo. Pope Gregory VII officially consecrated the Basilica. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419656583-ZZMVOZH6030EXCD1YTPK/SSL_7174_inner+crypt+SanMatteo+relic_sm.jpg 2019-11-Salerno - One descends the staircase, walks toward the actual crypt, crouch down and look into the place where Saint Matthew's remains are buried. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419723700-4YHXD8HLY6RKPC9ZX928/SSL_7187_San+Matteo+and+Angel_sm.jpg 2019-11-Salerno - Marble altar of Saint Matthew, the Apostle crypt is decorated on both sides by an elegant canopy and is adorned with two pairs of brass candelabra (one seen on the right) made by Francis Rosso (1673). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420297723-TM1UNEGSJWIDICCA2LY7/SSL_7209_StMatt-writes-Gospel-Angel-w-ink_sm2.jpg 2019-11-Salerno - Sitting atop the crypt altar, a bronze statue of Saint Matthew writing his gospel while an angel holds an inkwell for him. It was made in 1606 by Michelangelo Naccherino (3/6/1550-2/1622). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420297931-P379PJA4ONK2TGFE5N4H/SSL_7210__Jesus+cures+blind+man+via+spit+and+mud_Belisario+Corenzio.jpg 2019-11-Salerno - "Healing of the Man Born Blind." John 9:1-12, Jesus spat on the ground and put the mud on the blind man's eyes. He then told him to wash in the Pool of Siloam. The man did so and went home seeing. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419664694-ZTI3MEO2GFTDDD3JBR2R/SSL_7183_Bleeding+woman+Hem+of+garment_Luke8-40-49_Belisario+Corenzio_sm.jpg 2019-11-Salerno - "Jesus Healing a Bleeding Woman" (Matthew 9:20-22) While traveling to Jairus' house a woman who had been bleeding for 12 years touched Jesus' cloak. She thought if I touch his clothes, I wii be healed https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586655006677-CW7SGHXOJEZ3USISFCJC/SSL_7181_Raising+of+Jarius+Daughter_Belisario+Corenzio_sm.jpg 2019-11-Salerno - Raising of Jairus' Daughter by Belisario Corenzio in Matthew 9:18-26. Jesus was told the girl was dead but he went to her anyway saying, "Little girl, I say to you, get up." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586653539864-L1P20RUD0SCKUJ04JE25/SSL_7202_person+on+stretcher+to+Christ_Belisario+Corenzio_sm.jpg 2019-11-Salerno - "Raising of Lazarus" by Belisario Corenzio told in John 11:1-44. Jesus raises Lazarus of Bethany, the last of the miracles of Jesus before the Passion and his own resurrection. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420506363-UFM02JVUDBYX6G3XJVWO/SSL_7233_St+Matthew+preaching+Ethiopia.jpg 2019-11-Salerno - Saint Matthew preaching in Ethiopia. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420715235-2T1YDX23LNECD7742HNA/SSL_7264_SM+crypt+phone+and+pietra+dura+time_sm.jpg 2019-11-Salerno - The rear walls and some arches of the northern nave of St. Matthew's crypt are covered with wondrous multi-colored stone-inlay designs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586684481214-QPUIKKKYGIOS42CC289Z/SSL_7250._pietra+dura+crypt_sm.jpg 2019-11-Salerno - The stone-inlay designs can be referred to as pietra dura, the term for the inlay technique of using cut and fitted, highly polished colored stones to create images. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420689769-R9NWITLUJIJEZTJ5P483/SSL_7263_pietra+dura_SM-crypt_sm.jpg 2019-11-Salerno - The pietra dura decorative artwork technique employs many different colored stones, particularly marbles, along with semiprecious, and even precious stones. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420595875-9E2EZ0WGQGO76M03YCSF/SSL_7251_pietra+dura+flowers_crypt3_sm_.jpg 2019-11-Salerno - Pietra dura stonework is glued stone-by-stone to a substrate after having previously been "sliced and cut in different shape sections; and then assembled together. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586684016993-R13JWFSOTC7JOTSLJAGO/SSL_7260_St+John+the+Baptist_SM+crypt_sm2.jpg 2019-11-Salerno - Bas relief of St. John the Baptist surrounded by pietra dura on crypt wall. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420334831-0Q8KPZV5VBT3MDKPZHB8/SSL_7213_confessional-San-Matteo+crypt.jpg 2019-11-Salerno - Wooden confessional in rear of the Saint Matthew crypt, northern nave. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586473674205-N6E6UOO1JBH8G5WABS61/SSL_7255_pietra+dura_SM%3Dcrypt2-sm5.jpg 2019-11-Salerno - Pietra dura design on northern nave wall of the Saint Matthew crypt. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420531366-8L8V7KKLZK3CGTAIHNUZ/SSL_7236-2_Salerno-Medieval+city_sm.jpg 2019-11-Salerno - Medieval map of Salerno on crypt ceiling. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586425774626-IWNFC6VN5FZZNXWXHGYT/SSL_7203_S-Caudentius_archbishop+of+salerno_sm.jpg 2019-11-Salerno - Bas relief on wall of Saint Matthew crypt commemorating Saint Caudiosus, Bishop of Salerno. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419658533-FGZB6YWUAPSW26H1WETO/SSL_7167_On+behalf+of+the+faith+and+their+country_sm.jpg 2019-11-Salerno - An eternal flame in the Saint Matthew crypt states, "PRO F D ET PATRIA," i.e., "On behalf of the faith and their country.". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586425040814-H5JMERAS0524WCHTOO00/P1130412_St+Mathew+sacristry_sm.jpg 2019-11-Salerno - Sacristy of St. Matthew Cathedral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421567392-298YJNTCH9M871AAANWA/SSL_7331_Chancel+area+St+Matteo+Cathedral.jpg 2019-11-Salerno - Chancel area of St. Matthew Cathedral with priests reading the epistle to the community. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418693899-QUEUIFIZFC8NF06RX9FY/P1130358_Madonna+of+Humility_mid14c_Santomango-1382_sm.jpg 2019-11-Salerno - On the southern wall of the transept the tomb of Tommaso Santomango, bishop of Capaccio, who died in 1832. The structure is a simple marble coffin, supported by columns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418719202-GM364S3471E9UISAGFZH/P1130358_Madonna+of+Humility_sm.jpg 2019-11-Salerno - In the Gothic niche above the Santomango sarcophagus, "The Madonna of Humility," called such because the Virgin and Child at the breast is depicted sitting on ground. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418740190-M5ATUJWW0UBB7530F04Y/P1130362_Tomb+Matteo+DAjello_Triumph+of+Bacchus-II-IIIc+A.D.jpg 2019-11-Salerno - Also, the southern wall - 3rd century Roman sarcophagus with Dionysian scenes, depicting the triumph of Bacchus, and reused a as the 13th c. tomb of Matteo D'Ajello, Vice Chancellor, Norman Kingdom https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421401591-9JW3RSHD2BHESKYPF456/SSL_7322_Our+Lady+of+Sorrows-1724_sm.jpg 2019-11-Salerno - Chapel V (south nave) dedicated to "Our Lady of Sorrows" in 1724. The statue is pierced with seven daggers symbolizing the seven sorrows of Mary, the mother of god, as enumerated in the New Testament. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421384790-DWHQLG25H0F0I5BJCZV3/SSL_7321__Christ_Our+Lady+of+Sorrows-1724-Chapel+dedication.jpg 2019-11-Salerno - Jesus taken down from the cross (John 19:39-40) is one of the Seven Sorrows of Mary listed in https://udayton.edu/imri/mary/o/our-lady-of-sorrows-title-origins.php. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586736818606-Q1FT5NZXGEXIN9ULKMB2/SSL_7324_Pietro+del+Pezzo_Our+Lady+of+Sorrows+Chapel_sm.jpg 2019-11-Salerno - Our Lady of Sorrows Chapel also contains the half-bust sculptures of the funeral monuments of two of the Del Pezzo family members. Here we see memorialized Pietro Del Pezzo (1733). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421465734-0FMY1S8EQK469OYJAT4J/SSL_7323_Antonii+Del+Pezzo-d1759_Our+Lady+of+Sorrows.jpg 2019-11-Salerno - Here we see memorialized Antonio Del Pezzo (1754) in the Our Lady of Sorrows Chapel, one of the two half-bust sculptures shown as funeral monuments of Del Pezzo family members. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418806429-UQIXCRDJVWQT6F7OYSZI/P1130374_Altar+of+the+Purification+of+Mary+Chapel_sm.jpg 2019-11-Salerno - Chapel VI (South nave) - "Chapel of the Purification" (Matteo Chiarelli 18th c.) founded in 1719 by Archbishop Bonaventura Poerio with the noble Andrea Della Calce from Salerno, owner of the altar. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421329078-1WPTA8IU3V3D8QNPTADJ/SSL_7317_Chapel+of+the+Purification+of+Mary_sm_crp.jpg 2019-11-Salerno - "The Purification of Mary" in the temple of Jerusalem 40 days after Christ's birth in fulfillment of the Mosaic Law requiring the cleansing of a woman from the ritual impurity incurred at childbirth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586731898231-4AEOTGYDAHYPWUE6PCVN/P1130366_Angevin+Warrior_Roman-2c+Bacchus+and+Ariadne.jpg 2019-11-Salerno - Tomb of "The Angevin Warrior. The lid is early 14th c. The large star design with its eight tips seen on the warrior's bib refers to the noble Stellati family. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421310204-G3MP1RGV1CCXPR584347/SSL_7314_Bacchus+and+Ariadne+sarcophagus-sm.jpg 2019-11-Salerno - The Angevin Warrior lid sits on a Roman sarcophagus with "Bacchus and Ariadne;" the bottom register has a harvest scene with a satyr pouring the grape clusters, while others dance inside to beat it. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419305248-V6TCWGD89X34XIVUNRTP/P1130416_altar_north+wall+St+Mathew+Cathedral_sm.jpg 2019-11-Salerno - Another representation of the "The Purification of Mary" https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419248928-BF3NZJM1YUK5CZJBVXJM/P1130416_altar_north+wall+St+Mathew+Cathedral_sm_crp.jpg 2019-11-Salerno - Mary presents Jesus to St. Anthony of Padua (that is my best guess). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421234773-9D3UCN2AZNUHSSMOTG9K/SSL_7310_sarcophagus_Giacamo-Capograsso-1340_sm.jpg 2019-11-Salerno - Giacomo Capograsso (d. July 7 1340) entombed in a 3rd-4th c. sarcophagus with male figure on left, female rt. The stucco Crucifixion dates to the late 15th c. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421252288-V9QUFLRWM2CMX15IQ2Y2/SSL_7313_Capograsso+sarcophagus+cover_sm.jpg 2019-11-Salerno - The lid of the Giacomo Capograsso tomb portrays the Madonna and Child, highlighting a strong influence of the school of Tino di Caimaino. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421066726-BUOQSH7BPJLP26IKNOYT/SSL_7287_South-Apse+of+the+Crusades-w-MIchael+Archangel_sm.jpg 2019-11-Salerno - The right apse of the Cathedral, the Southern Minor Apse, is called the "Apse of the Crusades," or the "Apse of Gregory VII." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586747796116-AKM8JROEIIHOIA14R5C4/SSL_7291_Fortunato-Giovanni-SM-Giacomo-Lorenzo_sm.jpg 2019-11-Salerno - Southern Minor Apse: Gregory VII sits in the middle with Saints Fortunato and Giovanni on the left and Saints Giacomo and Lorenzo on the right. At the foot of St. Matthew is Giovanni da Procida. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421146583-XSB79191TVLKZHEFTVZO/SSL_7290_St+Michael+Archangel_south+apse_sm.jpg 2019-11-Salerno - Southern minor Apse (top): Saint Michael th Archangel. The entire mosaic was offered by Giovanni da Procida, a noble of Salerno, very active in the fight against the Angevins. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420828157-4LJ0XHVT9XJSYDJ7HZKT/SSL_7280_SM+nave+tile_sm.jpg 2019-11-Salerno - The vast area of the transept floor is entirely covered with mosaics, divided into large panels, which in front of the altar have the shape of six-petal flowers that create the so-called Spring meadow https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586418606024-GF190M8AFN53FWU269UK/P1130343_Pope+St+Gregory+VII_sm.jpg 2019-11-Salerno - Pope Gregory VII died in exile in Salerno; the epitaph on his sarcophagus in Saint Matthew Cathedral says: "I have loved justice and hated iniquity; therefore, I die in exile. Pope: 4/22/1073 to 1085. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420841590-900FP82WFLOHYXS8542X/SSL_7282_San+Matt-choir_sm.jpg 2019-11-Salerno - The interior of the choir area is occupied along the entire perimeter by the wooden stalls donated by the archbishop Girolamo Seripando (1554-63). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420771961-GVUC17NAQAX6O5VINGP8/SSL_7268_north+altar+and+apse+SanGiovanni_sm.jpg 2019-11-Salerno - Northern Apse, the Apse of SS Sacramento or the Apse of Saint Giovanni presents a Baroque decoration with a marble altar. Two side panels depict the Communion of the Apostles and the Fall of Manna. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586420738711-8OQIUXZADWW7YJM6A0EN/SSL_7268_north+altar+and+apse+SanGiovanni_sm_crp.jpg 2019-11-Salerno - North Apse: The Baptism of Christ. The gospels relate that Jesus came from Galilee to John and was baptized by him, the Spirit descended upon Jesus, and a voice from Heaven told him he was God's son. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586423556573-II75Z7ZSEVWECIT57LV2/SSL_7326_Central+door+w-lunette-St+Matthew._sm.jpg 2019-11-Salerno - Central door to the Saint Matthew Cathedral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586421531555-TOQQY569A1RBS2FZA2DT/SSL_7326_Mosaic-StMatthew-Byz-Christ+Pantocrator-book-bless.jpg 2019-11-Salerno - Lunette mosaic above the central door - Saint Matthew borrowed from the image of the Byzantine Christ Pantocrator, in which one hand holds the open book of the Gospel and the other blesses the crowd. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419359210-PAPU2I08DODAHPPUVA4Z/P1130461_angels+trumpet+SMC_cl_fin_sm.jpg 2019-11-Salerno - Evening in front of Saint Matthew Cathedral with the angels floating in air announcing that it is Christmas season. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586425186334-UY27AYPC37QY7BGHM9HH/P1130421_Giordano_Dairy+Excellence.jpg 2019-11-Salerno Street area on the backside of the Saint Matthew Cathedral area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419359108-ZHKZLWOOFE0HMLALC7CA/P1130455_Christmas+Lights+Bell+Tower_III-sm.jpg 2019-11-Salerno - The Saint Matthew Cathedral bell tower with Christmas decorations. We were on our way to having dinner at a wonderful little restaurant about two blocks away. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1586419417221-UVSGP3FPYGSMT07QRJK3/P1130498_Lou_Cincerelli_sm.jpg 2019-11-Salerno - Louise looks through the window of restaurant Cincerelli, after having a wonderful (and magical) birthday dinner. http://www.sslanzilotti.com/201911herculaneum daily 0.75 2020-05-03 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764111428-FG9X9V73K87NLL80CRVA/SSL_4502_Hercules-enter-Olympus-Hera-Athena-Zeus_fin_sm_crp.jpg 2019-11-Herculaneum - Hercules enters Olympus: Legend states Herculaneum was founded by Hercules in 1243 BC while he led oxen captured from the 3-headed giant Geryon to King Eurystheus competing the 10th of his 12 Labors. However, historic analysis suggests that Herculaneum was founded by the Oscans or the Etruscans in the 7th c. BC, conquered by the Samnites in the 5th century BC. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764111428-FG9X9V73K87NLL80CRVA/SSL_4502_Hercules-enter-Olympus-Hera-Athena-Zeus_fin_sm_crp.jpg 2019-11-Herculaneum - Hercules enters Olympus: Legend states Herculaneum was founded by Hercules in 1243 BC while he led oxen captured from the 3-headed giant Geryon to King Eurystheus competing the 10th of his 12 Labors. However, historic analysis suggests that Herculaneum was founded by the Oscans or the Etruscans in the 7th c. BC, conquered by the Samnites in the 5th century BC. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587811209591-OQ8V9IM3WFOX4EAS2AVO/SSL_4740_Vesuvius_sm.jpg 2019-11-Herculaneum - Herculaneum was buried by the eruption of Vesuvius in 79 A.D. The volcanic cone stands about 3,280 ft. high and the crater is 4.5 miles from Herculaneum. Herculaneum, known as Ercolano to Italians, at the time of the eruption was a seaside resort that catered to wealthier Romans. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587771235669-H2MKK63T6PT6WHNIZUYR/SSL_4749-2_Herculaneum-front+entrance_sm.jpg 2019-11-Herculaneum - Entry to the ancient city of Herculaneum. Excavations have not revealed ceramic material prior to 4th century B.C. At the time of the eruption, Herculaneum had about 4,000 inhabitants. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764295734-A07KZYRDQ28M6YUK42TG/SSL_4419_Herc-view-from+lower+Cardo_V-old-excavations_sm.jpg 2019-11-Herculaneum - View of Herculaneum from northeast corner looking south and southwest. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764304874-UU9RO1QDNYARL6440SK5/SSL_4418_overview+from+Decumano+Massimo_sm.jpg 2019-11-Herculaneum - From the northeast corner of ancient Herculaneum looking northwest and west. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764428249-M4WCD02POYY349098NUX/SSL_4442_Peristyle-Casa+dArgo_color_sm.jpg 2019-11-Herculaneum - Casa d'Argo peristyle (a row of columns surrounding a space within a building such as a court or internal garden or edging a veranda or porch). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587893367099-CDUR9M90J6J5O90VX3P8/SSL_4443_Casa+dell+Albergo+pool_sm.jpg 2019-11-Herculaneum - Casa dell Albergo: In the atrium, a marble edged impluvium pool with the remains of the base of a puteal. A puteal is a classical wellhead built around a water well’s access opening. Impluvium Pool: the impluvium is a sunken part of the atrium in a Greek or Roman house and was designed to carry away the rainwater coming through the compluvium (an opening) in the roof. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764449344-HXT4M2IU8NYMDY8CO13Y/SSL_4460_doorway+mosaic_sm.jpg 2019-11-Herculaneum - Casa dello Scheletro - the vestibule is paved with this black mosaic bordered with a white double band and decorated with three parallel rows of triangle of palombino marble. Casa dell Scheletro was named from a skeleton discovered in a room on the upper floor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764464905-KW3D5SRUIV2OG4XQCDI0/SSL_4462_mosaic+laranium_Casa+dello+Scheletro_sm.jpg 2019-11-Herculaneum - Casa della Schletro - mosaic laraium - a shrine to the guardian spirits of a Roman household where family members performed daily rituals to guarantee the protection of these domestic spirits. The most significant of the domestic spirits were the “lares,” which were guardian deities in ancient Roman religion. They may have been hero ancestors, guardians of the hearth, fields, boundaries, and/or fruitfulness. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764534334-5UW2RX4ERLC635ZV6MV7/SSL_4465_Casa+dello+Scheletro_floral+design+wall2_FIN_sm.jpg 2019-11-Herculaneum - Casa Dello Scheletro wall painting above the lararium. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764506318-8O8IHYQGXRU3JS4TN0XE/SSL_4464_winged+image+above-nymphaeum_Casa+dello+Scheletro_sm_crp.jpg 2019-11-Herculaneum - Casa dello Scheletro wall basso-relievo possibly the Greek goddess of victory Nike (the Romans called her Victoria). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587956780049-5BNPKGT3P1WPAX6N73SM/SSL_4466_apsed+oecus+Casa+dello+Scheletro_candelaburm+peacock_FIN_REV_crp_sm.jpg 2019-11-Herculaneum - Casa dello Scheletro: Apsed rear wall of the large hall contains a candelabrum (center) apexed by a front facing peacock with two facing tritons decorating the Ionic columns on its left and right. The candelabrum also has a bundle of weapons hanging around its middle. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587976631166-WGWB87VOXMN0FGG3RWCU/SSL_4469_counter+of+Thermopolium_no38_sm.jpg 2019-11-Herculaneum - Thermopolium located on the street Cardo III, Inferiore, Insula II, no. 6. The marble counter incorporates dolia jars used to hold food and drink for this ancient version of a fast food restaurant. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764622462-SVV4ZY0ME3LFWL35KAP4/SSL_4472-2_broken+columns_sm.jpg 2019-11-Herculaneum Casa di Galba - built 2nd c. BC: Even after, possibly 2,520 years of use and abuse, these broken marble columns, for me, remain a vision of elegance and beauty. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764643691-MVWJ72L821SW4VFWGNG4/SSL_4474_cross-shaped+pool_sm.jpg 2019-11-Herculaneum - Casa di Galba: Cross-shaped pool with marble. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587782129732-KYYHZUBR5023RHIPA343/SSL_4479_casa+di+galba+peristyle_sm.jpg 2019-11-Herculaneum - Palaestra of the Baths of the Forum, men's section. The palaestra essentially consisted of a rectangular court surrounded by colonnades with adjoining rooms. During the Roman Imperial period the palaestra was often combined with, or joined to, a bath. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587783761411-K7YY3LGQHFEPDHMZGTV0/SSL_4483_apodyteruim_men-bath-4_sm.jpg 2019-11-Herculaneum - Baths of the Forum: Apodyterium ( i.e., undressing room) of the men's public baths was the primary entrance composed of a large changing room with seating and shelves for clothing. The parallel grooves (strigilature) of the ceiling serve to avoid the formation of drips and dispersion of heat. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764700574-G2039E7RBCPUGGJNVQQ9/SSL_4485_apodyterium-undressing+room-marble+fountain_sml.jpg 2019-11-Herculaneum - Baths of the Forum: cipollino marble fountain at the rear of the men's apodyterium. Cipollino marble, quarried on the southwest coast of the Greek island Euboea, was exported to Rome from 1st c. BC. Cipolino marble has a white-green base, with thick wavy green ribs, held together by strata of mica. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588107999017-NT1U5XDHGZNGHG48BBWO/SSL_4476_Casa+di+Galba_opus+incertum_irregular+stones_sm.jpg 2019-11-Herculaneum - Casa di Galba: Opus Incertum (irregular work) - Ancient Roman construction technique using irregularly shaped and randomly placed uncut stones or fist-sized tuff blocks and cement. Opus Incertum was used from the beginning of the 2nd century BC until the mid-1st century BC, it was later largely superseded by opus reticulatum (diamond shape bricks resembling a net). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588106183572-7PPNVTNPFYK7I52PM079/SSL_4500_casa+dei+due+atri+entrance_sm.jpg 2019-11-Herculaneum - Entrance wall (right) - Opus reticulatum ("net work"), a form of brickwork in ancient Roman architecture with diamond-shaped bricks of tuff, placed around a core of cement, forming a net-like pattern. Casa dei due Atri entrance to atrium area with impluvium (pool) visible on the ground. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588115936433-Z2WW91P9VEB4ZKL2OETC/SSL_4441_opus+reticulatum+and+mixtum_ref8_sm.jpg 2019-11-Herculaneum - Opus mixtum ("mixed work") was an ancient Roman construction technique consisting of a mix of opus reticulated ("net work") and at the angles and the sides of opus latericium ("brick work"). Opus latericium was the dominant form of wall construction in the Imperial era (historiography defined as 27 BC to AD 284; archaeologically defined as AD 1 to AD 375). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764716733-4Z92QXC3TEX4KANI9MC4/SSL_4489_casa+dei+due+atr_child2_crp_sm.jpg 2019-11-Herculaneum - Casa dei due Atri was built in the Augustan Age, 43 BC to AD 18. Shown here the atrium area, with a pavement and impluvium pool faced with cocciopesto, is divided by four tall brick pillars. Cocciopesto - known also as Opus signinum - is a building material used in ancient Rome. It is made of tiles broken up into a very small pieces, mixed with mortar, and then beaten down with a rammer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764792416-YVVXZJI64PHK8GKWTEAV/SSL_4492_Fresco+2fish-2pears_Casa+dei+due+Atri-2_cl_sm.jpg 2019-11-Herculaneum - Fresco with two fish and two pears crossed in the triclinium (formal dining room) of the Casa dei due Atri. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587788808642-7QL8XK87YMXHMHH42XQJ/SSL_4493-2_casa+dei+due+Atri_marble-pool2_sm.jpg 2019-11-Herculaneum - Casa dei due Atri second atrium features this cocciopesto pool decorated with strips of polychrome marble set around a central slot that once housed a fountain statue. On the edge is a marble puteal https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588068587530-GODSM3JVQ12A8JVO3R6M/SSL_4495_dophin-orig_II-crp_sm.jpg 2019-11-Herculaneum - Casa dei due Atri: In this Roman house the walls of the tablinium (the office in a Roman house) were richly decorated with fresco pictures. The next two picture detail and refurbish this one. The Tablinium is a room generally situated on one side of the atrium and opposite to the entrance. The tablinum was the the father's centre for business, where he would receive his clients. It was also used as a reception room for the house master. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764861945-HRKU2L4AIXDGIN8ZN1V8/SSL_4496-2_Dolphin+and+vase_sm2_crp3.jpg 2019-11-Herculaneum - Casa dei due Atri: The candelabra supports an elegant vase and a frieze on white ground features a dolphin eating a fish. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764857112-G0J00XO205E4SPSQVAL6/SSL_4497_eel+with+catch+vase1_sm.jpg 2019-11-Herculaneum - Casa dei due Atri: The candelabra supports an elegant vase and a frieze on white ground features an eel eating a crab. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587783054114-6G29AT1GEUXAAB1T69X8/SSL_4516_College+of+Augustus_sm.jpg 2019-11-Herculaneum - The College of Augustales: A privileged civic order, which was occupied with the imperial cult, made up largely of rich freedmen. The central skylight enables the main hall to be flooded by light. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588125411596-3OKH8OG6877LN1E8XC5Z/SSL_4505_College+of+Ausustales_rear+chapel3_sm.jpg 2019-11-Herculaneum - Augustales Chapel: The base of the walls was covered with large marble slabs (see left bottom); on top, architectural decorations of the Fourth Style with images alluding to imperial greatness. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588138399644-J67K6FILX3SREKK553E2/SSL_4505_College+of+Augustales_rearwall-chapel4_Fin_Aug3_lt.jpg 2019-11-Herculaneum - Augustales Chapel: The Herculaneum guidebook states the small pillar near the back wall must have borne an image of Augustus, so I placed one that I found from 18 A.D. that is in the Vatican Museum. Above the statue is a representation of the civic crown bestowed on the Emperor, hanging between two griffin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765178772-XP01XDZ4BM6BIB8M86JL/SSL_4513_wall+design_3_sm.jpg 2019-11-Herculaneum - Augustales Chapel: On the left side of the rear (center) wall a candelabra structure with a peacock sitting on top. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764921626-63X10B3YMYGSFWJRZ94W/SSL_4502_Hercules-enter-Olympus-Hera-Athena-Zeus_crpFINAL_sm.jpg 2019-11-Herculaneum - On the left wall of the Augustales Chapel, a Fourth Style fresco shows Hercules seated, with Minerva and Juno or Hebe; in the background is a rainbow, the symbol of Jupiter. The Fourth Style of wall painting became established after the earthquake of 62 A.D. and is a continuation of the Third Style of painting but more elaborate and complex in manner. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765033619-2P8OF8ZM8ZVUZDT912B1/SSL_4506__Hercules_Acheloos-Deianira_cl2_FIN_sm.jpg 2019-11-Herculaneum - The right wall of the Augustales Chapel shows the contest between Hercules and Acheloos for the hand of Deianira (who is shown in the background). From the broken horn of Acheloos, the horn of plenty was created, bestowed open-handedly by the Roman Emperors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765109543-NJF7KJPXRTAPLA78U1TT/SSL_4509_College-Augustales_Chariot_sm.jpg 2019-11-Herculaneum - Detail of the Augustales Chapel wall showing the goddess of victory, Nike, the divine charioteer who flew above battlefields and gave glory to the victors. The Romans called her Victoria. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765173847-TMRC279AVI8950TF0UAR/SSL_4526_young+stayr_intrados-Forum+arch_II_crp_fr_sm.jpg 2019-11-Herculaneum - Detail of the stucco decoration of the intrados (lower or inner curve) of the four-sided arch at the entrance to the Forum, with reclining young satyr. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765248509-ZMUELFTOVRW4ST0NNOA8/SSL_4527-2_rosette_III_sm.jpg 2019-11-Herculaneum - Rosette design on of the four-sided arch at the entrance to the Forum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765262939-OVTQW4UFWDEGCBPCOK0X/SSL_4530_wall+painting+w-scene_sm.jpg 2019-11-Herculaneum - Casa Del Colonnato Tuscanico: Upper and middle section of wall fresco. The following three pictures highlight details of these walls. These walls are decorated in the Third Style of fresco that was developed between 20 BC and 40-50 AD and features a wall divided into three sections: the dado (lower part of the wall, below waist height), the middle section and the upper section. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588066846908-O4N808RH6W3VLDCBGKQE/SSL_4530_Casa+Del+Colonnato+Tuscanico-+w-griffin_III_sm.jpg 2019-11-Herculaneum - Casa Del Colonnato Tuscanico: Demeter, the Greek goddess of Agriculture was often depicted with the cornucopia overflowing with fruit. The cornucopia symbolized the never-ending supply of sustenance. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765302946-S4TIYN6CIKDHM4RN6TIW/SSL_4530_wall+painting_sm.jpg 2019-11-Herculaneum - Casa Del Colonnato Tuscanico: Drapery and garland motif in the upper area of the wall design and a mythological theme in the middle area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765323468-XTPAL7GLH5MCN3GYSW6O/SSL_4531_Hercules+leads+Geryon+bull+to+Eurystheus_5_FINALcrp2_sm.jpg 2019-11-Herculaneum - Casa Del Colonnato Tuscanico: Hercules (with club) delivers the cattle of Geryon to Eurystheus of Argos, who sacrificed the herd to the goddess Hera. [Refurbished via Adobe Photoshop] According to the legend of Hercules, while he was at Rhegium (today’s Reggio Calabria located on the tip of the toe of mainland Italy), a bull got loose and jumped into the sea. The bull swam to Sicily and then made its way to the neighboring country. The native word for bull was "italus," and so the country came to be named after the bull, and was called Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765379177-ZOVEOVM2ZYKQVDGA0GXP/SSL_4533_Decumanus%3DMaximus_sm.jpg 2019-11-Herculaneum - View of the Decumanus Maximus from the end of the Forum (west end). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765399867-49IBCI2GT1JSAL8YS4H9/SSL_4540_bottega+del+plumbarius-Bacchus-reprod-bronze_sm.jpg 2019-11-Herculaneum - Bottega del Plumbarius: At the moment of the eruption of Vesuvius, this was a metal shop. A nielloed bronze statue of "Bacchus with Panther" was found here, as it was being repaired at the time. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588152588708-UVNEHJ8MMEHOSD8KOYB2/SSL_4543_Casa+del+Salone+Nero_carbonized+wood_sm.jpg 2019-11-Herculaneum - Casa del Salone Nero: A broad entrance portal features the carbonized remains of the jamb and the door. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765446607-W2HTEFIFSMQLUZXCGU7V/SSL_4544_Casa+del+Salone+Nero-Atrium+and+Tablinum_PUTEAL_sm.jpg 2019-11-Herculaneum - Casa del Salone Nero: Through the entrance vestibule you enter the atrium with a central marble pool and a limestone pluteal. The area is paved in cocciopesto. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765466360-6NP9A9ZKB35TEX3JHCN2/SSL_4545_mosaic+tessarae_Tablinum_sm.jpg 2019-11-Herculaneum - Casa del Salone Nero: Portico paved with mosaic of black tesserae (i.e., small blocks of black stones) bordered by a double white band. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765531055-A13QXCWICAB4HSINO6JV/SSL_4546__Casa+del+Salone+Nero_PERISTYLE_sm.jpg 2019-11-Herculaneum - Casa del Salone Nero Perisyle: a continuous porch formed by a row stuccoed brick pillars with Doric capitals surrounding the perimeter of the courtyard. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765530978-ZGKUC5TLB2NHG94LZI0G/SSL_4549_wall+design-no-birds2_sm.jpg 2019-11-Herculaneum - Casa del Salone Nero: Detail of a wall fresco. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588197983973-YZM2MTASE166OQW94A5Q/SSL_4549_wall+design-w-birds2_crp_II.jpg 2019-11-Herculaneum - Casa del Salone Nero: Detail of fresco with architectural scene with animals and architectural designs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588190319943-B87M91XQWEB3DQO1QJLC/SSL_4557_cooking+hob_wooden+shelves_amphora_sm.jpg 2019-11-Herculaneum - Bottega di Generi Alimentari (Foodshop): Connected to the Casa di Nettuno e Anfitrite, we see a cooking hob (with grate), the split-level gallery, and the carbonized wood shelves for the amphorae. The amphorae leaning against the wall on the right were used for storing and pouring wine. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765599175-S7K3U8TF5X65ZFFU4BMC/SSL_4554_Amphorae+in+food+shop+_Casa+di+Nettuno-Anfitrite-2_crp_sm.jpg 2019-11-Herculaneum - Bottega di Generi Alimentari: The amphora has two expansive handles joining the shoulder of the body and a long neck and were used to store food, and drink, mostly wine. Amphorae with a pointed base allowed for upright storage by embedding in soft ground, such as sand, and for concentrated deposits from liquids with suspended solid particles, such as olive oil and wines. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765723335-3G0EHJ42AY1G2O12G4BX/SSL_4562_Neptune+and+bride+Aphitrite-Venus_mosaic_crp_sm.jpg 2019-11-Herculaneum - The Casa Di Neptune E Anfitrite was a two-story home. It features an outdoor triclinium (dining room) with a brilliantly colored mosaic of Neptune and his nereid wife, Amphitrite. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588210389694-XK62CESC03RC6VWQ36V8/image-asset.jpeg 2019-11-Herculaneum - Amphitrite, Salacia to Romans, married Neptune after being persuaded by Delphinus, the dolphin king, that her steadiness would balance Neptune's volatility and bring harmony in the sea and joy to all. The mosaic is on blue ground, framed with sea shells, portraying a tabernacle in which we can see the standing figures of Neptune and Amphitrite. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765771807-I92P42DTAZL8UTZZHZ8N/SSL_4564_Wall+frescoe-Casa+Neptune-Afritrite_sm.jpg 2019-11-Herculaneum - Birds fly around the garden and sit on the bird bath in this fresco painted on the right of the Neptune and Amphitrite mosaic. (I repaired some of the fissures to improve the continuity of the image.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765751500-HN4PX4N38KCVP4DIBCLI/SSL_4565-3_floral+design_3-fIn_sm.jpg 2019-11-Herculaneum - The floral fresco on the left of the Neptune and Amphitrite mosaic was totally disjointed; but using some of its elements I reconstructed and created this impressionist-type image. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765804244-0XHY80DZQ96HS5VQFNYK/SSL_4566_Triclinium+nymphaeum-mask-Maenad_Refurb2_sm.jpg 2019-11-Herculaneum - In the oecus (principle hall and dining room) of the Casa Di Neptune E Anfitrite is this elegant mosaic nymphaeum, i.e., a monument consecrated to the nymphs, especially those of spring. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765859854-ANAYMLFZUPBXVYWCW59Z/SSL_4569_Mask+of+Maenad_II_sm2.jpg 2019-11-Herculaneum - Atop the Casa Di Neptune E Anfitrite nymphaneum is this marble theatrical mask of Maenad, a female follower of Dionysus. As Baccus was the equivalent Roman god, the women were called Bacchae . Often the maenads (or bacchae) were portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765841146-Z5UGP2LLJ2IS95BAHO1W/SSL_4570_Theatre+mask_sm.jpg 2019-11-Herculaneum - Also atop the Casa Di Neptune E Anfitrite nymphaneum were two marble theatrical masks of an old man, functioning as acroterion (an ornament mounted on the corner). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588208938179-65NKS8CIEXX1G0NSW839/SSL_4568_wall+mask-w-horns.jpg 2019-11-Herculaneum - Casa Di Neptune E Anfitrite: High on the wall, above the nymphaneum, was a mask of Pan who ruled over shepherds, hunters and rustic music; worship of Pan centered in nature, often in caves or grottos. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765902702-3VWKJ2QDZWQQRDMEL161/SSL_4571_Triclinium+nymphaeum+-mask+Maenad__refurb3_sm.jpg 2019-11-Herculaneum - The nymphaeum is decorated in mosaic with polychrome vegetable motifs on a ground of Egyptian blue, and festoons with peacocks and deer pursued by hounds. The sides of the base of the nymphaeum are framed with sea shells. It has an arched central niche housing a statue base, and two rectangular niches on the sides. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765928398-FO6MU7WZIGHQTLVKR07F/SSL_4579_Women+Bath-Triton-oar_Cupid-whip_sm2.jpg 2019-11-Herculaneum - Baths of the Forum Women's Section: Changing room (apodyterium) features concrete seating, a shelve area above, and a white mosaic pavement bordered by a double black band. Privately owned slaves, or one hired at the baths, called a casparius, would look after belongings in the apodyterium while citizens enjoyed the pleasures of the baths. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765969860-SGE8JNP7712I35F1AX40/SSL_4582_triton+w-oar_WomenBath_2_sm.jpg 2019-11-Herculaneum - Changing room: Triton with an oar resting on his right shoulder and a wriggling fish in his left hand. Around him are a Cupid with whip, an octopus, a cuttlefish and four dolphins. View from above of the floor of the apodyterium of the Baths of the Forum Women's Section. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766090529-HB9YI7P6S3ZKA7U2PKY7/SSL_4595_labyrinth-squid_sm.jpg 2019-11-Herculaneum - Baths of the Forum Women's Section (apodyterium): Cuttlefish below Triton on the mosaic floor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766136047-6W9V4W6XNLWOFYR61TKE/SSL_4596_labyrinth-octopus_sm.jpg 2019-11-Herculaneum - Baths of the Forum Women's Section (apodyterium): Octopus below Triton and left of the cuttlefish on the mosaic floor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587765987346-NI2IN0PCAOSQJN7NNVWP/SSL_4583_Labyrinth+design_tepidarium-WomenBath_sm.jpg 2019-11-Herculaneum - Baths of the Forum Women's Section: Tepidarium (warm bathroom), was a rectangular room with stalls around the walls, a white-ground mosaic, with a labyrinth motif, picked out in black. The tepidarium is the warm (tepidus) bathroom of the Roman baths heated by a hypocaust or underfloor heating system. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766026217-A85KEZM5RNPBHUE4WIGK/SSL_4588_Labyrinth_spinner+design_sm.jpg 2019-11-Herculaneum - Baths of the Forum Women's Section - Tepidarium: in the center of each of the squares of the labyrinth design are symbols, e.g., this wheel-like figure. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766035052-SPAW4DH86TDQRHGW6CVG/SSL_4590_labyrinth-vase+design_sm.jpg 2019-11-Herculaneum - Baths of the Forum Women's Section - Tepidarium: in the center of each of the squares of the labyrinth design are symbols, e.g., this bird-like image. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766078082-N82GL3RMKHW72TLOBIG3/SSL_4592_labyrinth-neptune-fork_sm.jpg 2019-11-Herculaneum - Baths of the Forum Women's Section - Tepidarium: Posiedon's trident in the center of the square of the labyrinth mosaic design. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588222305050-TG56MO2AOZP99R2ZWJP1/SSL_4578._Casa+Samnitica_crp2_sm2.jpg 2019-11-Herculaneum - Casa Sannitica: The great portal, with Corinthian-Italic capitals in tuff leads into the vestibule. Tuff is a soft rock formed of compacted volcanic ash, sometimes including pumice and scoria. I found it ironic that Herculaneum used tuff, a volcanic-ash-based material for its buildings and then was destroyed by a volcano. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587810709209-GXFZK5BTMCTHL1LUSWWO/SSL_4622_Casa+Sannitica_sm.jpg 2019-11-Herculaneum - Casa Sannitica: The vestibule is decorated with a well preserved wall decoration of the First Style painted in different colors and raised using stucco to imitate marble blocks. First Style fresco painting was most popular from 200 BC until 80 BC. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587810740924-TOQKE9U4N7B47EMIM2Z3/SSL_4623-2_first+type+wall+painting+Herculaneum3_sm.jpg 2019-11-Herculaneum - Casa Sannitica: First Style wall fresco was referred to as well preserved but I thought it necessary to refurbish it so that I might see it as it looked in the first century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766172920-N0MO615LF848V0WZE3VU/SSL_4607_Samnite+House_sm.jpg 2019-11-Herculaneum - Casa Sannitica atrium paved in cocciopesto with rows of tesserae of white mosaic. In the center is the marble pool of the impluvium into which the rainwater was channeled. Also visible is the rear wall of the atrium with a large window of the tablinium and the upper loggia. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588280453472-MSJ664UON1EC61EHXFG9/SSL_4615_Samnite+house+wall_deer2_FIN.jpg 2019-11-Herculaneum - Casa di Sannitica: Wall painting - detail of two deer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766396493-UJG6O5516HE5DIFC7SLJ/SSL_4616_mosaic-tesserae-palombino2_sm.jpg 2019-11-Herculaneum - Casa Sannitica: The tablinium behind the atrium paved in cocciopesto decorated in white mosaic with a panel of diamonds, set within a square at the corners of which are palmettes between two dolphins. The whole is bordered by a double meander-style band. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587810707810-NT939CGEB9OI7WN3OUS0/SSL_4617_mosaic-tesserae-palombino5_sm.jpg 2019-11-Herculaneum - Casa Sannitica: Viewed from above, the tablinium floor designed with palombino (white) marble with diamond (lozenge) shaped sections. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766156131-D7AF5GHOK51J5XGWMJ1O/SSL_4604_Europa+and+Bull-Zeus_Samnite+House_2Refurb_sm.jpg 2019-11-Herculaneum - Casa Sannitica: In Greek mythology, Zues (Jupiter) transformed into a bull and carried Europa off from Phoenicia to Crete. There she bore him three sons, one of which was Minos, ruler of Crete. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766494760-VJ70BN70QQO2IWMBCWGU/SSL_4633_table+and+pool_sm.jpg 2019-11-Herculaneum - Casa del Tramezzo di Legno atrium with a table for offerings in white limestone and the marble pool of the impluvium; within the basin is a small column, which probably originally held a statue. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766514256-PS3JZ2KBKYR9UTVH3DBY/SSL_4646_casa+dell+erma+di+bronzo_workers_sm.jpg 2019-11-Herculaneum - Casa dell Erma di Bronzo: Herculaneum workers preparing the building in which a bronze helmet of the owner was found from the Claudian age (A.D. 14-68). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766624590-EJLG5JPEKU4FJCQBI82V/SSL_4651-2_bronze+bust+Herculaneum_sm.jpg 2019-11-Herculaneum - Bronze bust displayed in the Casa dell Erma di Bronzo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766631648-K8DWWCTPHCRF0QNPF7EE/SSL_4652_tilled+floor2_crp_REFURB3_sm.jpg 2019-11-Herculaneum - Casa Dell'Atrio A Mosaico: The pavement of the vestibule, which forms a single mosaic whole with that of the atrium is of white-black mosaic in squares of interwoven bands with varied motifs. Toward the back, to the atrium, is the checkered mosaic pavement deformed (undulated) by the weight of the volcanic material, and the pool of the marble impluvium. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587764381747-WOEH2A3ATVZ06S29K5FS/SSL_4427_Antica+Spiaggia_low-fornici-and-upper+-nonius+balbus_sm.jpg 2019-11-Herculaneum - View from above the ancient beach, the arcaded structures (fornici) at ground level supporting the sacred enclosure of Venus and the Palaestra of the Suburban Baths, with monument to M. Nonius Balbus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766844268-1G9HRSDX5N9EEN4T4LGZ/SSL_4683_statue_sm.jpg 2019-11-Herculaneum - The Suburban Baths: You enter the Baths from a rectangular courtyard serving as a palaestra with the monument to Augustan Age senator, M. Nonius Balbus, erected on the site where his body was cremated https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766950928-36D2DPA3C8W9F79UTUTR/SSL_4690_Nonius+Balbus+Cupid_sm.jpg 2019-11-Herculaneum - Suburban Bath courtyard (palaestra): As part of the monument (cenotaph) to M. Nonius Balbus, there are two sleeping marble cupids (one seen here) holding torches head downwards. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587812710608-LJP7VMP36Z7O8Q46XABF/SSL_4697-2_vase+original+wall_sm.jpg 2019-11-Herculaneum - The Suburban Baths: This section of fresco is an example of the damage to walls from over 2,000 years of wear and the Vesuvius eruption. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588287649520-H8QRCNDYP08ZHZVTQ52O/SSL_4697_vase-wallpainting_sm2.jpg 2019-11-Herculaneum - The Suburban Baths: I refurbished this vase from the previous wall fresco section to see what it might have looked like to the free citizens of Herculaneum as they walked through the Suburban Baths. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766739369-UCEPMYCPK149PVNTFCDB/SSL_4662_fornici+skeleton-rooms_sm.jpg 2019-11-Herculaneum - The Fornici: These vaulted spaces were the port warehouses (and used to shelter boats) located on the beach and contained 300 human skeletons of residents attempting to flee the eruption in 79 A.D. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766747617-NXDLHRWMC9E7ZHLZYBO1/SSL_4667_Fornici+skeletons+thermoblast_sm.jpg 2019-11-Herculaneum - Fornici: The people were killed by the heat of the first surge of scorching clouds of toxic smoke and ash traveling at a speed of over 60 miles per hour at a temperature of around 400 degrees. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587766860686-7RMOWUUVD11WY0TWNC6B/SSL_4678_fornici+three+skeletons_sm.jpg 2019-11-Herculaneum - Fornici: From analysis of Herculaneum people via the skeletons - there were more men than women, only 30% children and 10% older people; men stood 5'2", women 5'. Half the population showed signs of having performed heavy labor. Almost exclusively the males used their front teeth as working tools, possibly in relation to activities connected with fishing. The diet was prevalently vegetarian, completed with dairy products and fish. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587770972189-ZENCMS8DEMG2814HIXOP/SSL_4711_Casa+dei+Servi-garden_sm.jpg 2019-11-Herculaneum - Casa Dei Cervi belonged to Q. Granius Verus, an important resident of Herculaneum; it is built on an axis giving it the best possible exposure towards the superb panorama over the Gulf of Naples. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587767164735-V0WA59OS3W1MR0XB74ID/SSL_4706_statue+carry+grain+fountain_sm.jpg 2019-11-Herculaneum - Casa Dei Cervi: Marble statue of a satyr with a wineskin used as a fountain in the garden. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587767044321-ACBVHI9KS8PSJOJB2AOO/SSL_4705_drunken+hercules+fountain_sm.jpg 2019-11-Herculaneum - Casa Dei Cervi: Marble statue of Hercules drunk used as a fountain in the garden. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587782481180-BDKPNGDXBB6F23CU6949/SSL_4702-03_Casa+dei+Cervi-2stags+attacked+by+hounds_sm2+.jpg 2019-11-Herculaneum - Casa dei Cervi: Two marbles statues facing each other (closer than as actually presented) showing stag attacked by hounds in the garden. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587767182469-78CXFLEJ0QW9FLATGH3E/SSL_4707_fruit+basket__Casa+dei+Cervi_fr_FINAL_sm.jpg 2019-11-Herculaneum - Casa dei Cervi: Basket of Fruit - fresco on the wall of the cryptoportico surrounding the garden. A cryptoportico is a covered corridor or passageway built as a semi-subterranean gallery whose vaulting supports portico structures aboveground and which is lit from openings at the tops of its arches. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587770915626-2BQH1KXEWNP7JINFBR7X/SSL_4708_wall+border+design_sm.jpg 2019-11-Herculaneum - Casa dei Cervi: Design on the wall of the cryptoportico surrounding the garden. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587770917032-9TYVR01YPFFC3BLDP27S/SSL_4709_Basket+dates+figs+walnuts+Casa+dei+Cervi_Refurb_II_sm.jpg 2019-11-Herculaneum - Casa dei Cervi: Basket of Figs and Walnuts - fresco on the wall of the cryptoportico surrounding the garden. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588303051968-DK0I1VL2DZTYFDDYUHHK/SSL_4718_thermopolium_crp_sm2.jpg 2019-11-Herculaneum - Themopolium: The L-shaped counter, enclosing eight large terracotta jars for food and drinks, is still perfectly preserved. At the end are small shelves to hold drinking vessels. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587770977634-JFCJQVIFRBEHRBSBYOU3/SSL_4716_thermopolium_3vats_sm.jpg 2019-11-Herculaneum - Thermopolium: Three of the eight large terracotta jars (dolia) to hold food and drink. At the back of this room was another where people ate. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587771033302-4SP52PW87WJK5IEFS185/SSL_4720_Herculaneum+Walk_C_crp_sm.jpg 2019-11-Herculaneum - Casa del Gran Portale: The entry is adorned with the reutilized Republican capitals of grey tuff decorated with winged Victories. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588306538717-BG209Y1L2PS322SWOR67/SSL_4720_winged+female+genie_Casa+Del+Gran+Portale+entrance_crp.jpg 2019-11-Herculaneum - Casa Del Gran Portale: The tuff capitals were repositioned after the earthquake of 62 AD. Here is the best of the two winged female genies carved on the tuff capitals of the entry columns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587771090479-UY6CRUINIQYXOY2C3SRT/SSL_4724-2_bird-w-cherries_sm.jpg 2019-11-Herculaneum - Casa del Gran Portale: Fresco of Bird with Cherries https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587771091126-TRVBLS48URO4HUCTKNCC/SSL_4725_wall+design+diaeta-Casa+del+Gran+Portale+rt_4Fin_sm.jpg 2019-11-Herculaneum - Casa del Gran Portale: Third Style fresco wall painting in the diaeta (i.e., an apartment used for dining and for other purposes of life). A diaeta appears to have been smaller than the triclinium. Diaeta is also the name given to rooms containing three or four bed-chambers (cubicula). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587771152116-T4K1CZ6DOFHT8OD5GYOL/SSL_4730_marble+tessarae+mosaic+floor_FIN_sm.jpg 2019-11-Herculaneum - Casa del Gan Portale: Marble floor design surrounded by a three-wide band of black and then white marble tesserae. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587818163439-FAF5R6EFH8ZXUYIUYABQ/SSL_4750_Modern+Herculaneum_sm.jpg 2019-11-Herculaneum - Corso Resina, a nearby street in modern Ercolano (Herculaneum), Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1587815788903-VRROJ3VT8GAJU6VRTLKP/SSL_4753-2_Hotel+Herculaneum_sm.jpg 2019-11-Herculaneum - The Herculaneum ruins were visible across the street from our room window in the Heruclaneum Hotel & Maison, 230, 80056 Ercolano NA, Italy. The Hotel food was beyond excellent. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1588319089897-0GH8I4C0E2914OD6P7UH/IMG_3038_Herculaneum+breakfast+cake_3.jpg 2019-11-Herculaneum - Special breakfast cake called Sfogliatella, which is baked daily on the premises, with sugared coffee design made by the wonderful kitchen staff at the Herculaneum Hotel and Maison. http://www.sslanzilotti.com/201911pompeii daily 0.75 2020-12-02 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592784493250-8MS4V1DUA4T1ADABQIST/P1160055_Eruption+Vesuvius+79AD_sm.jpg 2019-11-Pompeii - Vesuvius Eruption Reconstruction of the eruption of Vesuvius in 79 A.D. which destroyed not only Pompeii but all forms of life from Herculaneum to Stabiae. Pompeii was founded in the 8th century B.C. by the Oscans, a people from south central Italy. The Greeks, the Etruscans, the Samnites, and finally the Romans found Pompeii, a port for the passage for goods that arrived by sea and had to be sent toward Rome or Southern Italy along the nearby Appian Way. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592784493250-8MS4V1DUA4T1ADABQIST/P1160055_Eruption+Vesuvius+79AD_sm.jpg 2019-11-Pompeii - Vesuvius Eruption Reconstruction of the eruption of Vesuvius in 79 A.D. which destroyed not only Pompeii but all forms of life from Herculaneum to Stabiae. Pompeii was founded in the 8th century B.C. by the Oscans, a people from south central Italy. The Greeks, the Etruscans, the Samnites, and finally the Romans found Pompeii, a port for the passage for goods that arrived by sea and had to be sent toward Rome or Southern Italy along the nearby Appian Way. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592976056006-NBGQNOGDX289CSN7T7JH/The+Last+Day+of+Pompeii+%C2%A0Karl+Bryullov%C2%A01830-1833.jpg 2019-11-Pompeii - The Last Day of Pompeii The Last Day of Pompeii, a large history painting by Karl Bryullov produced in 1830–1833 on the subject of the eruption of Mount Vesuvius in AD 79. Briullov visited Pompeii in 1828 and made sketches depicting the AD 79 Vesuvius eruption. The painting inspired an anthologic poem by Alexander Pushkin, and the novel The Last Days of Pompeii by Edward Bulwer-Lytton. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592786611873-98W6WXLVF3NIZJCNCVTI/SSL_4761_Porta+Marina_dist_sm.jpg 2019-11-Pompeii - Enter Ancient Pompeii via Porta Marina Porta Marina is the ancient gate through which one now enters Pompeii. A steep paved ramp leads to the gates’s two archways: the left-hand arch was for pedestrians and the right-hand one for animals and light carts carrying salt and fish from the sea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592786615625-SGR5FA9VE3EZP29UQXIO/SSL_4762_Porta+Marina+walkway_ref_sm.jpg 2019-11-Pompeii - Road from Porta Marina Opening to the city of Pompeii. The road for carts continues upwards, under the one large vault, today leading to the entrance of the Antiquarium, a museum and visitor center where you can journey through the history of the city from its origins in the 6th century BC to the eruption of AD 79, via exhibitions of finds and multimedia installations. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593837580462-MD37QTPXV2TI5B2GTB0J/Pompeii+Antequarium.jpg 2019-11-Pompeii - Antiquarium of Pompeii The Antiquarium of Pompeii (upper right of the Porta Marina entrance) was inaugurated by Giuseppe Fiorelli in c.1864, enlarged by Amedeo Maiuri in 1926, closed following the earthquake of 1980, and reopened In 2016, after 36 years of closure. Fiorielli produced a three volume work entitled History of Pompeian Antiques (1860–64). and was director of excavations (1860–75), serving concurrently as director of the Naples National Archaeological Museum from 1863. Maiuri was the first to conduct systematic scientific excavations, analysis and publication at Pompeii and other sites around Vesuvius. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906212475-34SIEENKSXK2NCYAL7SX/SSL_4817_animal+fresco_casa+dii+rittolemo_sm.jpg 2019-11-Pompeii - Animal Fresco (Antiquarium Museum) The Pompeii Antiquarium is a small museum that showcases the site's archaeological finds and explores various aspects of ancient Roman culture, e.g., this fresco of various animals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906290856-QL0HH477NPRLBO3PX3BP/SSL_4824_Oil+Lamp-Jupiter+and+eage_JJM_Rufus_sm.jpg 2019-11-Pompeii - Jupiter Oil Lamp (Antiquarium Museum) An oil lamp with Jupiter and an Eagle on the handle and Jupiter, Juno and MInerva in the central part, found in the House of Marcus Fabius Rufus, second half of the 1st century CE. The three deities who are most commonly referred to as the "Capitoline Triad" - Jupiter, the king of the gods; Juno (in her aspect as Iuno Regina, "Queen Juno"), his wife and sister; and Jupiter's daughter Minerva, the goddess of wisdom. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906210726-YY8NCTRBNH7JK0PK07AE/SSL_4819_two+female+faces_Casa+di+Romolo+e+Remo_sm.jpg 2019-11-Pompeii - Phaedra Fresco (Wall painting in the Antiquarium) Phaedra was married to Theseus, who had kidnapped her after abandoning her sister Ariadne. Phaedra fell in love with Hippolytus, Theseus's son by another woman. Hippolytus rejected her. In revenge, Phaedra wrote Theseus a letter that claimed Hippolytus had raped her. Theseus got angry and cursed Hippolytus with one of the three curses he had received from Poseidon. As a result, Hippolytus's horses were frightened by a sea monster and dragged their rider to his death. In one version of the story, Phaedra's nurse told Hippolytus of her love, and he swore he would not reveal her as a source of information. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906274601-XDY5BEOSGP7XLYXGW2B7/SSL_4822_Mercury+w+bag+coins_crp_House+of+Marcus+Fabius+Rufus-1CE+.jpg 2019-11-Pompeii - Hercules' Ninth Labor (Antiquarium Museum) Small bronze statue of Hercules possibly a presentation of his Ninth Labor: Obtain the Girdle of Hippolyta (carried in his left hand), Queen of the Amazons . https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906356308-NLAYTBHKLJLOJ7IYX8S1/SSL_4827_Table_cupid-w-trident_Rufus_sm.jpg 2019-11-Pompeii - Cupid Holding a Trident (Antiquarium Museum) Table with Cupid holding a trident from the House of Marcus Fabius Rufus now displayed in the Pompeii Antiquarium.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906558905-HE9PP54HGQAH049RVW9O/SSL_4839_man+lying+on+stomach-covered_sm.jpg 2019-11-Pompeii - Giuseppe Fiorelli and Plaster Casts (Antiquarium Museum) Plaster cast of a man lying on his stomach, possibly asleep, as hot ash flowed down from Mount Vesuvius. The heat of the eruption turned the victim’s brain into glass. As Pompeii was buried under 8 to 9 feet of material, bodies were encased in layers of hardened pumice and ash. Giuseppe Fiorelli (1823-1896), the Italian archaeologist, and his team found that their decayed corpses left voids. They poured plaster into the cavities, creating plaster casts of the impression in the ash. The plaster casts of the men, women, children, and animals of Pompeii were primarily made in the mid 1800s. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906447770-C0X2N7K4RCOQ4XTI8PM4/SSL_4834_Father-child-Home+of+Golden+Bracelet_sm.jpg 2019-11-Pompeii - Fugitives from the House of the Golden Bracelet (Antiquarium Museum) On display are plaster casts of a group of four fugitives, a reference to the doomed locals’ attempts to flee disaster, that were found in a corridor of the lower level of the House of the Golden Bracelet. Pictured here are two of the individuals, one identified as a woman because of the golden bracelet that she wore on her right arm, and the other a child. Nearby was a man. Also, a short distance away, a very young victim of about four years of age was found. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593143243637-BSYEZXB0EZ5QU15M72B2/Golden+Bracelet+w+Goddess+Luna2.jpg 2019-11-Pompeii - House of the Golden Bracelet A Golden Bracelet with serpent heads grasping a disc with the bust of the goddess of the moon, Luna (the Greeks called her Selene) found on the arm of the woman pictured above. According to the Greeks, the moon is associated with love and unattainable beauty. Since it grows large and small, it is also a symbol of time, change, and repetitive cycles such as birth and death or creation and destruction. (Photo courtesy of Buzz Ferebee) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906462129-QXC6JCAXCKUIGYJPYR0E/SSL_4835_cast+of+reclined+sitting+man++chest_sm.jpg 2019-11-Pompeii - Fugitive from the House of the Golden Bracelet (Antiquarium Museum) Plaster casts of the male family member from lower area of the House of the Golden Bracelet. Archaeologists have found that the bodies of the Pompeii victims remained largely intact. Based on how bones were damaged and various metals melted, forensic anthropologists figure that many of the people died suddenly of extreme thermal shock upon experiencing a pyroclastic surge no hotter than 572°F. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906535132-LA36BY75NK6UUZGHV2B5/SSL_4836_child+cast_house+of+Golden+Bracelet_sm.jpg 2019-11-Pompeii - Child Fugitive from the House of the Golden Bracelet (Antiquarium Museum) To create the preserved bodies at Pompeii, plaster was poured into soft cavities in the ash, which were about 30 feet beneath the surface. These cavities were the outlines of bodies, and they retained their forms despite the soft tissue decomposing over time. The plaster filled in the spaces formerly occupied by soft tissue. The cavities the bodies left were soft spots that still held the bones of the cadavers. When the plaster filled the soft ash, the bones were enclosed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906620449-Y5RA9FDA4NXUTJWO2MPR/SSL_4840_bracelet_V_sm.jpg 2019-11-Pompeii - Bracelet (Antiquarium Museum) Bracelet with inscription. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906633164-ENKLOU3XCU1AQ9YVUSAV/SSL_4843_skull+shelves_sm.jpg 2019-11-Pompeii - The Skull Shelf (Antiquarium Museum) Skulls of the people of Pompeii On the eve of that fateful eruption in 79 A.D., scholars estimate that there were about 12,000 people living in Pompeii and almost as many in the surrounding region. A “pyroclastic surge” – a 100-miles-per-hour surge of superheated poison gas and pulverized rock–poured down the side of the mountain and swallowed everything and everyone in its path. By the time the Vesuvius eruption sputtered to an end the next day, Pompeii was buried under millions of tons of volcanic ash. About 2,000 Pompeiians were dead, but the eruption killed as many as 16,000 people overall. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906718865-CNCQZNEADOLO4QJOFMW6/SSL_4845_three+skulls+15+and+21_sm.jpg 2019-11-Pompeii - Numbered Skulls (Antiquarium Museum) About 3/4 of Pompeii’s 165 acres have been excavated, and some 1,150 bodies have been discovered out of an estimated 2,000 thought to have died in the disaster. This means that the vast majority of the city of 20,000 fled at the first signs of the volcanic activity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906787999-WY0JISYCZM2RWT24QA2V/SSL_4846_animal+skull_sm.jpg 2019-11-Pompeii - Animal Skull (Antiquarium Museum) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593159493791-L7KXZ6UE0JEQM4VP2MLG/worker+and+horse+pompeii.jpg 2019-11-Pompeii - Plaster Cast of a Horse (Antiquarium Museum) Restorers managed, for the first time, to make a cast of the complete body of a horse that was killed in the eruption and found in an area identified as a stable, "complete with the remains of a trough." Based on the remains of its skeleton, measuring around 4.9 feet tall at the withers, it would have been exceptionally large for its time. Given the horse’s size and the traces of a harness in valuable iron and bronze found by its head, experts suggest that the animal was a specially bred parade horse, probably of considerable value. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906806663-6AKB3D9GIT0Z92CISY3W/SSL_4847_reclining+woman_sm.jpg 2019-11-Pompeii - Maenad Fresco (Antiquarium Museum) Fresco of a reclining Maenad. In Greek mythology maenads were the female followers of Dionysus and the most significant members of the Thiasus, the god's retinue. Their name literally translates as "raving ones." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593222053064-O1BX6T6NRT35D1ZMIDFP/Maenad+and+satyr.jpg 2019-11-Pompeii - Maenad and Young Satyr Wall painting of “Maenad and Young Satyr,” found in the large triclinium with a vaulted ceiling in the House of the Golden Bracelet. Often the maenads were portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication. During these rites, the maenads would weave ivy-wreaths around their heads or wear a bull helmet in honor of their god, and often handle or wear snakes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906863897-CT6DUNF7XMBZAVX1I8TD/SSL_4853_bronze+fountain+crow+and+birds_sm.jpg 2019-11-Pompeii - Bronze Fountain Decorative Element (Antiquarium Museum) Decorative element of bronze fountain with crow and two birds on a branch found in the House of Marcus Fabius Rufus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906884535-XJSQWS8SHN50ISH0XS7B/SSL_4855_Marble+Sundial_Marcus+F+Rufus_sm.jpg 2019-11-Pompeii - Roman Sundial (Antiquarium Museum) Marble sundial from the House of Marcus Fabius Rufus, 1st century CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592906943709-TFHRMGEAJ5SHPVF0G3RE/SSL_4857_oil+lamp+feminine+face_house+golden+bracelet_sm.jpg 2019-11-Pompeii - Oil Lamp in Bronze (Antiquarium Museum) Oil lamp in bronze with feminine face on the bottom part of the handle. On the right is the seal of Marcus Fabius Rufus, which according to the information provided in the Antiquarium, was found in this house. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593076910396-TU4JHB7KGKRV8KTXABR2/SSL_4858_Daedalus-Pompeii-Mt+Range_sm.jpg 2019-11-Pompeii - "Daedalus" by late Polish artist Igor Mitoraj The monumental sculpture, Daedalus, stands at the entrance of the ancient city of Pompeii near the Temple of Venus looking over the valley to the new city of Pompeii. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593076919064-66CVAO09WBP5ORHMBV0U/SSL_4859_Daedalus+over+the+valley_sm.jpg 2019-11-Pompeii - Daedalus Daedalus was a craftsman and artist in Greek mythology, who had two sons, Icarus and Iapyx. He is best known as the creator of the Labyrinth, a huge maze located under the court of King Minos of Crete, where the Minotaur, a half-man half-bull creature dwelt. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593076957975-WAJSKE9YR9UU2O5VTOOJ/SSL_4864_Daedalus_rt_e-small+head+inside_sm.jpg 2019-11-Pompeii - Daedalus and Icarus Daedalus was kept imprisoned in a tower in Crete, so that the secret of the Labyrinth he created would not be spread to the public. In order to escape, Daedalus created two sets of wings for himself and his young son Icarus, by using feathers and glueing them together with wax. He warned Icarus not to fly too high as the sun would melt the wax, nor too low as the sea water would soak the feathers. They jumped off the window of the tower and started flying towards freedom. Icarus started flying higher and higher, thus causing the wax on his wings to melt; he fell into the sea and drowned. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593847231940-UYX16Y28NRN0T0MKQ0CH/Forum+and+surroundings+rendering_07_02_id.jpg 2019-11-Pompeii - The Forum Area This rendering of the 1st century Forum, a large open space of an oblong shape, surrounded by buildings, houses, temples, basilicae, and porticos. The Forum was the center of the political, economic and religious life of Pompeii, and access to it was restricted to pedestrians. Inside the open space, on the north end, is the Temple of Jupiter. On the left and perpendicular to the southwest corner of the Forum is the Basilica and to its north the Temple of Apollo, its long side adjacent to the Forum’s portico. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592796883027-95LP4252NG4KIKRP1LCX/SSL_4765_Basilca+from+Tribunal+colonnade_crp_sm.jpg 2019-11-Pompeii - Basilica of Pompeii (11/2020) The Basilica of Pompeii, which is the oldest known basilica of the Roman world, was built between 120 and 78 B.C. Today, looking east from the remains of the Basilica and Tribunal building toward the Forum, we see the remnants of the 28 columns of the Basilica that once supported a roof that covered the colonnade. The peristyle of 28 fluted Corinthian columns, each 3ft, 7in in diameter and about 32ft high, created a splendid courtyard. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592796792869-KVZIZRLPR0TVT41VSJUY/SSL_4764_P1150986_Basilica+and+Tribunal_sm.jpg 2019-11-Pompeii - Pompeii Basilica (Rendering as it was in the 130-120 BC A Basilica (which means kingly or royal) was used as a site for court hearings, as well as to gather large groups to discuss business and legal matters and to hold official or public functions. It was for this purpose that in the 1st century A.D. the Tribunal was aded in the rear of the Basilica. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592903869591-8I2PJVXNF0HLMUMIVMP9/SSL_4768_Tribunal-w-1st+style+decor_sm_crp.jpg 2019-11-Pompeii - Basilica and Tribunal In the first century A.D. the Basilica became the the seat of the law courts (handing down civil and commercial judgements). It was then that the Tribunal (seen here in the rear of the photo) was built. It was an elegant two-level structure on the wall inside the Basilica building. In front of the Tribunal is what may have been the base of an equestrian statue of he Emperor Augustus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592978091706-WLT5637SMYVJXYODRYQO/Twelve-Tables_law_300.jpg 2019-11-Pompeii - Twelve Tables of Roman Law (c. 439 BC) Roman Law at the time of Pompeii was coded in the Twelve Tables. I found them most telling about the society AND interesting. I believe some of these laws would have actually altered the outcomes of current events in USA over the past year, e.g., Table 1, numbers 1 to 9. Table I. 1. If anyone summons a man before the magistrate, he must go. If the man summoned does not go, let the one summoning him call the bystanders to witness and then take him by force. 2. If he shirks or runs away, let the summoner lay hands on him. 3. If illness or old age is the hindrance, let the summoner provide a team. He need not provide a covered carriage with a pallet unless he chooses. 4-5. Let the protector of a landholder be a landholder; for one of the proletariat, let anyone that cares, be protector. 6-9. When the litigants settle their case by compromise, let the magistrate announce it. If they do not compromise, let them state each his own side of the case, in the comitium of the forum before noon. Afterwards let them talk it out together, while both are present. After noon, in case either party has failed to appear, let the magistrate pronounce judgment in favor of the one who is present. If both are present the trial may last until sunset but no later. Table II. 2. He whose witness has failed to appear may summon him by loud calls before his house every third day. Table III. 1. One who has confessed a debt, or against whom judgment has been pronounced, shall have thirty days to pay it in. After that forcible seizure of his person is allowed. The creditor shall bring him before the magistrate. Unless he pays the amount of the judgment or some one in the presence of the magistrate interferes in his behalf as protector, the creditor so shall take him home and fasten him in stocks or fetters. He shall fasten him with not less than fifteen pounds of weight or, if he choose, with more. If the prisoner choose, he may furnish his own food. If he does not, the creditor must give him a pound of meal daily; if he choose he may give him more. Table IV. 1. A dreadfully deformed child shall be quickly killed. 2. If a father sell his son three times, the son shall be free from his father. 5. A child born after ten months since the father's death will not be admitted into a legal inheritance. Table V. 1. Females should remain in guardianship even when they have attained their majority. Table VI. 1. When one makes a bond and a conveyance of property, as he has made formal declaration so let it be binding. 5. Usucapio of movable things requires one year's possession for its completion; but usucapio of an estate and buildings two years. 6. Any woman who does not wish to be subjected in this manner to the hand of her husband should be absent three nights in succession every year, and so interrupt the usucapio of each year. Table VII. 1. Let them keep the road in order. If they have not paved it, a man may drive his team where he likes. 9. Should a tree on a neighbor's farm be bend crooked by the wind and lean over your farm, you may take legal action for removal of that tree. 10. A man might gather up fruit that was falling down onto another man's farm. Table VIII. 2. If one has maimed a limb and does not compromise with the injured person, let there be retaliation. If one has broken a bone of a freeman with his hand or with a cudgel, let him pay a penalty of three hundred coins If he has broken the bone of a slave, let him have one hundred and fifty coins. If one is guilty of insult, the penalty shall be twenty-five coins. 3. If one is slain while committing theft by night, he is rightly slain. 4. If a patron shall have devised any deceit against his client, let him be accursed. 5. If one shall permit himself to be summoned as a witness, or has been a weigher, if he does not give his testimony, let him be noted as dishonest and incapable of acting again as witness. 10. Any person who destroys by burning any building or heap of corn deposited alongside a house shall be bound, scourged, and put to death by burning at the stake provided that he has committed the said misdeed with malice aforethought; but if he shall have committed it by accident, that is, by negligence, it is ordained that he repair the damage or, if he be too poor to be competent for such punishment, he shall receive a lighter punishment. 12. If the theft has been done by night, if the owner kills the thief, the thief shall be held to be lawfully killed. 13. It is unlawful for a thief to be killed by day....unless he defends himself with a weapon; even though he has come with a weapon, unless he shall use the weapon and fight back, you shall not kill him. And even if he resists, first call out so that someone may hear and come up. 23. A person who had been found guilty of giving false witness shall be hurled down from the Tarpeian Rock. Table IX. 4. The penalty shall be capital for a judge or arbiter legally appointed who has been found guilty of receiving a bribe for giving a decision. 5. Treason: he who shall have roused up a public enemy or handed over a citizen to a public enemy must suffer capital punishment. 6. Putting to death of any man, whosoever he might be unconvicted is forbidden. Table X. 1. None is to bury or burn a corpse in the city. 3. The women shall not tear their faces nor wail on account of the funeral. Table XI. 1. Marriages should not take place between plebeians and patricians. Table XII. 2. If a slave shall have committed theft or done damage with his master"s knowledge, the action for damages is in the slave's name. 5. Whatever the people had last ordained should be held as binding by law. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592985456360-MQXXZON4GSIIJ2ILRREU/ancient-rome-divorce-granger.jpg 2019-11-Pompeii - Divorce Court in the Tribunal According to the Law of the Twelve Tables, divorce in marriage with manus, was always possible at the instance of the husband; in marriage without manus, either party was able to put an end to the relationship at will. It would seem this picture portrays a divorce of marriage with manus based on the woman’s body stance and look on the her face. Basically, in Roman law, autocratic power of the husband over the wife, corresponded to patria potestas, i.e., the power of the head of a Roman family over his wife, children, kin descendants, slaves, and freedman, always embracing complete control over the limited personal and private rights and duties of all members of the family. A daughter ceased to be under her father’s potestas if she came under the manus (autocratic power of the husband over the wife) of her husband. By the time of the Twelve Tables (451–450 BC), it was possible to be married without manus, so that the wife remained under her father’s potestas if he was still alive. In marriage without manus, the property of the spouses remained distinct. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592991254084-HVB4AACPIMXZ3TG5UXSQ/slave+in+Roman+era.jpg 2019-11-Pompeii - Slavery in Pompeii (Fresco) The legal state of slaves was based on the fact that the slave was not a subject but an object of law. A master had the right of ownership over the slave. He could sell him, give him in pawn but certainly could not harm or kill him. If someone injured his slave, a master could initiate legal proceedings and demand protection. The ownership over the slave was called dominica potestas, and not dominium like the ownership of objects and animals. After the Punic wars (264 B.C to 146 B.C.), Rome started the mass exploitation of slaves. However, the development of industry, trade and other branches of economy required skilled free workers that took interest in their jobs. A slave could get free by the act of manumission, by which a master would release him from his authority. Manumissions were different in different epochs. According to Roman law, slaves that were freed (libertinus, in regard to his master libertus) became Roman citizens, but they had many fewer rights than Roman citizens that were born free (ingenuus). The slave's former master now became his patron (patronus), and the libertus still had obligations towards him (this was regulated by law). The libertus had to be obedient and respectful to his patron (obsequium et reverentia). The patron could punish a disobedient libertus, In older times he could even kill him (ius vitae necisque), but later he could not. In some circumstances he could even ask a magistrate to turn the libertus into a slave once again (accusatio ingrati). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592797418244-19K3UESWTHY1YJDXIT0O/SSL_4801_House+of+Championnet_sm.jpg 2019-11-Pompeii - The House of Championnet Traveling up Via Marina to the entrance to the House of Championnet with its display of artifacts that were found in and around the house area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592797413848-Z6MI1Z9L63GC4WW4P3F8/SSL_4802_stone+mosaic+sidewalk+Championnet+House_FIN_sm2.jpg 2019-11-Pompeii Inlay design on pavement in front of doorway of House of Championnet. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792316195-XY6340E7OR55VXN6WO9K/SSL_4772_face+young+boy-marble_P_crp.jpg 2019-11-Pompeii - Grandchild of the Emperor (House of Championnet) Marble head of boy found in the House of Championnet, Pompeii, 1st century, CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792278919-7XE26VCZ758G0EV6GSJ9/SSL_4773_Mercury+carry+moneybag_crp_sm.jpg 2019-11-Pompeii - Mercury Carrying a Money Bag (House of Championnet) Mercury is the god of financial gain, commerce, eloquence, messages, communication (including divination), travelers, boundaries, luck, trickery and thieves; he also serves as the guide of souls to the underworld. His name is possibly related to the Latin word merx ("merchandise"; cf. merchant, commerce, etc.), mercari (to trade), and merces (wages). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792338664-UUAPC75DLI66WFJT3654/SSL_4774a_Odysseus+returns+to+Ithica-1st-c-CE.jpg 2019-11-Pompeii - Odysseus Return to Ithica (House of Championnet) Fragment of the fresco, “Odysseus Return to Ithica,” 1st-century-CE. The fresco was found the 31st December 1973, outside of the wall of the third room under the House of Championnet. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792368311-QRMV3C42IPPBDCVSSIP3/SSL_4774b_Fresco+Fragment-Cupid_1c-CE_P_FIN.jpg 2019-11-Pompeii - Fresco (House of Championnet) Fragment of fresco with cupid carrying a large object on the left shoulder, perhaps a cornucopia, found in the lower floors of the House of Championnet. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792407843-Y8WPCVE2QILEZCJVDY4L/SSL_4781_Marcellus-Nephew-of-EmperorAugustus_sm.jpg 2019-11-Pompeii - Marble Head (House of Championnet) Marcellus, nephew of Emperor Augustus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792402801-YF63AJC6W7071MMD10RQ/SSL_4783_bone+items-hairpin_clothing_sm.jpg 2019-11-Pompeii - Bone Personal Items (House of Championnet) Hairpins in worked bone, used for garments or hairstyles found at the House of Championnet, 1st century, CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792426638-1AFN28OFAKFX99DRH9QS/SSL_4786_spindle-w-sm-disk+for+weaving.jpg 2019-11-Pompeii - Personal Artifacts (House of Championnet) Spindle with a small disk for weaving, found in the House of Championnet, 1st century CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792477052-YIMK3QNSNYNXG4H1NVYB/SSL_4788_oil+lamp+with+lion+decor.jpg 2019-11-Pompeii - Terracotta Lamp (House of Championnet) Terracotta lamp with depiction of a lion. Found in an area south of the house of Championnet, 1st century CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792512708-QOT6NBUM52OJCZP0OCM8/SSL_4790_Beads-House+of+Championnet.jpg 2019-11-Pompeii - Necklace (House of Championnet) Elements of a glass paste necklace found in an area south of the House of Championnet, 1st century CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593907583085-OA0K5E3P488755Y38GAN/SSL_4789_oil+lamp+w-Jupiter+and+Eagle_crp.jpg 2019-11-Pompeii - Terracotta OIl Lamp (House of Championnet) Terracotta oil lamp decorated with Jupiter and an eagle. Found in an area south of the House of Championnet, 1st century CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792525365-GWYP94L4S9ZQC6VU02D1/SSL_4791_jade+vessel-House+of+Championnet.jpg 2019-11-Pompeii - Glass Bottle (House of Championnet) Small green glass bottle.found in an area south of the House of Championnet, 1st century CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792576370-N3V9YWYLWS0BRCTVHW7W/SSL_4792_vessels-vessel-House+of+Championnet_sm.jpg 2019-11-Pompeii - Vessels (House of Championnet) Vessels from the House of Championnet from excavations conducted in the area since the 1930’s. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792559659-93CN6H8VCSEDIZH3X625/SSL_4792c_oil+lamp+on+swtnd+Championnet_bl.jpg 2019-11-Pompeii - Oil Lamp (House of Championnet) Oil lamp on stand, up 1st century CE, displayed in the House of Championnet. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792639885-M0JRKR3OKKJF745CEC0S/SSL_4796_oil+lamp+head_house+of+championnet_sm.jpg 2019-11-Pompeii - OIl Lamp (House of Championnet) Oil lamp sitting on stand from the House of Championnet, 1st century CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792613572-IPRWWTHBBFBF7VB3B3WS/SSL_4794_OLLA+b_FIN_sm.jpg 2019-11-Pompeii - Olla (House of Championnet) Olla for boiling in bronze conserving the lapilli of the eruption. Found in the area south of the House of Championnet, 1st century CE. Lapilli are spheroid-, teardrop-, dumbbell- or button-shaped droplets of molten or semi-molten lava ejected from a volcanic eruption that fall to earth while still at least partially molten. These granules are not accretionary, but instead the direct result of liquid rock cooling as it travels through the air. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592792644569-123HI0Z7YFHIHDAEXJGA/SSL_4797b_bronze+artifacts+House+of+Championnet_P.jpg 2019-11-Pompeii - Bronze Artifacts (House of Championnet) The shelf shows a bronze needle, a bronze jug with female face, a small bronze amphora decorated with theatre masks and three bronze cups. The bronze artifacts are from the House of Championnet, 1st century CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592817612172-8UYBO6AWBADQLRX24WEU/SSL_4806_Ionian+col+Temple_crp_sm.jpg 2019-11-Pompeii - Temple of Apollo From the present day picture of the Temple of Apollo we see the remains of the surrounding portico of Corinthian columns with a travertine stone altar at the foot of the long flight of stairs and a sundial slightly to one side. The Temple was erected by the Samnites in 120 B.C. on a site which the Greeks had consecrated to Apollo’s worship as early as the 5th century B.C..During the reign of the Emperor Nero after the earthquake of 62 A.D. the columns and beams were embellished with stucco work, only a few remains of which are now visible. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592784658049-EMFGES6VQL5ZUY6P8BQ6/P1150996_Temple+of+Apollo_sm.jpg 2019-11-Pompeii - Temple of Apollo A rendering of The Temple of Apollo and sacred enclosure as it appeared 2,000 years ago. A typical Italic temple, it is distinguished by a high podium and deep pronaos (vestibule in front of a classical temple, enclosed by a portico and projecting sidewalls) with a greater distance between front columns and center. In front of it is the marble altar and the Ionic column on which was a sundial. All around is a portico with states of gods and basins for sacrificial water. Visible on the right is a statue of Apollo holding a bow and arrow. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592817695290-S7CZHNACL0K2YF8OLFTU/SSL_4810_Ionic+col+w-Sundial_Apollo_sm.jpg 2019-11-Pompeii - Temple of Apollo Located in the forum (market place), The Temple of Apollo is the town's most important religious building and has ancient origins. The cult of Apollo, imported from Greece, was present in Pompeii since the 6th century B.C. The sanctuary's present appearance dates from its 2nd-century BC rebuild, and a further reconstruction to repair damage from the 62 earthquake, repairs which were left incomplete at the time of the eruption. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593049401675-VS714KN0DG25H90MX17W/SSL_4869_Sancturary+of+Apollo_Vesuvius_sm_crp.jpg 2019-11-Pompeii - Marble Altar of The Temple of Apollo and Vesuvius With Vesuvius in the background, in front of the steps of the Temple of Apollo we see a white marble altar on a travertine base, with a Latin inscription giving the names of the quattuorviri (board of four magistrates elected every 5 years to carry out the census and control public morality) who dedicated it. To side of the steps is an Ionic column that supported a sundial. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592817743059-JNSBFXBI4K1IJA3QGHAX/SSL_4812_Apollo_Basin+for+Sacrificial+Water_Tourists_sm.jpg 2019-11-Pompeii - Temple of Apollo Tourists stand around and on an ancient basin used for sacrificial water on the grounds of the Temple of Apollo. Water was very important, this is why it was used with great frugality. Only a few houses had water so most citizens had to go to take water at public fountains. For their personal care and to wash themselves, the people went to thermal baths. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592905930361-2Q3KB9YHH9CJUW6LHWD4/SSL_4814_Apollo-Bronze%2BStatue_cl_sm_rev.jpg 2019-11-Pompeii - Apollo To the Greeks and Romans, Apollo was the god of prophecy, music, and healing. The statue of Apollo in the pose of an archer was one of the first large-scale bronzes to be excavated at Pompeii. It was found in fragments in 1817 and 1818, centuries after the city was destroyed by the eruption of Mount Vesuvius in A.D. 79. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593152132332-UMRLITCKADRTEKT8P0C6/Apollo+as+excavated_opp.jpg 2019-11-Pompeii - Statue of Apollo as Found in Fragments In June 1817 the majority of the Apollo statue, broken into three pieces, was found just north of the forum in Pompeii, not far from the Temple of Jupiter. The statue remained incomplete until October 1818, when two veteran soldiers were walking along the northern city wall, over 300 meters away from the Apollo's initial find-spot. Seeing a fox, the men chased it underground, whereupon they came across human bones as well as a group of bronze fragments: the Apollo's missing right foot, its right hand, and parts of its left arm. Days later, the rest of the left arm was identified amid material that had previously been excavated. The bow and arrow that the Apollo once held have never been found. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592884184973-OFEU8FDALPT7JR6JBAJ7/SSL_4808_Diana+statue_crp_sm.jpg 2019-11-Pompeii - Diana (Artemis, in Greek Mythology) Bronze statue of Diana, the twin sister of Apollo at the entrance of ruined Temple of Apollo. The daughter of the Roman god Jupiter and his mistress, Latona. Diana was born on the island of Delos with her twin brother, Apollo, the god of light. Diana was especially important to women and to the lower classes, whom she was believed to protect, and many slaves received sanctuary in her temples. Symbols of Diana included the bow and quiver, deer, hunting dogs, and the crescent moon. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592995645882-A0SWWYUX8IUGRDBE061V/SSL_4807_sundial+on+Ionic+Col+_FIN.jpg 2019-11-Pompeii - Sundial of the Temple of Apollo The Romans imported the sundial from Sicily in 263 BC and they were set up in public places. The first sundial actually designed for Pompeii city was not built until almost 164 BC. The Temple of Apollo sundial rests on a lone Ionic column with an inscription declaring that the sundial was the gift of two of Pompeii's duovirs (joint mayors): L. Sepunius Sandalialius and M. Herennius Epidianus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592902631331-DBF28DMHW0WN637ZLAAM/SSL_4807_sundial+on+Ionic+Col_crp2.jpg 2019-11-Pompeii - Sundial Timekeeping In Roman timekeeping, a day was divided into periods according to the technology available at the time. Initially the day was divided into two parts: the ante meridiem and the post meridiem, before noon and afternoon, respectively. With the advent of the sundial in about 263 BC, the period from sunrise to sunset was divided into 12 hours. An hour was defined as one twelfth of the daytime, or the time elapsed between sunset and sunrise. Since the duration varied with the seasons, this also meant that the length of the hour changed. Winter days being shorter, the hours were correspondingly shorter and vice versa in summer. At mediterranean latitude, one hour was about 45 minutes at the winter solstice, and 75 minutes at summer solstice. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593851296604-T3MXSXQW7J2W4YSKYM9Z/SSL_4769_Forum+Colonnade+and+walkway_crp2_sm.jpg 2019-11-Pompeii - The Forum The square of the Forum originally looked like a simple open area with an overall regular shape, made of clay and its western side opened on to the Sanctuary of Apollo, whereas the eastern side had a row of shops. The Forum was significantly modified between the 3rd and 2nd century BC when the shape of the square was regularised, surrounded by porticoes and the bottom paved with slabs of tuff (as seen here). The axis of the square became the façade of the Temple of Jupiter, aligned with Mount Vesuvius. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592817611450-QZ9FWVHT94JY5UJSEUFO/SSL_4805_Igor+Mitoraj+Centaur+modern+sculpture_sm.jpg 2019-11-Pompeii - Centaur Sculpture by Igor Mitoraj A modern statue, The Centaur, created by the Polish-French Sculptor, Igor Mitoraj (1944-2014), who also made the Daedelus statue. is located on the south end of the Forum. On the south side of the Forum were all the buildings involved in Pompeii’s public life: the Basilica, the Municipal Offices and the Comitium; and also to the right of the Forum were large buildings connected with the city’s economy and commerce. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592990370272-1UARI2I02JPWA90KUE6P/Forum+of+Pompeii_300.jpg 2019-11-Pompeii - Forum at Pompeii (Rendering) Because of the Forum’s size, 125 by 514 feet, and the great public buildings with their own minor squares surrounding it, the Forum could contain all the inhabitants of the city. The Pompeii Forum was an urban center, a main square of the city, home to town's main civic, commercial and religious institutions. As seen in this rendering, the Temple of Jupiter stood in isolation, dominating the northern side of the Forum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593056678670-JH9SMX3H1XZE999U2CEU/SSL_4876_Temple+of+Jupiter_sm.jpg 2019-11-Pompeii - Temple of Jupiter The Temple of Jupiter, as seen today at he northern side of the Forum, was Initially dedicated to Jupiter alone. It was built in mid-2nd century BC at the same time as the Temple of Apollo was being renovated. During this era Roman influence over Pompeii increased and so Roman Jupiter (Zeus to the Greeks) superseded the Greek Apollo as the town’s highest god. Jupiter was the ruler of the gods and the protector of Rome, where his temple was the center of Roman religion and the cult of state. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593067758786-70RFE098HIBAXPT7FF6K/Head+of+Jupiter+-+Temple+of+Jupiter_shrp.jpg 2019-11-Pompeii - Jupiter The Temple of Jupiter held a statue of Jupiter, constructed around 80 B.C., of which only the head remains (as seen here located in the back of the Temple). The name of the temple derives from its original function in the Samnite period. Following the town’s colonization by Rome, the temple became a Capitolium, a temple dedicated to the capitoline triad of Jupiter, Juno and Minerva, in accordance with the religious tradition of Rome which required the centre of every town to have a temple dedicated to the most important gods on Mount Olympus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592874968811-RVJHS5ZDULS5ZVWPU9MT/dealer+utensils+and+shoemaker+in+Forum.jpg 2019-11-Pompeii - Daily Life in the Forum A wall painting found in the Praedia of Julia Felix shows life in the Forum, e.g., a dealer selling utensils on the left while a shoemaker sells shoes to four women. Everyone was at work, from noble merchants to slaves. Shops were open, markets were ready, farmers were in the fields. Everyone was performing his/her personal job. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1606441832401-K4V1HU6NR9JO83L96BKT/2019-11_SSL_7753_utensils-Naples+Arch+Museum_sm.jpg 2019-11-Pompeii - Home Utensils A display of eating utensils that possibly were bought in the Forum. The items were taken from Pompeii ruins, unfortunately at a time when their location was not recorded, and are now in the National Archaeological Museum, Naples. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592874974049-IRW496DFGK0J60ISDD9R/Forum-citizens+read+public+notice_wall+painting.jpg 2019-11-Pompeii - Daily Life in the Forum This outline from a wall painting found in the Praedia of Julia Felix illustrates citizens reading public notices in the Forum. Streets were crowded, markets were full of life, sellers sold and citizens bought what they needed. In the Forum people walked, talked, discussed about problems of the town. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592881514204-M3NYYV8CENIBFFQ3UZD4/SSL_4889_The+Forum+with+mountains_FIN_sm.jpg 2019-11-Pompeii - The Arch of Tiberius A view of The Arch of Tiberius, looking south from the north end of the Forum. Emperor Tiberius was the second Roman emperor, reigning from AD 14 to 37 CE. He succeeded his stepfather, Augustus. Tiberius was Emperor when Jesus of Nazareth was crucified and died. The Arch is adjacent to the Temple of Jupiter (on the left) and has the Forum Olitorium (on its right). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593072294037-JLIJ6623OCH1181OWKGF/Olitorium_Pompeii3.jpg 2019-11-Pompeii - Forum Olitorium - Archaeological Storeroom The Forum Olitorium building is situated along the west side of the Civic Forum to the north of the Temple of Apollo. An open portico, it faces on the Forum square and on the façade has eight large piers in brick which frame eight entrances. It was to house the warehouses and the grain market (Horrea Granariorum), but it had not yet been finished when the eruption of 79 A.D. struck. At present covered by a modern shed roof and closed by a gate, the portico is used as the storeroom for the archaeological finds, some of which are included as follows. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593076504740-W2RBCUV46180Y1E7V7QN/SSL_4879_sleeping+man_Amphora_marble_sm_crp.jpg 2019-11-Pompeii - Man Sleeping Cast of a man who was sleeping when Vesuvius erupted, now stored in a case in the Forum Olitorium. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593074362308-GC7O38QSA1MZXKQRVG12/SSL_4881_dog+cast_sm.jpg 2019-11-Pompeii - Cast of a Dog (stored in the Forum Olitorium) Cast of a dog that archaeologists believe was chained outside the House of Vesonius Primus, a Pompeiian fuller (laundry worker). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593163725136-9IJ8KOAI7Z9PPM1U1IGW/fig226+fullery+inspection+of+cloth+carding+bleaching+frame+copy.jpg 2019-11-Pompeii - Fullers (Laundry Workers) In the foreground at the left sits a richly dressed lady, to whom a girl brings a garment that has been cleaned. That the woman is not one of those employed in the fullery is evident from her elaborate headdress, necklace, and bracelets. In the background a workman dressed in a tunic is carding a large piece of cloth. Nearby another workman carries on his shoulders a bleaching frame, over which garments were spread to receive the fumes of the sulphur; he holds in his left hand the pot in which the brimstone was burned. An owl, symbol of Minerva, who was worshipped by fullers as their patron divinity, sits upon the frame; and the man underneath has on his head a wreath of leaves from the olive tree, which was sacred to the same goddess. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593074414898-ZZFCMDZ6G2PBJEV1P18U/SSL_4883_man+w-cat+bas+relief_sm.jpg 2019-11-Pompeii - Man holding a club and a cup, accompanied by a cat. (Forum Olitorium) This bas relief stored in the Forum Olitorium shows a man with a cat at his side. The Romans regarded the cat as a symbol of independence and not as a creature of utility. Cats were kept as pets by both Greeks and Romans and were regarded highly. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593074476570-UR9FEVAL0LRSR1XGHPDJ/SSL_4886_Amphora+storage+center.jpg 2019-11-Pompeii - Amphora The amphora used in trade is a terracotta vessel characterized by its two carrying handles (from whence the name) and narrow neck. The pointed foot allowed them to be stored upright, either by being stacked together or positioned in sand or soft ground. Amphorae were used for the storage of liquids and solids such as grain. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593164841128-XGT6EPKLHWW3JKKJ6T0H/Delivery+of+Wine+_wall+painting.jpg 2019-11-Pompeii - Delivery of Wine (wall painting) By the first century BC, the Pompeiians were distributing wine, as well as other commodities, throughout the Mediterranean in amphorae. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593074417926-FSD8EXGXX3CGBKOVSM8R/SSL_4884_amphora-artifacts-storage_sm.jpg 2019-11-Pompeii - Amphorae (Forum Olitorium) The one-piece amphora, in which the neck and body form a continuous curve was an undecorated 'coarse' vessel, with its lower part tapering to a point; it was the standard transport containers in the Mediterranean during the Roman era. Amphorae were used to store and transport olives, cereal, oil, and wine (the wine amphora was a standard measure of about 41 quarts) and, in outsize form, for funerals and as grave markers. Amphorae varied greatly in height: the largest stands as tall as 5 ft high, while some were less than 12 in. high; most were around 18 in. high. In all, approximately 66 distinct types of amphora have been identified. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593074873312-7EZC1PBL8C8BKB8CD7IP/street-tavern-in-pompeii-mary-evans-picture-library.jpg 2019-11-Pompeii - Pompeii Street Tavern By placing one hand on the neck of the amphora and the other under its pointed bottom, the person carrying the amphora could control the container, when contents were to be poured into another vessel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593235192374-J1F66DKSBMB1ENSCYBKT/2%2C100-Year-Old+Roman+Tavern+Unearthed+Pompeii_fin.jpg 2019-11-Pompeii - Fresco: Pompeii Tavern Wine was the main drink of the Roman Empire and enjoyed by most Romans: Calda was a winter drink made from wine, water and exotic spices; Mulsum was a very popular wine and honey mixture. The Romans did not drink beer and rarely drank milk. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593305157138-X9C64G9M34NJ52LIIIVG/SSL_4887_Amphora+line_crp.jpg 2019-11-Pompeii - Amphorae (Forum Olitorium) Pliny the Younger (61-112 A.D.), who witnessed the eruption of Vesuvius, makes mention in his letters of the Pompeian wine, but remarks that indulgence in it brings a headache that will last till noon of the following day.” (from: The Project Gutenberg eBook of Pompeii, Its Life and Art, by August Mau, 1902). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593074460420-U1Q3N2M15YSO1XIOEKO0/SSL_4885_statue-elder-woman+robed.jpg 2019-11-Pompeii - Ancient statue of an older woman, and based on how she is holding her toga, one of the upper class of Pompeii. (Forum Olitorium) Ancient statue of an older woman. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592784671187-1D1D6YLS4P8DGJ024QM7/P1150998_Temple+of+Fortuna+Augusta_sm.jpg 2019-11-Pompeii - Temple of Fortuna Augusta (rendering) Like many other places of worship throughout the Roman Empire, this small temple with marble capitals and columns and with the altar at the front, was not only dedicated to the celebration of specific rituals in honor of Emperor Augustus (31 BC-14 AD) but also to the propaganda in favor of the imperial house by the local elite. An inscription states that Marcus Tullius constructed the temple at his own expense and on land owned by him; making him a strong supporter of the emperor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592881548215-37H163UICKOLTVS7151G/SSL_4897_Temple+of+Fortuna+Augusta_sm.jpg 2019-11-Pompeii - Temple of Fortuna Augusta (as it stands today) The cult of Fortuna Augusta was looked after by a group of slaves and liberti, that is groups particularly related to the emperor as the guarantor of their rights and ambitions. The marble coatings that adorned the building were removed just a few years after the eruption. There was a statue of Fortuna in the cella of the temple and statues of the imperial family in the niches on the side. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593326259366-Z7Z6NIWY7PHFVLOOSAYL/augusta+Fortuna_pompeii_naples+archmuseum_Finale.jpg 2019-11-Pompeii - Augusta Fortuna with a Cornucopia (horn of plenty) This statue, now in the National Archaeological Museum in Naples, was originally in the cella (inner chamber) of the Augusta Fortuna Temple in Pompeii. Fortuna's father was said to be Jupiter and like him, she could also be bountiful (Copia). Fortuna's identity as personification of chance events was closely tied to virtus (strength of character). Public officials who lacked virtues invited ill-fortune on themselves and Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593248929056-I5SD2K154QD7MR9U218G/SSL_4891_REG+IV+INS+VIII_sm.jpg 2019-11-Pompeii - Road next to the Temple of Fortuna Augusta Looking east towards outside the entrance of the Temple. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592784723120-9HQKYFIFM9GBCVXUMK6W/P1160001_Arch+of+Caligula_via+de+Mercurio_sm.jpg 2019-11-Pompeii - Arch of Caligula (rendering) This arch has been attributed to honoring Caligula, born Gaius Julius Caesar Augustus Germanicus, the third Roman emperor, who ruled from 37 to 41 A,D. Caligula gets mixed reviews as an Emperor. He did focus his attention on some political and public reform, e.g., he aided those who lost property in fires and abolished certain taxes. Significantly, he restored the practice of democratic elections. Cassius Dio said that this act "though delighting the rabble, grieved the sensible, who stopped to reflect, that if the offices should fall once more into the hands of the many ... many disasters would result". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593077143296-N9RTU2YCNNJNZA6HR5CV/SSL_4899_Arch+of+Caligula_sm.jpg 2019-11-Pompeii - The Arch of Caligula (as seen today) This arch is set astride Via di Mercurio, of which it marks the beginning, in front of the Forum Bath and the Temple of Fortuna Augusta. This is an honorary arch in brick with a single passage-way and its attribution to Caligula is based on an equestrian statue in bronze, found in fragments, which must have originally been set on the top of the arch and which has been identified, possibly mistakenly given the location of this arch, as Caligula. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593313718473-TQFC2TRRHHLRBOUGY5YB/caligula+or+Marcus+Tullius.jpg 2019-11-Pompeii - Arch of Caligula or Marcus Tullius? This is the bronze equestrian statue, now in the Naples Archaeological Museum, that was found in pieces beneath what has been referred to as the Arch of Caligula, and supposed to have been on the top of the arch. It was (arbitrarily) identified as being Caligula. The statue is described as portraying a middle-aged man wearing a toga and senatorial sandals. Consequently, it has been suggested that it was more likely a high-ranking civic person, e.g., Marcus Tullius who was tribunus militum a populus a non-military but equestrian rank. He was also the donor of the adjacent Temple of Fortuna Augustus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593328897842-N7GD8T3GBS3DEVKKGKA8/SSL_4894_Dog+mosaic+entry_sm_FIN.jpg 2019-11-Pompeii - House of the Tragic Poet: "Beware of the Dog" In the House of the Tragic Poet the entrance is adorned with the mosaic guard dog with the phrase, CAVE CANEM - Latin for “Beware of the dog.” In the rear of the entrance hall you can see the house impluvium outlined with marble in the atrium. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592784771019-3G9H2T3NL0DLTO518K1I/P1160005_House+of+the+Tragic+Poet.jpg 2019-11-Pompeii - House of the Tragic Poet (interior) The rendering shows the House of the Tragic Poet atrium, tablinium (a room generally situated on one side of the atrium) and small garden with lararium as they appeared 2,000 years ago, In the atrium we see how water was gathered through use of the impluvium and compluvium. The compluvium was a space left unroofed over the court of a dwelling, through which the rain fell into the impluvium, a low basin in the center of a household atrium. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593331732833-U3W8N1ZY9CK6LR419IV4/568px-Choregos_actors_MAN_Napoli_Inv9986+copy.jpg 2019-11-Pompeii - Mosaic depicting a cast of tragic actors The tablinum floor in the House of the Tragic Poet was decorated with an elaborate mosaic image. Here, actors gather backstage preparing for a performance of a theatrical tragedy, from which the house took its name. We can see one character dressing while another plays a flute and other characters surround a box of masks to be used during the performance. This panel is part of the collection taken from the house to the National Archaeological Museum in Naples, Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593771224831-GORGBHQJEHPDVB4DGBS4/Crono_e_Rea_assistita_da_Iride_FIN.jpg 2019-11-Pompeii - Nuptials of Zeus and Hera Originally on the south wall of the atrium of the House of the Tragic Poet, this panel depicts the gods Hypnos, Hera, and Zeus on Mt. Ida. Hypnos is presenting Hera to Zeus, who sits seated on the right side of the painting. Zeus is holding Hera by the wrist, and Hera is looking at the viewer reluctantly with her veil removed. This panel is now in the National Archaeological Museum in Naples, Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593330878668-7EVT4F5Z9GOITYILBFK9/440px-Achille%2C_Patrocle%2C_Brise%CC%81is_-_Maison_du_poe%CC%80te_tragique_-_Pompe%CC%81i-1+copy.jpg 2019-11-Pompeii - Achilles and Briseis On the east wall of the atrium in the House of the Tragic Poet was found this fresco, Achilles and Brisels. This dramatic scene depicts Achilles releasing Briseis to the Greek king Agamemnon. On the right side of the panel, Patroclus leads Briseis by the wrist. Achilles, seated, angrily directs them towards Agamemnon's messenger. This panel was taken to the Archaeological Museum in Naples, Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593249090938-3RPJN3JZIQMW5PQD37F4/SSL_4902._open+lot-food+containers_sm.jpg 2019-11-Pompeii - Food Store Vessels https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593429028116-AWWJ2GAKXJIJAD8ZW2OP/fig131.shop+for+sale+of+edibles+.jpg 2019-11-Pompeii - Thermopolia The thermopolium was an ancient form of a take-out restaurant, an outdoor service counter that offered ready to eat food. The word thermopolium literally means “a place where something hot is sold.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592785004097-ENXFQ1O230HVQE70UF55/P1160026_Pistrinum2_sm.jpg 2019-11-Pompeii - Reconstruction of the entire work cycle in a mill and bakery (Pistrinum) To the right at the top can be seen the staking of grain and a man pouring wheat into a large mill driven by an ox. Each mill consists of two stones cut of volcanic rock; one which is solid and conical, set on a round masonry base, and the other which is hollow and biconical and rotates on the first. In the lower part of the reconstruction the assembly of a mill is shown: near it towards the center, grain is shown being poured into the upper hole, along with the wooden clamp fixed to the neck of the “catillus.” Next are two men who turn the “catillus” around so that the wheat descends and is gradually crushed between the two stones until it emerges as flour, at the bottom , being collected in the lead box around the fixed masonry base. At the top left, we can see the dough being made and kneaded (for the purpose metal moulds were used), the most common shape being rings. In the center we see the oven. After being baked, the various types and shapes of bread were displayed on shelves and counters for sale directly to the public - in the left hand corner of the reconstruction is a scene depicting the sale of bread. Some of the bread made was sent out tot he various retailers and to nearby towns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593477343036-VF48PNU91CX7B6CA3SCW/Pompeii_Bakery.jpg 2019-11-Pompeii - Ruins of a bakery show the mills for grinding grain plus one of the brick ovens There are more than 30 identified baking establishments in Pompeii. Some milled their own grain, baked the bread and sold it, while others probably produced loaves from ready-prepared flour. Bread was also sold from temporary street stalls, and it was easy for a Pompeian to purchase it. A recently excavated bakery combined milling and baking. Shoppers could see into the large room where the dough was mixed and kneaded in large stone bowls and then worked into a shape at a wooden table. The circular loaves were passed through a hatch to the oven. A recently discovered list of food purchases on the wall of a Roman house refers to three different kinds of bread: “bread,” “coarse bread,” and “bread for slaves” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1592784928452-XQ0F682FCSU64IQ3L9HY/P1160019_House+of+the+Faun_Atrium+Impluvium_sm.jpg 2019-11-Pompeii - Rendering the House of the Faun The House of the Faun was built for Publius Sulla, nephew of the conqueror of Pompeii, a Samnite city, who had the task of organizing and reconciling the old and new interests of the Roman Republic of Pompeii. This view of the House of the Faun shows the atrium with its impluvium and the tablinum; at the back can be seen the columns of the two peristyles and the exedra (a semicircular architectural recess, often crowned by a semi-dome, which is sometimes set into a building's façade or is free-standing). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593334037892-91RAGT5F994KS4IDUFNV/SSL_4909_House+of+the+Faun_statue_crp_sm.jpg 2019-11-Pompeii - Fountain of the Dancing Faun The statue of the Dancing Faun stands in the impluvium decorated with rich geometrical inlays of colored marbles. The original statue is in the Naples Archaeological Museum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593479851749-EX1AU6NSYJXF5T7SA7B8/SSL_7873_House+of+hte+Faun_statue.jpg 2019-11-Pompeii - The Dancing Faun This is the original statue taken from the Pompeii House of the Faun and now on exhibit in the National Archaeological Museum, Naples. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593653039011-EIFVZ9LS1XIDFUSIWSOW/SSL_7876_Dionysius+on+Tiger_pompeii-naples_sm.jpg 2019-11-Pompeii - Dionysus on a Tiger Dionysius on a Tiger, mosaic taken from the Casa del Fauno, Pompeii and now in the National Archaeological Museum, Naples. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593249232482-T5QLZXE4SCILWVXQEXVW/SSL_4911_House+of+Faun_sm.jpg 2019-11-Pompeii - Geometric mosaic in the Tablinum, House of the Faun Rooms in a typical Roman house included: Vestibulum - A grand entrance hall to the house; Atrium - An open room where guests were greeted; Tablinum - The office or living room for the man of the house; Triclinium - The dining room; Cubiculum - The bedroom; and Culina - The kitchen.The House of the Faun was a large, aristocratic house, e.g., in the back of this picture is the Exedra where the famous Alexander Mosaic was located. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1606871134967-MUAEID2CMC2ZW1EIADUJ/SSL_7881_Marina+with+Fish_crp_House+of+Faun_FIN+puti_sm2.jpg 2019-11-Pompeii - Marina Con Pesci Marina with Fish is a mosaic from Pompeii in the Museum Archeologico Nazionale in Naples. It was originally found in the House of the Faun in Pompeii. (I have refurbished the mosaic with some reconstruction and replacements so as to present an image as it would have been viewed originally). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593249559983-DALE8RHQFCFF9MVA9V6G/SSL_4925_peristyle+house+of+faun_crp_sm.jpg 2019-11-Pompeii - Peristyle and garden, House of the Faun Garden and peristyle with Ionic columns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593500928326-J89H22UB4I3C8DMS26CN/SSL_4917_Floor+mosaic+Battle+Alex+Great-Darius_Faun_sm2.jpg 2019-11-Pompeii - Exedra of the House of Faun with Battle of Alexander the Great and Darius III of Persia The “Alexander Mosaic,” located in the exedra of the House of the Faun, is a Roman floor mosaic that is typically dated between 120 and 100 B.C. It depicts a battle between the armies of Alexander the Great and Darius III of Persia and measures 8 ft 11 in × 16 ft 10 in. The mosaic is made of about one and a half million tiny colored tiles called tesserae, arranged in gradual curves called opus vermiculatum, (also known as "worm work," because they seem to replicate the slow motion of a crawling worm). The original is preserved in the National Archaeological Museum, Naples. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593483851066-XO0EISJRGQROJTWNGHBH/SSL_7901_Alexander_Naples_FIN_sm.jpg 2019-11-Pompeii - The Alexander Mosaic (in the National Archaeological Museum, Naples) The color scale of Roman mosaics are extremely rich in gradation. The process of gathering materials for mosaics was a complex undertaking since the color scale was based solely on the pieces of marble that could be found in nature. The Alexander the Great mosaic is an unusually detailed work for a private residence and the commission attests to the wealth of the person or family. The fact that this scene was made to be viewed in the house of a Roman civilian reveals that Alexander the Great was more than just a heroic image to the Romans. Since the mosaic was arranged on the floor where the patron could receive guests, it was the first decorative object a visitor would see upon entering that room. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593491546008-823LRSNVCT602XG5S0D1/SSL_7896_Alexander_Naples+Arch+Mosaic+battle_refurbished.jpg 2019-11-Pompeii - Alexander the Great, mosaic detail Alexander rides his horse Bucephalus. He is shown with a lot of curly soft-textured hair. His hair is typical of Greek royal portraiture that was established in the 4th century BC. Alexander’s gaze is trained on the Persian King Darius. Note that Alexander does not wear a battle helmet in the mosaic so that he could be recognized as the great conqueror. Alexander the Great was declared king of Asia around 330 BC. He intended to replace Darius as king of Persia with a highly expanded autocracy while commanding respect and authority. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593491507324-P1ZC8QA4AF9G5NYMGHYO/SSL_7896_Darius+III_Naples+Arch+Mosaic+battle_refurbished_FIN.jpg 2019-11-Pompeii - Darius, King of Persia, mosaic detail Darius can be recognized as the other large figure in the mosaic. Darius and his charioteer takes up a large portion of the mosaic in the right half of the depiction. There are various precarious elements surrounding him. In the background Darius’ charioteer whips the horses to flee from the battle scene. There is visible fear and anxiety in the Persian king's face, seen especially in his furrowed brows and deep frown. Darius is positioned holding a rope or rein in his left arm while his right arm is outstretched towards Alexander. Directly in front of the king’s chariot is a soldier holding the reins to his horse. The horse is a large figure that draws much attention because of its backward facing positioning. The horse's hindquarters are facing the audience with a raised tail. This may be seen as a reference to the Persian defeat and weak leadership displayed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593249270099-QI62T5UUAP0QCYCW01J5/SSL_4913_bird+floor_sm.jpg 2019-11-Pompeii - Mosaic floor in the House of the Faun depicting birds stealing pearls from a jewelry box A Pompeii mosaic depicting three birds stealing pearls from a jewelry box, originally in the House of the Faun, now in the National Archaeological Museum, Naples, Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593249307382-92MGOWQJNFMONYP280HV/SSL_4914_mosaic_Thieving+Pidgeons-Pearls_Faun_sm.jpg 2019-11-Pompeii - Mosaic depicting three birds stealing pearls from a jewelry box i https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593429193954-WYGXKKASTX48M4TVRGKQ/SSL_4871_Pompeii+irridescent+pidgeon_crp.jpg 2019-11-Pompeii - Pigeon sitting on a column in Pompeii ruins https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593226023747-4YVWPC6F04XJ8H9LMPLN/1st-3rdCAD-Birds-drinking-from-a-bird-bath.-Mosaic-1st-CE-+Pompeii..jpg 2019-11-Pompeii - Mosaic of Cat and Birds from the House of Faun The Pompeians had cats, although probably rare, but the detailed mosaics adeptly catch the cat’s innate character. A mosaic from the House of the Faun shows an expectant cat looking up at the birds perched around a bird bath, its teeth bared and its paw ready to strike at an opportune moment. Among the objects unearthed at Pompeii was the skeleton of a woman bearing in her arms the skeleton of a cat. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593073030606-Q55FAEDYN5054NIRNPQX/SSL_4874_Pompeii+Pidgeon+forest-green_sm.jpg 2019-11-Pompeii - Pompeii pigeon https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593495024153-Z94OJUMBRWDOIBKYLS12/SSL_7848_Mosaid-pigeon+birdbath_sm.jpg 2019-11-Pompeii - Six doves, mosaic House of Faun This mosaic was removed from the House of Faun and now hangs in the National Archaeological Museum, Naples. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593249590993-G2F30LDZWLCB4R77UHGS/SSL_4928_Impluvium_Casa+della+Caccia+Antica_sm.jpg 2019-11-Pompeii - Casa della Caccia Antica View into the tablinium from the impluvium of the atrium in the Casa della Caccia Antica. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593502788572-VPPEN33N00E3TPN9YQ9A/SSL_4929_Casa+della+Caccia+Antica_lft+wallpaint.jpg 2019-11-Pompeii - Casa della Caccia Antica, fresco Fresco on the southeast corner of the Tablinum, wall panel (left). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593502763834-1AZU9Q2Q9UOVZF4K28W1/SSL_4929_Casa+della+Caccia+Antica_lft+wallpaint_detail_FIN.jpg 2019-11-Pompeii - Casa della Caccia Antica Fresco on the southeast corner of the tablinum, top of panel (left). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593502779659-W5B2DH6JLD0QS5S750AS/SSL_4929_Casa+della+Caccia+Antica_rt+wallpaint_tiger+bull_bot_FIN.jpg 2019-11-Pompeii - Casa della Caccia Antica Fresco on the southeast corner of the tablinum, bottom (left) - “Lion attacking a bull.” In Greek and Roman mythology, the lion and bull represent fundamental forces of life and death in a terrible, intense struggle. As an image of the conflict that provides the sustenance of life, the lion and the bull are bound together as a single symbol. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593502738115-NC3W929M8XJXLF1ZCYCX/SSL_4928_Impluvium_Casa+della+Caccia+Antica_bot-Dogs-Deer_rt-bot.jpg 2019-11-Pompeii - Casa della Caccia Antica Fresco on the southeast corner of the tablinum, right (bottom) - “Hounds attacking a dear.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593336907177-41U0E0U8JDQQ0OG9BBN5/SSL_4936_street+fountain_w_FIN_sm.jpg 2019-11-Pompeii - Water fountain at Via Stabiana There are 40 fountains scattered around in the streets of the ruins of Pompeii. The fountains of ancient Pompeii are mostly in blocks of lava stone, and dark gray. The oldest are in gray tuff. In its first several centuries as a town. Pompeii got most of its water from underground cisterns, which were fed by rainwater collected from roofs. One of the perks of being part of the Roman Republic, however, was having access to all the latest technology, and in the early first century AD Pompeii constructed an aqueduct system to bring fresh, clean water from the hills 40 kilometres away. This water flowed into a roofed reservoir (castellum aquae) before dividing into three large lead pipes which ran under the pavements. Six-metre-high towers with lead tanks on top were built at intervals along these three pipelines. The 35-metre height difference between the castellum and the lowest point in the city meant that the water in the pipes was under pressure, allowing smaller pipes to carry water up to the tanks, then back down the towers to supply public fountains, houses, shops and facilities such as baths. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593428238766-DQ2VBUPN5CRI4MTDAJQJ/SSL_4967_via+Stabia_sm.jpg 2019-11-Pompeii - Via Stabiana provides an entrance to The House of Marcus Lucretius In the middle of the picture can be seen the large raised stones in the street. These were stepping stones to allow pedestrians to cross the street without stepping into whatever might be in the street itself. Carriages could still travel along the streets, their wheels passing between the stepping stones. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593335356533-IF428A03PXO05K7BQY5J/SSL_4940_House+Marcus+Lucretius-2_statue_sm.jpg 2019-11-Pompeii - House of Marcus Lucreitus The most characteristic feature of the house is the small garden which overlooks the atrium from above. The back of the garden features an elegant marble fountain, visible from the entrance of the dwelling, which housed a statue of Silenus from which water poured onto a stepped cascade. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593335428697-NNHQ77BEAY3JV90L3QE7/SSL_4944_Marcus+Lucretius-statue+garden+lares_tiles_crp.jpg 2019-11-Pompeii - Silenus Silenus was the creature who raised and tutored the god Dionysus, the god of Wine and Fertility. After Dionysus was born, Zeus entrusted the infant Dionysus to Silenus' care to be raised and taught. Once Dionysus grew to adulthood, Silenus was his companion along with his group of satyrs. His great fondness for wine is one of the main characteristics of Silenus. It was believed that Silenus’ drunken state would give him access to mystical wisdom, and he was sought out as a source of knowledge and prophesy of the future. One myth states that Silenus was lost and taken in by King Midas as a guest. To pay Midas back for his hospitality, Silenus tells the King and his court a series of fantastical stories, spanning over five days. Dionysus learns that Midas showed kindness to Silenus, and in return he offers the king a wish of any kind. Midas asks that anything he touches turn to gold. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593335352535-ROLDLVMXORFK3E3PJ3B6/SSL_4942_Marcus+Lucretius+marble+floor_sm.jpg 2019-11-Pompeii - Tablinium of The House of Marcus Lucretius The tablinum has a fine mosaic floor in opus tesselatum, a geometric pattern in black and white, with a central panel in opus sectile. Opus tessellatum is the Latin name for the normal technique of Greek and Roman mosaic, made from tesserae that are larger than about 4 mm. Opus sectile is an art technique popularized in the ancient and medieval Roman world where materials were cut and inlaid into walls and floors to make a picture or pattern. Common materials were marble, mother of pearl, and glass. The materials were cut in thin pieces, polished, then trimmed further according to a chosen pattern. Unlike tessellated mosaic techniques, where the placement of very small uniformly sized pieces forms a picture, opus sectile pieces are much larger and can be shaped to define large parts of the design. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593335513448-H14IV53ZUHLTHIYJ7ADY/SSL_4945_Marcus+Lucretius_female+warrior_crp_sm.jpg 2019-11-Pompeii - Wall Painting, House of Marcus Lucretius https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593335582417-L40NDBVBJ1F9KB157B8R/SSL_4948-2_winged+image_Marcus+Lucretia.jpg 2019-11-Pompeii - Wall Painting, House of Marcus Lucretius Wall painting, possibly Cupid. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593335654060-BC3IHFB2N9ZQV4T5OJBG/SSL_4951_neptune+and+female.jpg 2019-11-Pompeii - Wall Painting, House of Marcus Lucretius Erato is the Muse of love poetry. In the Orphic hymn to the Muses, it is Erato who charms the sight. In Greek mythology, Erato is one of the Greek Muses. The name would mean "desired" or "lovely.” Erato is the Muse of lyric poetry, especially love and erotic poetry. In the Orphic hymn to the Muses, it is Erato who charms the sight. Representations may show her holding a lyre or a golden arrow, reminding one of the "eros", the feeling that she inspires in everybody, and at times she is accompanied by the god Eros (Cupid), holding a torch. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593508134647-HCNDM3BDQ0NF5EG4WNP6/SSL_7842_Plato_sm.jpg 2019-11-Pompeii - Plato's Academy The mosaic, Plato’s Academy, created sometime between 1st century BC and 1st century AD, was found in the Pompeii Villa of Titus Siminius Stephanus in the suburbs north of the Vesuvian Gate. In the mosaic, a group of seven bearded men are gathered beneath an olive tree. A sundial rests on a column behind them. The men shown in the foreground are seated in the great Academy, or gymnasium of ancient Athens, located in a grove of olive trees that was sacred to the goddess Athena. The grove consisted of twelve olive trees grown from cuttings of Athena’s olive tree on the Acropolis. Plato founded the Academy in the first quarter of the fourth century BC for teaching, debating, and conducting research. Scholars studied in this location for nine hundred years, until the year 529, when the Byzantine emperor Justinian (ruled 527–565) forbade non-Christians to teach philosophy in Athens. Some scholars such as G.W. Elderkin have suggested that the seven men depicted are not part of a philosophical school, but rather a reference to the Seven Sages of ancient Greece (Thales, Pittacus, Bias, Solon, Cleobulus, Myson, and Cheilon). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1606720915114-DZOT0DI1V98XQHXJNZXX/SSL_4905_REG+VII+INS+IV_sm.jpg 2019-11-Pompeii - From the time of the Samnites Pompeii was divided into nine Regions. Here in Region VII the walls of a building show the construction of buildings that occurred before the reconstruction of Pompeii due to the earthquake of 62 A.D. when most of the large public buildings were destroyed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1606720844923-86S34YNWGLD3SRWRP8LO/SSL_4891_REG+IV+INS+VIII_sm.jpg 2019-11-Pompeii - A view of Region VI, Insula VIII. Regions are comprised of Insula, the latter defined as blocks of houses and shops bounded by roads. Each Insula has its individual door entrances numbered. Thus, excavations can provide more precise information concerning where artifacts are found. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593428225336-8WMMXGCIDQV5UZ8UEDUC/SSL_4968_stone+face_sm.jpg 2019-11-Pompeii - Street Water Fountain, Pompeii https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593828020565-LHUR00BY8P1TSPKD7Z49/SSL_4955_House+of+Vedius+Siricus+and+Vedius+Nummianus_peristyle_sm.jpg 2019-11-Pompeii - House of Vedius Siricus and Vedius Nummianus View across the peristyle to the triclinium of the House of Vedius Siricus and Vedius Nummianus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593826948807-KA3ZBPJYCAZHABCDKMNS/Aeneas+wonded+in+leg_Publius+Vedius+Siricus.jpg 2019-11-Pompeii - Aeneas treated by Iapyx (A fresco inspired by Virgil's Aeneid) The painting, found in the triclinium, depicts the hero the Trojan hero Aeneas, the progenitor of the Roman people, with a wound to the leg. Aeneas is shown leaning on a spear. Iapyx is depicted trying to remove the arrowhead. Aeneas’ son Ascanius (also known as Iulus) is drying his tears. Some of the hero’s friends are shown behind him. And approaching from left is the goddess Venus, apparently unnoticed by anyone else in the scene. No matter what Iapyx tried, he couldn’t extricate the arrowhead. Then, Aeneas’ mother, the goddess Venus (Greek: Aphrodite) saw her son’s plight and picked from Mount Ida on Crete a plant called “Dictamnus”. Cloaked in mist (ll. 12.499–508): “She carried this plant down and infused with it he waters they had poured into an urn, and added tonic ambrosia, the scented panacea, and nobody knew it. Old Iapyx knew nothing. As he bathed the wound with the water ignorant of its powers – but suddenly all the pain Aeneas had felt vanished, and the wound’s bleeding stanched. Then of itself, without anyone freeing it, the arrowhead fell out into his hand and Aeneas was restored to his full strength.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593828004390-U199I3WUG4P40W46OEMQ/SSL_4954_House+of+Vedius+Siricus+and+Vedius+Nummianus_impluvium_sm.jpg 2019-11-Pompeii - House of Vedius Siricus and Vedius Nummianus Looking north-west across the impluvium in the atrium, through the peristyle and toward the triclinium (a formal dining room). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593828074180-KK4IDUO55XGV6VSOQ06V/SSL_4959_female+body_sm.jpg 2019-11-Pompeii - First Casts from Pompeii by Giuseppe Fiorelli Giuseppe Fiorelli is famous for his plaster casts, produced by a process named after him: the Fiorelli process. These casts, displayed in House of Vedius Siricus, were of the first group of four Fiorelli made. They relate the last moments in the life of a family group trying to leave a city nearly engulfed by volcanic ashes and rocks is captured. This woman clutches to her bosom a few precious things grasped before the flight. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593651831894-D1JJKBPSPQKLCIVMQL4P/SSL_7852_Female+Portrait_Pompeii-Naples_sm.jpg 2019-11-Pompeii - Portrait of a Woman “Portrait of a Woman,” floor mosaic taken from Pompeii and now in the National Archaeological Museum, Naples. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593828077666-1OT3TAH03HRSA8MYMUVP/SSL_4961_male+body_sm.jpg 2019-11-Pompeii - First Casts from Pompeii by Giuseppe Fiorelli Cast of male family member displayed in the House of Vedius Siricus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593588438848-XOG4JZ4WAURNULYOHX80/SSL_4971_Small+Theater+Pompeii_sm.jpg 2019-11-Pompeii - Small Theater The Odeon or theatrum tectum as it was called by the Romans, was built during the early years of the colony (79 BC), as evidenced by an inscription, as requested by two local magistrates, Marcus Porcius and Caius Quinctius Valgus who also requested the construction of the amphitheater. This building was dedicated to the representation of the most popular theatrical genre at the time, miming, and could also be used for musical and singing performances. The structure was completely covered by a functional roof to improve the acoustics. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593428305925-1YJ5P3MSBHTLDSI82A3W/SSL_4978_theater-hold+up+col_FIN_sm.jpg 2019-11-Pompeii - Telamon A large male tuff figure (telamones) “Kneeling Atlas” supports the step of the small theater, Pompeii. Tuff, a relatively soft, porous rock that is usually formed by the compaction and cementation of volcanic ash or dust. (The Italian term tufa is sometimes restricted to the soft, porous, sedimentary rock formed by the chemical deposition of calcite, or calcium carbonate, or silica from water as sinter.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593587003295-59CXI4ZSYL6JI6J4P8M6/SSL_4979_theater+winged+feet_sm.jpg 2019-11-Pompeii - Telamon Tufa lion’s foot in front of Kneeling Atlas on the steps of the Small Theater, Pompeii. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593863396526-O67OHFMZPZQJHFCD1AEX/2019-11_MG_3031_Pompei+amphitheater.jpg 2019-11-Pompeii - Small Theater of Pompeii https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593428454545-MSNRWHI84OTGEUQ0MXBE/SSL_4995_quadriportico+dei+teatri_sm.jpg 2019-11-Pompeii - Quadriporticum The Quadriporticum served as a passage, porticos post scans, behind the scene of the theatre. It was a covered walkway used by spectators to either travel between events in the small to the large theaters, or just gain cover from the rain. The upper part of the Large Theater is visible in the rear middle of this picture. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593587045530-OBXEPZROWIPANB7T8I1B/SSL_4991_Quadriportico+dei+teatri_sm.jpg 2019-11-Pompeii - Quadriporticus After the earthquake of 62 AD the Quadriporticus changed its function and became a barracks for gladiators, which resulted in certain parts of the building being reorganised. The most important rooms were those on the eastern side whereas the rooms upstairs may have been the apartments of the undertaker of the gladiators. Rich weapons used in the parades that preceded the battles are now kept in the National Archaeological Museum of Naples, they were found in two wooden boxes. Many victims were found here, such as four skeletons of slaves and 18 of free men were, including a woman with a very rich collection of jewels. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593594235677-QTDQRX3EVV11WDTYLRR4/Pompeii+fighting+fresco_sm3.jpg 2019-11-Pompeii - Gladiator Fight (fresco) The fresco was discovered on a wall in what was probably a tavern frequented by gladiators. The scene is of the end of a fight between two types of gladiator – a murmillo and a Thracian – where one wins and the other succumbs. The two types were distinguished by their armor and weapons. The fresco was found on a wall beneath the stairwell of what was probably a tavern frequented by gladiators and which provided accommodation on a higher floor for them to sleep with sex workers. Of particular interest in this fresco is the very realistic representation of wounds on the wrist and chest of the unsuccessful gladiator; we don’t know the outcome of the fight, he could have died or was given grace.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1606381504464-WAYD6UIT2B8NO620JFLY/Pompeii+vs+Nocera+59AD+Riot.jpg 2019-11-Pompeii - Gladiator Riot 59 A.D. - Pompeii vs Nuceria Supporters of the Pompeii gladiators and the gladiators from Nuceria rioted in and around the Pompeii amphitheate as members of both groups began throwing stones at the gladiators and each other. Nuceria protested to Rome, ultimately resulting in the Pompeii organizer of the event being exiled and the city of Pompeii being prohibited from holding gladiator events for 10 years. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1593651186469-IWQAME914E1F3X0IYH6Q/SSL_7846_lion+adn+the+leopard_Casa+delle+Colombe3_FIN_sm.jpg 2019-11-Pompeii - Lion and Leopard Lion and Leopard mosaic taken from Pompeii and now in the National Archaeological Museum, Naples. Reminds me of the 400 years of animosity that existed between Pompeii and Nuceria. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1606728833910-1CPKHLGVDA6UTIU58IM2/SSL_4906_vesuvius+column+cap+sm.jpg 2019-11-Pompeii - Corinthian capitals and Vesuvius Corinthian capitals sit in the ruins of in an early Pompeii home constructed with rubble walls as Vesuvius hovers in the background. http://www.sslanzilotti.com/201911paestum daily 0.75 2025-11-15 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617950499380-I7B89AHTE20MVB23QJ5O/Houghton_Typ_725.69.580_-_Morghen_2-1.jpg 2019-11-Paestum - View of Paestum from Le antichita di Pozzuoli, Baja, e Cuma, by Filippo Morghen (1730- c.1807), published in Napoli, 1769. One of Filippo Morghen etched plates showing a view of Paestum with its three Greek temples as seen by him in the mid-18th century. However, long before the Greek diaspora made its way to the site where Paestum stands it had been inhabited ever since the Middle Paleolithic, a prehistoric period spanning from 135,000 to 35,000 years ago. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617950499380-I7B89AHTE20MVB23QJ5O/Houghton_Typ_725.69.580_-_Morghen_2-1.jpg 2019-11-Paestum - View of Paestum from Le antichita di Pozzuoli, Baja, e Cuma, by Filippo Morghen (1730- c.1807), published in Napoli, 1769. One of Filippo Morghen etched plates showing a view of Paestum with its three Greek temples as seen by him in the mid-18th century. However, long before the Greek diaspora made its way to the site where Paestum stands it had been inhabited ever since the Middle Paleolithic, a prehistoric period spanning from 135,000 to 35,000 years ago. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618642943055-3FAO7IS7CWO978U77T3X/SSL_5435_Mousterian+Flint+Point_MidPaleiolithic-135000-35000BC_sm+.jpg 2019-11-Paestum - Mousterian Flint Point from Mid-Paleiolithic Period, 135,000-35,000 BC During the Paleolithic era (Old Stone-Age) human beings were still not anatomically modern at this time. In the Paleolithic era, there were more than one human species but only one survived until the Neolithic era. They lived on hunting and gathering, adapting to the local environment, as indicated by the discovery of typical flint tools (blades and scrapers), such as the one shown here. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686072884-8L7ZKW3HKJHGJT0UNKWC/SSL_5438_7500-5000BC_green-stone-axes_Alps_sm.jpg 2019-11-Paestum - Green stone from the Alps made into axes; from the Neolithic (new-stone age) period, 7,500-5,000 BC, found in Paestum. These stone axes were made during the Neolithic period (roughly 8,000 B.C. to 3,000 B.C.), when ancient humans switched from hunter/gatherer mode to agriculture and food production. They domesticated animals and cultivated cereal grains. They used polished hand axes, adzes for ploughing and tilling the land and started to settle in the plains. Advancements were made not only in tools but also in farming, home construction and art, including pottery, sewing and weaving. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686074455-BMT2XB4HZMIKGG3BY9CE/SSL_5444_late+neolithic+V+millenium+BC+Blades+road+urban+area_sm.jpg 2019-11-Paestum - Flint bladelets from the Gargano Promonotory on the Adriatic Coast during the late Neolithic era (5,000 BC) found in the Paestum. Ranging in size from as small as a guitar pick to a length of several inches, Stone Age knives were usually flakes of flint, quartz or obsidian. Small and typically rounded, knives used for slicing through animal flesh had a cutting edge and a thick blunt side for holding. Scrapers were used for cleaning animal skins in the process of making leather. Burins were used for carving or engraving wood and bone, like a chisel. Blades were used as knives and microliths were tiny flints that were glued/fixed to wooden shafts to make arrows or spears for hunting. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618647109338-7QQDZEGAOBLKYCR6PY57/SSL_5441._Lipari+Obsidian1_sm.jpg 2019-11-Paestum - Obsidian bladelet from Lipari during the Late Neolithic period, circa 5,000 BC Obsidian rock was used by early human civilizations to create tools such as arrowheads, blades, and other sharp objects. Obsidian igneous rock occurs as a natural glass formed by the rapid cooling of viscous lava from volcanoes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618983639455-Y0YELJB7WG0Y2O6UUG11/SSL_5616_tomb+location+map_sm2.jpg 2019-11-Paestum - Locations of the tombs Gaudo, Arcioni and the Diverʻs Tomb at Tempa Del Prete (see art of the Diverʻs tomb below), in relation to Paestum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619774223913-3NR30PTQDSU4TW301M13/SSL_5461._Pyxis-Gaudo_4th-3rd-Mill-BC_sm.jpg 2019-11-Paestum - Pyxis, a vessel found in Gaudo, 4th to 3rd millenium BC A pyxis is a shape of vessel from the classical world, usually a cylindrical box with a separate lid. Originally mostly used by women to hold cosmetics, trinkets or jewelery, surviving pyxides are mostly Greek pottery, but especially in later periods may be in wood, metal, ivory, or other materials. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686096747-AQ3O7ZMTDVBZ4PGPEK79/SSL_5457_Cup-Gaudo+Necropolis_mid4th-mid3rd-mill_sm.jpg 2019-11-Paestum - Cup from Tomb II a Neolithic Necropolis of Gaudo, mid 4,000 to mid-3,000 BC https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686097369-YTAG0TOGX0X75XYCUHQ5/SSL_5459_Ladle+and+Flask+Gaudo_4000-3000BC_sm.jpg 2019-11-Paestum - From Tomb III Aeneolithic Necropolis of Gaudo, mid-4,000 to mid-3,000 BC. Ladle on the right (#17) and flask in on the left (19). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686119875-FL908AAK6D4IYE4AD0US/SSL_5460_Jug_Aeneolithic+Necropolis+Gaudo+-mid4th-mid3rd+Mill_sm.jpg 2019-11-Paestum - Jug from Tomb M, Aeneolithic Necropolis of Gaudo, mid-4th (4000) to mid-3rd (3,000) millenium BC https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619153060844-I7OBWYGQUTQTD28WUGE8/SSL_5462_Bone+Pin_Gaudo-TombIIA_mid+4th-mid-3rd-mill-BC_sm.jpg 2019-11-Paestum - Bone pin from tomb IIA, Aeneolithic Necropolis of Gaudo, mid-4th to mid-3rd millenium BC. The Gaudo people would apparently use tombs repeatedly, perhaps for different generations of people. It has been seen that the body of the most recently deceased would always be placed at the back of his burial chamber, with the previous tenants of that chamber placed beside him. Study of the arrangement of bones and accompanying artifacts has led researchers to believe that the Gaudo society was structured into different family groups or warrior clans of some kind. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619749796165-IF1TDGKYX9CRUEE7N7H4/SSL_5412_Map+of+Mediterranean-Recovered-MG_sm.jpg 2019-11-Paestum - Magna Graecia Some of the oldest colonies in southern Italy, known by the Greeks as “Magna Graecia,” include Cumae, Taranto, Sybaris and Reggio Calabria. Beginning in the 8th century BC, Greece witnessed a period of mass emigration that led to the founding of numerous Greek communities, known as “colonies,” in other parts of the Mediterranean and on the Black Sea coast. As it is in todayʻs world, economic problems and political struggles were the main factors that led many people to leave their homeland and set off on a dangerous journey to other lands. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620172140818-XY6XNUP4NWG4DYDY1H10/Pirenasi+3+temples.jpg 2019-11-Paestum - The three temples of Paestum, by Grovanni Battista Piranesi (1778), a view from the south The temples, the oldest to be found on Italian soil, were very different from Roman classical. We now know that what the 18th-century visitors called the Temple of Neptune (now named Temple of Hera II and dated c. 460 BC), the Temple of Ceres (Temple of Athena, c. 520 BC), and the Basilica (Temple of Hera I, c. 530 BC) were the creations of Greek colonists who had founded Poseidonia in 600 BC (the city was renamed Paestum after the Roman conquest of 273 BC). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618386497303-JOQ1PR0E5JA2YY821UM8/SSL_5187_Eastern+City+Wall_sm.jpg 2019-11-Paestum - Paestum City Wall The original founders surrounded Posidonia/Paestum with walls, (on average 5 m in thickness and about 7 m in height). According to Strabo - the father of western geography - the Greek city was founded as Poseidonia by Achaen colonists in 600 BC fleeing from Sybaris, which had been founded ca. 720 BC when the people of Achaea and Troezen, a region and city respectively, emigrated from the Peloponnese. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617682664923-KJ0EW48CSZ9WBMRXMAOP/SSL_5185_Paestum_Porta+Sirena_lt.jpg 2019-11-Paestum - "Porta Sirena" (Siren Gate) There were 4 main access doors, (Porta Marina, Porta Aurea, Porta Sirena, Porta Giustizia). The Porta Sirena is at the center of the eastern side of the Paestum city walls. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621310812045-DSTJ7PKXO335DGQNS14M/Porta+Sirena+Gate+propossed+reconstr_DSC01437_sm.jpg 2019-11-Paestum - Proposed reconstruction of Porta Sirena (Siren Gate) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618461619135-FAVUG1L6JA8FJ3V52ETE/Isidro_Gonza%CC%81lez_Vela%CC%81zquez_-_Vista_de_las_magni%CC%81ficas_ruinas_de_la_antigua_ciudad_de_Pesto._-_Google_Art_Project.jpg 2019-11-Paestum - Three Doric Temples of Paestum, rendering by Isidro Gonzalez Velazquez, 1837 Of the three temples, the Temple of Athena (far right) is the best preserved. The area on the northern edge of the settlement was dedicated to Athena, and the area to the south, which contains the Temple of Hera I (left) and the Temple of Hera II (middle), was dedicated to the goddess Hera. The main task of the Greek architect was to design temples honoring one or more Greek deities. The temple was merely a house (oikos) for the god, who was represented there by her/his cult statue. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618989549167-92FLMQ0HFW3MKPZB6S4G/SSL_5463_Poseidon_necropolis-attic+vase-Santa+Venera_sm.jpg 2019-11-Paestum - Red-Figured Attic Amphora, Tomb 309, Necropolis of Santa Vernera, (470 BC) There are no temples or sacred areas dedicated to Poseidon in the Paestum area. The only traces of Poseidon are found in the name of the city, on its coins, and on this Attic vase. The Attic vase, red-figure technique, used here, was an Athenian invention of the late 6th century BC and is one of the most important styles of figural Greek vase painting. Although vase production in Athens stopped around 330–320 BC., it continued in the 4th and 3rd centuries in the Greek colonies of southern Italy where five regional styles may be distinguished, i.e., Apulian, Lucanian, Sicilian, Campanian and Paestan. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686160750-Q1HZJUM9A08DZTXXFWOL/SSL_5479_Poseidon-lord+of+horses_circa500BC_sm.jpg 2019-11-Paestum - Horse figurine In the northern sacred area was found horse figurines, which evoke the world of Poseidon, god of the sea and lord of horses. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621222011290-KQ6951PJUO40BPUPVM91/SSL_5468_coin-w-Poseidonia_vi-century+BC_sm2.jpg 2019-11-Paestum - Images of Poseidonia 6th century BC Nomos (money) of Poseidonia, c. 530–500 BC. Poseidon is seen wielding a trident with a chlamys draped over his arms. The coins of Paestum begin about 550 BC. These early issues were perhaps all festival coins. They usually have Poseidon with upraised trident. Issues continue until the reign of Tiberius (14-37 CE). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617682343030-YZO6F4GJ1RNO9U2S08YU/SSL_5211_Ceres-Athena-trees_sm.jpg 2019-11-Paestum - Temple of Athena (circa 500 B.C.) The first temple that one sees on entering the site is the ancient Greek Temple of Athena. Built in the 6th century BC, the temple was thought to have been attributed to Ceres, the goddess of corn, or of harvest, though recovery of several terracotta statuettes of Athena confirms that it is consecrated to this deity, who was the goddess of wisdom and virtue. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620368950874-MM0895SPCTBU5YONBQVN/SSL_5475_Votive+stature+of+Athena_sm2.jpg 2019-11-Paestum - Votive Statue of Athena (circa 500 BC) In the northern sacred area of Paestum, many terracotta figurines of the goddess Athena were found, as well as vases depicting Athena In addition, statues of Athena that graced Roman houses were found. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620362910606-2RW409A3E67Y2BYAOGT5/SSL_5477_hydriska-northern+sacred+area_sm2.jpg 2019-11-Paestum - Hydriskai found in the northern sacred area of the Temple of Athena Many miniature vases were found in this sacred area, mostly hydriskai, possibly vestiges of rites connected to water. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621480267311-74KSPHWSO0CGFPQVPCV5/Athena+terracotta+statue_FIN.jpg 2019-11-Paestum - Terracotta statuette of Athena, found in Taranto circa 350 BC Goddess Athena was the mythological goddess of wisdom, but also the poetic symbol of reason and purity. Goddess Athena was very important to the Greeks, since they named her the Iliad's goddess of fight, the warrior-defender, the protector of civilized life and artisan activities. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619055794001-HM61K20GNSVKTSY9QVNI/SSL_5482_Athena_vase_600-500BC_sm2.jpg 2019-11-Paestum - Figure of Athena, goddess of fight, the warrior-defender, with her helmet on Attic vase, 600-500BC Attic red-figure vases were exported throughout Greece and beyond. For a long time, they dominated the market for fine ceramics. Only few centers of pottery production could compete with Athens in terms of innovation, quality and production capacity. Of the red figure vases produced in Athens alone, more than 40,000 specimens and fragments survive today. From the second most important production centre, Southern Italy, more than 20,000 vases and fragments are preserved. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621415049209-0YW48P90Q5DBHIY4AX4Y/SSL_5194_Temple+of+Ceres_Athena_lt.jpg 2019-11-Paestum - Temple of Athens (circa 500 B.C.) The Temple of Athena has a simpler structural design as compared to the other two temples. Note that the columns are all slightly curved in at the top. They are in fact slightly cigar shaped. This was a feature of the earliest temples intended to cause an optical illusion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621310824661-9FECTO14LVUDPF5115E1/Athenaion+Temple_DSC01438_sm.jpg 2019-11-Paestum - Proposed reconstruction of the Temple of Athena The ancient Greek temples were meant to serve as homes for the individual God or Goddess. In exchange, the Greeks were expecting the Gods to protect them and sustain their communities. Athena, also known as Athene, is the Goddess of Wisdom (also Goddess of courage, inspiration, civilization, law and justice, strategic warfare, mathematics, strength, strategy, the arts, crafts and skill). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621413046284-Z4P829LK5TPDDSOGZERA/Athena_Lenormant_1.jpg 2019-11-Paestum - The "Lenormant Athena," found in Athens, near the Pnyx, National Archaeological Museum, Athens, copy from 1st c. A,D. Statuette of Athena. Pentelic marble (from Mount Pentelicus). This statuette copies the Athena Parthenos by Pheidias. Although unfinished, the work is important because it preserves the relief representation of an Amazon battle (mythical battles between the ancient Greeks and the Amazons, a nation of all-female warriors) on the exterior of the shield and the relief image of the Birth of Pandora on the base — themes that adorned the original statue of Athena. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617682785350-IJ4992YVLX3HWFYJHFZM/SSL_5207_Temple+of+Ceres_Athena_back2_FIN_sm.jpg 2019-11-Paestum - Temple of Athena (circa 500 B.C.) The far (western) end of the Temple of Athena. The entablature here is rather better preserved and it is possible to see the line of the metopes and the trigyphs where the main painted decoration would have been. A trygyph is a tablet in a Doric frieze with three vertical grooves. Triglyphs alternate with metopes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618048345203-IPN5XBDMS6S3MFB8R0R4/artist+example+of+metopes.jpg 2019-11-Paestum - Rendering of trygyphs and metopes on a Doric Frieze. Triglyph is an architectural term for the vertically channeled tablets of the Doric frieze in classical architecture, so called because of the angular channels in them. The rectangular recessed spaces between the triglyphs on a Doric frieze are called metopes https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686033397-994QT3IW7BX6OG6QLZ4I/SSL_5403_Hercules+kills+giant+Halcyoneius_rev_sm.jpg 2019-11-Paestum - Trygyph with metope illustration of Hercules killing the giant Halcyoneius. This metope was found at the Sanctuary of Hera at the mouth of the Sele River. The archaic metope relief panels date from 570-560 BC. The earliest group of metopes shows the story of the life of Heracles in 38 surviving reliefs. This metope illustrates the story when Heracles shot Alcyoneus with an arrow, Alcyoneus fell to the ground but then began to revive, so on the advice of Athena, Heracles dragged Alcyoneus out of his homeland where Alcyoneus then died. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686056487-ZGXCMIMDK2KJO8OX4KVF/SSL_5407_Suicide-Ajax+falling+on+sword_crp_sm.jpg 2019-11-Paestum - Metope illustrating The Suicide of Ajax Falling on His Sword Ajax was considered the second-best hero at Troy, after his cousin Achilles. Once Achilles dies, Ajax and Odysseus debate over who should receive his armor. When Odysseus is given the armor, Ajax goes mad. He kills Greek cattle believing that it is the Greeks. Once he becomes aware of what he has done, he commits suicide. Ajax believes that after the cattle incident, killing himself is the only way to keep his status as a hero and to avoid bringing shame to his noble father, Telamon. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686051443-25C648U5MTJNF8ACEALU/SSL_5404_Apollo+and+Artemis_crp_Fin_sm.jpg 2019-11-Paestum - Apollo and Artemis This metope is about Apollo and Artemis who killed most (or all) of Niobe's children, leaving Niobe to weep eternally. Artemis and Apollo remained close to each other forever. Both siblings would become associated with the skill of archery, and they enjoyed hunting together. In addition, both had the power to send plagues upon mortals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618467724977-L4HAG0QP6P5RTVPEGR88/Temple+of+Athena+altar2_B2_Crp.jpg 2019-11-Paestum - Altar of the Temple of Athena In front of the temple was the altar where the sacrifices took place. Greek temples differ from Christian churches in that whereas in a church the ceremonies are all enclosed and took place within the church, the Greek temple was essentially a store house where the statues of the gods were preserved to be brought outside for ceremonies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618387116940-1RJUCRBOXL6YVZ7KOGNZ/SSL_5200_Paestum-class+trip+on+Athena+altar_sm.jpg 2019-11-Paestum - Altar of the Temple of Athena Students sit on the altar located in front of the Temple of Athens, which is where the sacrifices took place. The main rituals took place outside in the altar in front of the Temple, e.g., the sacrificing of animals. This was always a time of rejoicing, for after the sacrifice took place the animals were roasted, and the gods enjoyed the smell of the roasting and had received a token offering of the meat; the meat was then cut up and distributed among the worshipers, who then had a good feast. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620242604798-MZ38UAN0PZKKQ43ERQKX/SSL_5515_Paestum_vase-sacrifice_sm2.jpg 2019-11-Paestum - Sacrifice In ancient Greece, animal sacrifice was a practice that honored the gods and brought people together through sharing of meat. It was widespread at the level of the state, which organized large sacrifices during important festivals and distributed the meat to the people, as well as in private life. Attic vase painters often depicted various aspects of the sacrificial process, such as the procession to the altar, the butchering of the animal (as depicted here), the burning of the part offered to the gods on the altar, and the feasting during which the animal was consumed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617682887350-E5LBKRN2CQGKCMLZDTY3/SSL_5216_Paestum+street_sm.jpg 2019-11-Paestum - The Via Sacra, main street of Paestum The Graeco-Lucanian inhabitants of Poseidonia allied themselves with Pyrrhus of Epirus when he arrived in Italy in 281 BC to lend aid to Tarantum (Taras) against the Romans. The Romans nevertheless managed to conquer much of the Italian peninsula by 272 BC. Poseidonia was refounded as the Roman city of Paestum. In this form, the city managed to grow and flourish until the fourth century AD, after which it slowly declined. It was abandoned by the seventh century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617865690551-C75LLKQGJX1WNRXQ3HVR/SSL_5699_The+ekklesiasterion+or+council+chamber_sm.jpg 2019-11-Paestum - The Ekklesiasterion (the citizensʻ assembly hall) The Ekkelesiaterion was part of the agora, a public space and meeting area in ancient Greek cities. Its steps, made from the natural outcrop of rock, form a circular structure with concentric rings. The Paestum Ekklestasterion was built by the inhabitants of Poseidonia (circa 480-470 B.C.) for meeting of the assembly of citizens who voted for the laws and elected the magistrates; it could seat from 1100 to 1700 people. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617682896684-K42M80XMHPGO1Q9NLADG/SSL_5227_Heroon+Paestum_sm2.jpg 2019-11-Paestum - The Heroon The heroon of Paestum is thought to have been erected as a cenotaph (a monument to someone buried somewhere else) to celebrate Is, the mythical founder of Sybaris after the Sybarites moved to the region. The shrine was constructed underground. After excavations during the 1950s, the tumulus ( an ancient burial mound) above the heroon was removed and now the roof can be seen sticking out of the ground. The rest remains buried. Inside the heroon, there is a low stone chamber with a pitched roof. Many objects were discovered inside such as Greek pottery and bronze vessels that contained traces of honey. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683045749-NXBOYX5ZYXCAMRN9JXVD/SSL_5242_pool+support+structure_sm.jpg 2019-11-Paestum - The Public Pool in Paestum. A wall enclosed this large rectangular pool. Recent studies have identified the structure as the Temple of Fortuna Virilis, a deity from the Roman Pantheon who was associated with Venus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618550363569-FO4GY31GMOEJVXV285VE/SSL_5244_detail+of+pool+supporting++pillars_drk_sm.jpg 2019-11-Paestum - Paestum Pool dedicated to Venus for fertility rites. The sanctuary, dedicated to Fortuna Virilis, was destined for fertility rites held during the festivals in honor of Venus (Venerea). The sanctuary is associated with a large swimming pool (47 mx 21 m.), the central element of the venerea. On the stone pillars, still visible today, was placed a wooden platform on which was placed the statue of Venus sitting on a throne. Venus is the name for the Roman goddess of love and peace. To the Greeks this was Aphrodite, to the Egyptians the goddess Isis and to the Phoenicians the goddess Astrate. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621424080770-RFWXNZSWTXTVE7ZF9IJC/SSL_5463-revised_Venus-Adonis-Eros4_FINE_sm.jpg 2019-11-Paestum - Attic red-figure vase (c. 410 BC) showing Aphrodite consorting with Adonis, who is seated and playing the lyre, while Eros stands behind him. Currently in the Louvre Museum In general, Aphrodite (Venus) was the captivating goddess of beauty, love, and marriage and her power was very great. Her universality led to a gamut of conceptions of this goddess, who presided over everything from hallowed married love to temple prostitution. Depictions of her in art, literature, and music reflect not only the duality but also the multiplicity of her nature. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683078899-W9M258MEC2I7U2HFZ58N/SSL_5250_pool+and+structure_sm.jpg 2019-11-Paestum - Paestum Pool and Fertility Rites The married women who participated in the fertility ritual for Venus immersed themselves in the pool in the hope of having a happy birth. With the demise of the cult of Fortuna Virilis during the Imperial Age (27 B.C. to A.D. 476), the pool was filled in and a new building surrounded by a portico was built over it that was devoted to the Imperial cult through which emperors were worshipped as demigods or deities. . https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621425198566-Z1R3VF59C483JRB843E8/Anquises_y_Afrodita_-_Afrodisias_sm.jpg 2019-11-Paestum - Greek relief from Aphrodisias, depicting a Roman-influenced Aphrodite (Venus) sitting on a throne holding an infant while the shepherd Anchises stands beside her. Carlos Delgado The theme of Venus (Aphrodite) associated with fertility is exemplified in this depiction of the myth of Anchises and Aphrodite. The Trojan shepherd Anchises gazes at the seated Aphrodite, his one night on Mount Ida. She holds a small Eros on her lap: this is an erotic encounter. The head of Selene (Moon) appears above the mountain rocks: she indicates night-time. It was from this union that Aineas was born (Museum of Aphrodisias, in modern-day Turkey). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618564810447-G202LALAPHAZ06IGED8T/comitium+Paestum.jpg 2019-11-Paestum - The Comitium Popular assemblies were held in the comitium and local magistrates were elected. The building of the 3rd century BC lost its role in the 2nd century BC for the benefit of the nearby forum and was partly absorbed by the Temple of Mens Bona. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621571787481-NS37D31FBGAIZBB4Y2KF/Comitium+and+east+side+Temple+of+Peace_DSC01446.jpg 2019-11-Paestum - The Comitium and the east side of the "Temple of Peace" 3rd - 2nd century BC - proposal of reconstruction https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618562231652-7EMRUSH52OV5BVB4J09O/SSL_5242_Temple+of+Mens+Bona_Temple+of+Peace.jpeg 2019-11-Paestum - Ruins of the Temple of Mens Bona, also known as the Temple of Peace, in the Roman Forum in Paestum. The Temple of Peace with its Corinthian Doric architecture (2nd to 1st century BC) was built in the northern side of the forum. Dedicated to Mens Bona (the Roman deity of reason, a deity that embodied the debt of gratitude of the former slaves to their former masters and in this case the inhabitants of Paestum towards Rome.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621328278170-5DVRCYMMRK3HT5VQ77VZ/Temple+of+Peace+proposed+reconstruction_DSC01450_sm.jpg 2019-11-Paestum - "Temple of Peace" with the Amphitheater in the background (proposed reconstruction). The “Temple of Peace” is also identified as the cityʻs Capitolium. The Capitolium stood opposite the Curia on the other side of the Forum. It was the temple symbolizing the link between Rome and Paestum. Temples of this type were built in the Ist/2nd century AD in many parts of the Roman Empire; they were usually dedicated to the Capitoline Triad (Jupiter, Juno and Minerva). Ceremonies at this temple were mainly related to events of the history of Rome or of the life of its emperors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621579875418-8AXNMIQOTF80MLU1UILO/Arte_romana%2C_triade_capitolina%2C_160-180_dc_%28guidonia_montecelio%2C_museo_civico_archeologico%29_01.jpg 2019-11-Paestum - Capitoline Triad, Museum of Guidonia "Capitoline Triad" are Jupiter (Zeus), the king of the gods; Juno (Hera), his wife and sister; and Jupiter's daughter Minerva (Athena), the goddess of wisdom. This grouping of a male god and two goddesses was highly unusual in ancient Indo-European religions, and is almost certainly derived from the Etruscan trio of Tinia, the supreme deity, Uni, his wife, and Minerva, their daughter and the goddess of wisdom. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617789359588-MQ5P5EC6CV3E1YJ4OM38/SSL_5380_amphitheater+entrance_sm.jpg 2019-11-Paestum - The Amphitheatre A central element of the Roman Paestum, the amphitheater was built in the Imperial Period (27 BC to AD 476) around 50 BC, and is one of the oldest constructions of its kind. Towards the end of the first century AD an outer ring was added to increase its capacity. Only about a third of the amphitheater is visible today, since most of it still lies buried beneath the present-day road. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619999689990-XXXH49BAEWD151AYAHS2/Cavea_illustration-Roman-theatre-Bosra_sm.jpg 2019-11-Paestum - Cavea (seating sections) in Roman Architecture for theaters & amphitheaters the Theater at Bosra, Syria In Roman times the cavea (Latin for "enclosure") referred to the seating sections of Roman theaters and amphitheaters. The cavea is traditionally organized in three horizontal sections, corresponding to the social class of the spectators: the ima cavea (in blue) is the lowest part of the cavea and the one directly surrounding the arena. It was usually reserved for the upper echelons of society; the media cavea (in red) directly follows the ima cavea and was open to the general public, though mostly reserved for men; the summa cavea (in yellow) is the highest section and was usually open to women and children. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619996050353-L1GCBBQZREW2UTG15PO5/SSL_5369_amphitheater_Reconstruction.jpg 2019-11-Paestum - Disign of the Amphitheater Only a few of the amphitheaterʻs cavea seats still exist. A high parapet (protective wall) separated the arena from the cavea and was designed to protect the spectators from the animals in the arena. At the end of the first century AD, an outer ring consisting of an arcade resting on pillars was added, a structure, possibly made of wood, formed the upper floor of the cavea (maenianum summum). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617789369632-DAIU0HD37ZWU7JK68WIP/SSL_5390_young+boy+amphitheater_sm.jpg 2019-11-Paestum - Amphitheatre The load bearing walls of the amphitheatre and the cavea belong to the oldest phase of its building and were made of large blocks of limestone. The pilasters, supports and arches were built of brick. The arena, like other similar buildings, was used for circus shows and gladiatorial displays. The tunnel that led to the amphitheatre is still intact and accessible and would have been used fro transporting animals, props and sets for the shows. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617789360231-3VBO3MSTF8I4WFS26N8A/SSL_5383_amphitheater_sm.jpg 2019-11-Paestum - Amphtheatre This building played a vital role in the life of all important Roman cities. In the amphitheaters, the munera gladiatoria ( a gladiatorial contest) were often sponsored by wealthy people who put on public shows at their own expense to celebrate special events or festivals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617789371929-49YO3TO1S54JG4X16I1L/SSL_5388_young+boy+amphitheatre_sm.jpg 2019-11-Paestum - Amphitheatre In contrast to the Roman theater, which evolved from Greek models, the amphitheater had no architectural precedent in the Greek world. Likewise, the spectacles that took place in the amphitheater—gladiatorial combats and venationes (slaughter of animals by trained hunters)—were Italic, not Greek, in origin. The earliest secure evidence for gladiatorial contests comes from the painted decoration of a fourth-century B.C. tomb at Paestum in southern Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690722037-FHT405T6I6V7TCUXEJI1/SSL_5580_chariot+and+duel_350-330-BC_FIN_sm.jpg 2019-11-Paestum - Gladiator Duel and Chariot portrayed on a Tomb Painting, 350-330 BC At the end of the fifth century BC Poseidonia was conquered by the Lucanians. From the archaeological evidence it appears that the two cultures, Greek and Oscan, were able to thrive alongside one another. Many tomb paintings show horses and horse-racing, a passion of the Lucanian elites. Throughout the imperial period, the gladiator combats remained an important route to popular favor for emperors and provincial leaders. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690850177-Q9KR543CXPU5NMPFRZM1/SSL_5602_Aricioni+Tomb+1+Duel+375-350BC_sm.jpg 2019-11-Paestum - Gladiator combat, Lucanian fresco, Arcioni Tomb I (375-350 BC) A gladiator (Latin: gladiator, "swordsman", from gladius, "sword") was an armed combatant who entertained audiences in the Roman Republic and Roman Empire in violent confrontations with other gladiators, wild animals, and condemned criminals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618739640429-XK8GGDMM43W7FUJ59HOV/SSL_5571_duel2_sm.jpg 2019-11-Paestum - Gladiator Duel, as pictured on a wall of Tomb 4, Andriuolo, Last decade of the 4th century BC. Some gladiators were volunteers who risked their lives and their legal and social standing by appearing in the arena. Most were despised as slaves, schooled under harsh conditions, socially marginalized, and segregated even in death. In 325 A.D., Constantine, the first Christian emperor, prohibited gladiatorial combat on the grounds that it was too bloodthirsty for peacetime. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618730033317-XDR72DZPLJXHWMXTNQNY/SSL_5601_pugilata+-+boxing_sm.jpg 2019-11-Paestum - Boxing, portrayed on a section of the southern slab of Tomb I found at Arcioni (375-350 BC). Boxing (pugilatus) was a popular sport in ancient Rome. In order to protect the hands from damage, fists were wrapped with leather thongs. With time, the harder skin was used, which increased the strength of the blow and caused more damage. If fighters were feeling even more dangerous, they could box with a cestus. The cestus was a boxing glove, that was essentially a brass knuckle loading with nails and iron. These "gloves" lead to more deaths and more limbs being broken. Boxing fights were banned in 393 CE because of too much brutality. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618740634607-8AF3SZHNMOFDIKW6AEXB/SSL_5603_Arcioni-Tomb-1_375-350_lion+hunt2_FIN_sm.jpg 2019-11-Paestum - Lion Hunt, Lucanian fresco on a wall of Arcioni Tomb I, 375-350 BC The gladiator games lasted for nearly a thousand years, reaching their peak between the 1st century BC and the 2nd century AD. The games finally declined during the early 5th century after the adoption of Christianity as state church of the Roman Empire in 380, although beast hunts (venationes) continued into the 6th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683134456-4PKU5WPGL5857ROMWUSY/SSL_5264_forum+southern+portico_sm.jpg 2019-11-Paestum - The Forum In 273 BC, Paestum became a Roman colony. New colonists moved in and soon began to reorganize the town they had taken over. The major change was to abandon the old meeting place, the agora, and establish a new forum a short distance to the south, and this new forum is the major feature of the Roman town. Later the forum was smartened up by the addition of a colonnade running all round, which made it look like a proper forum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621311665659-3LN46HM2WWMFH1KBBYDJ/So+portico+Forum_Curia_Macellum_DSC01443_sm.jpg 2019-11-Paestum - Southern Portico of the Forum (proposed reconstruction) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683002022-RRU0OZUDVTKMMCZ5WJHO/SSL_5229_Paestum+residential+street+area_sm.jpg 2019-11-Paestum The Forum was surrounded on all sides by small shops, two roomed affairs with a shop at the front and the living quarters behind. The city developed in the mid 6th century BC with paved streets, new houses, sewers and drainage systems which mark out the urban area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621310878305-A2B63H0NJEP5HPS4EB0P/East-West+street+w+residential_DSC01439_sm.jpg 2019-11-Paestum - East-West street, with residential areas (Proposed reconstruction). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621594776225-F0TF5LEXU6N8PO4XK1GC/SSL_5254_Doric+capital_sm.jpg 2019-11-Paestum - Early excavators reconstructed this doric column and inexplicably placed it in the residential area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617682889746-016N6NF5RMKDYA38BKTG/SSL_5214_Residential+Street+Paestum_sm1.jpg 2019-11-Paestum - Forum Area Houses and Shops Currently, eight neighborhoods of houses from the Roman period have been unearthed. The dimensions vary a lot and we can find both rich but small houses such as the "Casa con impluvio in marmo" (House with impluvium, 650 sqm) and huge domus like the "Casa con piscina" (House with swimming pool, 2800 sqm). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618639436166-KN41ZRNQSETJ6DMBJ3WO/1920px-Domus_romana_Vector002.svg.png 2019-11-Paestum - Rendering of a Roman domus, with the impluvium (# 7) and a piscina (#15) on the floor plan. Houses of the rich and upper classes were lavish. The atrium was the most important part of the house. It was where guests were greeted. The atrium was open in the centre, surrounded at least in part by porticoes with high ceilings, that often contained only a little furniture to give the effect of a large space. In the centre was a square roof opening in which rainwater could come, draining inwards from the slanted tiled roof into the impluvium below. There were kitchens, bedrooms, a dining room, and a number of open rooms. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686364449-7DLL4AUIPVD1DH1LEJKR/SSL_5256_house+w+impluvium_sm.jpg 2019-11-Paestum - House of the Marble Impluvium (the central rainwater tank). This house was built during Paestumʻs Roman Period, 3rd century BC. The rich lived in private homes in the city or large villas in the country. Most people in the cities of Ancient Rome lived in apartments called insulae. The wealthy lived in single family homes called domus of various sizes depending on how rich they were. The impluvium in this house was made of marble and was well preserved because it was covered by a later inferior cover. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683118234-Q158I7HKN1JKRBIF8IJQ/SSL_5258_marble+impluvium_sm.jpg 2019-11-Paestum - Roman impluvium in the atrium of house on Porta Marina road. The impluvium is he sunken part of the atrium in a Greek or Roman house (domus). It was usually made of marble and placed about 30 cm below the floor of the atrium and emptied into a subfloor cistern. The impluvium was designed to carry away the rainwater coming through the compluvium of the roof. A substantial quantity of water caught in the basin of the impluvium filtered through the cracks, through layers of gravel and sand into a holding chamber below ground. A circular stone opening protected with a puteal allowed easy access by bucket and rope to this private, filtered and naturally cooled water supply. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619772124905-6WBQDDMDLBCIEGXNB0T4/SSL_5232_Brick+columns+Paestum_crp_sm.jpg 2019-11-Paestum - Remnants of a residence peristyle - doric columns constructed with brick and originally covered with concrete. When, around 600 BC, the Greeks took over the site, Poseidonia, they superimposed an orthogonal grid of streets and blocks onto the earlier aquatic landscape. This grid appears to have been completely developed as early as 500 BC. The main temples were erected in the city center. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621573042729-PUNDEO993YIA2AAB3HZJ/peristyle+of+house+w+poolDSC01441.jpg 2019-11-Paestum - Peristyle of the House with Pool - Proposed Reconstruction https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683157753-RA5B1CQU1GKSDUQCO8RA/SSL_5265_Basilica+details+of+niches_sm.jpg 2019-11-Paestum - The Curia In the Ist century BC when Paestum was a colonia latina, a town which retained some form of self-government, but was basically subject to Rome. The Curia was the building where the local town council met and the circular bench on which its members sat is evident in this picture. The magistrates administered justice and their archives were kept. The Curia was a brick building with plastered demi-columns, a typical element of Roman architecture. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683350788-VPJX8PFLSN49UOEQFJWI/SSL_5294_Temple+of+Neptune_sm.jpg 2019-11-Paestum - The Temple of Hera II, 460-450 BC (previously attributed to Neptune and Poseidon) Hera was the sister and wife of Zeus and the patron goddess of Poseidonia/Paestum. Terracotta votive figurines found in the sanctuary show female types normally identified as Hera. There is also an inscribed silver dish which declares ‘I am sacred to Hera: strengthen our bows’. This temple is one of the most well-preserved Doric buildings in Magna Graecia. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690552326-73H4PBXSDEYI3BIRI9MH/SSL_5517_Female+figures+votives+4th-3rd-c-BC_sm.jpg 2019-11-Paestum - Female figure votives from the 4th to 3rd century B.C. These votive offerings to the goddess Hera were made in Paestum. The offerings consisted of statuettes of draped female figures wearing cloaks with elegant hairstyles. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619165631615-B126V5HZHR826MXDBIP8/SSL_5643_Heraclas+welcomed+by+Zeus+w-Apollo+lyre2.jpg 2019-11-Paestum - Heraclesʻ arrival welcomed by the seated Zeus, Apollo with the Lyre and other deities. The Temple of Hera II was also used to worship Zeus and another deity, whose identity is unknown. This Attic black-figure container of perfumed oils (lekythos) with seated Zeus and Apollo and Hercules was found in the Temple del Prete, Tomb 24, first quarter of the 5th century BC. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620457191467-F2D0WOW769TRCC6H7F8N/SSL_5513_items+temple+of+hera+sele+river_sm.jpg 2019-11-Paestum - Sanctuary of Hera at the River Sele (Late 4th first half of 3rd centtury BC) (Rear left) Black-Glazed Bottle with lattice decoration containing scented ointments; (4) Small black-glazed jug and small black-glazed cup; (Rear middle) Vase for pouring and storing oil for oil lamps (askos); (6) Container with lid; (7) Terracotta models of fruit. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617684696746-Z69R6SEE5QW3P9WRRF7E/SSL_5354_Tempio+Nettune_Doric+explained_sm4_FIN.jpg 2019-11-Paestum - The Temple of Hera II (460-450 BC) Identified on this picture are the parts of a Doric temple. The Doric order is the oldest and most widespread in continental Greece and Magna Graecia. Its main features are: absence of an actual base for the column; the simplicity of the capital, placed at the top of the column like a crown and consisting of a rounded moulding (echinus) and a square block (abacus); a smooth architrave with a frieze running along it in which slabs with three vertical groves (triglyphs) alternate with sculpted panels (metopes). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683350633-10MYVDY5KHLN7QUPLU3T/SSL_5299_Temple+of+Neptune_sm2.jpg 2019-11-Paestum - Temple of Hera II (460-450 BC). The Temple of Hera II has six columns along its shorter sides (as seen above) and fourteen columns along its longer sides. The columns do not have the typical 20 flutes on each column but have 24 flutes. The Temple of Hera II also has a wider column size and smaller intervals between columns. The entasis, or curve, of its columns give a stronger visual presence. This temple is aligned with a double peaked mountain considered to be sacred by the Greeks. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619936892263-D1TCH3VTQRNNMVKMAEX4/Ancient-Greek-metopes-Museo-archeologico-nazionale.jpg 2019-11-Paestum - Tryglphs and Metopes display in the Museo Archeologico Nazionale di Paestum Seventy 6th-century metope reliefs were found in the area of an ancient Greek sanctuary complex dedicated to the goddess Hera in Magna Grecia (southern Italy). The buildings were constructed from the 6th to at least the 3rd centuries BC at the mouth of the River Sele located about 5 miles north of the Greek city of Poseidonia/Paestum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690578112-STNZ6UXAPW7X3NVFB3C9/SSL_5523_Hera+Temple+freize_sm.jpg 2019-11-Paestum - Metope containing a scene of girls dancing. This metope is from the Sanctuary of Hera at the mouth of the Sele River. A few kilometres from Paestum there was a temple complex at the mouth of the Sele river (Foce del Sele in Italian) dedicated to Hera. The temple is now all but destroyed, and little remains of several other buildings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690601154-L6HRI546DTY7HS7DLQ83/SSL_5524_Hera+temple+freize_sm.jpg 2019-11-Paestum - Metope containing a scene of girls dancing. Found at the Sanctuary of Hera at the mouth of the Sele River. About 70 of the sixth-century BC Archaic metope relief panels on the temple and another building at the site were recovered. These fall into two groups, the earlier of which shows the story of the life of Heracles in 38 surviving reliefs; the later group, of about 510 BC, shows pairs of running women. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690607156-6AIQ29PMWCS0XTTOABOW/SSL_5525_Hera+Temple_freize_sm.jpg 2019-11-Paestum - Metope containing a scene of girls dancing. Found at the Sanctuary of Hera at the mouth of the Sele River. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619234026609-6O59YEBNAX0P54YDLDP2/SSL_5363_doric+Nettune_sm2.jpg 2019-11-Paestum - Top of Doric Columns on Temple of Hera II Top of the doric columns consisting of a rounded moulding (echinus) and a square block (abacus). Because a Doric column is thicker and heavier than an Ionic or Corinthian column, it is sometimes associated with strength and masculinity. Believing that Doric columns could bear the most weight, ancient builders often used them for the lowest level of multi-story buildings, reserving the more slender Ionic and Corinthian columns for the upper levels. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619325421266-HVXVIBKBCX08H0EDT1AD/IMG_5246_Temple+of+Neptune-Hera+II+view+above.jpg 2019-11-Paestum - Temple of Hera II view from above, 460 BC (copyright GEORES) Inside the Temple of Hera II there are two rows of seven columns, a mainland Greek feature that became more widespread in Sicily and South Italy at this time. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620173896401-0X4A7PYKTK75B5JVI62S/Thomas+Major%2C+Interior+of+the+Temple+of+Neptune+1768.jpg 2019-11-Paestum - Thomas Majorʻs 1768 drawing of the "Interior of the Temple of Neptune " [Hera II] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683361129-RZYBAHVEK2OS6FVP3ECQ/SSL_5312._Neptune+altar_sm2.jpg 2019-11-Paestum - Interior of Temple of Hera II, 460 BC View of the cella in the Temple of Hera II. This double colonnade divided the cella into a nave and two side aisles. In ancient Greek and Roman temples the cella was a room at the center of the building, usually containing a cult image or statue representing the particular deity venerated in the temple. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1618042261964-NR6OXRYSHLWVD0MCU9AY/1280px-%2522A_company_of_men_has_set_up_its_office_between_the_columns_%28Doric%29_of_an_ancient_Greek_temple_of_Neptune%2C_built_about_7_-_NARA_-_531170.jpg 2019-11-Paestum - Temple of Hera II (formerly thought to be the Temple of Neptune) US army company with its tranceiver office between the Doric columns in the Temple of Hera, September 22, 1943. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617683461406-INPRZE75YCPS1UZFRP4T/SSL_5353_Paestum+respite_sm.jpg 2019-11-Paestum - Tourist intermission! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617685081044-OPO9GCQTBDYVT3KZTE1Y/SSL_5330_The+Basilica_Hera+Tempio_sm2.jpg 2019-11-Paestum - The Temple of Hera I (earlier misnamed as the Basilica), 550 BC to 530 BC. The earliest temple at Paestum is the so-called Basilica. When it was first rediscovered in the 18th century it was thought not to be a temple at all, as none of the entablature that formed the pediment at the end had survived. So it was named the Basilica, or town hall. However numerous little figurines of the goddess Hera, who was the wife of Zeus , the King of the Gods, have been found. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621328267326-JLJBQO429VVNEAQNMI4B/the+Basilica+-+Hera+I_DSC01452_sm2.jpg 2019-11-Paestum - Temple of Hera II, also known as The Basilica (proposed reconstruction) The temple was built in the middle of the 6th c. BC. Some unmistakeable features of the Archaic nature of the temple are the odd number of columns on the front line (nine while there are 18 along the sides) and the profile of the columns, with the obvious entasis (swelling) in the center, and the rather convex, “crushed” shape of the echinus (the rounded molding linking the top of the capitol to the shaft of the column). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619765605477-1J3QHEO95OOXBDJ2NN1N/SSL_5510_Hera+figurines_sm.jpg 2019-11-Paestum - Figurines from the Sanctuary of Hera at the River Sele (4th century BC) Image of Hera seated on a throne (known as La Pestana - The Paestum Hera) holding a sacrificial cup and a pomegranate or a basket of fruit (left). Thousands of these figures were made in workshops at Paestum. Pomegranates symbolize renewal and rebirth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619243832195-1SFWIX9IEN3QYEGD75UQ/SSL_5490._Women_Hera2_FIN.jpg 2019-11-Paestum - "Flower Women" Votives to Hera The “flower woman” refers to terracotta votive offerings or alternatively as thymiateria (incense-burners) that were found in Paestum. The earliest and most diffused meaning interpretation of these peculiar figurines was related to the cult of Hera, attested at the Foce Sele Sanctuary. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620369967328-X8TKEE8RVZ6V042LU3U2/SSL_5490_hydriskai-6th+C_BC.jpg 2019-11-Paestum - Hydriskai from the Temple of Hera near the mouth of the Sele River (circa 600 BC) The sanctuary Argive Hera, near the mouth of the Sele River, was strongly connected to navigation and water, as is often the case with sanctuaries of Hera. Many minature vases, mostly hydriskai, were offered to the goddess. They were probably used in rites where water was scooped and poured. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686186170-3QCWS3QN6R6NVSWA3CF2/SSL_5493_Hera+w+pomegranate_crp_sm.jpg 2019-11-Paestum - Hera wiith Pomegranate (marble statue from the Sanctuary of Hera at the River Sele, Late 5th Centrury BC) Hera holds a pomegranate in her rt. hand and a patera (bowl used for libation) in her left. The pomegranate fruit has been used throughout history and in virtually every religion as a symbol of humanity’s central beliefs and ideals, namely, life and death, rebirth and eternal life, fertility and marriage, and abundance. The pomegranate, as a symbol of fertility, was associated with Hera who was the goddess patron of childbirth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619209218810-FWP6F11CXRTCKEEVSHO2/Neo-Assyrian+Cylinder-pomegranate+bush+.jpg 2019-11-Paestum - Pomegranate in Neo-Assyrian Cylinder seal impression showing a couple of kings and eagle-headed winged genies performing ritual aspersion of a pomegranate bush as Tree of Life. The pomegranate is a fruit-bearing deciduous shrub, widely considered to have originated in Persia, modern-day Iran, and to have been cultivated since ancient times. The pomegranate is attested in ancient Elam (southwestern Iran) during the 4th millennium (4,000 BCE), and then spread to the rest of the Near East, with the original shrub (Punica protopunica L.) reaching Mesopotamia, Anatolia, Syria, and Palestine by the end of the 3rd millennium. Sumerians (now southern Iraq) appear to have been involved in domestication of the pomegranate (Punica granatum L.), and the fruit quickly became an important symbol. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621587765240-0BP1231AV5I1NNWS0Q62/Pomegranante-carved+alabaster+3500-33000BC+Uruk-Warka.jpg 2019-11-Paestum - Carved alabaster vase from Uruk-Warka (3500-3300 BCE); in the lower register are three branches from pomegranate trees. The brilliant red and yellow of the pomegranate’s skin, the blood-red juice, and its healthy properties create associations with human fertility, and thus life and death. In ancient Mesopotamian art pomegranates are often represented with the deities of fertility, fecundity, and abundance. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621585304719-4VOGXHE446KNUOAGCQ02/Fig_03.jpg 2019-11-Paestum - Pomegranate-shaped wooden box from Tomb B35 at Jericho (1700-1650 BCE). c https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619238817824-DP2YUVLJS5UEZNN6LFVY/Fig_04.jpg 2019-11-Paestum - Ivory replicas of a pomegranate from the Tomb of Tutankhamon (circa 1,325 BC). By the beginning of the 1st millennium BCE, the pomegranate is found especially in funerary contexts in the Levant (Eastern Mediterranean region of Western Asia), and it also achieves further symbolic value connected to kingship. Its image continued to be reproduced on textiles, wood, ivory, precious metals, as well as in symbolic ornaments. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621588967456-DTYS9XP216P2RD18NGTF/Golden+earrings++mid+8th+c+Greece.jpg 2019-11-Paestum - Golden earrings from the tomb of the Rich Lady of Areiopagus, Athens (mid-8th century BCE). During the 2nd millennium BCE, the pomegranate was an exotic fruit for urban aristocrats of the Near East and was exchanged as a luxury item, but it also had strong symbolic value both in the sacred and funeral spheres. The same symbolism was transmitted to Greek culture at the beginning of the 1st millennium BCE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621572476305-KV7K1FUO2769EQJSQ89O/Chrysapha_Sparta-550-540+BC-Hades-Persephone_color.jpg 2019-11-Paestum - Funerary relief from Chrysapha (Sparta), probably representing enthroned Hades and Persephone. The goddess holds a *pomegranate in her right hand (550-540 BCE). In ancient Greece, the pomegranate is also the fruit of the netherworld through the myth of Demeter and Persephone and Hades, which relates themes of fertility, death, and resurrection. (*N.B. Pomegranate color added for visibility) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620541093588-4IP6UB07QQBZH9PJQRR0/SSL_5574_flautist+w+women-funeral+couch_350-330BC_crp2_FINE_sm2.jpg 2019-11-Paestum - Flautist with female attendants for a woman on a funeral couch, 350-330 BC. In 7th and 6th century BCE the pomegranate appears as a standard element of Greek aristocratic tombs, both as a grave good or depicted on funerary vases. In Mycenean and later Greek mythology, Hera, wife of Zeus, receives a tree of golden pomes (μῆλη), probably pomegranates, which gave the gift of immortality. The pomegranate is one of the most common attributes of Hera in Western Mediterranean, especially in Southern Italy, where the goddess was widely worshipped. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621591620152-D35SCZELHEZC4EC0FJ9Y/Coimbra+de+Barranco+Ancho++5th+c.jpg 2019-11-Paestum - Punic amphora painted in red with a pomegranate garland (5th century BCE), Coimbra de Barranco Ancho archaeological site in Jumilla, Spain. It is probable that the diffusion of the pomegranate in the western Mediterranean is due to Phoenician expansion around the 10th century BCE, with Phoenician colonists carrying the fruit, and its symbolism to Sicily, the Iberian Peninsula and North Africa, and then to the Etruscan and Roman worlds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617691289317-NX2O6QMHUETFK3JC8QFG/Madonna+of+the+Pomegranate-1487+Botticelli.jpg 2019-11-Paestum - Madonna of the Pomegranate, 1487 by Sandro Botticelli (Uffizi Gallery, Firenze, Italy)) Based on the previous pictures and information, it is no wonder that Christianity also embraced the symbolism of the pomegranant, a fruit that has been used throughout history and in virtually every religion as a symbol of humanity’s central beliefs and ideals, namely, life and death, rebirth and eternal life, fertility and marriage, and abundance. In this painting, Botticelli shows Mary holding the pomegranate to symbolize Christ's Passion, the wealth of seeds conveying the fullness of Christ's suffering. Also, each figure wears a sad expression as if their mind is somewhere else thinking of Christ’s death. The seed of the pomegranate that the Madonna holds with the infant signifies that Christ will receive resurrection through rebirth just as the seed will cause the birth of a new plant. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619238526979-NV0UP14ZP3BYVJ4YDWOY/IMG_3169_Paestum-Hera-Pomegranate_FINAL+copy+2.jpg 2019-11-Paestum - Having some fun! Hera, me and our pomegranates. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617685723278-VCDET7ELVN48ETCCRJG0/SSL_5352_Hera+columns_sm.jpg 2019-11-Paestum - The Temple of Hera I (The Basilica) [550 BC] This view of the side shows an excellent example of what is called entasis, that is making the columns cigar shaped, curving in at the top and leaning in slightly at the bottom. This is something very common in the earliest classical Greek temples as the Greeks believed that it was an important optical illusion as it made the columns appear vertical; later columns are straighter sided. Entasis therefore is generally considered to be a mark of early date. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620462676669-512EILGLEFZPT9P4FVI0/Piranesi-Giovanni-Temple-in-Paestum-Sun-sepia-b.jpg 2019-11-Paestum - Etching of the side of the Basilica by Giovanni Battista Piranesi, 1777-1778. Piranesi created 21 plates of his visit to Paestum, which were published posthumously in November 1778 in his book Différentes Vues de Pesto. Piranesi wrote, “‘Italian antiquities showed greater originality than those of Greece.” He argued that Romans had taken their architectural style not from the Greeks but from the Etruscans, early inhabitants of Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690575910-PB5PT1RZ3Y0IGGRI3068/SSL_5521_Sandstone+cornice-lion+waterspout_520BC_Hera_sm.jpg 2019-11-Paestum - Sandstone cornice and lion waterspout, 520 BC, Temple of Hera II https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619951454139-9HTQC9VH52YZHPU4HRGH/SSL_5366_Basilica_sm2.jpg 2019-11-Paestum - Temple of Hera I (circa 550 BC) Hera was the patron goddess of the city. Unlike the other temples, the dedication of this one is certain, thanks to inscriptions to Hera on the temple. An open-air altar was unearthed in front of the temple, where the faithful could attend rites and sacrifices without entering the cella (the holiest area accessed by priests). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617790567443-I766IYXKBXXQHN53NXES/SSL_5394_The+Sandwich+Temple+Paestum_crp_sm.jpg 2019-11-Paestum - The Sandwich Temple, Paestum and souvenir shops across from the ruins. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619246299686-Y34JG0DU1A6VDZUOB34X/SSL_5397_Paestum+shops_crp2.jpg 2019-11-Paestum - Paestum town shops https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692560233-T0SX5B4RHKKSKC7V5GLO/SSL_5698_ancient+tomb+lawn+Paestum_sm.jpg 2019-11-Paestum - Stone tomb (cist) on grounds across from the temples near the Archaeological Museum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686033316-WNE718VFFDR3PV4S6FKA/SSL_5399_Paestum+Museum+entry_sm.jpg 2019-11-Paestum - National Archaeological Museum of Paestum https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619512537089-UYW8DPX6SFLQJNZCRYGP/DSC01290_Paestum+excavation+18thc_sm.jpg 2019-11-Paestum - The Excavation of Felice Nicolas in 1805 (drawing by P. Pequignot) In 1805, Felice Nicolas, Superintendent of Antiquities of the Kingdom of Naples and the two Sicilies, excavated the first necropolis near the north gate (Porta Aurea). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619410812355-BH2NPANMKZ8BD6QBBA2W/DSC01292_the+necropoleis+of+Paestum-sites_sm.jpg 2019-11-Paestum - Sites of the Necropoleis in relation to Poseidonia/Paestum A necropolis (plural, necropoleis) is a large, designed cemetery with elaborate tomb monuments. The name stems from the Ancient Greek νεκρόπολις nekropolis, literally meaning "city of the dead". The term usually implies a separate burial site at a distance from a city, as opposed to tombs within cities. This map shows the sites of the necropleis associated with Poseidonia/Paestum: A - Andriuolo; Lg - Laghetto; Ar - Arcioni; SV - Santa Venera; Sp - Spinazzo; Lc Licinella; SG - Spina Gaudo; G - Gaudo; V - Vannullo; CS - Capaccio Scalo; TP - Tempa Del Prete; Ln - Linora; CV - Contrada Vecchia. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619940204172-7LX4N5CG9BNI0I8C2R98/SSL_5634_Santa+Venera+Dist+Tomb+110+Warrior_sm.jpg 2019-11-Paestum - Warriorʻs Tomb, from Santa Venera District Tomb 110 This CIST tomb, i.e., a small stone-built coffin-like box used to hold the bodies of the dead has painted slabs, contains the skeleton of a man and the grave goods as they were found at the moment of discovery. The warrior has a triple-disc cuirass, two belts, a spear and a knife. Together with a black glazed cup. The slabs are decorated with bands and simple plant motifs, a pomegranate, a wreath and vine shoots with leaves. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619324126519-CXNWMDZD7WT3PXJCSZD6/IMG_5245_reconstruction-divers+tomb-470BC.jpg 2019-11-Paestum - Reconstruction of the Tomb of the Diver, Tempa del Prete district, 470 BC. The Tomb of the diver is a cist tomb. The main slab is decorated with the famous scene of the diver while later slabs show a scene of symposium. This tomb is considered the only known archaic Greek tomb with figurative scenes in Paestum. The figures painted on the slabs of the tomb were painted on a layer of fresh plaster by two craftsmen. The figures show the presence of a preparatory drawing, made using a sharpened instrument, which formed the basis of the figurative composition. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686195090-CM1MC8D4ZYUNJNDNEHIK/SSL_5495_The+Diver_Paestum3_FIN_sm.jpg 2019-11-Paestum - Diverʻs Tomb, the slab cover showing the "Diver." (470 BC) All scholars agree that his scene is symbolic - an indication of a metaphorical transition from life to death. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686217434-6ERAAPP51CXCLDFC2ZDA/SSL_5497_Guests+cortege2_FIN_sm.jpg 2019-11-Paestum - Tomb of the Diver (470 BC) The west wall of the tomb shows a cortege (a solemn procession, especially for a funeral) of guests. Here we see a small figure of a woman, dressed in white and playing the flute – the only woman shown in the tomb. At the centre is an athletic nude man, followed by an older man leaning on a stick. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686234921-FOJVUICSB8R9SBK4UQJR/SSL_5502_wall+painting+male-vase_Diver_Final_sm.jpg 2019-11-Paestum - Tomb of the Diver (470 BC) At the other end, the east wall, is this painting of a youth holding a drinking cup in his hand which he has just filled from the large bowl behind,. This is a mixing bowl, in which the wine was mixed with water – the Greeks always drank their wine mixed with water – only barbarians drink their wine neat. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619942158606-LNC4WNAVQJLYO496Q9KM/dionysius+tomb+of+diver.jpg 2019-11-Paestum - Storage Jar found in the Tomb of the Diver. Red-figure vase with Dionysus, the God of Wine Dionysus is holding a drinking cup in his hand and with wine tendrils growing from his hair. To the left is a satyr, recognizable by his erect penis and animalʻs tail. He is holding a fine tripod suitable for holding a large wine jar, but usually purely decorative and given as a prize in the games or as an offering to the gods. During the Dionysian festival in Athens, a tripod was given to the winner so perhaps the satyr is carrying the tripod for Dionysus to present to the winner. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686227126-L3MM1H26WEWO3CL1DI3L/SSL_5500_Diver+tomb+south-wall+guests-lyre_FIN_sm.jpg 2019-11-Paestum - Tomb of the Diver (470 BC) The participants at the symposium are portrayed in the final phase of the banquet when they abandon themselves to the pleasures of wine, eroticism, music, song and the game of kottabos, which consisted in skillfully flinging drops of wine at other cups. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617686206318-JMGK601ONVG8CC1AJMKL/SSL_5496_Tomb+of+Diver+north+wall+guests_FIN_sm.jpg 2019-11-Paestum - Tomb of the Diver (470 BC) The north wall slab is painted showing, left to right, a guest reaching out his wine cup, a guest playing kottabos with his wine cup, and, far right, a couple of lovers, one of whom holds a lyre. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619168302519-5P2K3O3AW60PVMXEOJB8/SSL_5640_Tempa+Del+Prete+tomb+3_container_sm.jpg 2019-11-Paestum - Attic Black-Figure Container of Perfumed Oils (Lekythos) Portraying Horsemen Armed with Spears, found in Tempa Del Prete, Tomb 3 from the first quarter of the 5th century BC. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690778800-OHM6ALLB589F3MUOBY2O/SSL_5587_Andriuolo+Tomb-86_330-320BC_sm.jpg 2019-11-Paestum - Lucanian fresco tomb, Andriuolo Tomb 86 (323-320 BC) Sometime around 400 BC, Paestum or rather Poseidonia, was conquered by the Lucanians. The Lucanians were one of the Samnite peoples who occupied much of central Italy and were the greatest rivals to Rome. Paestum remained Lucanian until 273 BC when it was conquered by Romans and became a Roman colony. The art work in this Lucanian tomb retains the traditional Paestan compositional device of simply juxtaposing the slabs. The long walls showed an identical subject, a Victory racing on her chariot. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690754265-13Y2BMRK5ZQG6KOQ0S2R/SSL_5586_man+w+2horses_d_FIN_sm.jpg 2019-11-Paestum - Lucanian fresco on Andriuolo Tomb 86 (323-320 BC) Paestumʻs Lucanian period is best known from the considerable number of tombs that are found in the surrounding area often with elaborate wall paintings. Painted on the eastern slab of this tomb is a cart being pulled by mules and led home by a farm laborer with a whip. The rural character of this painting is marked by a pomegranate tree, an indication that it may not be a typical rural idyll but rather a sad journey to the cemetery. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690748649-BDFI5GSYWR0OTQ2BW469/SSL_5584_Return+of+the+Warrior_350-330BC_1-FIN2_sm.jpg 2019-11-Paestum - Return of the Warrior, western slab of Andriuolo Tomb 86 (330-320 BC) From 380 BC onwards, the most prestigious Lucanian tombs were painted with one of the most famous and commonly used scenes; The Return of the Warrior. The image, which appears exclusively in male burials, is that of a bearded horseman wearing armor (which is sometimes found in the tomb and was actually worn by the deceased), and carrying spears from which war booty hangs. The warrior, portrayed sitting astride a horse, is celebrated as he returns victorious to his community, and is welcomed by the woman who offers him the vessels for the libation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690729657-1DUK19S4LLPAMVDPTWUB/SSL_5583_Winged+Victory+Chariot_350-330BC_sm.jpg 2019-11-Paestum - Winged Victory Racing A Two-Horse Chariot, fresco on the northern and southern slabs of Andriuolo Tomb 86 (330-320 BC). “Winged Victory” was a very common allegory in contemporary official Greek art, and was widely adopted by Italic elites. A common motif in both male and female tombs is chariot racing whose driver sometimes wears a wind-blown cape on his back. In some cases the driver is replaced by Nike, an allegorical figure representing victory, both in life and death. Nike assumed the role of the divine charioteer. Nike flew around battlefields rewarding the victors with glory and fame, symbolized by a wreath of laurel leaves (bay leaves). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621584548817-38ZIEX9P6N17FAYW9832/SSL_5591_Andriuolo+Tomb+58_340+BC_sm_FIN.jpg 2019-11-Paestum - "Tomb of the Black Rider", fresco, c. 340 BC from the Lucanian Period. Here we see the metamorphosis of the dead rider to an heroic figure. A large figure of a rider faces a crater containing a sort of bouquet. This rider. who wears Greek-style dress, but with some ornamental details typical of Italic equestrian statues, is one of the rare known painted parallels for the honorary equestrian statues being erected in Rome at the same time. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690633842-SIRP1T3G5RWXTQ6G9TW3/SSL_5552_fish+plate-Assteas+360-350BC_sm.jpg 2019-11-Paestum - Red-figured Fish Plate made by the workshop of Assteas, from Agropoli, Contrada Vecchia, Tomb 11 (360 BC) The form of the plate was called a "pinax" or "pinakion", meaning "tablet," because of its flat shape. The fish plate's form was that of a dimpled disk elevated on a pedestal, in other words, round and flat with a small cup in the center of plate designed to hold oil or sauce. The South Italian fish plates are characterized by decoration in which the fish's bellies are oriented towards the sauce cup at the center of the plate. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1619945416049-DJKKJXL69OZ7GSLKG5H4/SSL_5566._Laghetto-Tomb+X-350BCjpg.jpg 2019-11-Paestum - Frescoes in Female Tomb, Laghetto Tomb X, Lucanian Period (350 BC) An Ideal image of women and their virtues as wives, mothers, and protectors of their family and domestic property is celebrated through funerary honors, a custom typical of the Italic and, later, the Roman world. According to the historians Livy and Plutarch, after the seizing of Rome by the Gauls in 390 BC, Camillus rewarded the matrons who had donated jewelry to support Romeʻs war effort with the right of elogium (eulogy), until then reserved to men. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690653702-YEXD65BXYWZST8NP4MDK/SSL_5562_Laghetto+Tomb+X_two+women+tomb+slab_350BC_sm.jpg 2019-11-Paestum - Weeping Mourners painted on the western slab of Laghetto Tomb X, Lucanian Period (350 BC) Behind the “weeping mournersʻ on the wall are the hanging pomegranates. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690657523-CJ9B53MB3NMB7VYME1V7/SSL_5563_two-horse+chariot+race_Laghetto+350BC_sm.jpg 2019-11-Paestum - Two-horse Chariot (Biga) Race, fresco on the northern slab of Laghetto Tomb X (350 BC) Only aristocratic women were entitled to painted tombs, which initially lacked figured scenes, or else were decorated with images of funerary games, e.g., shown here as a biga (two-horse chariot) race with the column in the middle of the wall representing the meta around which the chariots turn. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690682647-PVR4Y9W4YRZSC7FSB2QC/SSL_5564_two+women._sm.jpg 2019-11-Paestum - Matron Spinning with Servant, frescoes on wall of the Lucanian Necropolis of Laghetto Tomb X (350 BC) Around the middle of the 4th c. BC, an exclusively female figurative program was created. This scene shows the deceased woman as a sitting matron spinning wool with the assistance of a handmaid standing in front of her. The latter has short hair and bare arms, and wears a long tunic of a uniform color. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620542364186-KM69VYCN1BJ7WXL31DFS/SSL_5552_lebes_wedding+vase.jpg 2019-11-Paestum - Vase for Wedding Ceremonies (Lebes Gamikos) made by the workshop of Assteas. Female grave goods (mid 4th century BC) in Lucaniun Paestum aristocratic women had a prominent role in society. It was their task to watch over their familyʻs possessions and guarantee the continuity of their husbandʻs lineage. Female grave-goods included typical funerary vases, jewelry, and in the cases of especially important women, a hydria, i.e., vase used as a water container, and a lebes (above), the nuptial object par excellence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620463857096-YXDZEJ35X1OHTIU99Q3V/SSL_5533._brooches+earrings.jpg 2019-11-Paestum - Brooches (#7) and Earrings (#6) found at the Sanctuary of Hera at the River Sele (3rd century BC) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690881846-5LK7SYVGZSPB3QZFPOD2/SSL_5618%2BAndriuolo+Tomb+12_375-370BC-Returning+Warrior_sm.jpg 2019-11-Paestum - Return of the Warrior, Lucanian period A reflection of the critical role of women in society is found in this version of the Return of the Warrior motif where, as the woman reaches the libation vases out to her husband, she becomes the instrument of a rite of passage through which the warrior is cleansed of the blood shed in battle and can regain his place in this family and in the political community. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690628191-JC4MEHNLKEIE8N6VR5ON/SSL_5540_Andriuolo-Tomb+detail+southern+slab_330-320BC_sm.jpg 2019-11-Paestum - Woman carrying water vase with pomegranates, Andriuolo Tomb, detail on southern slab, Lucanian period 330-320 BC As you may have observed already, the pomegranate appears in many of the tomb paintings on display in the Paestum museum. The pomegranate when ripened in the later part of the year represents the late years of a woman. The red juicy seeds are related to blood and it is called the food for dead in some places in Greece. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620260480892-C2F5KDCHOR55T0S0TIIZ/SSL_5663_The+Bride+Bath_sm.jpg 2019-11-Paestum - The Brideʻs Bath (Tomb 18 at Andriulo, second half of the 4th century BC) On the vases accompanying deceased men or women in their tombs, water is a recurrent element. On this lekane vase, a woman looks at herself in the mirror while a naked man reaches out a twig to her. Lekane were a late form of painted vase of southern Italy with upright handles and often with a cover of elaborate form. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620262131943-T5Z7MFXEF7C9TZLSTUU8/SSL_5662_women+at+fountain_b-FIN_sm.jpg 2019-11-Paestum - Pelike with depiction of Women at the Fountain (Tomb 18 at Andriulo, second half of the 4th century BC) A pelike is a one-piece ceramic container similar to an amphora. It has two open handles that are vertical on their lateral aspects and even at the side with the edge of the belly, a narrow neck, a flanged mouth, and a sagging, almost spherical belly. Pelikes are often intricately painted, usually depicting a scene involving people, e.g., as seen here with women at a fountain. They were most likely used for carrying wine. The shape first appeared at the end of the 6th century BCE and continued to the 4th century BCE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621241195544-1985NTD3U7OQ4N80X77W/SSL_5655_4thc-BC_woman+carry+hydria2_sm.jpg 2019-11-Paestum - Woman Carrying Hydria, fresco on wall of Tomb 18, Andriuolo, Lucanian period, second half of the 4th century BC The fresco depicts a servant woman carrying a hydria (a water-carrying vase) on her head with hanging pomegranates. In this case, the water is for the burial ritual, but we can imagine that women and young girls carried home the water they drew from wells and fountains every day in the same manner, balancing vases on their heads. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690889858-Q6AIC9UCTA26L6UV5CZ1/SSL_5626_Andriuolo+Tomb-21_early4thc_sm.jpg 2019-11-Paestum - Tree with Birds, eastern slab, Andriuolo Tomb 21, early 4th c. BC https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620374001241-J0B2GZX1JJCEW9IWULGO/SSL_5545_tomb+Andriuolo_MtCapaccio-battle_330-320BC_sm.jpg 2019-11-Paestum - Mount Capaccio Battle, Tomb Andriuolo, (330 BC - 320 BC) In the second half of the 4th century BC, there was an increased tendency toward narration. Above, two armies engage in combat in landscape picturesquely evoked by a mountain beyond which are silhouetted disproportionately large oxen. The deceased is celebrated as the victorious protagonist of the battle. His side is led by a naked character who, with a shield on his arm and a helmet graced by two black plumes on his head, brandishes his spear against the enemy soldiers. The scene can be viewed as an epiphany of the Italic Mars, whose presences alludes to the victory of the deceasedʻs side. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690838955-RWQWFLCF6R7GO9QHPGM0/SSL_5599_Andriuolo+Tomb+370BC+Deer+hunt+w+dogs_FIN_s2.jpg 2019-11-Paestum - Youth with Dogs Hunting Deer, Lucanian fresco, Necropolis of Andriuolo, Tomb 18 (east wall), 370 BC During the 4th c. BC increasing stress was laid on age distinctions between male roles within the family and in society. Males fall into three categories: youths, warriors in their prime, and old men. In the paintings, age class is denoted by physical characteristics (presence of absence of a beard, hair color), dress (long cloak trimmed in red, richly decorated, or graced by a simple red stripe; short tunic; shoed vs. bare feet), weapons (notably the lance), and vehicles (notably a carriage drawn by mules). Old men, the patres familias, exercised the political function. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620284923863-8K8SHOJGKLD9D92FWZT1/SSL_5661_Red-figured_Fish+plate+tomb+18+Andriuolo3_sm.jpg 2019-11-Paestum - Red-Figured Fish Plate, Tomb 18 Andriuolo, Second half of the 4th century BC The fish images could represent symbolic offerings for the dead. On the other hand, these plates could just as well be objects which were in popular use among the living, placed in tombs for the deceased to continue using in the hereafter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617690829920-EL6WOOOY1T0Q19YQ9HS0/SSL_5597_Vannulo+Tomb+4_350+BC_FIN_sm.jpg 2019-11-Paestum - Cockerel and Festoon, Lucanian fresco on eastern slab of Tomb 4, Vannulo, Lucanian Period(circa 350 BC) This collection of chicken-related artefacts shows that the chicken had a role that extended beyond the next meal, linking them with deities, such as Mercury, and ideals, such as virility and abundance, which people may have tried to connect with by owning such items. Chickens were associated with wealth and prosperity and likely acted as a symbol of luck and good fortune. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620465122001-VLVURAVX7QN3OL1BLXIB/SSL_5595_Seahorses_Arcioni+Tomb+237_4th-c-BC2_FIN2E_sm.jpg 2019-11-Paestum - Seahorses, Garland, Festoon, Hydria, Pomegranates, Ducks, Food Offerings included in this fresco in Arcioni Tomb 237, Lucanian period, 4th c. BC At the end of the 4th and the beginning of the 3rd century BC, the number of painted tombs decreases considerably. Some are now decorated exclusively with ornamental motifs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692548582-8PDQMTQRA0QMPMS7X4HI/SSL_5695_SS+Annunziata+Paestum_sm_FIN.jpg 2019-11-Paestum - Chiesa dell'Annunziata, 5th or 6th century A.D. Known officially as the Chiesa dell'Annunziata the historic landmark is located behind the museum. It is also referred to as the Paleo-Christian Basilica. When the city was Christianized in the 4th century, they used the abandoned Greek temple as their meeting place. Then in the 5th century stones and columns from the ancient city were used in the building, which was originally open to the elements like the ancient temples nearby. Around the end of the 5th century, the church became a "closed basilica" with the addition of outer walls and a vault. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692511465-VAUP93BOLT4VYRE36WYU/SSL_5686_Annunziata+interior2_sm.jpg 2019-11-Paestum - Chiesa dell'Annunziata (interior view from the altar to the rear entrance). By the 9th century the inhabitants had all fled due to Saracen invasion and malarial conditions, moving inland and uphill to Capaccio. The ancient area was left desolate and forgotten for centuries. here was an attempt by the bishop to restore the basilica in the 1600s, giving it an unfortunate Baroque make-over. However, it remained largely unused and the entire area was little visited even by local residents. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692511124-SPFYY0IG143V0SE3P9KQ/SSL_5688_Annuziata+stations+cross+paestum_sm.jpg 2019-11-Paestum - Station of the Cross, inside Chiesa dell'Annunziata (the Paleo-Christian Basilica) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692541583-CXNCEWFY9WZTE461MXK0/SSL_5693_Annunziata+to+Altar_crp3_FIN_sm.jpg 2019-11-Paestum - Chiesa dell'Annunziata (view from rear entrance to the front of the Church) The basilica was restored and some of the Baroque decorations stripped to reveal the original architecture and the ancient pieces used in its construction. You can see the original Greek columns and the old floor pavings in this simple interior, that is traditionally called "the Byzantine church" https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692525054-0AG26PBU2J4K333BXMI0/SSL_5689_annuziata+-+Rosario_Paestum_sm.jpg 2019-11-Paestum - Rosario, Ave Maria painting on interior wall of Chiesa dellʻAnnuziata https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1620465227980-6ZQVNV0DZCLO587B533M/SSL_5691_545-Cyprian+Bishop+Caputaqen_sm.jpg 2019-11-Paestum - Bas-relief honoring Cyprian Bishop Caputaqen, 545 A.D. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692495387-H4PSIRG0PXARVVJPL6GQ/SSL_5685_tourist+enters+Annuziata_sm.jpg 2019-11-Paestum - Chiesa dellʻAnnuziata (Paleo-Christian Basilica) The basilica was restored and some of the Baroque decorations stripped to reveal the original architecture and the ancient pieces used in its construction. You can see the original Greek columns and the old floor pavings in this simple interior, that is traditionally called "the Byzantine church." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692572712-MGZ5GL04T22IULPTCY6J/SSL_5701_PIzzeria+Positano_prk+lot_sm.jpg 2019-11-Paestum - Pizzeria Positano parking lot Driving from Paestum toward Calabria, luckily we came upon the Pizzeria Positano “percheʻ abbiiamo molti fame!” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1621324077442-TPEJR72SXRVYTOD8NBF5/SSL_5705_Pizzeria+Positano+lunch_sm.jpg 2019-11-Paestum - Pizzeria Positano https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692710330-07KME2NAER4EDEA4N76H/IMG_3081_Positano_buffalo-prosciutto+pizza_lt.jpg 2019-11-Paestum - My lunch: THE PIZZA! This was a great pizza - with mounds of fresh mozzarella buffalo and prosciutto ham. Buffalo mozzarella is a mozzarella made from the milk of Italian Mediterranean buffalo. It is a dairy product traditionally manufactured in Campania, especially in the provinces of Caserta and Salerno. Prosciutto is made from either a pig's or a wild boar's hind leg or thigh, and the base term prosciutto specifically refers to this product. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1617692715434-ODY8UFT7EZE5L03KVUV4/IMG_3080_Pasitano-Italian+coke.jpg 2019-11-Paestum - Things go better with Coca Cola lʻItalia. I loved the picture of the Italian peninsula on the bottle. http://www.sslanzilotti.com/2017-petrified-forest daily 0.75 2021-07-07 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625217210146-GNUZ185EZKIZXACBPIYR/North-entrance-sign-960.jpg 2017 Petrified Forest - Petrified Forest National Park Theodore Roosevelt created Petrified Forest National Monument on December 8, 1906. Petrified Forest was designated as a national park on December 9, 1962. The park boundary encloses 221,390 acres, with legislation in 2004 more than doubling the authorized size of the park. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625217210146-GNUZ185EZKIZXACBPIYR/North-entrance-sign-960.jpg 2017 Petrified Forest - Petrified Forest National Park Theodore Roosevelt created Petrified Forest National Monument on December 8, 1906. Petrified Forest was designated as a national park on December 9, 1962. The park boundary encloses 221,390 acres, with legislation in 2004 more than doubling the authorized size of the park. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625361037369-IK4SKT4H1NI5GJFJKWH9/North-entrance-sign-960.jpg 2017 Petrified Forest - The Petrified Forest National Park, Arizona Theodore Roosevelt created Petrified Forest National Monument on December 8, 1906. Petrified Forest was designated as a national park on December 9, 1962. It is located in Navajo and Apache counties in northeastern Arizona. Named for its large deposits of petrified wood, the park covers about 346 square miles (900 square kilometers), encompassing semi-desert shrub steppe as well as highly eroded and colorful badlands. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129423964-JAZSHR401K7MGJOQT999/SSL_7431_petrified-forest-landscape_2017-5-18_crp_sm.jpg 2017 Petrified Forest - Petrified Forest National Park, Arizona The area of Arizona now contained within the Petrified Forest National Park was once part of a large forest that extended from Texas into Utah - the trees were similar to modern-day conifers and existed at the same time as the dinosaurs, fossils of which are often found in the park. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129510760-1NU4ODO1AHNGBHAVXSDR/SSL_7462_ironoxide-magnesium-etc_orig-FiN_sm.jpg 2017 Petrified Forest - Triassic Period The petrified wood was formed 225 million years ago during the Triassic Period and is 4 times as hard as granite and very colorful, due to the effect of the mineral impurities that entered the wood during the fossilizing process. The Triassic was a time of a single world continent, when the first pterosaurs took flight and dinosaurs evolved along with many other animals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625547747227-X73ZUAWRC50FBS9TLXM9/SSL_7494_broken-log_22017-5-18_FIN_sm.jpg 2017 Petrified Forest - Crystal Forest Trail During the Late Triassic Epoch of the Mesozoic era, the region that is now the park was near the equator on the southwestern edge of the supercontinent Pangaea, and its climate was humid and sub-tropical. What later became northeastern Arizona was a low plain flanked by mountains to the south and southeast and a sea to the west. Streams flowing across the plain from the highlands deposited inorganic sediment and organic matter, including trees as well as other plants and animals that had entered or fallen into the water. For example, The Crystal Forest Trail is named for the crystals that can be seen on the pieces of petrified wood shown here. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129568054-VFBGBTF0W45BM9162ZHS/SSL_7507_petrified-forest-landscape_FIN_sm.jpg 2017 Petrified Forest - The Chinle Formation The colorful Chinle formation, mainly fluvial (river related) deposits, is up to 800 feet (240 m) thick in the park. It consists of a variety of sedimentary rocks including beds of soft, fine-grained mudstone, siltstone, and claystone—much of which is bentonite—as well as harder sandstone and conglomerate, and limestone. Exposed to wind and water, the Chinle usually erodes differentially into badlands made up of cliffs, gullies, mesas, buttes, and rounded hills. Its bentonite clay, which swells when wet and shrinks while drying, causes surface movement and cracking that discourages plant growth. Lack of plant cover makes the Chinle especially susceptible to weathering. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129548849-BZJV04FOI61DFP3LPN5V/SSL_7476_petrified-logs_2017-5-18_FIN2_sm.jpg 2017 Petrified Forest - Extinct Conifer Trees Much of the park’s petrified wood is from Araucarioxylon arizonicum, an extinct conifer tree, while some found in the northern part of the park is from Woodworthia arizonica and Schilderia adamanica trees. At least nine species of fossil trees from the park have been identified; all are extinct. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129529168-4K9VTUGUBW7CXRPAQZ72/SSL_7465_cobalt-silcon-chrome-magnesium-iron-oxied_2017-5-18_FIN_sm.jpg 2017 Petrified Forest - Rainbow Colors Through Petrification Petrification is the only process in the world in which a once living organism is transformed to mineral whilst remaining visibly very similar, conserving the original structure even down to microscopic details. The process of petrification is fundamentally different to that that creates other types of fossil, which in general have been formed by compression or impression of the original organism in mud or earth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625384322450-JZ0XTL6U4E7J91HT88QY/fossilfern_4.jpg 2017 Petrified Forest - Red Fern Fossil - Plant Compression Fossil The park has many other kinds of fossils besides trees. The Chinle, considered to be one of the richest Late Triassic fossil-plant deposits in the world, contains more than 200 fossil plant taxa. Plant groups represented in the park include lycophytes, ferns, cycads, conifers, ginkgoes, as well as unclassified forms https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625383488496-VICSBHIVNAP7U5GKWXKG/phytoskull_1.jpg 2017 Petrified Forest - Phytosaur skull found in Petrified Forest The park has also produced many fossil vertebrates—including giant crocodile-like reptiles called phytosaurs, large salamander-like amphibians called Koskinonodon, and early dinosaurs. Fossil invertebrates include freshwater snails and clams. The dinosaur fossils are from the Late Triassic period, called the “dawn of the dinosaurs.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625438986402-9DJZJY4F7FS9WG1Z8E3B/Smilosuchus_BW-1.jpg 2017 Petrified Forest - Artistʻs Reconstruction of a Phytosaur. By Nobu Tamura Generally, Phytosaurs looks like modern crocodilian. It had a long snout, a mouth with conical teeth, short legs, long body with a long, heavy tail and thick armored skin. Some species had longer, thinner snouts with thin conical teeth for catching fish, while others had comparatively shorter, wider snouts with conical teeth in the front and ripping teeth in the back of the mouth. These were likely ambush hunters that snatched prey at the water’s edge, much like modern crocodiles. The longest known Phytosaur was 39 feet long and would have been about as tall as a human at the top of its back. Unlike modern Crocodilians, whose nostrils are at the end of their snouts, Phytosauria had their nostrils at the base of their snouts just above, or at the same level as their eyes. Phytosaurs are not related to modern Crocodilians. The similarities are an example of parallel evolution. This is when two different animals develop similar characteristics and attributes without a common ancestor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625439261158-DDCAPUXKXREVRGOVIQNK/173487-10.jpg 2017 Petrified Forest - 1.4" Fossil Phytosaur Tooth in Sandstone - Arizona This is a nicely preserved 1.4" long Phytosaur tooth still partially embedded in the sandstone in which it was found. It comes out of the Upper Triassic age Chinle Formation in Northeast Arizona. Much of the enamel has weathered away from this tooth, along with any visible serrations. The tooth is naturally associated with a small vertebra. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625439868193-4DSRVFQDT2LOY7BMJHGB/Skybalonyx_Painting.jpg 2017 Petrified Forest - The Skybalonyx skapter emerging from a burrow in the Late Triassic at Petrified Forest (artistʻs rendering). Fossils discovered recently at Petrified Forest National Park reveal a new species of a 220 million-year-old burrowing reptile known as a drepanosaur. This new species, named Skybalonyx skapter was announced on October 8th in a study published in the Journal of Vertebrate Paleontology in October, 2020. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625545302873-KSGNB25BXC107FPMIIG6/5f9b2c5ce4b5c.image.jpg 2017 Petrified Forest - Xavier Jenkins, an ISU biological sciences doctoral student, found the Skybalonyx skapter remains in the Petrified Forest National Park in Arizona. The Skybalonyx is known to have lived during the Triassic period. It was only a little over a long foot long and looked like a cross between an anteater and a chameleon. It had claws that allowed it to burrow, which is what scientists say makes it unique. Jenkins and his colleagues were able to name the Skybalonyx, whose name translates to “dung-claw digger” in ancient Greek. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625544743121-YYTX8RGVQ17XQ17Q5VOH/drepanosaur-petrified-forest-arizona+copy.jpg 2017 Petrified Forest - Skybalonyx skapter discovered in Petrified Forest (artistʻs rendering) The paleontologists at the Petrified Forest National Park identified this new species of drepanosuars by analyzing the hand claws of modern animals and found that Skybalonyx skapter has claws most similar to burrowing animals such as moles, echidnas, and mole-rats, much different than other drepanosaurs that have claws suited for climbing and living in trees. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625132749743-SR8PYG786KI91FTNE2BH/SSL_7683_leaving-pet-forest_FIN_sm.jpg 2017 Petrified Forest - The Owl Rock Member of the Chinle Formation The Owl Rock Member consists of pinkish-orange mudstones mixed with hard, thin layers of limestone. While the red and green layers generally contain the same amount of iron and manganese, differences in color depend on the position of the groundwater table when the ancient soils were formed. The reddish soils were formed where the water table fluctuated, allowing the iron minerals to oxidize (rust). The Owl Rock Member is approximately 205 million years old. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625510862293-ONTX31HH745ZAH33JEOW/revueltosaurus+2004_dig.jpg 2017 Petrified Forest - Revueltosaurus quarry excavation, June 2004. Clockwise from left: Randall Irmis, Jeff Martz and Lori Browne. (National Park Service photo) The fossilized skeleton of a small crocodile relative excavated in 2003 at Petrified Forest National Park in Arizona threw a wrench into theories of how and where the dinosaurs arose more than 210 million years ago at the end of the Triassic Period. The animal, one of many creatures from the Late Triassic known only from their teeth, previously was thought to be an ancestor of the plant-eating ornithischian dinosaurs like Stegosaurus and Triceratops, which roamed the world millions of years later in the Jurassic and Cretaceous periods. Based on this new discovery the creature is most similar to a group of Triassic archosaurs - the group that includes crocodiles, dinosaurs and birds - called the aetosaurs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625511148077-WJOQGUTZQT87B0GK1RSP/1920px-Revueltosaurus-Skull.jpg 2017 Petrified Forest - Fossilized head of the Revueltosaurus Petrified Forest Park paleontologists, William Parker, stated, “This find is a great thing for the crocodilian record… The convergent evolution of the teeth is what makes them look like herbivorous dinosaurs. Thatʻs the only thing similar in the entire skeleton. There are no other dinosaur characters in the entire animal.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625513017744-TJLS6I7IVVHZZ4XC6CWP/Revueltosaurus.jpg 2017 Petrified Forest - Revueltosaurus callenderi (artistʻs rendering) The newly discovered full skeleton of a Revueltosaurus made it clear that the teeth are not of a plant-eating dinosaur, but of a herbivorous or perhaps omnivorous crocodilian ancestor living a mostly terrestrial life in the uplands of the Late Triassic. The new Revueltosaurus finds revealed crocodilian-like armor. This crocodilian ancestor was only three to four feet long, with a stubbier, less flattened skull and a less sprawling leg posture than todayʻs crocodiles have. Also, the armor did not cover the entire body, but was restricted to two lines down the back. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129551346-8MW8XNTIFJLG1J6BSU10/SSL_7481_long-log-w-Lou_FIN_sm.jpg 2017 Petrified Forest - Submerged to Petrified Tree The preservation process of the trees found in the forest began during occasional flooding, when some of the trees were buried by a great depth of water and sediment quickly enough to prevent aerobic decay. Over a long period, water containing dissolved minerals seeped into the wood and replaced the organic cells with stone. Much later, the whole area was uplifted and eroded to give the landscape seen today. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129475246-5OEPHJ3VWJYDQPKICQY6/SSL_7442_petrified-wood-sulfur-iron_sm.jpg 2017 Petrified Forest - Petrified Wood Minerals Minerals such as manganese, iron, and copper were in the water/mud during the petrification process. These minerals give petrified wood a variety of color ranges. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129517227-D3345QU6I5U4H7Q3T0KK/SSL_7464_ironoxide-silicon-magnesium-carbon_crp_FIN_sm.jpg 2017 Petrified Forest - Colors and Minerals The brightest colors are obtained when metals such as copper, chromium, cobalt, iron, and manganese enter the petrified wood’s structure. Copper, depending on the oxidation state, produces colors ranging from green to blue. Chromium and cobalt presence can also turn the material into blue or green, but slightly different hues. Iron, in the form of oxides (Fe2O3 or Fe2O4), produces all shades of brown from light yellow to almost black. Manganese makes petrified wood pink or even orange, while manganese oxides trigger dark shades up to uniform black. Residuals of organic compounds provide some carbon, which is responsible for all shades of gray and black. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129474487-NCO81OPMQ65KM2W2OFT2/SSL_7447_pertrofied-wood_cobalt-silcon-chrome-magnesium-iron-oxied_2017-5-18_FIN_sm.jpg 2017 Petrified Forest - Coloring by Minerals The brilliant colors in this piece of petrified wood in the Petrified Forest National Park come mainly from three minerals. pure quartz is white, manganese oxides form blue, purple, black, and brown, and iron oxides provide hues from yellow through red to brown. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129489773-X7IM223UKIZDR8SP9LIR/SSL_7452_silicon-chrome-cobalt-ironoxide-magnesium_5-18_FIN-crp-sm.jpg 2017 Petrified Forest - Copper and Manganese Colors The minerals copper and manganese result in the blue-grey coloring in this piece of petrified wood. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129505501-P2PCQB2HCHLIJETI8K8P/SSL_7458_silicon-ironoxide-magnesium_5-18_crp3_FIN_sm.jpg 2017 Petrified Forest - The Colors of Iron The usual color of petrified wood is red, with yellow, black and white bands although other shades such as blue are often found. The bright red colors of the petrified forests of Arizona are due to high levels of iron, which can produce a range of hues depending on its oxidation state. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129492940-A2XGJIK9GCER7AZ0MT8C/SSL_7448_silicon-ironoxide-magnesium-carbon_FIN_sm.jpg 2017 Petrified Forest - Petrified Wood Deposits of silicon, ironoxide, magnesium and carbon. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129533413-VIDTXYAG5BIN99BSHE6K/SSL_7468_silicon-ironoxide-magnesium_crp2_FIN_sm.jpg 2017 Petrified Forest - Crystal Formations Agate, a cryptocrystalline form of quartz, deposited in this tree resulted in this burst of translucent color ringed by red from iron oxide. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129625958-O52YQ2VUUCFU9WO4OH1A/SSL_7588_Purple-cones_Prong-Horn-2017-5-18_Petrified-Forest-sky_FIN_sm.jpg 2017 Petrified Forest - The Blue Mesa Member of the Chinle Formation The Blue Mesa Member consists of thick deposits of grey, blue, purple, and green mudstones and minor sandstone beds, the most prominent of which is the Newspaper Rock Sandstone. This unit is best exposed in the Tepees area of the park. The Blue Mesa Member is approximately 220-225 million years old. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129585713-Q702VZ2WAH5L761UNXU9/SSL_7546_Petrified-Forest-river-bed_w-clouds_FIN_sm.jpg 2017 Petrified Forest - Pleistocene and Holocene Epoch Pleistocene and Holocene Epoch (1.8 million years ago to present) deposits of windblown sand and alluvium (deposited by flowing water), now cover much of the older formations of the park. At higher elevations in the northern part of the park, 500,000-year-old dunes can be found. Younger dunes, around 10,000 years old, are found in drainage areas that contain sand such as Lithodendron Wash. The youngest dunes are found throughout the park, in all settings, deposited around a thousand years ago. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625182087117-BMPML04XIWNJPBUX77H8/SSL_7636_Raven-crp_FIN_sm.jpg 2017 Petrified Forest - The Raven Similar to the American crow but larger, the common raven has a heavier bill and wedge-shaped tail. Highly intelligent and creative, ravens are primarily scavengers and opportunists. They can often be seen begging for food at overlooks and trailheads in the Park. This large raven came right up to our car, seemingly with the intent to obtain food. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625181566348-2Z5HM43CRW3Q7G3QRT4U/SSL_7600_Raven_2017-5-18_crp2_sm_FIN.jpg 2017 Petrified Forest - Raven in Flight We enjoyed watching this raven riding on rising air currents; but where you now see ravens soaring over a stark landscape, leathery-winged pterosaurs once glided over rivers teeming with armor-scaled fish and giant, spatula-headed amphibians. Nearby ran herds of some of the earliest dinosaurs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129596273-7FJEP5D5SOSVOWMU8ON9/SSL_7563_prong-horn-deer_FIN_sm.jpg 2017 Petrified Forest - Pronghorns On this day we were watched by members of a herd of pronghorns. Fauna in this National Park include larger animals such as pronghorns, coyotes, and bobcats, many smaller animals, such as deer mice, snakes, lizards, seven kinds of amphibians, and more than 200 species of birds, some of which are permanent residents and many of which are migratory. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129607897-BEJ39U2H9NAEPFV43CIN/SSL_7575_Prong-Horn-2017-5-18_Petrified-Forest_FIN_sm.jpg 2017 Petrified Forest - Pronghorn Event One scary event occurred when while driving through the park a pronghorn running across the road almost crashed into the side of my car. When I caught the image in the corner of my left eye, I quickly swerved to the right while the pronghorn swerved to its left. We narrowly missed each other. I was thankful that I was not responsible in any way for hurting, or worse, one of these beautiful animals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129608549-5VU5QPRLUI1X52M7JOEB/SSL_7582_Prong-Horn-2017-5-18_Petrified-Forest_FIN_sm.jpg 2017 Petrified Forest - Pronghorn, Antilocapra americana This pronghorn was motionless while watching me take this photograph. However, when needed, the pronghorn is the fastest land mammal in the Western Hemisphere, with running speeds of up to 55 miles per hour (89 km/h). It is the symbol of the American Society of Mammalogists. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625384725602-K7NB60M00JB3KTK8XM7C/SSL_7522_clouds-over-Petrified-Forest_lt_sm.jpg 2017 Petrified Forest - Grasses Grasses are one of the most important plants within the grassland ecosystem found in the park. Large expanses of grasslands form where wind-blown sediment and erosion have created a layer of soil several feet thick. One of the most devastating causes of grassland destruction is grazing by livestock. Because grazing has not been allowed within the park for over fifty years, the area has returned to a more natural state and is one of the largest recovering grasslands in the Southwest. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625181826059-GOHE14ECEAD62F6VHQUP/SSL_7608_cactus-flowers_FIN_sm.jpg 2017 Petrified Forest - Blooming Cactus Flowers The park has multiple species of cactus, including cholla, prickly pear, paperspine, and hedgehog. Cactuses are adapted to conserve water. The thickened, fleshy part stores water. The spines (highly modified leaves) protect against herbivores, deflect drying winds, and provide shade. The succulent stems carry out photosynthesis. Cactuses are native to the Americas from Patagonia to northern Canada. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129626545-FTX4XSLHLNULXFJSGLAP/SSL_7592_Newspaper-Rock-Petroglyphs_FIN.jpg 2017 Petrified Forest - Petroglyphs at "Newspaper Rock" The park's earliest human inhabitants arrived at least 8,000 years ago. By about 2,000 years ago, they were growing corn in the area and shortly thereafter building pit houses in what would become the park. Later inhabitants built above-ground dwellings called pueblos. Although a changing climate caused the last of the park's pueblos to be abandoned by about 1400 CE, more than 600 archeological sites, including petroglyphs, have been discovered in the park. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625560979095-0CXAMF0TFG3AOS849FAU/SSL_7651_Lou_1931-Studebaker_sm.jpg 2017 Petrified Forest - Exhibit commemorating U.S. Route 66 In the 1800’s, train tracks traveled alongside the park. Between 1926 and 1985, Route 66 ran parallel to the tracks. These days, Interstate 40 has replaced Route 66, but a chunk of this historic road still remains. This 1931 Studebaker sedan commemorates U.S. Route 66, the decommissioned transcontinental highway, where it passed through Petrified Forest National Park in northeastern Arizona, United States. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1625129658093-UQPK8UZLA94ZEF8LIHTR/SSL_7665_pet-forest-landscape_FIN_sm.jpg 2017 Petrified Forest - The Petrified Forest National Park For the discerning eye, each piece of petrified wood is a Natureʻs work of art. Each specimen contains unique hues of color and forms of creative design that have endured through changes in the earth over the last 225 million years. In addition, the Petrified Forest is well worth the visit for its expansive vistas, its stark moon-like landscapes, and for its colorful eroding badlands of the Painted Desert. http://www.sslanzilotti.com/brunelleschis-world daily 0.75 2021-10-16 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631662965749-W15T6V1R8MAFQ32EMDS1/SSL_4505_Brunelleschi+Dome_from+apt+window_FIN.jpg Brunelleschi's World https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631662965749-W15T6V1R8MAFQ32EMDS1/SSL_4505_Brunelleschi+Dome_from+apt+window_FIN.jpg Brunelleschi's World https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631663264755-M2AZK1KDKRW5W1FZV14K/SSL_4514_SMdF_Dome+from+Apt_FIN.jpg Brunelleschi's World - Brunelleschi's Dome, Cathedral Santa Maria del Fiore, construction from 1296 to 1436. Filippo Brunelleschi (1377-1446) was the first architect to be acknowledged as a divine genius due in large part to his design and construction of the Dome on the Cathedral of Santa Maria del Fiore and for the machines he designed, built and used to construct that dome. Filippo was born in Florence (Firenze), Italy, a city with a long history marked by genius, and one in which there are reminders of that genius almost wherever one looks. I hope you enjoy this homage to Firenze, its history and to Brunelleschi’s world. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631681387462-16ED7KVRS1RUZTVO335U/SSL_4626_Museo+Casa+di+Dante_FIN.JPG Brunelleschi's World - Museo Casa di Dante Alleghieri (born: c. 1265 - died: September 14, 1321), Firenze We can begin with the genius of Dante, an Italian poet, writer and philosopher. His Divine Comedy, originally called Comedìa (modern Italian: Commedia) and later christened Divina by Giovanni Boccaccio, is widely considered one of the most important poems of the Middle Ages and the greatest literary work in the Italian language. The Divine Comedy was written in the vernacular Italian, instead of the more acceptable Latin or Greek. This allowed the work to be published to a much broader audience, contributing substantially to world literacy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632290453842-9XULGHGAQN47J03TSO8K/SSL_5066_Dante+Allighieri_Uffizi_FIN.jpg Brunelleschi's World - Dante Alighieri (c. 1265-1321), by Emilio Demi (1798-1863), Loggiato of Uffizi Gallery (1840), Firenze Dante’s The Divine Comedy (1308-1320) is a somewhat autobiographical work, set at the time in which he lived and peopled with contemporary figures. It follow's Dante's own allegorical journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso). Guided at first by the character of Virgil, and later by his beloved Beatrice, Dante wrote of his own path to salvation, offering philosophical and moral judgments along the way. The poet T. S. Eliot wrote, “Dante and Shespeare divide the world between them, there is no third.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631686562910-8I2E0H6ECPIB6Z0H54MS/SSL_4649_page+Trivulziano+Codex+DivCom+1337_FIN.jpg Brunelleschi's World - The Trivulziano Codex 1080 and the text known as the ‘Danti del Cento’, Dante Casa Museum, Firenze The Trivulziano Codex 1080, is a parchment volume written in 1337, by Francesco di ser Nardo da Barberino in Florence 16 years after the Dante’s death. It provides one of the most ancient and authoritative texts of Dante’s Divine Comedy. The calligraphy is an elegant chancery-cursive script, accompanied by fine miniatures that have been attributed to the anonymous Master of the Dominican Effigies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631687553829-B97ABBPDCMWVTBDK1ZT0/SSL_4654_dante+inferno_FIN.jpg Brunelleschi's World - The Inferno, first part of Dante's Divine Comedy (1308-1320), Museo Casa di Dante, Firenze Inferno (Italian for Hell) is the first part Dante Alighieri's 14th-century epic poem Divine Comedy. In the poem, Hell is depicted as nine concentric circles of torment located within the Earth; it is the "realm ... of those who have rejected spiritual values by yielding to bestial appetites or violence, or by perverting their human intellect to fraud or malice against their fellowmen". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631687553829-4OUGZZ0VUZXNTZ2J1MUJ/SSL_4655_dante+purgatorio_FIN.jpg Brunelleschi's World - Purgatorio, the second part of Dante's Divine Comedy (1308-1320), Museo Casa di Dante, Firenze Purgatory is depicted as a mountain in the Southern Hemisphere, consisting of a bottom section (Ante-Purgatory), seven levels of suffering and spiritual growth (associated with the seven deadly sins), and finally the Earthly Paradise at the top. In describing the climb Dante discusses the nature of sin, examples of vice and virtue, as well as moral issues in politics and in the Church. The poem outlines a theory that all sins arise from love – either perverted love directed towards others' harm, or deficient love, or the disordered or excessive love of good things. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632020948432-KU3XB2SFBY68VYW7GUUX/SSL_4656_dante+Paradiso_FIN.jpg Brunelleschi's World - Paradiso, the third part of Dante's Divine Comedy (1308-1320), Museo Casa di Dante, Firenze While the structures of the Inferno and Purgatorio were based around different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues (Prudence, Justice, Temperance, and Fortitude) and the three theological virtues (Faith, Hope, and Charity). Dante's journey through Heaven is guided by Beatrice, who symbolizes theology. In the poem, Paradise is depicted as a series of concentric spheres surrounding the Earth, consisting of the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean. It was written in the early 14th century. Allegorically, the poem represents the soul's ascent to God. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631956678643-0UMW8YHS1BH8F6CNPUS1/SSL_4641_florin_FINE_sm.jpg Brunelleschi's World - The Florentine Florin, e' esposto nella casa di Dante, Firenze The design of the original Florentine florins was the distinctive fleur-de-lis badge of the city on one side and on the other a standing and facing figure of St. John the Baptist wearing a hair shirt. The Florentine florin was a coin struck from 1252 to 1533. It had 54 grains of nominally pure or 'fine' gold (3.5368 grams, 0.1125 troy ounce) with a purchasing power ranging from approximately 140 to 1000 modern US dollars. As many Florentine banks were international supercompanies with branches across Europe, the florin quickly became the dominant trade coin of Western Europe for large-scale transactions. This wealth allowed for the building of the Cathedral and the many commissions given to the artists, architects, and artisans of Firenze. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631669434026-YX0T1AT2B0ZU8QHWJ2Q7/SSL_4620+Bargello_ed+shrpcrp_FIN.jpg Brunelleschi's World - Museo Nazionale del Bargello, built in 1255, courtyard, Firenze The three-story palace was designed by architect Lapo Tedesco, as police headquarters, tribunal, and prison. Converted in 1865 into a museum, the Bargello was the first Italian museum exclusively dedicated to medieval and Renaissance art. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631678012092-DDO819ULRFO6A889HWE6/SSL_4618+Florence+Victorious+Over+Pisa+Giambologna1589_2.jpg Brunelleschi's World - "Florence Triumphant Over Pisa" (c.1565) by Giambologna (1529-1608), Bargello, Firenze Giambologna’s (Jean de Boulogne) work emphasized refined surfaces, cool elegance, and beauty. This sculpture was commissioned for the Sala del Cinquecento (the Great Council Hall) of the Palazzo Vecchio. Created in time for the wedding of Francesco I de' Medici and Joanna of Austria, Cosimo I de' Medici intended for the Great Council Hall in the Palazzo Vecchio to be decorated with depictions of Florentine military triumphs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631668444484-DSO4D4P7X51TN1UEGIVG/Firenze+David+-marble-Donatello+Bargello_FIN.jpg Brunelleschi's World - "David" (1408-1409) by Donatello (1386-1466), National Museum of the Bargello, Firenze At the age of 23, Donatello carved this conventional 6-foot tall marble sculpture of David to top one of the buttresses of Santa Maria del Fiore, though it was never placed there. He portrays David victorious, after having defeated the giant Goliath, whose head figures at his feet with the stone that killed him still stuck in the middle of the forehead. The pose and the attitude express a conscious pride. At his feet the inscription "Pro patria fortiter dimicantibus Etia adversus hostes terribilissimos Dii prestant auxilium" ( "The gods give support to the brave fighters for their country even against the most fearsome enemies".) which underlines its political significance as a symbol of untamed and libertarian nature of the Florentine Republic, a small republic that fought against great powers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632274170011-9TYKJDIJHDG9OBKB9B5Y/Firenze+David+Donatello+Bargello_FINE.jpg Brunelleschi's World - David (c. 1440-43) by Donatello, Bargello Museum, Firenze. Donatello created his bronze statue of David 32 years after the marble David (above) he had sculpted in his early twenties. Commissioned by Cosimo de' Medici, Donatello’s bronze David is considered one of the greatest sculptures of the 14th century. Donatello's two statues of David illustrate the development of his style and vision from the heavy Gothic influence of his youth, characterized by ornament and grace, to a more naturalistic style of his later years that was less idealized and more realistic. His body appears lithe as he stands with one foot atop Goliath's decapitated head. His small frame and almost effeminate disposition imply that his victory is due to God's assistance. He holds a sword which looks huge in proportion to his body and smiles proudly. This David is credited with being the first free-standing male nude statue since the era of Greek sculpture. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632276087119-C1ILD4RU65KV5G83OSL4/Andrea+del+Verrocchio_David_1473-75_FINE_rev+.jpg Brunelleschi's World - "David with the Head of Goliath" (1473-1475), Andrea del Verrocchio (1435-1488), Bargello Museum, Firenze (revised internet photo) This bronze statue of David was commissioned by the Medici family. It is sometimes claimed that Verrocchio modeled the statue after his pupil Leonardo da Vinci. The statue represents the youthful David triumphantly posed over the head of the slain Goliath. David holds Goliath’s sword in one hand and rests the other on his hip in a gesture of confident triumph. David, the biblical hero and future king of Israel who achieved victory over a tyrannical adversary, was embraced by Florentines as a symbol of liberty and good government. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631668532402-R355O3ZSTL5GQZSUB349/Firenze+David+Michelangelo+Accademia+crp_FIN.jpg Brunelleschi's World - David (1501-04) by Michelangelo (1475-1564), Galleria dell'Accademia, Firenze A statue of David was originally commissioned in 1464 as one of a series of statues of prophets to be positioned along the roofline of the east end of the Santa Maria del Fiore Cathedral. The commission was given to Agostino, who stopped working on it in 1466, and then, 10 years later, to Antonio Rossellini, who also did not finish the project. In 1501 the original block of Carrara marble used by the earlier sculptors was given to Michelangelo to create a David. On September 8, 1504 it was placed in a public square outside the Palazzo Vecchio, the seat of civic government in Florence, in the Piazza della Signoria. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633690102331-JJHT4MDK90WHGSDV0V18/0_St%2BMatthew%2BMichelangelo%2BIII.jpg Brunelleschi's World - "St. Matthew" (1505-1506) by Michelangelo, Galleria dell'Accademia, Firenze St Matthew is an unfinished marble sculpture created in 1505-6. The 8.9 feet (271 cm) tall sculpture was originally planned to be one of a group made up of all the Apostles and destined for niches of the choir of Santa Maria del Fiore Cathedral. St Matthew. After some months working on the sculpture of St. Matthew, the figure took shape as if struggling to emerge from the marble. The effect of movement inherent in the sculpture makes it very different in pose to David. St. Matthew was the only Apostle statue started and the project was abandoned early in 1506 when Michelangelo was summoned to Rome by Pope Julius II to sculpt 40 statues for his tomb. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631668560913-JAGMGBYPAMUNMDEZV5FI/Firenze+Love-Attis+Donatello+Bargello+shrp.jpg Brunelleschi's World - "Amor Attis" (ca. 1440), bronze statue by Donatello (1386-1466), Bargello National Museum, Firenze Dancing, with his arms in the air, the 4.5 feet boy has a pagan and carefree demeanour. He has winged feet, which initially led scholars to believe he may be Eros or Cupid. However, as he has his buttocks and genitals displayed through open and loose trousers, he could also be Attis, the beautiful young shepherd who castrated himself in an act of induced madness. After all the deliberations, researchers settled on the name we know the boy by today, Amor Attis. This seems to be a compromise between the sensual and forbidden nature of Attis and all his joyful abandon, and the obvious and symbolic references to Ero, God of love. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631671128706-LN3IYV8KTR49M61LRBLZ/SSL_4613_Dying+Adonis_V-de+Rossi+1525-1587_Bargello_FIN.jpg Brunelleschi's World - Dying Adonis by Vincenzo De Rossi (1525-1587) in the Bargello National Museum<Firenze This sculpture, with its striking theatrical pose and accurate anatomical representation, portrays a youth of rare beauty, whom Venus, unrequited, fell in love with. One day while out hunting, Adonis was mortally wounded by a wild boar and not even the goddess was able to reach him in time and save him. The marble statue was purchased by Isabella, daughter of Cosimo I de’ Medici, a major supporter of Brunelleschi, for the villa of Poggio Baroncelli where it remained until 1873. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631669256973-FUF06OQILBRUAOFMPUWU/SSL_4610+Bacchus_Michelangelo+1497+crp_2_FINE.jpg Brunelleschi's World - Bacchus (1496) by Michelangelo, (Height - 80 in.) Bargello National Museum, Firenze This statue was originally commissioned by Cardinal Raffaele Riario. However, it was rejected by him and eventually found its way to Jacopo Galli, Cardinal Riario’s banker and a friend of the sculptor, who purchased it in 1506. Some 66 years later it was bought for the Medici and transferred to the royal house in Florence, Italy. It is one of just two sculptures surviving Michelangelo’s initial period in Rome, with the other being Pieta. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632003058999-X2XP744HEEH6JAMGEF6T/DSCN3717_Bacchus+by+Giambologna_1560-65_FIN.jpg Brunelleschi's World - "Bacchus" (1560-61) by Giambologna (1529-1608), located in a niche in Borgo S. Jacopo, Firenze This Bacchus is one of the first monumental bronzes (7’ 8.5”) made by the Flemish sculptor, Giambologna (Jean de Boulogne), affected, in style, by the influence of Benvenuto Cellini. The original bronze was saved by a bombardment of the German occupation forces during World War II and was relocated in Borgo S. Jacopo in this niche. The City commissioned a replica to the Fonderia Marinelli, which in 2006 took the place of the original Bacchus, now exhibited at the Museum of the Bargello. The mold used to execute the bronze work, using the lost-wax casting process, was produced directly on the original. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631669256974-6HQEEXW9LZJCIH7VKOHY/SSL_4609_Mercury-1580_Giambologna_Bargello_FIIN.JPG Brunelleschi's World - "Mercury" (c. 1580) by Giambologna (1529-1608), Bargello Museo, Firenze “Mercury” is Giambologna’s most famous work. The statue represents the messenger of the gods as a harmonious and able nude figure, in artificial balance on the breathe of Zephyr. It was originally sent to decorate the fountain at the entrance to the garden of Villa Medici in Rome, residence of Cardinal Ferdinando de’ Medici. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631687799913-R4GMRCFA0MKKI0MZ7MGL/SSL_4709+SMdF_Baptistry_FIN.jpg Brunelleschi's World - The Baptistry of Saint John, constructed between 1059 and 1128, view of east door, Piazza del Duomo, Firenze It is believed that the Baptistry was built over the ruins of a Roman temple dedicated to Mars dating in the 4th-5th century A.D. It was first described in 897 as a minor basilica. In 1128, it was consecrated as the Baptistery of Florence and as such is the oldest religious monument in Florence. The octagonal baptistery stands across from Cattedrale di Santa Maria del Fiore. The Baptistery is renowned for its three sets of artistically important bronze doors with relief sculptures. The Italian poet Dante Alighieri and many other notable Renaissance figures were baptized in this baptistery. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631744049779-DH25XZES9W2F6MU39BNS/SSL_4790_Beheading+of+St.+John-Vincenzo+Danti-1569-70_FIIN.jpg Brunelleschi's World - "Beheading of St John the Baptist" 1569-71, by Vincenzo Danti (1530-1576), St. John Baptistry, Firenze These 8 ft. tall bronze statues were placed over the southern doors of the Baptistery in 1571. In the Beheading of St John the Baptist the central St John kneels awaiting his martyrdom, while on the right the elegantly poised executioner holds his sword aloft and on the left is Salome, Herod's daughter. The group stood over the southern doors until the restoration in 2008; then the statues were replaced by copies and this original group is now in the Museo dell'Opera del Duomo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631854471947-G0JS57ABRR5H9FKM0JK6/SSL_4939_South+Doors+Bapistry_Pisano+1336_FIN.jpg Brunelleschi's World - South Door, St. John Baptistry (1330-1336), Andrea Pisano (1290-1348) Andrea Pisano designed the earliest of the three doors for the Baptistry with 20 quatrerfoil panels containing scenes from the Life of St. John the Baptist and 8 with figures of virtues. The figures are gilded and set against a smooth bronze surface. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631854445444-Y7WYZ1FOY2VU5JAVIYA3/SSL_4939_South_Pisano_Visitation-Birth_Zachariah-Desert_1336_FIN.jpg Brunelleschi's World - Panels from the South Doors (left) of the Baptistry (1330-1336), Life of St. John the Baptist by Andrea Pisano, Firenze ToTop Left: The Visitation (Mary, pregnant with the infant Jesus visits her cousin Elizabeth. At the sound of Mary’s greeting, Elizabeth, who was 6 months pregnant, felt the infant St. John the Baptist leap in her womb, which, according to later doctrine, signified that he had become sanctified and cleansed of original sin.). Top Right: The Birth of the Baptist; Bottom Left: Zachariah (the father of John the Baptist) writes the boy’s name: Bottom Right: St. John as boy in the desert. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631854427519-TI902PICTBQMQRSYYY63/SSL_4939_South_Pisano_JB_pharisees_intro_baptize+apostles-Christ_FIN.jpg Brunelleschi's World - Panels from the South Doors (left) of the Baptistry (1330-1336), Life of St. John the Baptist by Andrea Pisano, Firenze Top Left: John the Baptist Preaches to the Pharisees; Top Right: John announces Christ; Bottom Left: John baptizes the disciples; Bottom Right: John baptizes Jesus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631854405735-UCIBIU0M2TYKX7SECVM0/SSL_4939_South_Hop-Faith_Fortitude-Temperance+_Pisano+1336_FIN.jpg Brunelleschi's World - Four virtue panels from the South Door (left) (1330-1336) of the Baptistry of St John by Andrea Pisano, Firenze Top Left: Hope; Top Right: Faith; Bottom Left: Fortitude; and Bottom Right: Temperance https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631854512544-3MGCVKYZWWVINS9RCHK2/SSL_4941_South_Pisano_Rt.+Door+Bapistry_FIN.jpg Brunelleschi's World - South Doors (rt.), St. John Baptistry (1330-1336), Andrea Pisano (1290-1348), Firenze The right side of the South Doors also contains 10 panels of scenes from the Life of Saint John the Baptist and 4 panels depicting virtues. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631854517911-3IHAYESQQVFHM138N48F/SSL_4942_Pisano_South_JB-head-Herod-Herodias_Transport-Burial_FIN.jpg Brunelleschi's World - Panels from the South Doors (rt.), St. John Baptistry (1330-1336), by Andrea Pisano (1290-1348), Firenze Top Left: Presentaion of St. John’s head to Herod Antipas; Top Right: Salome takes the head to Herodias; Bottom Left: Transport of the body of St. John; and Bottom Right: Burial of St. John the Baptist. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631854497587-1KLQI6JE18LRBCSD4MYV/SSL_4941_SouthPisano_Charity-Humility_Justiice-Prudence_FIN.jpg Brunelleschi's World - Four virtue panels from the South Doors (rt.), St. John Baptistry (1330-1336) by Andrea Pisano (1290-1348) Top Left: Charity; Top Right: Humility; Bottom Left: Justice; Bottom Right: Prudence. Note: The virtues used on Andrea Pisano’s south door are those Dante had used earlier in his Paradiso, which he based on the four cardinal virtues (Prudence, Justice, Temperance, and Fortitude) and the three theological virtues (Faith, Hope, and Charity). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632785602083-O5KPJMM4WTP67FYOXTK5/SSL_4958_North+Entrance+w-1st+Ghiberti+doors_FINE_statues_REV.jpg Brunelleschi's World - Northern Doors (1403-1424), St. John Baptistry by Lorenzo Ghiberti (1378-1455), Piazza del Duomo, Firenze Ghiberti’s northern doors depicts stories of the Life and Passion of Christ taken from the New Testament. Above the northern door were located three bronze statues, modeled between 1506 and 15011 by Giovanni Francesco Rustici, depicting St. John the Baptist Teaching between the Pharisee and the Levite. Ristici’s originals are now in the Opera del Museo and have been replaced with copies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632041320634-GL7OO90V4BNM7ZUK0284/Francesco+Rustici-St.+John+the+Baptist+Teaching+between+the+Pharisee+and+the+Levite_FINE+.jpg Brunelleschi's World - St. John the Baptist Teaching between the Pharisee and the Levite (1506-1511) by Francesco Rustici (1476-1554), Opera del Museo (Internet Photo) Rustici’s three bronze statues, each with its own pedestal (standing 8.5’ in height), were placed above Ghiberti’s northern doors. St John, the patron saint of the city and building, is emphasized by his central placement and the poses and gazes of the flanking figures. The above original statues were replaced on the Baptistry with copies. Rustici was considered by his contemporaries as one of the major sculptors in Tuscany. He shared a house during the commission with Leonardo da Vinci and may have received technical advice from da Vinci. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631861309877-B3UUY9E16BE484FEGUOI/SSL_4946_North_Ghiberti-doors_FIN_New-Testa.jpg Brunelleschi's World - North Door (1403-1424), Baptistry of St. John, by Lorenzo Ghiberti (1378-1455), Firenze In 1401, a competition was announced by the Arte di Calimala (Cloth Importers Guild) to design doors which would eventually be placed on the north side of the baptistery. At the time of judging, Ghiberti and Brunelleschi were the finalists, and when the judges could not decide, they were assigned to work together on them. Brunelleschi's pride got in the way, and he went to Rome with Donatello to study architecture leaving Ghiberti to work on the doors himself. Ghiberti’s gilded bronze doors consist of twenty-eight panels, with twenty panels depicting the life of Christ from the New Testament. The eight lower panels show the four evangelists and the Church Fathers Saint Ambrose, Saint Jerome, Saint Gregory and Saint Augustine. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631861555519-86HTJVIOTVOU2XEZ9UGB/SSL_4950_North_John+baptizes+Christ_FIN.jpg Brunelleschi's World - "Baptism of Christ," panel from the North Doors (1403-1424), Baptistry of St. John, by Lorenzo Ghiberti (1378-1455), Firenze https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631861386740-98HZ5CTPT51UJ749DZJG/SSL_4947_North_Jesus+entering+Jerusalem_FIN.jpg Brunelleschi's World - "Entry of Jesus in Jerusalem," panel from the North Doors (1403-1424), Baptistry of St. John by Lorenzo Ghiberti, Firenze https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632209396370-94NK3WHDEZLHDWB4RSLT/SSL_4946_North_Ghiberti-expulse-Christwater-adoration-jc+w+docs_FIN_New-T_REV.jpg Brunelleschi's World - Life of Christ panels, North Doors (1403-1424), Baptistry of St. John by Lorenzo Ghiberti, Firenze Top Left: Chasing the merchants from the Temple; Top Right: Jesus walking on water and saving Peter; Bottom Left: Adoration of the Magi; Bottom Right: Christ among the doctors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631861482291-R2C8DAT2G1B2O4UYFHE8/SSL_4949_North_Last+Supper_FIN.jpg Brunelleschi's World - "The Last Supper," panel from the North Doors (1403-1424), Baptistry of St. John, by Lorenzo Ghiberti, Firenze https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631694742054-TP96K9I6T3TIVSN1M0XC/SSL_4723+SMdFBapistry_wGdoor_statsclose_FIIN.jpg Brunelleschi's World - View of the East Side of St. John Baptistry with Ghiberti's Doors and Sansovino's sculpture, "Baptism of Christ." The East doors, referred to as “The Gates of Paradise,” received that name from Michelangelo who is believed to have exclaimed: “they are so beautiful that they would be perfect for the gates of paradise.” Just as early Renaissance painters sought to create an illusion of depth, Ghiberti studied perspective and applied it to his relief sculpture. Rather than his reliefs being figures attached to a flat background, he sculpted the entire surface to create an illusion of pictorial depth. With regard to the “Gates of Paradise” he said “I sought to imitate nature as closely as possible.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632976131872-AL9UFWFKQHXDCO0VJBIS/SSL_4789_baptism+of+christ-Sansovino-1792_FIN+.JPG Brunelleschi's World - "Baptism of Christ" (1502-1505), above east doors of the Baptistry, Andrea Sansovino (ca. 1467-1529), Museo dell'Opera del Duomo, Firenze In the period following his return from Portugal to Italy, Sansovino became established as a sculptor of large-scale figures. The monumental marble figures above, standing at heights of 8.5’ to 9’, were placed over the east doors of the Baptistery. These original statues are in the Museo dell'Opera del Duomo. They were replaced over the east door by copies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631853929341-JZ2I9C6ZGQJUMEKR7ZIG/SSL_4938_East_Ghiberti+East+Paradise+Door_FIN.jpg Brunelleschi's World - East Doors (1424-1451), St. John Baptistry, by Lorenzo Ghiberti (1378-1455), Firenze The panels are large rectangles and are no longer embedded in the traditional Gothic quatrefoil, as in the previous doors. Ghiberti employed the recently discovered principles of perspective to give depth to his compositions. The east doors consist of 10 rectangular panels, displayed in two lines. They depict scenes of the Old Testament. In each panel Ghiberti described more than one scene so that there are over fifty scenes depicted. All around the frame of the doors Ghiberti added 24 small bronze busts of famous Florentines, including his own self-portratit. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631853506281-KFXMGQBJ48OL6ARR1RJC/SSL_4929_East_Ghiberti_Isaac+w-Esau-Jacob_FIN..jpg Brunelleschi's World - "Esau and Jacob" panel on East Doors (1424-1451), St. John Baptistry, by Lorenzo Ghiberti (1378-1455), Firenze The biblical Book of Genesis speaks of the relationship between fraternal twins Jacob and Esau, sons of Isaac and Rebekah. The story focuses on Esau's loss of his birthright to Jacob and the conflict that ensued between their descendant nations because of Jacob's deception of their aged and blind father, Isaac, in order to receive Esau's birthright/blessing from Isaac. The bronze panel follows several episodes from the Bible story: 1) Rebecca's conversation with God before the twins are born, 2) Rebecca on the birthing bed, 3) Esau's selling of his birthright to Jacob for a pot of porridge, 4) Isaac telling Esau he will be blessed if he goes and hunts, 5) Esau's leaving for the hunt, 6) Rebecca's instructing of Jacob in the deceit, and 7) Jacob's receipt of the blessing. On the bottom right corner of the frame is a self-portrait of Ghiberti. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631853580934-B0K1FP26BVZKGAGOV3AA/SSL_4931_East_Moses-Ten+Coimmandents_FIN.JPG Brunelleschi's World - "Moses and the Ten Commandments," panel on East Doors (1424-1451), St. John Baptistry, Lorenzo Ghiberti, (1378-1455), Firenze In the foreground depicts all the tribes of Israel gathered at the bottom of the mountain in order to witness this historic moment. It is the rocky mountain that perhaps grabs the eye first, with the sculptured surface protruding out from the surface of the artwork to give a three dimensional finish. Moses and his interaction with the heavens, the focal point of this narrative, is located in the upper right of the panel. The multitude of figures at the bottom adds further interest and also allows Ghiberti to further confirm his exceptional skills of portraiture. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631853693380-R0BZBTK8E3WLGB76WYRR/SSL_4932_East_David+and+Goliath_rev_FIN.jpg Brunelleschi's World - "David and Goliath," panel on East Doors (1424-1451), St. John Baptistry, Lorenzo Ghiberti (1378-1455), Firenze Ghiberti’s “David and Goliath” provides a very literal description of the difference in size between the two warriors, placing them at the bottom of this panel. Multiple soldiers from both sides look on in awe as David protects his town by slaying Goliath. Their town sits in the background at the top of the panel, seemingly unaware of the sacrifices being made in its honour. Lorenzo Ghiberti again uses a rocky landscape in between in order to separate the two parts of the composition, with some additional trees that aim to soften the area beneath the rocks. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632283307024-NZ549JMR4N5A4WWOWP8I/SSL_4933_Est_Solomon+and+Queen+of+Sheba_FINE.jpg Brunelleschi's World - "Solomon and the Queen of Sheba," panel on East Doors (1424-1451), St. John Baptistry, Lorenzo Ghiberti, Firenze The Queen and King stand in front of Solomon’s great Temple of Jerusalem, the dwelling-place of God on earth. Ghiberti’s classical pillars and gothic arches seem to owe rather more to the cathedral of Florence than to the ancient structure in Jerusalem. In the centre of the composition, below the great porch, stand Solomon and the Queen of Sheba. They turn towards each other holding hands, in a pose which looks very like that of a marriage. It has long been suggested that this panel was intended as a commemoration of the impending Council of the Eastern and Western Churches, which opened in Florence in 1439. The Queen, as representative of the Eastern Church, and King Solomon as the Western Church, stand together in a glorious union, blessed by God. Ultimately the attempt to heal the Great Schism was a failure. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631853783234-DVVYXYC94R097VZFYQVL/SSL_4934_East_Joshua-Fall+of+Jericho_FIN.jpg Brunelleschi's World - "The Fall of Jericho," panel on East Doors (1424-1451), St. John Baptistry, Lorenzo Ghiberti (1378-1455), Firenze Ghiberti tells the story of the Fall of Jericho according to Joshua 6:1-27, that the walls of the city of Jericho would fall after Joshua's Israelite army had invaded and sounded their trumpets around the city. The outline of this story is clear to see within this artwork, with the architectural scenery found in the background and a multitude of figures in the foreground, seemingly in discussion rather than battle at that point. This is perhaps one of the most detailed panels for the Gates of Paradise series, with visual interest spread right across the bronze panel. The tents are perhaps the most impressive part of this panel, with then the fortified city in the background also displaying the artist's growing knowledge of depicting architectural scenes and also putting perspective accurately into artwork. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631853848514-FI7K7UDEOFNU88Q2C2N9/SSL_4935_East_Joseph+sold.+into+slavery_FIN.jpg Brunelleschi's World - "The Story of Joseph", east door St John Baptistry, by Lorenzo Ghiberti (1378-1455), Firenze In "The Story of Joseph" is portrayed the narrative scheme of Joseph Cast by His Brethren into the Well, Joseph Sold to the Merchants, The merchants delivering Joseph to the pharaoh, Joseph Interpreting the Pharaoh's dream, The Pharaoh Paying him Honour, Jacob Sends His Sons to Egypt and Joseph Recognizes His Brothers and Returns Home. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631853840137-MPD9G5BS0ZJK5EVASQN1/SSL_4936_East_Abraham+and+Isaac_FIN.jpg Brunelleschi's World - "Abraham and Isaac," east door St John Baptistry, by Lorenzo Ghiberti (1378-1455), Firenze Ghiberti combined two accounts of the story of Abraham from the Book of Genesis. At the lower left is the story found in Genesis 18:2-10; a time when three men (Ghiberti interpreted them as heavenly beings with wings) came to Abraham. Sarah is at the doorway of their tent while Abraham is kneeling before the men with a pan of water with which they may wash their feet. The men tell him his wife, Sarah, will have a son. Ghiberti’s narrative composition continues with images from Genesis 22:3-13; the sacrifice of Isaac. At the lower center is a donkey and to its right are Abraham’s two servants who wait while he and Isaac go to a higher level of the mountain. Above them, Isaac is kneeling on an altar and Abraham has raised his knife. An angel has arrived just in time to hold back the knife and stop him from killing his son. Behind the feet of Abraham is a ram caught in a thicket; it will be sacrificed in place of Isaac. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632286352615-N5ORU0RH8G03TFTS2ZIT/SSL_4936_East_Cain+and+Abel+_rev_FINE_REV.jpg Brunelleschi's World - "Cain and Abel," east door St John Baptistry, by Lorenzo Ghiberti (1378-1455), Firenze The panel has a left to right motion, beginning with Adam and Eve in the upper left, while Abel tends to his flock in the middle left and Cain plows his fields. At the top and towards the right Cain and Abel make their sacrifices to God. Just below that we see the murder, in the midst of Cain's attack on Abel. Just below that Cain appears again to receive the curse or mark from God who appears on the far right. It is quite remarkable that Ghiberti achieved such complex use of space and managed to clearly depict the story. However his skill in metalwork is even more remarkable. He makes the metal soft and hard at the same time, especially noticeable in the rock formations that take up the center of the panel; he conveys their hardness, but they appear flowing and soft as well. He creates a different effect altogether in the leaves of the trees, which are molded quite rigidly, but only to show their density and fineness. Ghiberti's molding of musculature is also incredibly skillful, as is the way he depicts Cain's pair of oxen, a technique that was still being worked out in the fifteenth century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632350038870-B8YZI1CO6YK5JMT4BBHV/SSL_4667_SMdF+side+construction_FINE.jpg Brunelleschi's World - Cathedral of Santa Maria del Fiore - a 140-year construction project The designer and original architect for the Cathedral was Arnolfo di Cambia (1245-1310), the builder of both the Palazzo Vecchio and the city’s massive new fortifications. Filippo Brunelleschi grew up in Florence nearby the Santa Maria del Fiore and watched the cathedral being built. The foundation stone for the Cathedral had been laid September 8, 1296, but the Cathedral was not structurally completed and consecrated by Pope Eugenius IV until 1436, (140 years later). Even then it was not completed until May 27, 1471, when the gold ball designed by Andrea del Verrocchio (c. 1435 – 1488) was placed on top of the lantern of the dome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632385682466-VS0TYPH093TP86L9G8QQ/SSL_4793_Bust+of+Arnolfo+di+Cambio+w-plan.jpg Brunelleschi's World - Arnolfo di Cambio (1245-1310) A bust of Arnolfo di Cambio designer and first capomaestro of the San Maria del Fiore seen looking at his floor plan for Santa Maria del Fiore Cathedra. The bust is now located in the Museo dell’Opera del Museo on the Piazza del Duomo. After Arnolfo died in 1302, work on the cathedral slowed for almost 50 years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died on 8 January 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631869704267-G7W5U0GM2VJQ3PRC2WL8/SSL_4961_SMdF_front+w+bell+tower_FIN.jpg Brunelleschi's World - Santa Maria del Fiore Cathedral design - Arnolfo di Cambio (1245-1302), founding architect Construction of the Cathedral of S. Maria del Fiore had progressed so well by 1300 that the Florentine city council authorized a lifetime tax exemption for its founding architect, Arnolfo di Cambio. Arnolfo was also the first capomaestro (artistic director and chief builder), a position later held by Brunelleschi while he was building the dome. Although di Cambio was the original architect, the design of the Florence Cathedral is generally regarded as collective in authorship due to the changes made during construction, repair and refurbishment over the years since his death, e.g., by Francesco Talenti. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632355935143-30VKQHSG379S3YNWJXDG/SSL_4796_Madonna+of+Nativity_1296-1298_Arnolfo_FIN.jpg Brunelleschi's World - "Nativity" (fragment), 1296-1300, marble, Arnolfo di Cambio (1245-1310), Museo dell'Opera del Duomo In later life Arnolfo di Cambio returned to Florence (1296) and embarked on the ambitious project for the façade of the Duomo until his death. It is known from paintings, a drawing and descriptions, that he created sculptures for the facade highlighting episodes from the childhood of Christ and the life of Mary (above), a Virgin and Child (below), and statues of prophets and saints, including Pope Boniface VIII (below). Arnolfo arranged the façade so as to introduce the statues in niches, thus covering the walls of the lower parts. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632355931545-YWBX2BHA61DS0N88RSAZ/SSL_4798_Sleeping+Madonna+w+apostle_Arnolfo_1300-1301_crp_FIN.jpg Brunelleschi's World - Dormition of the Virgin with Apostle (1296-1302), plaster model of marble statue, Arnolfo di Cambio (1245-1310), Museo dell'Opera, Firenze Arnolfo made the statue to be placed on the facade he designed for the Cathedral. The term dormition expresses the belief that the Virgin died without suffering, in a state of spiritual peace. It is a great feast of the Eastern Orthodox and Eastern Catholic Churches which celebrates the “falling asleep” (death) of Mary the Theotokos (“Mother of God” literally translated as God-bearer) and her being taken up into heaven (bodily assumption). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632373889055-M2KPCVVZJZ3WE0Z9MNZE/SSL_4794_Virgiin+and+Child+Enthroned_Arnolfo.jpg Brunelleschi's World - "Madonna and Child Enthroned" (1296-1302) by Arnolfo di Cambio (1245-1310) Arnolfo di Cambio balances the divine and human in the Madonna and Child Enthroned, also known as the Madonna of the Glass Eyes (1296). Madonna, the mother of Jesus, sits still on the throne holding baby Jesus on her knee and looks out afar. The now blank eyes of Jesus would have had painted pupils, but these would not have been as realistic and humanized as the glass eyes of Madonna. Arnolfo represents the baby Jesus with an adult-look in a gesture of blessing to emphasize his divinity. Because mostly marble sculptures before the time of Michelangelo are painted or partially painted, Madonna of the Glass Eyes would also initially, at least partially, have been painted by Arnolfo di Cambio to add the realism of the sculpture. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632361202531-5RER6Y9SQXLHK98GD16T/SSL_4795_Pope+Boniface+VIII+Enthroned_Arnolfo+c1300.jpg Brunelleschi's World - "Pope Boniface VIII Enthroned" (c. 1300), by Arnolfo di Cambio (1245-1310), Museo dell'Opera Pope Boniface VIII (born Benedetto Caetani, c. 1230 – d. 11 October 1303) was the head of the Catholic Church and ruler of the Papal States from 24 December 1294 to his death in 1303. Boniface VIII put forward some of the strongest claims of any pope to temporal as well as spiritual power. He involved himself often with foreign affairs, including in France, Sicily, Italy and the First War of Scottish Independence. These views, and his chronic intervention in "temporal" affairs, led to many bitter quarrels with Albert I of Germany and Philip IV of France. Boniface was the infamous pope who began the practice of selling indulgences to fill church coffers. Dante Alighieri placed the pope in the Eighth Circle of Hell in his Divine Comedy, among the simoniacs (the buying or selling of ecclesiastical privileges). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632622688237-0GQ1B280A9SQP2F7XBR8/Giotto_di_Bondone_Design_sketch_for_the_Campanile_-_WGA09366.jpg Brunelleschi's World - Giotto's original design sketch (1334) for the Campanile (internet photo) Giotto's sketch is for an ornate building in the Gothic style that accords with the imagined buildings of his earlier paintings. His lower section includes colored marble - white, green, pink and red predominantly - organized in geometric patterns. His design is complemented with a series of sculptural reliefs, designed by Giotto and executed by Andreas Pisano and other Florentine masters (including Donatello and Luca Della Robbia). Taken as a whole, the relief cycle represents a celebration of knowledge and thinking and charts the development of civilization through a series of panels. Collectively the reliefs (relievos) convey the idea that exploration, and learning through technology and theology, had made mankind worthy (potentially) of divine redemption. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631688282500-ARL2WSBLCAF6AR785RT1/SSL_4668_Giotto+il+Campanile_FIN.jpg Brunelleschi's World - Campanile (Bell Tower), 1334-1359, Santa Maria del Fiore, designed by Giotto (c. 1267- 1337) The Campanile, 288’ tall and approximately 49’ in breadth, is the most eloquent example of 14th century Gothic architecture in Florence. By the time Giotto died he had completed only the first part of his bell tower, up to the hexagonal panels which form a kind of figurative narrative carved by Andrea Pisano to Giotto's design, and to the reliefs (formerly on a blue ground) by Andrea Pisano and Luca della Robbia. On the strength of his contribution to the cathedral's design, Giotto joined Brunelleschi (designer of the cathedral's dome) and Alberti (author of the first printed book on architecture "De re aedifcatoria", 1450) as one of the founding fathers of Renaissance architecture. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631874046431-CJ2CPSIJXDS3KQXLMBJD/SSL_5059+Giotto+crp_Uffizzi_FIN.jpg Brunelleschi's World - Giotto di Bondone (c. 1267-1337), by Giovanni Dupre (1817-1882), Loggiato, Uffizi Gallery statue (1845) In 1334 Giotto was appointed chief architect to Florence Cathedral, of which the Campanile bears his name, but was not completed to his design. When Giotto took on the project, he was determined to remain faithful to the polychrome style that Arnolfo di Cambio employed in the rest of the cathedral—in addition to his own painterly aesthetic. Most noticeably is the geometric arrangement of different colored marble. Giotto imported material from the surrounding towns, including white marble from Carrara, green marble from Prato, and red marble from Siena. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632620325681-0J075GNMQCF8RYV2Q7IR/Madonna+Ognissanti1024px-Giotto%2C_1267_Around-1337_-_Maest%C3%A0_-_Google_Art_Project.jpg Brunelleschi's World - "Ognissanti Madonna" (c. 1309), by Giotto, Uffizi Gallery, Firenze (internet photo) Giotto is considered the most important Italian painter of the 14th century, credited with giving a new value to the human figure and its relationship with space. Giotto's depiction of the Virgin and Child as a human mother and child, as well as divine beings, was an important influence for later Renaissance artists, especially figures such as Filippo Lippi, tutor to Botticelli, whose images of the Madonna and Child develop the human element of the scene, eventually reducing the figures' gold halos to simple symbolic rings. The painting is also notable for the clear sense of anatomical realism with which the figures are depicted. In previous eras, the anatomy of the figures beneath their clothes was generally not closely attended to, where Giotto takes care to suggest the human fleshliness of the Virgin and the baby Jesus. This is particularly highlighted through the subtle representation of Mary's knee and breasts through the fabric of her clothes, as well as the baby's body in its translucent robe. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632906028462-3BK0AXZQTBBTDPUQ955W/Giotto+Crucifix+Santa+Maria+Novella_RevII.jpg Brunelleschi's World - "Crucifixion" (1280) by Giotto (c. 1266-1337), Santa Maria Novella (internet photo) Giotto's Crucifix in the church of Santa Maria Novella is a tempera painting that was commissioned by Dominican priests; it is the oldest major artwork in the church. The painting has extraordinary beauty that lies in the realism of the figure. Giotto focuses on the pathos of the Crucifixion scene and thus encourages the viewer to empathize with Christ's suffering. In contrast to earlier representations of Christ on the Cross, such as those by his teacher Cimabue, Giotto emphasizes the earthly heaviness of the body: the head sinks deeply forward and the almost plump body sags. The human side of the Son of God is made clear. Mary and John look down sorrowfully from the horizontal ends of the cross at the dead Lord. Giotto is revered as the father of European painting and the first of the great Italian masters. In The Divine Comedy, Dante acknowledged the greatness of his living contemporary through the words of a painter in Purgatorio (XI, 94–96): "Cimabue believed that he held the field/In painting, and now Giotto has the cry,/ So the fame of the former is obscure." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631688726177-U3RV4LH88PBO0TKL6OZH/SSL_4705_bas+relief+side+SMdF_FIN.jpg Brunelleschi's World - Giotto's hexagonal design for the base level of the Campanile with 54 reliefs - 26 hexagonal and 28 rhomboid. This picture shows the six of the hexagons designed by Giotti that are on the south side of the campanile, from left to right: “Gionitus, the inventor of astronomy:” Collaborator of Andrea Pisano (Master of Armor), 1334-1336; “Architecture,” Collaborator of Andrea Pisano (Master of Armor), 1334-1336; “Medicine,” Nino Pisano, 1334-36; “Hunting,” Andrea Pisano, 1334-1336; “Textile Production,” Andrea Pisano, 1334-36. [the woman on the right can perhaps be identified as Minerva, the inventor of weaving]; and “Phoroneus, inventor of law,” Nino Pisano, 1334-36. [Phoroneus was believed to have arbitrated a dispute between Hera and Poseidon.] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631755794789-CTJWE8RSACN6GIV5QQR6/SSL_4865_Euclid-Pythagoras_Robbia-1437-39_FIN.jpg Brunelleschi's World - "Euclid and Pythagoras" or "Geometry and Arithmetic" (1437-1439), by Luca della Robbia (1400-2/10/1482) As a result of the work and guidance of Giotto and Pisano, at the base of the Campanile there is a remarkable set of 54 reliefs -- 26 hexagonal and 28 rhomboid. This bas relief "Euclid and Pythagoras" or "Geometry and Arithmetic," now in the Museo dell’Opera, was preserved from the north side of the lower basement of the campanile (bell tower); a copy is on the Campanile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631756505148-SMDSTCQSLFMB0Q1A14AT/SSL_4868_Orfeo+o+la+Musica_1437-39_Lucca+della+Robbia_fIN.jpg Brunelleschi's World - "Orfeo o la Musica," (1436-1439) marble by Lucca della Robbia (1400-2/10/1482) “Orpheus or Music” from the north side of the campanile (bell tower) lower basement. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the Campanile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631757256680-FHCXDRFE676CVG0T2E5X/SSL_4870_Plato+e+Aristotle+1437-1439-della+Robbia_FIN.jpg Brunelleschi's World - "Plato and Aristotle" (1437-1439), by Lucca della Robbia (1400-2/10/1482) This original bas relief of "Plato and Aristotle" is now in the Museo dell’Opera del Duomo and a copy is on the Campanile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631757652616-RYZ694QHTYSKC8NI2C5G/SSL_4882_Sculpture_Pisano-1334-36_FIN.jpg Brunelleschi's World - "Phidias as Sculptor" (1334-1336), marble, by Andrea Pisano (1290-1348) Phidias (480-430 B.C) is often credited as the main instigator of the Classical Greek sculptural design and is consider one of the greatest of all ancient Greek sculptors. His Statue of Zeus at Olympia was one of the Seven Wonders of the Ancient World. The relief was originally placed on the east side, but the relief was moved to the north side for the front door widening to the bell tower. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the Campanile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631776238017-5ZA5B2909ECFHSGMHU82/SSL_4884_Euclid+as+Architecture_Nino+Pisano_FINE.jpg Brunelleschi's World - "Euclid as Architecture" by Nino Pisano (1325-1370) Nino Pisano was an Italian sculptor, the son of Andrea Pisano. He collaborated with his father in sculptures for the churches of San Zanipolo at Venice and in Santa Caterina at Pisa, and provided some panels, such as this, for the bell tower of Santa Maria del Fiore. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the east side of the campanile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631759370391-6OSRO09UV1WJK2XLP5JQ/SSL_4888_Agriculture_Agricoltura_A+Pisano-1334-1336_FIN.JPG Brunelleschi's World - "Agricoltura" (1334-1336), marble, by Andrea Pisano (1290-1348) "Agricoltura" from the east side of the campanile (bell tower), lower basement. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the Campanile.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631773617364-X5UXXY7W3A2SPBQSBUHN/SSL_4891_Navigazione_A+Pisano-1334-36_FIN.JPG Brunelleschi's World - "Navigation" (1334-1336), marble by Andrea Pisano (1290-1348) "Navigation" from the east side of the campanile, the lower basement. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the Campanile.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631846866134-6GX9DID60L29DRI9VV61/SSL_4900_Creation+of+Adam_Andrea+Pisano_1337-41_FIN.jpg Brunelleschi's World - "Creation of Adam" (1334-1336) by Andrea Pisano (1290-1348) "Creation of Adam" from the west side of the campanile. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the Campanile.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631846873819-L76DZ80H9E85WYFJ9C71/SSL_4901%E2%80%93Creatiion+of+Eve-1334-36_A+Pisano_FIN.jpg Brunelleschi's World - "Creation of Eve" (1334-1336), marmot by Andrea Pisano (1290-1348) "Creation of Eve" from the west side of the campanile, lower basement. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the Campanile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631687795120-T4IDCPM1Y53TDHYUC25Z/SSL_4708_red+lily+symbol+Firenze+di+Commune_FIN.jpg Brunelleschi's World - The Giglio (lily) on the west side Campanile The city of Florence has proudly carried the Giglio of Florence on her coat of arms for almost a thousand years. The origin of the ubiquitous lily symbol however is even more ancient and can be traced back to the ruling class of the Roman Empire. This beautiful white flower was first applied to the city’s coat of arms in the 11th century; it was white on a red background. After the bloody battle between the Guelphs and the Ghibellines, which ended in 1250 with a victory for the Guelphs, they switched the colors as a sign of their power, thus creating the famous symbol of the red giglio on a white background. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633685474806-0EZKXXVZWYH0PY4ZR7HA/SSL_4701_Hercules_Santa+Maria+del+Fiore.jpg Brunelleschi's World - Hercules and Cacus, Social Justice Theme, East Side of Campanile, Santa Maria del Fiore, Firenze Cacus lived in a cave in Italy on the future site of Rome. To the horror of nearby inhabitants, Cacus lived on human flesh and would nail the heads of victims to the doors of his cave. According to Evander, Hercules stopped to pasture the cattle he had stolen from Geryon near Cacus' lair. As Hercules slept, the monster stole four bulls and four cows by dragging them by their tails, so as to leave a trail in the wrong direction. When Hercules awoke and made to leave, the remaining herd made plaintive noises towards the cave, and a single cow lowed in reply. Angered, Hercules stormed towards the cave. Cacus attacked Hercules by spewing fire and smoke. Eventually, Hercules leapt into the cave, aiming for the area where the smoke was heaviest. Hercules grabbed Cacus and strangled the monster. According to Virgil in Book VIII of the Aeneid, Hercules grasped Cacus so tightly that Cacus' eyes popped out and there was no blood left in his throat. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631757407374-QMSZZYEMS8T0K36Q2SG3/SSL_4879_Matrimonio_da+Castello_1337-41_FIN.JPG Brunelleschi's World - "Matrimonio" (1337-1341), marble and maiolica, by Gino Micheli da Castello Gino Micheli worked under the direction of Andrea Pisano between 1318 and 1323 and 1337 and 1341. “Matrimonio” was taken from the north side of the bell tower, upper basement. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the Campanile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631773617364-JE03MNZGJ5W3WBJLRV6A/SSL_4892_Geometria-1337-41_Andrea+Pisano_FIN.jpg Brunelleschi's World - "Geometry" (1337-1341), marble and maiolica, by Andrea Pisano (1290-1348) "Geometry" from the east side of the campanile, upper basement. This original bas relief is now in the Museo dell’Opera del Duomo and a copy is on the Campanile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631773699379-BYCH5IQZ1BXNZMZEI94X/SSL_4896_Musica-1337-1341_Da+Castello_FIN.jpg Brunelleschi's World - "Music" (1337-1341) originally on the east side of the campanile. “Music” is one of the seven Liberal Arts among the 24 lozenges with bas relief on the campanile. This original bas relief is now in the Museo dell’Opera del Duomo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631846775341-4G6S9GGX1XR84XMBB7OJ/SSL_4898_Astronomia-1337_Andrea+Pisano+and+di+Noe_FIN.jpg Brunelleschi's World - "Astronomia" (1337-1341) a collaboration of Andrea Pisano and Maestro di Noe' - marble and maiolica "Astronomia" from the east side of the campanile, upper basement. This original bas relief is now in the Museo dell’Opera del Duomo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632554610727-W08PU3H352NF58J7LDFU/SSL_4661_Pisano+changes+to+Campanile.jpg Brunelleschi's World - Andrea Pisano (1290-1348) succeeded Giotti as Master of the Works in 1343 Andrea Pisano, who was already famous for his South Doors of the Baptistry, built the next three sections of the Campanile. He first added the next level fascia, this time decorated with lozenge-shaped panels (1347–1341). He then built two more levels, each with 16 niches, four niches on each side. Statues were placed in the first level but the second row of niches are empty. Construction came to a halt in 1348, year of the disastrous Black Death. By 1352 the population of Florence had dropped to less than half of what it had been at the start of 1348. Almost 60,000 people living in the city had died, and those who did not die, fled to the countryside in large numbers, leading to further depopulation of the city. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1634356021674-QMTQJKMV71DC1E8H4P1M/SSL_4666_four+statues+campanila_SMdF_FIN.jpg Brunelleschi's World - East side, second level statues on the Campanile (Bell Tower) Andrea Pisano replaced the bas-reliefs planned for the second level with sixteen niches, four on each side, designed to contain figures of the Kings and Sibyls (female prophets or oracles) and statues of the Patriarchs and Prophets. Those pictured here include from left to right: “The Beardless Prophet” by Donatello (probably a portrait of his friend, the architect Filippo Brunelleschi); “The Bearded Prophet” by Nanni di Bartolo; “The Sacrifice of Isaac” by Donatello; and “Il Pensatore” (The Thinker) by Donatello. The originals of all these sculptures, created between 1408-1421, are now kept in the Opera Museum for conservation purposes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632357550471-BXDK7GHC4HCS6CDHN6OO/SSL_4834_Abraham+and+Isaac_Donatello-1418-1420_FIN.jpg Brunelleschi's World - Abraham and Isaac (1419-1420), the original made Donatello di Niccolo (1386-1466), Opera del Museo, Firenze According to the Hebrew Bible, God commands Abraham to offer his son Isaac as a sacrifice. After Isaac is bound to an altar, a messenger from God stops Abraham before the sacrifice finishes, saying "now I know you fear God." Abraham looks up and sees a ram and sacrifices it instead of Isaac. The other central theme in the Abraham story is God's test of his obedience. A copy of this statue is located on the campanile (3rd for left, above), on second level from the bottom. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631745285627-4TQV4APA73N2JV1GRSHQ/SSL_4833+Donatello+-+Prophet+1418-20+ltsep_FIN.jpg Brunelleschi's World - “Il Pensatore” (The Thinker) by Donatello 1419-20) by Donatello (1386-1466) “The Prophets” Donatello carved for the east side of Florence Campanile date from between 1415 and 1436. Pictured above, “Il Pensatore” (marble, ca. 1419-1420, 1.94 m height, Museo dell’Opera del Duomo, Florence) represents a milestone in realism, including a study in human thoughts and character. His attitude conveys thinking: the right hand under the chin and his slightly forward position seem to emphasize a contemplative attitude. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631751020243-UXH2ML3E7HRW6U5KVFRQ/SSL_4849+Donatello+1423-35+Habakkuk-Zuccone2_FIN.jpg Brunelleschi's World - “Prophet Habakkuk,” (also known as Lo Zuccone – “pumpkin-head”) by Donatello, 1423-1426, 6.4' height, Museo dell’Opera del Duomo, Firenze The Prophet Habakkuk statue was originally located on the north side of the Campanile. In Donatello’s Habakkuk the rendering of realism reached one of its highest points and it is recognized as one of the most important marble sculptures of the 15th century. Habakkuk’s figure appears skinny and bony under his rough robe that resembles a toga; his right hand clutches the strap and the rolled top of a scroll; his bald head is curved, left intentionally rough. While intended to represent a tormented and emaciated prophet, it is probably a portrait of Giovanni Chiericini, an enemy of the Medicis. This statue was Donatello’s favorite, and in his writings Vasari claimed Donatello is said to have shouted “speak, damn you, speak, or get the plague!!” at the marble as he was carving it. According to scripture, Habakkuk was saddened by the rampant injustice and violence occurring around him, and he was puzzled by God’s toleration of it. In his questioning of God, the prophet asks, “Why do you make me look at injustice? Why do you tolerate wrongdoing? Destruction and violence are before me; there is strife, and conflict abounds” (Habakkuk 1:3). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632554762907-HCY59W9L55LO5VVINMWC/SSL_4661_campanile_piisano-talenti_rev.jpg Brunelleschi's World - Francesco Talenti (c. 1300-1369) succeeded Pisano as Master of the Works of Santa Maria del Fiore Cathedral Francesco Talenti, Master of the Works from 1348 to 1359, completed the bell tower in 1359. In the 1350s he completed the the third and fourth stories of Giotto's Campanile set with eight windows (two on each side) and each of these is split with twisted Gothic columns. Inside the open windows on the three stories are seven bells, cast between 1705-1956. In addition, instead of a spire, the architect Talenti built a large projecting terrace. Visitors can climb to the top of the Bell tower to the projecting terrace (414 steps) for a view of Florence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632714606492-6YJ4C58U2FT93CW222LW/SSL_4928_side+door+SMdF_FINE_sm.jpg Brunelleschi's World - Porta dei Cornacchini, north side portal, Santa Maria del Fiore, by Francesco Talenti As capomaestro of Santa Maria del Fiore, Talenti completed two doorways, the Porta dei Cornacchini and the Porta del Campanile, respectively in the north and south sides of the Cathedral. Talenti enlarged the Cathedral structure by redesigning the apses and prolonging the nave, making the church the largest ever built in Europe so far. He continued working at the Duomo (1351–64, 1366–8), building the nave and helping to finalize the design of the east end, including the octagon above which the dome would be built 70 years later by Brunelleschi. Francesco Talenti’s involvement with the decorations of the north portal date back to its second phase of development, i.e. in 1353-64 in which, under the direction of Talenti, the splayings, the archivolt and the cusp with the tondo at the center, and finally the last phase (around 1380) in which the column-bearing lions supporting the twisted columns and the tabernacle above the spire were positioned. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632634704515-UAMQCZMMH3UGK65JC05W/duomocodexrustici1700.jpg Brunelleschi's World - Santa Maria del Fiore as it appears in the 1447 Codex Rustici, Florence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631742588415-C1UJGH9OTPVGO8N2XGKH/SSL_4957+SMdFiore+cl3_FIN.jpg Brunelleschi's World - Santa Maria del Fiore main entrance (begun 1296, structurally completed 1436), Firenze Although Arnolfo di Cambio (1240-1310) designed the Cathedral in 1296, construction on the dome did not start until 1420. The picture shows the finished Cathedral facade (center) with Brunelleschi’s dome (near rear left), Campanile (middle rt.), and section of the Baptistry (far rt.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631694556839-YUDXCZQASTHS6DLXJY9P/SSL_4716_SMdF+main+portal-door_FIN.jpg Brunelleschi's World - Porta Maggiore (main portal doors), c. 1899-1903, by Carlo Brogi (1850-1925) modelled by prof. Augusto Passaglia. The door is adorned with scenes from the life of the Madonna. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632543290004-POJU8R7HHRIPBF3NKR2E/FlorenceCathedralFrontOld.jpg Brunelleschi's World - Santa Maria del Fiore Cathedral without the finished facade, 1860's (photo from internet) The building of the cathedral had started in 1296 with the design of Arnolfo di Cambio and was completed in 1469 with the placing of Verrochio's copper ball atop the lantern. The original façade was completed in only its lower portion and then left unfinished and would remain so until the 19th century. It was dismantled in 1587– 1588 by the Medici court architect Bernardo Buontalenti, ordered by Grand Duke Francesco I de' Medici, as it appeared totally outmoded in Renaissance times. In 1864, a competition held to design a new façade was won by Emilio De Fabris (1808–1883) in 1871. Work began in 1876 and was completed in 1887. This neo-gothic façade in white, green and red marble forms a harmonious entity with the cathedral, Giotto's bell tower and the Baptistery. The whole façade is dedicated to the Mother of Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632341611276-QK878C7OQGOW2EGCWA4R/SSL_4957+Statues+facade-SMdFiore+cl3_crp_FINjE.jpg Brunelleschi's World - Upper front facade of Santa Maria del Fiore There are 13 statues above the main portal to the Cathedral and below the circular “Rose Window” - including the central statue of the Madonna with Jesus on her left knee, created by Tito Sarocchi, and statues of the 12 Apostles. In the spaces between the top of the pilasters and the pediment are the five priests blowing their trumpets before the walls of Jericho. The tympanum contains a bas-relief of the Madonna, seated and surrounded by seraphims and the Gonfaloniere and Priors (Magistrates) of the Florentine Republic who ordered the building of the Cathedral, along with Pope Callixtus III, St. Catherine of Siena, and others. On top of the pilasters are Pope Leo the Great (Leo I, d. 461) and Pope Gregory VII (d. 1085), two very powerful Popes. At the very bottom of the photo, Pope Callixtus I (d. 222), and Pope Celestine I (d. 432) are under baldachins in the middle of the left pilaster, and in the middle of the right pilaster are St. Jerome (d. 420) and St. Bonaventure, also under baldachins. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631687862356-J0R08PK3HVEATRZN2U6Q/SSL_4664_Filippo+Brunelleschi+looking+at+his+dome_REV_FIN.jpg Brunelleschi's World - Statue of Fillipo Brunelleschi (c. 1838), by Luigi Pampaloni, marble, Piazza del Duomo, Firenze This statue of Brunelleschi sits outside of the Duomo and features the architect of the dome gazing upwards at his magnificent creation, mechanical tool in hand. It is almost as if he is still pondering the problems of its construction and determined to provide their solutions. Filippo Brunelleschi died in 1446 and was given the great honor of being one of the only Florentines who was granted permission to be buried inside of Santa Maria del Fiore. The inscription on his tomb states “Here lies the body of the great ingenious man Filippo Brunelleschi of Florence”. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631922764888-HJQXHITORJ2QF62G7GD7/SSL_5114_DOME_SMdF_FIN.jpg Brunelleschi's World - Brunelleschi's Dome (1421-1436), Santa Maria del Fiore Cathedral, Firenze Brunelleschi completed the dome In sixteen years only. With less than one hundred skilled workers he built this absolute masterpiece of engineering, consisting of more than 4 million bricks, with an estimated total weight of around 28,000 tons, for an external diameter of 54.8 meters (179.9 ft.) and 116 meters (380.6 ft.) tall (the lantern that tops the dome is as high as a six-story building, and it’s made of 600 tons of white marble). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631698630568-3IED7V0P2NKYJ5L9H4U8/SSL_4727a_SMdF+Apse+above+Porta+Maggiore_FIN.jpg Brunelleschi's World - Interior cavity above the main entrance of the Church of Santa Maria del Fiore Lorenzo Ghiberti’s stained glass window (1405), Paolo Uccello’s unique Liturgical Clock, Gaddo Gaddi’s Coronation mosaic (1307), and Santi di Tito’s Music-Making Angels (1570s). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631740193569-C016CL1MG4DLBOTQ2Z76/SSL_4754_SMdF-stain+glass+window+Crowning+Mary_FIN.jpg Brunelleschi's World - "Virgin Mary Surrounded by Angels" (1405) by Lorenzo Ghiberti (1378-1455) stained glass window in the Cattedrale di Santa Maria del Fiore, Firenze https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631697958390-CSXDQH5AJZ614ETMLRWX/SSL_4727_Paolo+Uccello+Clock_FIN.jpg Brunelleschi's World - Paolo Uccello's Clock (1443), located in a cavity of the front facade of the Duomo of Florence, above the main entrance. Thanks to Giorgio Vasari, we know that Paolo Uccello painted the clock facade in 1433 and that it measures almost seven feet in diameter. On the dial each of the 24 hours are painted counterclockwise in Roman numerals. At the center of a blue disc is a golden star. The radius with the ball on its tip rotates counterclockwise throughout the white areas arranged radially. They are inscribed in a square whose four corners are filled with four mysterious heads of men with halos appearing to look toward the center and down. According to some, they are prophets; for others, the four Evangelists. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631698597639-3CZ1JY24Y78WVGCYLD52/SSL_4727cCoronation+of+MaryIII_crp.jpg Brunelleschi's World - "The Coronation of Mary" (1307), by Gaddi Gaddo (c.1239 -c. 1312), mosaic on the lunette, Santa Maria del Fiore Gaddo Gaddi was a painter and mosaicist of Florence in a gothic art style. Almost no works survive. He was the father of Taddeo Gaddi. He also completed mosaics on facade of Santa Maria Maggiore in Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631742200178-O507FNUD48VTAU2BA83R/SSL_4775_OPA_Works+for+the+Opera_FIN.jpg Brunelleschi's World - "For the Opera" In order to supervise the construction of Santa Maria del Fiore, the Florentine Republic founded, in 1296, the Fabbriceria, or Opera del Duomo. The emblem of the Opera—which can be translated as The Cathedral Works Administration—is the “Agnus Dei,” or Lamb of God, a crest derived from the Woolmakers' Guild, with the added initials OPA, meaning “per Opera,” that is, for the Opera: in this way homage was given to the Guild which almost entirely funded the construction of the cathedral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631741453637-O2KF7E5RD3HM61U2QJZQ/SSL_4773_interior+smdf+nave_FINEa+sm.jpg Brunelleschi's World - View of interior of Santa Maria del Fiore toward the high altar and dome and apse The Gothic interior is vast and gives an empty impression. The dimensions of Santa Maria del Fiore are enormous: building area 89,340 square feet, length 502 feet, width 125 feet, width at the crossing 300 feet. The height of the arches in the aisles is 75 feet. The height of the dome is 375.7 feet. The relative bareness of the church corresponds with the austerity of religious life, as preached by Girolamo Savonarola, the Italian Christian preacher, reformer, and martyr, renowned for his clash with tyrannical rulers and a corrupt clergy. After the overthrow of the Medici in 1494, Savonarola was the sole leader of Florence, setting up a democratic republic. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632460572730-XCKZ2P2Z7JHLV6EYSGIE/SSL_4768_Nawa+lights+candle+SMdF_FIN.jpg Brunelleschi's World - Lighting a candle in the Catholic Church Lighting a candle for someone is a way to both extend your prayers and show solidarity with the person the prayer is being made on behalf of. The faithful also light candles as a sign of gratitude to God for answered prayers. Also, burning votive candles are a common sight in most Catholic churches. These candles are seen as an offering that indicates we are seeking some favor from the Lord or the saint before which the votive is placed. (This information was taken from mercyhome.org website) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631699435109-6XXQ8OO67D99EC5150FL/SSL_4746+Dante_SMdF_Domenico+di+Michellino-1456_FINE.jpg Brunelleschi's World - "La commedia illumina Firenze" (The Comedy Iluminatiing Florence), 1465, by Domenico di Michelino (1417-1491), commissioned by the workers of Santa Maria del Fiore The canvas is divided, like the Commedia, into three parts: Inferno, Purgatorio, and Paradiso. Dante is placed in the center wearing a red robe and with the cap of the Florentines and a wreath of laurel on his head, and holding a volume of his poem La Divina Commedia. With his right hand he points to a procession of sinners being led down through the nine circles of Hell. Behind him in the center are the seven levels of the Mount of Purgatory, with Adam and Eve at the top standing in and representing the Earthly Paradise. Above them, the sun and moon and seven planets represent the Heavenly Paradise, while on the right is Dante’s home city of Florence, which is being illuminated by rays emanating from his poem, hence the title The Comedy Illuminating Florence. Michelino includes the recently completed Cathedral of Santa Maria del Fiore, the Campanile or bell tower designed by Giotto, the Baptistry where Dante was baptized), the Bargello, and the Tower of Palazzo Vecchio. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631699116302-XHRYLOQVXXO383OU2DVS/SSL_4737_Dome+interior+SMDF_FIN.jpg Brunelleschi's World - Interior of the cupola, the Dome, Santa Maria del Fiore In order to raise the heavy marble up to the dome construction site, Brunelleschi invented the ox-hoist (1420-21). Before the dome was completed in 1436, the hoist would raise aloft marble, brick, stone, and mortar weighing an estimated 70 million pounds. The oxen walking in a circle, always in the same direction, made thousands of revolutions over the next dozen years lifting the materials up to the level of construction; they could raise a 1,000 pounds up to 200 feet in approximately 13 minutes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632885871867-NBVMGA6C6O1206H5BQ2E/Brunelleschis-ingenious-solution-the-lifting-engines-hauled-materials-up-to-the.png Brunelleschi's World - Brunelleschi's ingenious solution, the lifting-engines, hauled materials up to the work-platforms at heights of 171 to 295 ft Brunelleschi invented an ox-driven hoist that brought the tremendously heavy stones up to the level of construction. The hoist was gear driven with a clutch (using a three cogged wheel system) that allowed the hoist to be reversed without reversing the direction of the oxen. This technique had never been utilized before. The platforms for the workers were cantilevered from the walls of the dome and pockets were built in the walls to support these platforms. The accuracy of these pockets is remarkable, and it is believed that the platforms needed to be accurate and level so that the geometry of the dome could be ascertained by chains and string lines that were used to guide the masons in laying brick. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631739238086-S6JDXLC9DALQEM3UMGSP/SSL_4739+SMdF-Dome+Georgio+Vasari-Last+Judgment-1572-79_FINE.jpg Brunelleschi's World - "The Last Judgment" (1572-1579), Interior of the Dome of Santa Maria del Fiore It was the Grand Duke Cosimo I de’ Medici who had the idea to paint the dome’s interior. In 1572, (136 years after its completion) he commissioned Giorgio Vasari to paint frescoes on the dome of the Florence cathedral. When Vasari died in 1574, two months after the death of Cosimo I, he had only carried out one third of the work. Federico Zuccari, was hired to complete the work. Zuccari’s painting method was weak in quality but of great effect, a technique he learned to use for theatrical backdrops. He portrayed a lively gallery of contemporary personalities among the Elect: his Medici patrons, the Emperor, the King of France, Vasari, Borghini, Giambologna, other artists, and even himself as well as many of his friends and relatives. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632785047742-DAVP8DQK2IL4LKZM303Y/SSL_4720_SMdF+sideview_FINE.jpg Brunelleschi's World - Side view of Santa Maria del Fiore looking toward the Brunelleschi's Dome, Piazza del Duomo, Firenze Once Brunelleschi had finished the dome, the cathedral was structurally complete, minus the lantern, and Pope Eugenius IV, who was living at the Basilica of Santa Maria Novella in Florence, consecrated Santa Maria del Fiore on March 25, 1436 — the feast day of the Annunciation and the first day of the Florentine new year. The Museo dell’Opera del Duomo is on the Piazza del Duomo, a three minute walk from the Cathedral; it contains many original statues and bas reliefs that were originally in or on the Cathedral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631743602254-9N0H635RAKNIVMWDQ4BE/SSL_4779_Museo+di+Opera+entrata_Leilehua_FINE.jpg Brunelleschi's World - The Museo del Opera di Santa Maria del Fiore (1891) The Opera del Duomo, also known as the "OPA", is the the Cathedral Workshop or "works commission" and was founded by the Republic of Florence in 1296 to oversee the construction of the new Cathedral and its bell tower. Since then, the main task for the Opera del Duomo has been to conserve these monuments - including the Baptistery of San Giovanni. In 1891, the Museum was founded to house the works of art which, through the course of the centuries, had been removed from the Duomo and the Baptistery. The Museo is comprised of 64,583 sq. ft. of showroom space, more than 750 works of art, a little more than 720 years of service by the commission (OPA), set in 25 rooms with a floor plan on 3 levels. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631743935763-SOOA155WMRES3A3RJ0TG/SSL_4786_Lamb+of+God+SMdF_FIN.jpg Brunelleschi's World - Lamb with crossed flag symbol of the Guild of wool merchants (Arte dellla Lana) The Arte della Lana was the wool guild of Florence during the late Middle Ages and in the Renaissance and was nominally responsible for the building and decoration of the most important edifice in the city, namely the Santa Maria del Fiore Cathedral. Its coat of arms is an Agnus Dei, lamb of God, an emblem to be found in various representations within and without the building. In the Agnus Dei symbol, the lamb was used to symbolize innocence and was also a sacrificial animal. The Agnus Dei, or Lamb of God, is an ancient symbol of Christ and His sacrifice. Standing with a banner, the lamb represents the risen Christ triumphant over death. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631744938519-F2ZKO4SWA9QJUUXDZ2HH/SSL_4828_Michelangelo-+Bandini+Pieta-1547-1555_FIN.jpg Brunelleschi's World - "The Deposition" (also called the "Bandini Pietà" or "The Lamentation over the Dead Christ"), 1547-1555 by Michelangelo, Museo del Opera The four figures in this Florentine Pieta, the dead body of Jesus Christ, newly taken down from the Cross, Nicodemus, to whom the artist bestowed his own features, Mary Magdalene and the Virgin Mary are carved from a single block of marble that measures 7.4 feet tall and weighs some 5,952 pounds. Michelangelo was unhappy with the quality of the marble that came from the Seravezza quarries, which were owned by the Medici, because it revealed sudden veining and minute cracks difficult to detect from the surface. Vasari (1511-1574), gave several reasons why Michelangelo might destroy the Florentine Pieta: "...Either because of defects in the marble, or because the stone was so hard that the chisel often struck sparks, or because he was too severe a judge of his own work and could never be content with anything he did.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632712691724-2L1PS7Q5ZQ8GT41K60R1/florentine_pieta_parts.jpg Brunelleschi's World - Parts that Michelangelo chiseled off the statue when he destroyed it (photo from michelangelomodels.com) A recent 2019-2021 restoration of the Florentine Pieta confirmed that the block used for the Pietà was indeed flawed. Numerous small inclusions of pyrite were discovered, and they most certainly would have caused sparks when hit with a chisel; the presence of numerous minute cracks, particularly on the back and front of the base, suggest that Michelangelo may well have encountered them when carving Christ and the Virgin's left arms and was forced to stop working on it. According to Vasari, ”…a piece had broken off the arm of the Madonna. This and a vein which appeared in the marble had caused him infinite trouble and had driven him out of patience.” According to Vasari, “Michelangelo often said that, if he were compelled to satisfy himself, he should show little or nothing. The reason is obvious: he had attained such knowledge in art that the slightest error could not exist without his immediate discovery of it….He often declared that this was the reason that the number of his finished works was so small." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632712692087-HIOGM6X683CTL4T4XC2A/forentine_pieta_iron_pins.jpg Brunelleschi's World - Locations of iron pins used to restore the statue (photo from michelangelomodels.com) Michelangelo gave the statue, with its various pieces, to his servant Antonio da Casteldurante who had it "restored" by Tiberio Calcagni. Tiberio Calcagni used models provided by Michelangelo himself on which to base his repairs. In his restoration, Calcagni reattached the limbs of Mary Magdalene, the Virgin's fingers, Christ's left nipple, Christ's left arm (as can be seen clearly in this picture) and elbow, and Christ's right arm and hand. The only thing that was not reattached was Christ's left leg. Castteldurante then sold the Pieta for 200 scudi to the banker Francesco Bandini. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631744293624-BRSSAK1W8J7DT4RKU30F/SSL_4812_Michelangelo-+Bandini+Pieta-1547-1555_close_FIN.jpg Brunelleschi's World - Signs of the "Bandini Pieta" Repaired Here you can see the results of the the damage and repair to Christ’s left arm and elbow, Mary’s left upper arm and the fingers on Mary’s left hand. Vasari noted that Michelangelo, at age 75, without commission, had worked tirelessly into the night with just a single candle to illuminate this work. After 8-10 years of working on it, Vasari claimed that Michelangelo attempted to destroy the work in a fit of frustration. However, the recent Opera del Duomo restorers found no sign of any hammer blows, unless, of course they were erased later by someone else. Others have suggested that Michelangelo removed the various parts with a chisel, perhaps with the intention of repurposing the marble. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631744558660-XABEKJHFPN3NEM1266KJ/SSL_4814+Nicodemus+Pieta+shrp3_FINE.jpg Brunelleschi's World - Michelangelo and the final phase of life The face of Nicodemus under the hood is considered to be a self-portrait of Michelangelo himself. Michelangelo started working on this sculpture when he was 73. The Florentine Pieta provides us with Michelangelo’s understanding of and preparation for his death at this point in his life. He wrote in a letter to Giorgio Vasari: “I have reached the twenty-fourth hour of my day, and…no project arises in my brain which has hath not the figure of death graven upon it.” In one of Michelangelo’s final poems, he confronts death and in some ways accepts and welcomes it: “Of death I am sure, but not of the time; Life is short and little remains before me; My senses are deleted, however I am bound for Heaven, and she prays that I go.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631744134123-QM71XW5D33GQRG0Y467P/SSL_4802_Brandini+Pieta_FIN.jpg Brunelleschi's World - Michelangelo's "Brandini Pieta" preparing for his tomb, Museo dell'Opera, Firenze The Brandini Pieta/Diposition” is my favorite Michelangelo Pieta due to its mature portrayal of physical death and its conveyance of the grief of death felt by the living. Vasari had proposed that this sculpture be placed on Michelangelo’s tomb, as Michelangelo had intended but these wishes were not carried out. In 1772 the sculpture was placed behind the high altar of the Santa Maria del Fiore Cathedral. It was sheltered in the Cathedral from 1942 to 1945 to protect it from war damage. In 1981, it was moved to the Museo dell'Opera del Duomo both to prevent the massive influx of tourists from disturbing church services and for security reasons (the Vatican Pietà had been vandalised in 1972). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631668991973-YG4TJ80UICZTF9JNZ9G8/Firenze+Unfinished+Pieta+Michelangelo+AccademiaV_FIN.jpg Brunelleschi's World - "The Palestrina Pietà," c. 1555(56), 8' 4", by Michelangelo, Galleria dell'Accademia, Firenze This sculpture group portrays the Virgin and St John the Evangelist holding up the lifeless body of Christ. The flattening of the relief might be connected to the piece of marble used, which was first carved in antiquity and originally an architectural element, as is clear from the decorative foliate and egg-and-dart motifs on the back. Purchased by the Italian State, thanks to a private donation, the sculpture came to the Galleria dell’Accademia in 1939. This unfinished Pietà was originally in a room beside the Santa Rosalia church in Palestrina and was owned by the Barberini family. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631669136697-5T1VYAOQURF751V2OJAI/SSL_2499+Michelangelo+Pieta+SPB_cl3_FIN.jpg Brunelleschi's World - "The Pieta" (The Pity or Compassion) 1498-99, by Michelangelo Buonarroti (1475-1564), St. Peter's Basilica, Vatican City Michelangelo completed this work when he was only 24 years old. The sculpture, in Carrara marble, was moved to its current location, the first chapel on the north side after the entrance of St. Peter’s Basilica, in the 18th century. It is the only piece Michelangelo ever signed. Pieta means Pity or Compassion, and represents Mary sorrowfully contemplating the dead body of her son which she holds on her lap. Michelangelo made marble seem like flesh, and created complicated folds of drapery. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633490389382-D2C009EP56B9I5R75Y53/SSL_4835_Penitent+Magdalene_Donatello-1455_FINE.jpg Brunelleschi's World - "The Penitent Magdalene" (1453-1455 ) by Donatello, Museo dell'Opera del Duomo in Florence "The Penitent Magdalene" was carved from white poplar wood and records indicate Donatello was commissioned by the Baptistery of Florence. “The statue is a stunningly realistic interpretation of Magdalene’s character that differed from any other artist before him. It was common knowledge that Mary Magdalene had committed sin and lived a non-virtuous lifestyle. In Donatello's sculpture she appears penitent for her sins with an expression that pleads forgiveness. Donatello's Mary is also shockingly haggard…Donatello leads viewers to the assumption that her life of adultery and prostitution has stolen her beauty. She is deeply wrinkled and clothed in rags while her slightly open mouth reveals missing teeth. Donatello's interpretation of Mary is a staggering achievement that encapsulates the best of Renaissance naturalism.” (donatello.net) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631755605594-Y21OJU5W1E5M90F5BVJQ/SSL_4855+CantoriaLdelRobbia-1431-38_b_rev_FINE.jpg Brunelleschi's World - "The Cantoria, Ten Sculpted Marble Relief Panels" (1431) by Lucca del Robbia, Museo dell'Opera del Duomo Luca della Robbia's Cantoria for the Santa Maria del Fiore Cathedral was commissioned in 1431 and initially served as an organ loft. The Cantoria's ten large relief panels illustrate the text of Psalm 150, which is inscribed on its front in three sections and calls for the people to “Praise God…with sound …and dance…LET EVERY THING THAT HATH BREATH PRAISE THE LORD. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631751298479-34A9ZVJ7P174BMQNUCPQ/SSL_4844+Cantoria+singers+dellaRobbia_FIN.jpg Brunelleschi's World - The Cantoria, panel, by Lucca del Robbia, Museo dell'Opera del Duomo Women play the "cittern" (a lute-like instrument that is strummed or plucked) and sing in praise of God. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631751333574-M4ZJNLY4OPWJ8H2OTHQ4/SSL_4845+cantoria+scene+della+Robbia_FIN.jpg Brunelleschi's World - The Cantoria, panel, by Lucca della Robbia, Museo dell'Opera del Duomo Women playing music and singing in praise of God with onlookers. The psalteries here are like our zithers or dulcimers with children at their feet mimicking their elders. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631755729208-72KQWD5ZYTVTSX4KK5DE/SSL_4853+dellaRobbia+horn_FIN.jpg Brunelleschi's World - The Cantoria, panel, by Lucca del Robbia, Museo dell'Opera del Duomo The children in motion below the trumpets are not holding up the trumpets but are making an arm arch for other children to dance under and through. A lively scene to show the joy of the trumpets' sound in praise of God. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631751107801-G3D5QT2ALXXCB70W1LRA/SSL_4859+Donatello+Cantoria2_FIN.jpg Brunelleschi's World - Cantoria (1433) by Donatello, Museo dell'Opera del Duomo Donatello was commissioned to create his Cantoria for the Duomo in Florence around 1433. The piece was part of a program that intended to beautify the interior of the Duomo. Donatello's work began shortly after the sculptor Luca della Robbia finished a piece of similar size and subject matter that decorated the area around the cathedral's organ. Donatello's Cantoria had the functional purpose of providing standing room for the choir and was nicknamed the "singing gallery." This enormous marble piece is composed of five large medievally styled columns. Behind the columns Donatello carved angelic dancing children in simple garments. These subjects are referred to as "putti" and were a common decorative element in both Donatello and Robbia's pieces for the Duomo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631923323363-2ZUQKZOFZBPYBTA4OIR8/SSL_5231_Piazza+SMN_FIN.jpg Brunelleschi's World - Basilica of Santa Maria Novella (constructed 1276-1350) Architecturally, Santa Maria Novella is one of the most important Gothic churches in Tuscany and was an integral part of Brunelleschi’s world. The facade is not only the oldest of all the churches in Florence but it is also the only church with its original, planned facade still in place today! This church was called Santa Maria Novella ('New') because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne. When the site was assigned to the Dominican Order in 1221, they decided to build a new church and adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632802988341-3NQ8U0V04O7PF5E891SH/SSL_4571_Santa+Maria+Novella+Bell+Tower_sm.jpg Brunelleschi's World - Campanile (Bell Tower) of the Basilica of Santa Maria Novella (constructed 1276-1350) Building of Santa Maria Novella began in the mid-13th century (about 1276), and lasted around 80 years, ending under the supervision of Friar Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy. Fra Jacopo was Magister lapidum ed edificoroum (master of stone building) of the convent and church of Santa Maria Novella from 1339 to 1362. Fra Jacopo was a brother of Francesco Talenti, who as a capo maestro of Santa Maria del Fiore Cathedral (1351–64, 1366–8) expanded the Cathedral’s size and finished its Campanile in 1359. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633589418304-G2V3NC3L5AHRP55HARD0/SSL_5224+S+Maria+Novella+cl_FINE2.jpg Brunelleschi's World - Piazza di Santa Maria Novella with Basilica (center), Cloisters (lft), Cemetery of Plaona area (rt), constructed 1276-1350 The Piazza di Santa Maria Novella was officially inaugurated in 1287 by Decree of the Republic Fiorentina and donated to the homonymous Basilica as its natural extension. The place soon became an important reference for the entire local community and beyond. The Piazza fronts the Basilica, the adjoining cloister, and chapterhouse, which contain a store of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance. They were financed through the generosity of the most important Florentine families, who ensured themselves of funerary chapels on consecrated ground. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633591521796-8A77HMY5LRVTNC79RKGC/palio+deii+cocchi.jpg Brunelleschi's World - Palio dei cocchi or chariot race in Piazza Santa Maria Novella, Firenze, 1844, by Giovanni Signorini (1808-1864) After the arrival of the Dominicans the Piazza Santa Maria Novella became in fact the scene of crowded religious sermons. Given the importance and the big affluence in Santa Maria Novella, they City of Florence started to celebrate events, games and traditional rides. The most important amongst these rides was the one so called the “Palio dei Cocchi” (a race with coaches like the Roman chariot), established by Cosimo I di Medici in 1563. The carriages (or Cocchi) used to race around two marble obelisks supported by four bronze tortoises (built by Giambologna) that bordered the highest points of the track. The game used to be played on June 23th, on St. John the Baptist eve, saint and patron of Florence. The four wooden chariots had four different colors (depending on the district represented): green, blue, red and white, each one pulled by two horses. After three elliptical laps around the pyramids, the race ended. The prize for the winner was a velvet fabric (or drape). [Opera Per Santa Maria Novella Magazine 5/17/2016] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631869918422-M5397D993QRZRME0XROG/SSL_5232_Lamb+of+God_FIN.jpg Brunelleschi's World - Agnus Dei (Lamb of God), bas relief, the ancient symbol of Christ and His sacrifice, Santa Maria Novella, Firenze Pope Eugenius IV (1383–1447), as the Catholic’s living symbol of Christ on earth, lived in Papal apartments located in the Dominican convent of Santa Maria Novella that were prepared for him after he had to flee Rome in 1434 due to a popular uprising in Rome led by the Colonna family. Workers had to be reassigned from the Santa Maria del Fiore Cathedral to prepare the Papal apartments, creating delays in the construction of the Cathedral dome. However, once Brunelleschi finished the dome, Pope Eugenius IV consecrated Santa Maria del Fiore on March 25, 1436 —the feast day of the Annunciation and the first day of the Florentine new year. In 1439 Santa Maria Novella was the scene of the Council of Florence, convoked by Eugenius IV to bring about the reunion of the Greek and Latin Churches. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631869761361-270LCOG8TBAC0FZ5IVPL/SSL_4985_SMN-frontal_FIN.jpg Brunelleschi's World - Leon Battista Alberti's (1404-1472), facade of Santa Maria Novella Giovanni di Paolo Rucellai a wealthy Florentine wool merchant commissioned Leon Battista Alberti who completed the upper part of the church facade using the inlaid green marble of Prato, also called 'serpentino', and white marble (1456–1470). His contribution consists of a broad frieze decorated with squares, and the full upper part, including the four white-green pilasters and a round window, crowned by a pediment with the Dominican solar emblem, and flanked on both sides by enormous S-curved volutes. The four columns with Corinthian capitals on the lower part of the façade were also added. The pediment and the frieze are clearly inspired by antiquity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632807320444-G2O4E4HZ3GPJGFVSSUIY/fregio.png Brunelleschi's World - Leone Battista Alberti's S-curved scrolls One problem that Alberti had to solve in his design for Santa Maria Novella was the fact that the two levels of the church were of quite different heights. He solved this by tying them together visually with the use of ornate S-curved scrolls on either end. Alberti’s use of the scrolls in the upper part of the Basilica facade introduced a new design element that was without precedent in antiquity and solved a longstanding architectural problem of how to transfer from wide to narrow stories. The scrolls (or variations of them), found in churches all over Italy, all draw their origins from the design of this church. The façade that Alberti added is a perfect example of the harmony found in the arts in the early Italian Renaissance. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631869777118-SEPQSTS0WA5SDF13IWQ1/SSL_4989+St+Dominic+lt2_SMN_FIN.jpg Brunelleschi's World - “St. Thomas Aquinas” (1616) by Ulisse Cocchi, fresco, central external lunette above main door, Santa Maria Novella, Firenze The Main Portal lunette contains the primary fresco that shows a Dominican Friar (Black Friar), identified as St. Thomas Aquinas, with angels in the foreground, and the procession for the Feast of Corpus Domini, leading to Santa Maria Novella in the background. Since the late 1200s, processions of the Feast of Corpus Domini in Florence always terminated at the Piazza di Santa Maria Novella, which was the largest public space in Florence at the time. Santa Maria Novella, the first great basilica in Florence, is the city's principal Dominican church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631869796240-IHCOFU70QF1F08GX5TRK/SSL_4992_SMN_Melchizedek_archway_FIN.jpg Brunelleschi's World - “Lombard Elder” (1616) by Ulisse Cocchi, fresco, exterior left portal lunette, Santa Maria Novella, Firenze The lunette and pediment above the left portal contains a fresco that references the Lombards, the Germanic tribe of Scandinavian origin which, in the 6th through 8th centuries, controlled Italy and provided many of the bankers and other important families living in the area during the Middle Ages. All three of the portals were frescoed with scenes that refer to the feast and procession of the Corpus Domini, which had terminated at Santa Maria Novella since the late 1200s. The Lombard figure is presenting bread. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631869812146-4SONB54CSNQL8190Y0G5/SSL_4993_SMN_archway+elder+w+snake_FIN.jpg Brunelleschi's World - "Lombard Elder” (1616) by Ulisse Cocchi, fresco, external right portal lunette, Santa Maria Novella, Firenze The lunette and pediment above the right portal contains a fresco that references a much older patriarchal figure, dressed in robes of the late Roman period. Due to the deterioration of the fresco it is difficult to tell what sort of food the patriarchal figure is presenting to the feast, but it seems to be some sort of flask. Just like the other Lombard-related figure this fresco is intended to represent the early heritage of the feast day of Corpus Domini. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632911430144-SWT8FA9TQCW3SNC6EE98/Plautilla+Nelli+Last+Supper+1568.jpg Brunelleschi's World - "The Last Supper" (1568), by Plautilla Nelli, Santa Maria Novella Museo Dominican nun Plautilla Nelli created this ground-breaking addition to the Last Supper genre. Nelli was a self-taught painter and innovator who ran an all woman artists' workshop out of the Santa Caterina convent. In 1568, she embarked on her most ambitious project, a monumental The Last Supper painting featuring life size depictions of Jesus and the twelve apostles. She was likely the first woman in the world history to paint this iconic scene. Nelli's large canvas is remarkable for its challenging composition, powerful brushstrokes, and adept treatment of anatomy at a time when women were banned from studying the scientific field. Her painting was likely a workshop collaboration, with Nelli executing the drawings and painting the heads shown in 3/4 profile. The work hangs in the SM Novella museum alongside masterpieces by Masaccio, Brunelleschi, and Ghirlandaio. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633576227308-4RKTT1E8LFGNZMZEV1X5/SSL_5240+SMdN+side+dist_FIN.jpg Brunelleschi's World - Arched wall of the Cemetery of Plaona area with Family Shields (1340-1360), Santa Maria Novella, Firenze Wall of the suggestive garden, which was in actual fact used in the 14th century as a burial ground, the so-called Cemetery of Plaona, can be seen on the righthand side of the Basilica. It once contained as many as 80 tombs placed underneath the typical Gothic sepulchre arches: in fact they gave the name to the street, Via degli Avelli (tombs), that connects Piazza Santa Maria Novella with Piazza Stazione. Painter Domenico Bigordi, better known as Ghirlandaio, was buried in one of these tombs in 1494, the third from the facade; the arch above it once contained a life-size portrait of him. Portraits of all the Bigordi family can be seen in the frescoes in the Main Chapel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632908269764-W8Q12210KBDMEQ4RMPPC/SSL_5048+young+Botticelli+mangerSMNcrp-1475_FIN.jpg Brunelleschi's World - "Nativity Scene" (1476-7) Sandro Botticelli (c. 1445-1510), fresco, interior lunette above the main entrance, Santa Maria Novella, Firenze This Botticelli “Nativity Scene” is standard in terms of its content: the infant Christ, required to be at the centre of course, with Joseph the carpenter on one side, and the Virgin Mary on the other. They are within a semi-derelict cattle-shed, with a background of an ox and an ass, and while there are no attendant shepherds there is a small angelic figure. Botticelli does a fine job here but it does not have the greatness of his later paintings, e.g., Primavera (1482), The Birth of Venus (1486), Madonna of the Pomegranate (1487), a personal favorite, or his Mystic Nativity (1500). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632913369542-DTDU5ZK14ZYDP6F7J7NP/SSL_4999+Tornabuoni+Chap_SMNFlo_Ghirl_crpcr_FIN.jpg Brunelleschi's World - Main altar and Tornabuoni Chapel, Basilica Santa Maria Novella, Firenze From the entrance, looking up the nave of the Basilica one sees a bronze crucifix by the sculptor Giambologna (Giovanni da Bologna, 1529-1608) on the main altar. Behind the altar is the Tornabuoni Chapel by Domenico Ghirlandaio. The frescoes of this apsidal chapel represent a major example of chapel decoration at the end of the Quattrocento (14th century). The patron was the wealthy Giovanni Tornabuoni, the relative by marriage of the Medici, and in order to finish this work timely Domenico Ghirlandaio (1448-1494) enlisted his whole workshop in the undertaking, including possibly a then 13-year-old apprentice called Michelangelo Buonarroti. The chapel’s vault contains the Evangelists. On the left wall Domenico frescoed the stories of Mary, while on the right the life of St. John the Baptist. In the lunette of the window wall is the Coronation of the Virgin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632913736962-PB30VAW713MSXN8YSRN0/SSL_5006_stain+glass+SMN+by+Agolanti_sm.jpg Brunelleschi's World - Stained glass windows (1492 - Yes, in the same year Columbus discovered America!), designed by Domenico Ghirllandaio and made by Alessandro Agolanti, Tornabuoni Chapel, Santa Maria Novella, Firenze The left window begins with Saint Dominic who holds lilies, above him Saint John the Baptist holds a cruciform staff, and, at the top, Saint Peter carries a book and keys. The central section begins with the Miracle of the Snow. The legend tells that the Virgin appeared in a dream to Pope Liberius, asking for a church in her name. The following morning, despite it being August, snow fell, outlining the dimension of the church. Begun in 432, the basilica of Santa Maria Maggiore is one of the most venerable in Rome. Above the Miracle is the Presentation of the Christ Child in the Temple. Above that is the Assumption of the Virgin, who lets down her girdle to Saint Thomas, a reference to the tangibility of her physical assumption to heaven. To the right, the row begins with Saint Thomas Aquinas wearing a star-studded robe and holding a sun of divine radiance, symbol of his inspired theology. Above him Saint Lawrence, a deacon in Rome, holds his grill, the symbol of his martyrdom. At the top is Saint Paul, a complement to Saint Peter on the left. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632915879101-KIK252HVZS4V7DL3PA5T/SSL_5015+T-Luke+R-John+B-Matthew+L-Mark+ltcrp_FINE_sm.jpg Brunelleschi's World - The Four Evangelists (1485-1490) by Domenico Ghiirlandaio, Tounabuoni Chapel, Santa Maria Novella, Firenze Ghirlandaio decorated the Tornabuoni Chapel vault (ceiling) with the four evangelists, St. John the Evangelist (bottom), St. Matthew (left), St. Luke (right) and St. Mark (top). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631869892663-3GM6NQSICWJ5PO94Y3RD/SSL_5004+Ghirlandaio+StMN+life+St+John+Baptist+lt_FIN.jpg Brunelleschi's World - "The Life of St. John the Baptist" (1485-1490) by Domenico Ghirlandaio (1448-1494), Tornabuoni Chapel, Santa Maria Novella, Firenze Ghirlandaio filled the Scenes from the Life of the Virgin and Scenes from the Life of the Baptist, the patron saint of Florence, with figures from the upper-class Florentine society of the time. On the right wall of the chapel the “Scenes from the Life of the Baptist, right to left: (bottom row) “The Apparition to Zachariah” and “The Visitation;” (row 2) “Birth of St. John” and “Zacharias Writes Down the Name of his Son;” (row 3) “Preaching of St. John the Baptist” and “Baptism of Christ:” and (top) “Herod’s Banquet.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632975066801-I5I7T7ONOG2AD38HNKY9/SSL_5016_SMN_LIfe+of+JB_Mary-visits+w+Anne_FIN+.jpg Brunelleschi's World - "The Visitation" (1485-1490) by Domenico Ghirlandaio, Tornabuoni Chapel, Santa Maria Novella, Firenze “The Visitation” portrays the meeting of Mary with the aged Elizabeth. The complex composition includes in the centre the key episode, the relevance of which is strengthened by the converging lines of a wall in perspective and a ravine in the background. Behind Elizabeth are two maidens, while on the two extremities are other groups of women. The group on the right include portraits of contemporaries: the first, in profile, is Giovanna degli Albizzi, who had married Giovanni Tornabuoni's son Lorenzo. The city is fanciful, but details like the tower of Florence's Palazzo Vecchio and the Santa Maria Novella campanile, as well as Rome's Colosseum are from real buildings. All the elements in this picture were explicitly required in Tornabuoni's contract with Ghirlandaio: the landscape, the city, the animals, the perspective, the portraits and the classical elements. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631871705933-KXLTGMTSFDT51P77EMFG/SSL_5018_Baby+John_FIN.jpg Brunelleschi's World - "Birth of the Baptist" (1485-1490) by Ghirlandaio, Santa Maria Novella, Firenze This scene is linked with that in the opposite wall, the Birth of the Virgin, with which it shares an element of composition having the bed placed symmetrically. Elizabeth is depicted on the bed in a calm and majestic posture, with a book in her left hand. As in the other scene, there are two nurses painted with brilliant colours to attract the watcher's attention. Three women, also in the foreground, are visiting Elizabeth. The first, luxuriously dressed, could be a relative of the Tornabuoni. Of the two other figures, the older is most likely Lucrezia Tornabuoni, Giovanni's sister, who had recently died. The maid entering from the right with a basket of fruit on her head resembles both one of the nymphs of Botticelli's Primavera and the Salome painted by Filippino Lippi in the Prato Cathedral. In a preparatory drawing now in the Gemäldegalerie, Berlin the maid is in fact Salome carrying the Baptist's head. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631871860667-8I2M45QXIDBESUUCCA8X/SSL_5019_SMN_John+baptizes+Christ_Ghirlandaio.jpg Brunelleschi's World - "The Baptism of Christ" (1485-1490) by Ghirlandaio, Tornabuoni Chapel, S. Maria Novella, Firenze The scene of the baptism follows a traditional scheme: for example, the panel on the North Doors (1403-1424) of the Baptistry of St. John by Lorenzo Ghiberti showing St John pouring water over Christ’s head. Also notable is the figure of the kneeling man on the right, who is removing his shoes while looking with curiosity at the scene, while traditional portrayal is again seen with God giving his blessing between the angels, in the upper area, which is in a quasi-Late Gothic style. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632972687583-J0IIL6FZ33DY7E00MG8G/SSL_5003+Ghirlandaio+The+Nativity+of+Mary_shrpdist_FIN.jpg Brunelleschi's World - "The Nativity of Mary" (1485-1490) by Domenico Ghirlandaio, fresco on the left wall of the Cappella (chapel) Tornabuoni, Santa Maria Novella, Firenze The “Nativity of Mary” is set in a luxurious room with inlaid wooden panelling surmounted by a frieze in bas-relief of music-making putti and a cornice of winged cherubs. To the right, St. Anne reclines in bed, while three young women prepare to bath the new-born Mary. The nurse who is pouring water into a basin is the only figure in the room to be moving rapidly. Her flowing robes and swirling scarf make her an iconic motif to be found in many paintings both by Ghirlandaio and other painters and sculptors of the period. Several well-dressed Florentine ladies have come on a congratulatory visit. The first in the procession of noblewoman, portrayed in profile, is Ludovica, daughter of Giovanni Tornabuoni. The rendering of the magnificent women's clothes is particularly notable. The scene is considered one of the best executed in the chapel. Above the cabinets in the background is an inscription reading: "Your birth, oh Virgin Mother, announced joy to the whole universe." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1634268649483-8OU80EJYI1LCJ6IYE5QF/filippo-brunelleschi+by+Masacchio.jpg Brunelleschi's World - Portrait of Filippo Brunelleschi from 'Resurrection of the Son of Theophilus' by Masaccio. In the early 1400s, the Italian architect Filippo Brunelleschi reintroduced a means of rendering the recession of space, called linear perspective. In Brunelleschi’s technique, lines appear to converge at a single fixed point in the distance. This produces a convincing depiction of spatial depth on a two-dimensional surface. Brunelleschi used this technique in a famous experiment. With the help of mirrors, he sketched the Baptistery in perfect perspective. He mathematically calculated the scale of objects to appear within a painting, in order to make them look realistic. This discovery of a mathematical system for representing three-dimensional objects and space on a two-dimensional surface was tremendously significant. Soon after Brunelleschi’s discovery, other artists employed this method of rendering perspective, with astonishing results. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1634269445073-RE24I3CGN6IA1XICYKGS/Brunelleschi_Baptistry+mathematical.jpg Brunelleschi's World - Diagram Demonstrating Filippo Brunelleschi's Perspective Technique Brunelleschi's mathematically based 3-dimensional representation of the Baptistry of St John on a two-dimensional surface from a Lost Painting of the Battistero di San Giovanni. Kunsthistorisches Institut in Florenz, Max-Planck-Institut. © 2006, SCALA, Florence / ART RESOURCE, N.Y. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632988349170-8LGBK37LSWE6DMCCWFHB/image.jpeg Brunelleschi's World - Perspective diagram, Masaccio's "Holy Trinity," c. 1427, fresco, Santa Maria Novella, Firenze (https://smarthistory.org/masaccio-holy-trinity/photo: Steven Zucker) Masaccio, born Tommaso di Ser Giovanni di Simone, was the first painter in the Renaissance to incorporate Brunelleschi's development of linear perspective in his art. Masaccio started by producing a rough drawing of the composition and perspective lines on the wall. The drawing was covered with fresh plaster for making the fresco. To ensure the precise transfer of the perspective lines from the sketch to the plaster, Masaccio inserted a nail in at the vanishing point under the base of the cross and attached strings to it, which he pressed in (or carved into) the plaster. The marks of the preparatory works are still visible.The orthogonals (lines that are perpendicular or that form right angles) can be seen in the edges of the coffers in the ceiling (look for diagonal lines that appear to recede into the distance). Because Masaccio painted from a low viewpoint, as though we were looking up at Christ, we see the orthogonals in the ceiling, and if we traced all of the orthogonals, we would see that the vanishing point is on the ledge that the donors kneel on. As for the innovation of perspective in painting, Vasari wrote that "the most beautiful thing, apart from the figures, is a barrel-shaped vaulting, drawn in perspective and divided into squares filled with rosettes, which are foreshortened and made to diminish so well that the wall appears to be pierced." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631873629313-RIB736I5XV8CUVHE15W3/SSL_5045+Trinita+Tommaso+Guidi_Masaccio+1424-25+clshrp_FIN.jpg Brunelleschi's World - "Holy Trinity" (c. 1425-27) by Masaccio, fresco, Santa Maria Novella, Firenze Masaccio presents the Trinity as Jesus on the cross, The Holy Spirit above his head in the form of a White Dove, and God the Father standing behind. Here Masaccio imagines God as a man. Not a force or a power, or something abstract, but as a man. A man who stands—his feet are foreshortened, and he weighs something and is capable of walking. In medieval art, God was often represented by a hand, as though God was an abstract force or power in our lives—but here he seems so much like a flesh and blood man. Also, Masaccio echoes Giotto's depiction of the realistic suffering and bodily weight of Christ. These presentations are good indications of Humanism in the Renaissance. There is a cadaver tomb below the fresco that carries in Italian the epigram: "I was once what you are, and what I am you will become" (see picture below). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631872010924-CRHIZ18FGSZ2S6OV41JW/SSL_5033+Strozzi+Altar+Orcagna+SMN_shrp_FIN-sm.jpg Brunelleschi's World - "The Strozzi Altarpiece" (1354-57) by Orcagna (Andrea di Cione), Tempera on wood, Santa Maria Novella, Firenze The Chapel of Filippo Strozzi is located in the east (right) transept between the Bardi Chapel and the Tornabuoni (or Maggiore) Chapel. This Polyptych shows that the forceful handling of the figures is strongly individual, as is the attempt to treat the panels of the polyptych as a unitary scheme. Christ sits enthroned in a mandorla surrounded by angels. With his right hand he receives (or gives?) the writings of St. Thomas Aquinas, the Dominican kneeling before him, who is being presented to him by the Virgin Mary. With his left hand Christ gives the "keys to the kingdom" (Matthew 16:19) to St. Peter, who is being presented to him by St. John the Baptist. On the far left are St. Michael the Archangel (wings, armor, sword piercing a demon) and St. Catherine of Alexandria (spiked wheel, palm branch, crown). On the far right, St. Lawrence (gridiron, dalmatic) and St. Paul (sword, pointy beard, balding from the front). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631871926893-HLOEW1E282HP0OBOBKS5/SSL_5020_SMN_Brunelleschi+Crucifiix_1410-1415_FIN.jpg Brunelleschi's World - "Crucifix" (1410-1415) by Brunelleschi, Santa Maria Novella, Firenze According to Vasari, Brunelleschi carved this crucifix in response to the wooden crucifix by Donatello at Santa Croce church in Florence, after Brunelleschi had criticized its exaggerated naturalism, calling it a "peasant on the cross" instead of the body of Jesus Christ, in all its parts the most perfect man who ever lived. Challenged by Donatello to do better, Brunelleschi carved this work, the sight of which caught his friend by such surprise that he dropped to the ground and smashed the eggs in his lap that he had brought for dinner. He is said to have exclaimed, "you shall be granted to Christ and I the farmers." Compared to Donatello’s work it is far more idealized and measured thanks to the mathematical perfection of form. The arm span equals exactly the figure’s height, the line of the nose is perfectly in line with the navel, etc. Brunelleschi copied the crucifix by Giotto (shown above earlier) but revised the figure of Christ. No longer in an upright position, instead it is bent on the cross with an added slight twist to the left that created more favorable viewpoints and "generated space" around them. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631873541739-VVCRTQQ04HHS628ZMMJ8/SSL_5038+SantaMariaNovella+Paradisio_crp_FIN.jpg Brunelleschi's World - "Paradisio" (detail) 1354-57, by Orcagna, Strozzi Cappella, Santa Maria Novella, Firenze https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631928554114-YQDNEZD7U9MFOPKY5IDM/SSL_5189+Piazza+Signoria_Vecchio_David+shrp4_FINE.jpg Brunelleschi's World - Palazzo Vecchio (Old Palace), with the David (copy) by Michelangelo in front, built by Arnolfo di Cambio, Firenze Arnolfo di Cambio, the architect of the Cathedral Santa Maria del Fiore, began construction of The Palazzo Vecchio ("Old Palace") in 1299 on the ruins of the Palazzo del Fanti and the Palazzo dell’Esecutore di Giustizia in Piazza della Signoria. The Florentines had decided to build a palace to house the government organizations of the republic; it was to be a building representative of the power of the republic and the people. Cosimo I de Medici ordered a restructuring and decoration of the building during the 16th century to turn it into his residence. Thus, it acquired its present appearance and became the Ducal Palace. Later, Cosimo I de Medici moved his residence to the Pitti Palace and the Palazzo Ducale was named Palazzo Vecchio, becoming the government offices and the place where valuables were kept. Overlooking the square with its copy of Michelangelo's David statue as well the gallery of statues in the adjacent Loggia dei Lanzi, it is one of the most significant public places in Italy, and it hosts cultural points and museums. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631679197434-3DWQ2JUYK1NEMC228J8T/SSL_5081+Bargello+Loggi+dei+Lanzi_ed-1_FIN.jpg Brunelleschi's World - Loggia del Lanzi (constructed 1376-1382), also called the Loggia della Signoria, constructed between 1376 and 1382 The Loggia del Lanzi is a building on a corner of the Piazza della Signoria in Florence, between the Palazzo Vecchio on one side and the Uffizi Gallery on the other. The Loggia originally served to house the assemblies of the people, and hold public ceremonies and the official ceremonies of the Florentine Republic. The Lodge symbolized the Republic. Two marble sculptures of lions, the Marzoccos, heraldic symbols of Florence, guard this precious house of art. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631680982903-F0ANBGMMC2Y4CN9WZSVR/SSL_5081+Rape+of+Sabine+Women_Loggia+dei+Lanzi_FINE.jpg Brunelleschi's World - "Rape of the Sabine Women" (1574-82) by Giambologna (1529-1608), Loggia dei Lanzi, Firenze This marble sculpture is said to be Giambologna’s most famous work. The statue is over 13 feet high and is the first group representing more than a single figure in European sculptural history to be conceived without a dominant viewpoint. It can be equally admired from all sides, and it was made from one block of white marble, the largest block ever transported to Florence. The Rape of the Sabine Women was installed here in 1583 at the behest of the son of Cosimo I, Francesco I. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631917144799-T9MP91N1676ZO45X7WDQ/SSL_5070_Piazza+Vecchio+from+Ufizzi_FIN.JPG Brunelleschi's World - The Uffizi Gallery, constructed between 1560 and 1580, Cosimo I de'Medici, Firenze The Uffizi Gallery entirely occupies the first and second floors of the large building designed by Giorgio Vasari. The Uffizi building is located adjacent to the Piazza della Signoria and near the Palazzo Vecchio in the historic center of Florence, capital of Tuscany. It was established by Cosimo I de’ Medici to accommodate his offices in Florence, also called uffizi, which is where the museum takes its name. After the Medici dynasty, the Lorraine family added works and rearranged the gallery. It was under their administration that the Uffizi was open to the public in 1769 (the same year frontiersman Daniel Boone first began to explore modern-day Kentucky in the British colony in America), and it officially became an art museum in 1875. The Uffizi is famous worldwide for its outstanding collections of ancient sculptures and paintings from the Middle Ages to the Modern period. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633205512982-9BG54RZQSJ3XW5SV9QGV/SSL_5058_Ufizzi+Gallery+front+portico_FIN.jpg Brunelleschi's World - The Loggiato of the Uffizi Gallery (1565), Firenze The Loggiato is the semi-enclosed courtyard (Italian: cortile) space between the two long galleries of the Uffizi Gallery. Between 1842 and 1856, Leopold II (1797 – 1870), Grand Duke of Tuscany, commissioned 28 statues for the niches of the colonnade in the square, which would depict illustrious Tuscan figures from the Middle Ages to the 19th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633808776210-OG44Q4VU7B74ZP6XWMOU/SSL_5060_Donatello+statue_Uffizzi_FINAL.jpg Brunelleschi's World - "Donatello" (c. 1386 -1466), sculptor of the Renaissance, by Girolamo Torrini, Loggiato, the Uffizi Gallery, Firenze Donatello di Niccolo di Betto Bardi, better known as simply Donatello, is arguably one of the most influential sculptors from the Italian Renaissance. He is portrayed by Torrini with a hammer and chisel in his hands and a bas relief at his feet. Donatello popularized a unique manner of communicating motion in otherwise inanimate stone. The Italian name for this technique, which shows figures in energetic, spiraling poses, is "figura serpentinata." It is similar to but not the same as contrapposto, a type of pose also used by sculptors. Subsequent masters such as Leonardo da Vinci, Raphael and Michelangelo variously adopted both technique to breathe life into their sculptures. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1631916882565-BJATL6CPXAZYLYYM0963/SSL_5065_Michelangelo+Buonariotti_Uffizi_FIN.jpg Brunelleschi's World - Michelangelo Buonarotti (1475-1564), sculptor, painter, architect and poet of the High Renaissance, by Emilio Santarelli, Loggiato, Uffizi Gallery, Firenze Michelangelo sculpted two of his best-known works, the Pietà and David, before the age of thirty. Despite holding a low opinion of painting, he also created two of the most influential frescoes in the history of Western art: the scenes from Genesis on the ceiling of the Sistine Chapel in Rome, and The Last Judgment on its altar wall. At the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peter's Basilica. He transformed the plan so that the western end was finished to his design, as was the dome, with some modification, after his death. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633075147841-LC5NMJKI30AO9OA336A2/SSL_5074_Leonardo+da+Vinci_Ufizzi_FIN.jpg Brunelleschi's World - Leonardo da Vinci (1452 – 1519), polymath of the High Renaissance as a painter, draughtsman, engineer, scientist, theorist, sculptor and architect, by Luigi Pampaloni, Loggiato, Uffizi Gallery Leonardo is among the most influential artists in history, having left a significant legacy not only in the realm of art but in science as well, each discipline informing his mastery of the other. Leonardo is among the greatest painters in the history of art and is often credited as the founder of the High Renaissance. Despite having many lost works and less than 25 attributed major works—including numerous unfinished works—he created some of the most influential paintings in Western art. His magnum opus, the Mona Lisa, is his best known work and often regarded as the world's most famous painting. The Last Supper is the most reproduced religious painting of all time. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633404884450-MEKFQUNRZJ54QOAI5VRF/SSL_4696+di+cambio+and+brunelleschi.jpg Brunelleschi's World - Arnolfo di Cambio (left) and Filippo Brunelleschi (right), 1830 by Luigi Pampaloni (1781-1847), Palazzo dei Canonici, Piazza del Duomo, Firenze Almost 600 years after it was built, Filippo Brunelleschi's dome remains the largest masonry (i.e., marble and brick) dome ever built. It is only fitting that while people come from all over the world to see the wonders of Santa Maria del Fiore, while tourists have their pictures drawn and others sip their espresso in the shadow of the dome, Arnolfo di Cambio enjoys viewing the Cathedral he designed and Filippo Brunelleschi gazes up at the grande cupola, the dome that he designed and built against all odds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1633688171815-Y8M8V0W234OJ4MXDSXK5/SSL_4964_SMdF_sideview-dome-chapel_FINE_rev2.jpg Brunelleschi's World - Brunelleschi's Dome, Santa Maria del Fiore The dome, designed and built by Filippo Brunelleschi, is one of the great symbols of the Florentine Renaissance, examples of which are presented in the above photos. Its construction helped mark Europe's passage from the medieval to the modern. A contemporary account by Alberti described the dome: "Who could ever be hard or envious enough to fail to praise Pippo the architect [Brunelleschi] on seeing here such a large structure, rising above the skies, ample to cover with its shadow all the Tuscan people, and constructed without the aid of centering or great quantity of wood? Since this work seems impossible of execution in our time, if I judge rightly, it was probably unknown and unthought of among the Ancients. But there will be other places, Filippo, to tell of your fame, of the virtues of our Donato, and of the others who are most pleasing to me by their deeds. " (Alberti, On Painting, Dedication/Preface to Filippo Brunelleschi) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1632803006888-YWHW6HEU4960HIB9EBG0/SSL_4575_Verocchio+ball+and+cross_sm.jpg Brunelleschi's World - Brunelleschi's Dome, di Cambio's Santa Maria del Fiore, and the Giotto's Campaneile (Bell Tower) at sundown from our apartment balcony. http://www.sslanzilotti.com/2022kakaako-urban-art daily 0.75 2022-07-03 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142370746-KQUEUHV2SVZ0B0177CFR/2022-6-17_DSC03008_Obama.jpg 2022-Kakaako Urban Art - President Obama The Kakaako section of Honolulu is light industrial and as unattractive as many like areas in cities around the world. However, POW WOW Hawaii has turned the area into an urban museum. Below you will find a variety of images that are painted on the buildings. They range from cartoon to artistic portraits and from the concrete to the abstract. Walking around Kakaako is a real treat - it is truly an aesthetic experience. Explore it either through the pictures below and/or by simply walking through the streets of Kakaako at your leisure. Obviously, I found it wondrous. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142370746-KQUEUHV2SVZ0B0177CFR/2022-6-17_DSC03008_Obama.jpg 2022-Kakaako Urban Art - President Obama The Kakaako section of Honolulu is light industrial and as unattractive as many like areas in cities around the world. However, POW WOW Hawaii has turned the area into an urban museum. Below you will find a variety of images that are painted on the buildings. They range from cartoon to artistic portraits and from the concrete to the abstract. Walking around Kakaako is a real treat - it is truly an aesthetic experience. Explore it either through the pictures below and/or by simply walking through the streets of Kakaako at your leisure. Obviously, I found it wondrous. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142436713-Z04M5FFB4ZX7EOHU6YEC/2022-6-17_DSC03011_whales+and+piles.jpg 2022-Kakaako Urban Art - Whales and Columns https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142523376-BUO80ARRCZ2L6NKCEVZN/2022-6-17_DSC03016_899-smelting+pot_cl.jpg 2022-Kakaako Urban Art - Smelting Iron Pot https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142486256-YM4N9FYODMMWJ1P36LK0/2022-6-17_DSC03015_tearduck.jpg 2022-Kakaako Urban Art - TearDuck https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142840661-IIM2T0VJQ103PG3E00NW/2022-6-17_DSC03026_Aloha-Rob_crp.jpg 2022-Kakaako Urban Art - Aloha Eyes https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142978523-KZBZNJDLS3PQHKRR12V2/2022-6-17_DSC03033_Honolulu+Electronics.jpg 2022-Kakaako Urban Art - Electronic Portraits (Original Photograph) In some of the pictures I decided to integrate the painted image with its environment so that the art would not seem to be a foreign image grafted on to a building with no relation to its surroundings. For example, for this picture I include the before and after images. In others that follow you may notice how this integration was accomplished, e.g., with a light pole, parking meter, stop sign, person, car, etc. Just know, I had fun playing with the photos. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656207272306-SFYWXCD00QIP01I31AGY/2022-6-17_DSC03033_Honolulu+Electronics_Portraits_FIN.jpg 2022-Kakaako Urban Art - Electronic Portraits (Integrated Version) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142816534-BXPJW381ITFE5NDVEC1M/2022-6-17_DSC03023-2_Duck-Butt-Cafe_FIN.jpg 2022-Kakaako Urban Art - From the Heart https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656143864089-RTLRPVBU3DBFSMNIT0JN/2022-6-17_DSC03042_Rabbit.jpg 2022-Kakaako Urban Art - Kick-back Rabbit https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142999637-RIP23XCAEY1BSJXAVRBM/2022-6-17_DSC03038_Peacock.jpg 2022-Kakaako Urban Art - Eastern European Peacock, Sharks and Whales https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142976282-CLSRCFHL2WSMMO2F5TAN/2022-6-17_DSC03028_A+and+A+car+detail.jpg 2022-Kakaako Urban Art - A & A Car Detail https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656197682654-SIC7KLUTV2XFA89IWILT/2022-6-17_DSC03043_SH+Auto+Body+Repair_crp.jpg 2022-Kakaako Urban Art - Cloud-eye SH Auto Body Repair https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656142816302-AQN7R8GMC1GVF2EO990X/2022-6-17_DSC03024_Waynes+Auto+Electric.jpg 2022-Kakaako Urban Art - Boom Bap! at Wayne's Autos Electric https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656143937339-CGK9R9YGUKETR1CNA4FI/2022-6-17_DSC03045_Isl-Therapy_Pounce-HI.jpg 2022-Kakaako Urban Art - Happy Cats https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656197874521-JMCEPF04TXHCFOWHB5C9/2022-6-17_DSC03047_Never+Forget+911_crp.jpg 2022-Kakaako Urban Art - NEVER FORGET 9-11 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144696879-3PCX1LAH6CI7K3EBPP24/2022-6-17_DSC03054_plumeria-hybiscus.jpg 2022-Kakaako Urban Art White Hibiscus https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144428114-SRMIBK11AMG3JG88YYI3/2022-6-17_DSC03059_Duchamp+female.jpg 2022-Kakaako Urban Art - Duchamp's Woman https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656145281750-PWFA8EZSEO7B7W1GWBWJ/2022-6-17_DSC03062_Nohona+Hale+630+Cooke.jpg 2022-Kakaako Urban Art - Nohona Hale https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656143981452-HYMX9VJ507P1BCC3MB3P/2022-6-17_DSC03051_Waikiki+Brewing+co.jpg 2022-Kakaako Urban Art - Warped Space Waikiki Brewing Company https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656393615358-D9AOKF0LS9Z4DDTV8XIC/2022-6-17_DSC03065_Guarded+Parking_Fridastiiilvium_MarkotAttoos_FINE.jpg 2022-Kakaako Urban Art - Kakaako Guarded Parking https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656148539108-5HAUUHW90SN3XHD6IRHO/2022-6-17_DSC03066_blue+lotus_blue.jpg 2022-Kakaako Urban Art - Blue Peace https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144520924-41X607ZP7H0TLOWSXIQA/2022-6-17_DSC03067_blue-lotus_crp.jpg 2022-Kakaako Urban Art - Blue Lotus https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144527466-OD3SAZBD8LCBRC648ZWN/2022-6-17_DSC03070_da+north+soar+divers.jpg 2022-Kakaako Urban Art - Yellow Submarine! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656198548683-30LFWLWH0BGQQ0H10S3J/2022-6-17_DSC03071_bunnykitty_crp.jpg 2022-Kakaako Urban Art - Bunnykitty https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144550684-51QHVHZAWMIRE9T8EOS6/2022-6-17_DSC03075_Purple-robbers.jpg 2022-Kakaako Urban Art - Time of the Interlopers https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144618203-8VJH4IG4F7BUB5N7LVUZ/2022-6-17_DSC03077_two+robbers.jpg 2022-Kakaako Urban Art - The Watchman and the Intruder https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144617525-NFUSXRPEFJ1RI4I0LN34/2022-6-17_DSC03078_surfer-robber.jpg 2022-Kakaako Urban Art - The Getaway https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144665414-AJOFW9YVQBWGWDC20MR6/2022-6-17_DSC03080_Arttiistry+Honolulu.jpg 2022-Kakaako Urban Art - Artistry Honolulu (Original Photograph) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656203838913-XEMYOTO3JB8YQS266B1K/2022-6-17_DSC03080_Artistry+Honolulu_Blue+Tiger+Camoflauge_FINE.jpg 2022-Kakaako Urban Art - Tiger's Camouflage (Integrated Version) (I particularly enjoyed camouflaging the light pole that stands in front of this painting.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144704507-N0GP7LLHILV6W2YTGO3Q/2022-6-17_DSC03082_Honolulu+Artisttry_demon.jpg 2022-Kakaako Urban Art - Demon Protector https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144698108-0LEDTGU3P7QTKKU63TBJ/2022-6-17_DSC03088_Honolulu+Artistry.jpg 2022-Kakaako Urban Art - Lines and Angles Honolulu Artistry, @MichelleHoogveld https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144748600-4ZRZ7GMHB0HDL27B7R5K/2022-6-17_DSC03090_Honolulu+Artistry-hybiscus.jpg 2022-Kakaako Urban Art - Flowers in the sky with diamond (Japanese style) @janalam https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656145863491-OIK6V89OLQFQSL4OP019/2022-6-17_DSC03105_Warehouse_climb-windows.jpg 2022-Kakaako Urban Art - Some workplaces have you climbing the walls. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656892048494-RA71B94J4LC8PW68AGO8/DSC03165+Kakaako+park_stepping+down+into+Kakaako_Persp3_FINALE.jpg 2022-Kakaako Urban Art - Steppin' out in Kakaako! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656144743509-BD3N15EGQ6G2BVZTLLJT/2022-6-17_DSC03102_burn+fat+not+oil_FINAL_MOTION+II+FINAL.jpg 2022-Kakaako Urban Art - The Friday Morning Bikers - Burning Fat NOT Oil and loving it. (Dedicated to John F. who was motion.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656230106861-637HWYEO3EU5B6LTZFIH/2022-6-17_DSC03107_Sunset+Texas+Barbecue_Silhouettes_meat+by+the+pound_FINALE.jpg 2022-Kakaako Urban Art - Reading the Menu at Sunset Texas Barbecue One of the ways I found to integrate the pictures with their surroundings was by somehow blending the people passing by with the image. In this picture two of my friends became part of the art as silhouettes reading he menu. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656230753410-YLFWDBW9GYL9Y525Z5GW/2022-6-18_DSC03178_Silhouettes-surfer-baker_crp_FIN.jpg 2022-Kakaako Urban Art - Sidewalk Silhouettes https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656145930231-EKPOP8VB0UC0F79V7TYE/2022-6-17_DSC03108_Heart+of+Woman_FIN.jpg 2022-Kakaako Urban Art - You Gotta Have Heart Felicia Galbaldon Art https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656221020155-R2AGT8MX7SAJ3839ZI09/2022-6-17_DSC03109_Hulkenpearl+and+friend_FIN.jpg 2022-Kakaako Urban Art - Hulk-en-pearl squared Right time in the right place - what are the odds? https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656145981197-UZUHWUZ836XWFZ3EJMF2/2022-6-17_DSC03112_KAPAKHE1-2020.jpg 2022-Kakaako Urban Art - Wall Trees https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656389942168-HFMDUAFXG7WQJCGXU4VH/2022-6-18_DSC03182_Smoke-Blendnew+mexico_FINAL.jpg 2022-Kakaako Urban Art - Smoke, Communicate and Blend https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656235075585-J328DQ1RALOSK2XTYYYN/2022-6-18_DSC03183_Piixie.jpg 2022-Kakaako Urban Art - Purple Pixie https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656146013694-RQZNSSQ95DVD0NRENEYJ/2022-6-17_DSC03114_Aloha+E+Komo+Mai_shrp_FIN_sky.jpg 2022-Kakaako Urban Art - Aloha E Komo Mai https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656146114967-W2ZE2JTF5TLGZM0ZVQBH/2022-6-17_DSC03118_Aloha_creativity.jpg 2022-Kakaako Urban Art - Aloha E Komo Mai: Creativity is my freedom! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656146023992-6DOYEXED0OL8YR15NA2L/2022-6-17_DSC03114_Heavy+Metal+Inc.jpg 2022-Kakaako Urban Art - Aupuni Space https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656237161736-OGIDCU6UPU4OXAPSTV58/2022-6-17_DSC03116_OfficeMax+parking+lot+rear.jpg 2022-Kakaako Urban Art - Patch Whisky https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656291188490-UTC7I6LE89TPQVNHRD8E/2022-6-17_DSC03120_Honu_Turtle_Heavy+Metal+Inc_ver10-3d.jpg 2022-Kakaako Urban Art - Honu for good luck Initially, I noticed the reflection of the turtle on the side of the truck on the left and in the windows of the vehicles. That was the starting point for integrating the image and the environment. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656238878980-FJNYARX8JXCMCKL19IIJ/2022-6-17_DSC03122_Auahi+woman_crp_FINE.jpg 2022-Kakaako Urban Art - Auahi Woman https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656239269673-Z8V8HC4Q60D7X3SUT9RK/2022-6-18_DSC03280_Kailea+and+geckos_FIN.jpg 2022-Kakaako Urban Art - Kailea Feeding Geckoes https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656242841342-Y9EYFFXQA076S8AM21X9/2022-6-17_DSC03123_Spacemen_FIN.jpg 2022-Kakaako Urban Art - Spaced Trio Performing "Stop In the Name Above" https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656146212809-QEK3SZJ77CPQUV37DDRA/2022-6-17_DSC03124_465+Coral_Ke+Kaio+Mamala.jpg 2022-Kakaako Urban Art - Ke Kai o Mamala https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656146361660-CKCSNI9GGRN9ZB6KBMIS/2022-6-17_DSC03129_Clyde-w-blue+lagoon_FINE.jpg 2022-Kakaako Urban Art - Clyde's Cove https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656146411934-YZSK6JKWK0GMSUI93KNL/2022-6-17_DSC03135_maneyes+copy.jpg 2022-Kakaako Urban Art - Watch over the aina https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656146397578-8O44WWTHHOZ0ISFDXIVA/2022-6-17_DSC03133_one-eyed+monster.jpg 2022-Kakaako Urban Art - Home https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656818251398-YFQF6I2MSGWJJHLFQGT9/2022-7-2_DSC03440_shark-nene+etc+copy.jpg 2022-Kakaako Urban Art - Hawai'i: Sharks, Nene, Pua'a, etc. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656823605774-1NTFQ1IMIZN3FFATN9HM/2022-7-2_DSC03443_transformer_FIN.jpg 2022-Kakaako Urban Art - Transformer Ameriica! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656148888051-069JVZ0XP64WE5VCCZW3/2022-6-17_DSC03136_Vape+Supplies+HALEKAUWILA.jpg 2022-Kakaako Urban Art - Dreamland Rocket Vape Supplies https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656293288520-MWXGEI62XUHXFQI4NCW1/2022-6-17_DSC03136_Designer+Body_crp_FIN.jpg 2022-Kakaako Urban Art - Designer Body https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656148905593-UN7HIYMYWG5WQP8I618N/2022-6-17_DSC03138_shark+swalloing.jpg 2022-Kakaako Urban Art - The Hungry Shark https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656244410530-HY15C5JK7AXHI7SGJPHP/2022-6-17_DSC03140_Swans-GreatPeople+AutoRepair_FINAL.jpg 2022-Kakaako Urban Art Leda and the Swans https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656148955657-QYORJOZU7HXJBNO1GDPM/2022-6-17_DSC03141_Alii+Animal+Hospital.jpg 2022-Kakaako Urban Art - Alii Animal Hospital & Resort https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149009402-CBNDHUJBII3027IVZCSD/2022-6-18_DSC03146_lightning.jpg 2022-Kakaako Urban Art - Black and White Sunrise https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656461729788-B6K4WLL47AWCPAH5UG4Y/2022-6-18_DSC03145_Jesus-Coke.jpg 2022-Kakaako Urban Art - Jesus Offers while Coke Adds - your choice (but maybe not for long). It would seem that Jesus no longer offers a way for those who have the need or interest. Unfortunately, too many of those who profess belief are passing laws that unequivocally establish THE WAY for all. Such incursion into civil society and oppression of “others” is not what I understand as “the Christian way.” Q. What is the difference between a theocracy in Iran and one in the United States? A. The name of the god the oppressors claim to be the source of their truth. From my personal life experiences and my work in with anti-terrorism, I learned that there is no reasoning with a fanatic, especially a religious fanatic. I found the latter to be the most dangerous type of terrorist. We must get religion out of our civil lives, i.e., our laws and social institutions, and put it back into hearts, homes, churches, synagogues, temples, mosques, charitable organizations, etc. where it belongs. According to my meager understanding, religion is something that is accepted into one’s heart and mind and not something imposed on one by external forces, especially those carrying automatic firearms (“…and that’s all I have to say about that”). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656295876604-NKNMMY7XBE80SNGVKDCW/2022-6-18_DSC03147_flowers_FINE.jpg 2022-Kakaako Urban Art - Flower House https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656297599667-97YZM82PQKB697Z6CQT0/2022-6-18_DSC03148_Pohukaina-Koula-mermaid+_crp_FIN.jpg 2022-Kakaako Urban Art - Resting Mermaid https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149083501-U3XU4WK2H42S7R12MKYH/2022-6-18_DSC03153_fitted-reckon-shop.jpg 2022-Kakaako Urban Art - Fitted Reckon Shop https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656299577519-XAN63WESSDY6C6DLIU98/2022-6-18_DSC03158_PW10-DR76_FIN.jpg 2022-Kakaako Urban Art - PW10-D76 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656298592128-L6KRWIX1DYBU2BG3AWGH/2022-6-18_DSC03155_orange+slice+circle+_FINE.jpg 2022-Kakaako Urban Art - Orange Slice Circle https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656300924931-V4PRYUGSEH5CDZ3HDB28/2022-6-18_DSC03162_Space+Croc_crp_FIN.jpg 2022-Kakaako Urban Art - Being(s) in Space https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149321289-HPA5VMP2VEH1S07PWUTI/2022-6-18_DSC03186_PQW+parking+lot.jpg 2022-Kakaako Urban Art - Pow Wow https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656318205832-N0FXDFX5Q114SGPG433D/2022-6-18_DSC03168_Woman-Zither-Butterflies_FIN.jpg 2022-Kakaako Urban Art - Butterfly Zephyr (Too often there were parking meters in front of the pictures. Some I eliminated, some I camouflaged fully, while others, like this one, I just left a part.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149195969-4ID2Q5G2OH51ADI2XSII/2022-6-18_DSC03177_Tiigerlady.jpg 2022-Kakaako Urban Art - Tiger-Coated https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656315751653-HGVG155602Y9GAMFVPDJ/2022-6-18_DSC03189_Uncle+Rabindra+memory_rev.jpg 2022-Kakaako Urban Art - Uncle Rabindra's Tiger https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149354398-A2E6KCYWVVRZE2EP22W1/2022-6-18_DSC03191_Consignment+Center.jpg 2022-Kakaako Urban Art - Consignment Center Inuit https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149405739-4JYYBDYUT7NL6WLK2TS8/2022-6-18_DSC03195_David+Kalakaua.jpg 2022-Kakaako Urban Art - The Prince https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149423690-F1GNORY234RZ1KO1CUDM/2022-6-18_DSC03198_Offiice+Max_rear.jpg 2022-Kakaako Urban Art - Patch Whisky (Rear of Office Max) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149504193-B5WT50CT0FJ22Q5HJ3IY/2022-6-18_DSC03203_officemax+indians_FINALE.jpg 2022-Kakaako Urban Art - Silver Indians Office Max https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656149508526-E59SSACRT4ZCNYDLJQIO/2022-6-18_DSC03206_frontal+Indians+doves_FIN_sm.jpg 2022-Kakaako Urban Art - Silver Indians I found this image so amazing that I wanted to show it from another viewpoint. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150092047-3RVORSODYCH5CP4SS5AF/2022-6-18_DSC03220_Japanese+woman.jpg 2022-Kakaako Urban Art - Japanese Village Woman https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150157482-10C2ZBKRXO8FNP5U8KZ7/2022-6-18_DSC03221_Japanese+village.jpg 2022-Kakaako Urban Art - Japanese Village Homes https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150408616-S2IWC5AGN627DH5ATH6H/2022-6-18_DSC03238_Dragon+in+Japanese+village_ext_FIN_sm_FINE.jpg 2022-Kakaako Urban Art - Japanese Village Monster https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150280681-GCLW23CEKF4BN291GPE3/2022-6-18_DSC03227_mickey+hand_FIN.jpg 2022-Kakaako Urban Art - Mickey's Chaka https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656463911459-MVZ89V00BSJHYXEL1KF3/2022-6-18_DSC03233._FedUp_FIN.jpg 2022-Kakaako Urban Art - Fed Up? Relax. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656813547936-RWQLO5Z2915C994B71P4/2022-6-18_DSC03231_Staged+and+ready+to+go.jpg 2022-Kakaako Urban Art - Staged, ready, set... https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656813531766-INNHE3Q0SYQVXOKXZ7A9/2022-6-18_Kakaako+backstreets+tow_crp_FIN+.jpg 2022-Kakaako Urban Art - ...gone https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150709410-3GQ6LT0USQRLX9X80UKH/2022-6-18_DSC03253_Mr+T.jpg 2022-Kakaako Urban Art - Mr. T's Aloha https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656325696454-FMOWFTKAHS4T7Z86K03J/2022-6-18_DSC03248_Volvo+Parts-Services.jpg 2022-Kakaako Urban Art - Spider America https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656495911507-LUY2I7WKQT6UXMPVW7SV/2022-6-18_DSC03256_Passing+Flowers+by+Luise_FINAL.jpg 2022-Kakaako Urban Art - Passing Flowers https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150773673-D84SA6SS22KEJFUXV09S/2022-6-18_DSC03258-Pixie_FIN.jpg 2022-Kakaako Urban Art - Rivendell Fern https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150811182-TZM4BIYDTJ1YNK7TS9VP/2022-6-18_DSC03259_pisces.jpg 2022-Kakaako Urban Art - Pisces https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150824614-TZT4GP10OEVYLJG1SI3W/2022-6-18_DSC03260_cowgirl_sm.jpg 2022-Kakaako Urban Art - Wahine Paniolo https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656328437651-R2Y5H2JBMHTYAVR3WM5D/2022-6-18_DSC03263_grodu.jpg 2022-Kakaako Urban Art - Grogu Wisdom https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150863919-DX8P7Q50JTHUKBXSVHP1/2022-6-18_DSC03270_Honolulu+Beerworks-fish.jpg 2022-Kakaako Urban Art - Bubble Fish https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150877594-SLCJTSRIVETBRINV1BO8/2022-6-18_DSC03271_Pow+Wow-HI.jpg 2022-Kakaako Urban Art - POW WOW HAWAII General Store https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150892089-22PAR2H81CH2BT47P87P/2022-6-18_DSC03273_hand+in+hand.jpg 2022-Kakaako Urban Art - Hand in Hand https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150935938-ST6LD4BE7AJINMQ8B14W/2022-6-18_DSC03274_symbol+swirls.jpg 2022-Kakaako Urban Art - Scripted https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150945646-E5H2U84FE7K6HRRXYUV1/2022-6-18_DSC03278_eyeballs.jpg 2022-Kakaako Urban Art - King of Eyes https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656151004392-ARTT4UQ3TFYR9FM34JYZ/2022-6-24_DSC03340_laughing+faces.jpg 2022-Kakaako Urban Art - Smiling Faces https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656150978552-DDS5KWT4F0GKDIETJ01Z/2022-6-24_DSC03339_Forever.jpg 2022-Kakaako Urban Art - Forever https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656383377028-LDGTY5QQ5I08A5AB4VUU/2022-6-27_DSC03435_Aloha+Heart_FIN.jpg 2022-Kakaako Urban Art - Heart of Paradise https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1656455654248-Q7PL8P2P8VXTIC64UUCA/2022-6-27_DSC03434_navigating+birds_FINAL.jpg 2022-Kakaako Urban Art - Navigating Birds http://www.sslanzilotti.com/armerina-villa-del-casale daily 0.75 2023-07-24 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681715977914-G7ASV93VNZZQ6IKRSRJD/Aerial+view+Romana+Villa+del+Casale_DJI_0570-scaled.jpg Armerina Romana Villa del Casale https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681715977914-G7ASV93VNZZQ6IKRSRJD/Aerial+view+Romana+Villa+del+Casale_DJI_0570-scaled.jpg Armerina Romana Villa del Casale https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681722105290-SNHZF8TORNCVOOTGUQ12/_SSL2396+_Piazza+Armerina_sm.jpg Armerina Romana Villa del Casale - City of Piazza Armerina The city of Piazza Armerina is located in the southern Erei mountains at a height of 2,297 feet above sea level a short distance from the main town of Enna in the heart of the most wild and untamed area of Sicily. The town was constructed under the orders of the Norman king Roger II, King of Sicily, 1130 A.D. and King of Africa (named in 1148 A.D.). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681721602890-FKG0EJ5VE6NPWV2R2R3X/_SSL2070_Villa+Romana+Del+Casale+sign_sm.jpg Armerina Romana Villa del Casale - The Villa Romana del Casale, Armerina was declared a "UNESCO World Heritage Site" in 1997. This villa, which is located a few miles outside of Armerina, contains the richest, largest and most complex mosaics in the world of the Roman era. The mosaics exhibit styles, e.g., hairstyles and headgears worn by figures, which indicate they were created in the 3rd century A.D. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681718481172-9ENOPMNDOZ7OTQV7IB37/Aerial+view+Romana+Villa+del+Casale-FIN.jpeg Armerina Romana Villa del Casale - Romana Villa del Casale was built during the 3rd and 4th centuries A.D. (internet photo) Wealthy Roman classes who moved to country estates preferred to conduct their affairs in their private residences, building great spaces for receptions (audience halls or banquet halls). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688440642862-ZEIR8OPHDQJJW77R2JKO/villa-del-casale+floor+plan+number-names_rev12_FINALMENTE.jpg Armerina Romana Villa del Casale - Floor plan of the Romana Villa del Casale The villa's rooms have different functions and are arranged on four levels, which follow the configuration of the ground. The villa consists of 60 rooms and has two aqueducts, baths, latrines and water features. The overall area is 48,438 square feet, of which 37,674 square feet are covered with precious mosaic floors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1689731708900-PS0IPU4IS4T8E4AG7N3Y/_SSL2280_Hunter+throwing+spear+at+lion_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) Some mosaics are made of small, closely set tesserae (cubes of stone, ceramic, glass, or other hard material, less than 4mm in size, called opus vermiculatum) that permit fine gradations of color and an exact following of figure contours and outlines, to depict animals and faces, such as those in this section of the Corridor of the Great Hunt. The tiny tesserae of opus vermiculatum allowed very fine detail, and an approach to the illusionism of painting. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1684482574173-TPFUIG0YTWFUC2REYJJT/_SSL2086_Floral+mosaic_FINE-2_sm.jpg Armerina Romana Villa del Casale - Floral design mosaic on floor in spa (bath) area (see floor plan) Some mosaics contain pieces larger than 4mm (opus tesselatum) used for geometric designs, emblemata, or central figural panels, which were surrounded by geometrical or floral designs. Often two techniques were combined, with small panels of opus vermiculatum, called emblemata, at the center of a larger design in opus tessellatum. Opus tessellatum is usually used for backgrounds consisting of horizontally or vertically arranged lines, as seen in the tile above. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1684643829863-IH6RK4LGX7TCS8C163U0/_SSL2386_opus+sectile_Basilica.jpg Armerina Romana Villa del Casale - Detail: Basilica floor design (see floor plan #48) The craftsmen used the technique called opus sectile, which employed a form of pietra dura, where materials, such as marble, mother of pearl, and glass, were cut and inlaid into walls and floors to make a picture pattern (opus sectile), as seen here, for the Basilica floor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682884263637-B2MC3FVKZSXM5KZ1K523/SSL02106_Triple+entrance+gate+to+villa_SW_sm.jpg Armerina Romana Villa del Casale - Entrance (see floor plan #8) to the polygonal courtyard (see floor plan #7) Late antique Roman villas such as Villa del Casale were not only residences, but also public spaces: centers of political and administrative power for the territories in which they resided. On the right middle of this photo there are two of the three archways through which one enters the polygonal courtyard (see floor plan #7). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682760484269-T8INNXMWKO2TSOHVYDBH/SSL02105_Villa+Romana_rendering+III_FIN.jpg Armerina Romana Villa del Casale - Rendering of Villa del Casale polygonal courtyard and villa entrance (see floor plan #7 & 7A) Please note that through post-photo processing I often altered the existing conditions of the floor mosaics, e.g., by adding missing parts, removing dirt and stains, etc. Those altered have provided me with a better sense of their original magnificence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682730181360-C4NF3YFI5A3DIEP1SPNC/SSL02103_Porticoed+entrance+II_sm.jpg Armerina Romana Villa del Casale - Villa del Casale polygonal courtyard (see floor plan #7) The villa’s porticoed D-shaped courtyard entrance is unified by the lonic colonnade. Several columns with ionic capitals can be seen in the large hall that once supported a roof with compluvium (a space left unroofed over the court through which the rain fell into the impluvium or cistern (seen in this photo in the middle of the floor at the base of a square fountain which collected the rainwater that flowed into the large latrine). The pavement level of the central courtyard was entirely laid with limestone (some of which is still visible). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682643618797-JMH53E8ACOCEVOBUZ6AS/SSL02110_Adventus+mosaic+room+3_figues_FIN_sm.jpg Armerina Romana Villa del Casale - The Vestibule of the Baths: "The Adventus" mosaic (see floor plan #9) From the courtyard one enters the vestibule of the baths. This figured mosaic panel is on the floor, in the center of the vestibule room, which leads to the heart of the villa. The mosaic scene seems to be some sort of welcoming ceremony (adventus). It depicts two rows of richly clad figures, their hair bedecked with leaves and flowers. Some of them hold laurel twigs or candles, and all incline their heads and eyes upwards to the right. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681792085839-T8R0AQ8AY5ASVK60LKAF/SSL02114_peristyle+courtyard+and+corridors_sm.jpg Armerina Romana Villa del Casale - The Peristyle (see floor plan #10) The Villa’s rectangular peristyle measures 125 ft x 60 ft, surrounded by 32 Greek columns with Corinthian capitals. The peristyle had great importance to the Romans because it allowed light into the apartments that were positioned around it (see floor plan) and even more importantly, offered owners an opportunity to remain in contact with nature in a garden while resting or meditating. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681793592426-KIGM3RCZZZBQ1Q3Z3YYH/_SSL2130_animal+portico+coorridor_crp-fill_FINAL_sm.jpg Armerina Romana Villa del Casale - The Peristyle Corridors (see floor plan #10) The mosaics on the floor of the four-sided portico depict the heads of 162 wild and tamed animals inserted in laurel wreaths. The animal and bird heads in the peristyle corridor are set within laurel wreaths, which in turn are positioned in a regular grid-pattern of guilloche (architectural ornamentation resembling braided or interlaced ribbons) squares. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681793611601-2PJ8N2CB9A15U28CZ5RB/_SSL2126+_deer+head+w+birds+vines_moasic-Amerina_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail: Deer-head mosaic in the peristyle corridor (see floor plan #10) In the corners of the squares are found small birds alternated with bicolored ivy leaves from which protrude two twigs. Combining the letters of Latin terminology Avis (bird) with the initials of Hedera (ivy) and the M drawn by the vine-branches, an acrostic can be recognized: Aurelius Valerius Imperator Maximianus Herculius, which refers to Maximian, one of the four emperors of the first Tetrarchy, through which the commissioning of the Villa could be attributed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681796829791-6DPSPJCQ2MWDKU4ZRLL4/_SSL2132_entry+mosaic+ArmerinaVilla_FINAL_sm.jpg Armerina Romana Villa del Casale - Owner's entrance to the spa (see floor plan #14) The owner of the villa and his guests passed through this trapezoidal vestibule to reach the spa, going initially through the gymnasium (see floor plan #13). The bench covered with slabs of limestone present in the hall was used by those waiting to enter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681796801158-7WG9280A6XL90XHM6N7M/_SSL2131_Entry+welcome+mother-2+children-2servants_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: Owner's entrance to the spa (see floor plan #14) The mosaic on the floor of the owner’s entrance depicts Eutropia, the wife of dominus Massimiano, while she accompanied their children Massenzio and Fausta to the spa along with two maids: one preparing the clothes to be worn after the bath, the other with a box with oils for the bath. The perfection of the mosaic is highlighted by the shadows of the figures, drawn with black stripes at the feet and by the hair of the domina, coiffed in the fashion of the time as well as by the luxuriousness of her garments, earrings and necklace. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682811938296-Y3X1NUN7SXW1ZFSYV84S/SSL02098_Chariot+Room+portrait+view_sm.jpg Armerina Romana Villa del Casale - The Gymnasium (see floor plan #13) The gymnasium is a rectangular room with two apses, where the guests warmed up their muscles before entering the spas. The mosaic of the gymnasium represents the Quadriga (chariot drawn by four horses) Race held in the Circus Maximus in honor of the goddess Ceres (the goddess of agriculture, grain crops, fertility, and motherly relationships), whose cult was deeply felt in this part of Sicily. The four factions vying for the prize are identified by the different colors worn by the charioteers: green, white, blue, and red. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688332509215-2D7Z4RRWEB441KXBPUS9/SSL02098_Circus+mosaic_FINALE_25x18_numbers_sm.jpg Armerina Romana Villa del Casale - Detail: The Gymnasium (see floor plan #13) The chariot race arena is divided into two parts by a central spine with bronze columns at each end. Numbered from right to left: (1) Winged Victory over a column; (2) a building (phala) from where the privileged spectators could watch the race: (3) the obelisk of Augustus; (4) the goddess Cybele on a lion (Cybele was called Magna Mater, or Mother Earth; she had the power to control every aspect of life on earth, from plants to animals to men, and including natural phenomena); and (5) the lap counter (ovaria), which illustrates one egg lowered to indicate that the eight lap race had seven laps to go. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682808592436-QW59JZA60IG36NHXNZMQ/SSL02091_Chariot+race+starter_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Gymnasium floor (see photo above and floor plan #13) The Starter of the race is shown in the middle left of the Chariot Race at the Circus Maximus. This particular type of mosaic used sophisticated coloring and shading to create an effect similar to a painting is know as opus vermiculatum. The human figures, such as the one shown here, have flesh tones, shading and musculature made with a wide variety of pebbles gathered from the sea and local quarries. Artists “painted” with stone, by using small, vivid tesserae that resemble Pointillist daubs of pigment. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1684652354271-XG0UZMOKLJ3C2CAXW4LJ/SSL02099_Circus_Victrious+charioteer_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail: Gymnasium floor (see floor plan #13) The Quadriga Race Winner, in the Chariot Race at the Circus Maximus in Rome, is portrayed on the right side of the obelisk of Augustus. The presentation is made by the tybicen, a judge sounding a long tube. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681723680038-C3OGU38RORO26LE0XTHO/_SSL2081_Vault+Frigidarium_4+E02_FIN_sm.jpg Armerina Romana Villa del Casale - The Frigidarium, the room of the cold baths (see floor plan #4) In the Roman thermal system the frigidarium was the place dedicated to cold baths, which were considered curative and invigorating. Above we look into the octagon-shaped room with six apse niches, four of which served as changing rooms (apocdyterium). They were once equipped with benches on which clothing and towels were placed. Two of these apses were used as entrances to the gymnasium and the room of ointments and the other two lead to the swimming pools. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681792132751-5BJ0TQ0ZG8QE9DXD7MFV/DSC03971_entry+putin+and+gods_flat_sm.jpg Armerina Romana Villa del Casale - Detail: Mosaic on the floor of the frigidarium (see floor plan #4) In the central hall of the frigidarium, mythological figures are represented with a marine procession composing Triton and Nereides who ride fantastic animals or who rest on the rocks, themes often utilized in the mosaic decoration of Roman baths. The Tritons were marine divinity, half men and half fish, crowned with red chelae of shellfish. The Nereides were sea nymphs, the 50 daughters of the ‘Old Man of the Sea, Nereus. They could be friendly and helpful to sailors, as they had the power to create and manipulate water in all forms. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681723185535-548HW91P110IK76LTN2D/_SSL2071_Praefurnium_villa+roma+casale+entrance+ext_sm.jpg Armerina Romana Villa del Casale - The Praefurnium, i.e., bath furnaces (see floor plan #1) The spa was made up of praefurnium, steam bath, tepidarium, ointments hall, frigidarium and gymnasium (see floor plan #1, 2, 3,and 4). As one approaches the villa from the northeast, the structure of the praefurnium, i.e., three furnaces that heated the spa waters, protrude. The water in the tub was transferred to the calidarilum (a hot room with high humidity and a plunge bath) through terracotta pipes. Terracotta pipes were used because they were not subject to expansion as a refractory material (i.e., resistant to heat), therefore preventing the walls of the furnace from bursting. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681723218942-HKROXL46SSI3BVV46HMF/_SSL2077_Roman+Bath+Calidarium+infrastructure_FIN_sm.jpg Armerina Romana Villa del Casale - The Tepidarium and hypocaust (see floor plan #2) Visible in the tepedarium (a medium heat room with a luke-warm bath for transitioning between hot and cold rooms) are the remains of the hypocaust (the hollow space under the floor into which hot air was sent to heat a room or bath). In the top right-hand corner can be seen the brick tunnel which led to a furnace. The central room featured a floor that was suspended upon terracotta bricks for the circulation of hot air and was used as a sauna (laconicum). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1690078228268-0AHIUCU5J8Q9M7G29L6I/DSC03969_Annointment+Room_Baths_FINALE.jpg Armerina Romana Villa del Casale - Anointment Room (see unmarked room - floor plan - between #3 and #4) The Anointment Room is a small passage between the frigidarium and the tepidarium. The room was used for anointment of the bathers with perfumed oil after the hot baths. In the upper part of the floor-mosaic, is a person being anointed by slaves, while other slaves in the lower part carry the utensils for the ointment of the bathers. The latter two slaves are identified by the names on their belts as Titus and Cassius . The visible repairs to this mosaic during the byzantine period are of a notable lower quality than the original work. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682823227998-KYG1UDA5LVSP78VN3JUJ/_SSL2135_internal+braid+cross-oct-hex-desgns_furnace+pillar_22+P01_FINAL_sm.jpg Armerina Romana Villa del Casale - Room of the Oven (see floor plan #15) The room of the oven is one of the rooms (#15-#18) dedicated to use by service personnel. The design of the geometric mosaic is based on a series of octagons alternated with crosses, among which elongated hexagons are formed. In the classic art, the decorative motif in braid is usually in borders and frames; in this case, according to a Roman figurative invention, it is instead employed to adorn the field internally, in a cross-like pattern. Possibly, an oven was built in this room during the Arabic period (861-1061) to bake pottery (see lower right corner). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682823373331-8GWYXB3G7FTLNHXWJ2UD/_SSL2138_eight-point+star-lozenges-design_25+P01_FINE_Rm18_sm.jpg Armerina Romana Villa del Casale - Servants' room (see floor plan #18) Moving west from room #15 there is another room thought to be used by the domestic attendants in charge of serving the successive private flat (see floor plan rooms 19-22). The frame of this mosaic is composed by a series of recurrent tuning forks (image along wall on the left side of this photo). The mosaic field is adorned by a refined geometric composition, constituted of octagons enveloping large eight-pointed stars, from which derive lozenges framed by a red denticulation (i.e., serration). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825231090-HM6QUTL3BDU83HNIANU0/_SSL2139_design+8pt_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: Servants' room geometric mosaic floor design (see floor plan #18) This eight-point star design contains elaborate geometric designs, e.g., a braid of three crowns in an expanded eight pattern. The mosaics were made with tesserae (square tiles) ranging in size from .2 inches x .7 inches (.5cm x 1.5cm). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825242860-1S6FA46PWJWNGWSDCP0Q/_SSL2140_eight-pt+star+e+rope-guilloche_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: Servants' room geometric mosaic floor design (see floor plan #18) The complex pictures and designs in the Villa were products of an incredible supply chain that spanned the Mediterranean world. The Villa’s owner had to: obtain and transport the needed materials, either as individual tesserae or slabs to be cut into tesserae cubes; employ the artisans both in Carthage and Sicily with the expertise to specially design human, animal, architectural, and geometric images; and have the mosaic images created directly on the floors or indirectly via sections that were created in workshops and brought to the Villa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825669647-YM0DZ483KWN2D8DU0AMU/_SSL2150_floor+w+partial+mosaics-27+_FIN_sm.jpg Armerina Romana Villa del Casale - Room of the Dance (see floor plan #20) Although most of the mosaic in the Room of the Dance, once a guest bedroom, has been destroyed, some glimpses of aristocratic/imperial life can be ascertained. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1681716799034-DCQKDVZAZTH6K9ONH5NI/Aerial%2Bview%2BRomana%2BVilla%2Bdel%2BCasale_DJI_0570-scaled_rotate.jpg Armerina Romana Villa del Casale https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825357929-EH945G4JB8V7TN3W7ZQK/_SSL2147_woman-midallion_FINALE-27_sm.jpg Armerina Romana Villa del Casale - Detail: Room of the Dance (see floor plan #20) In the upper left section of the floor (see previous photo) a maiden dances while lifting a red veil over her head. The mosaic displays what were considered in the 3rd century, rich accessories, e.g., a valuable necklace, a medallion at the center of her chest, bracelets, and earrings. The red cloth that extends to arch over her head recalls the vibrant coloristic yield of the entire figuration. (I have reconstructed digitally on the figures left side.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825558706-MKI5MPBK3DT5UW9ZPQUE/_SSL2148_male+character-27_FINALMENTE_sm.jpg Armerina Romana Villa del Casale - Detail: Room of the Dance (see floor plan #20) The Greeks refined the art of figural mosaics by embedding pebbles in mortar. The Romans took the art form to the next level by using tesserae (cubes of stone, ceramic, marble or glass) to form intricate, colorful designs. Aside from the prestige value, mosaic floors helped cool interior temperatures as the Sicilian weather was often relentlessly hot. (I reconstructed the right shoulder of this dancing male on the bottom left of the floor for symmetry.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825375541-XI40D5Y15RX3WYGXAU15/_SSL2149_couple+swatiska-27_rev4_FINALMENTE_sm.jpg Armerina Romana Villa del Casale - Detail: Room of the Dance (see floor plan #20) In the upper right of the room, a young man and woman dance as he begins to lift her. Such images offer a vivid picture of ancient Roman life. (I repaired the mosaic digitally by filling in the woman’s dress so as to connect the upper and lower parts of her body.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683867346945-TIAJ46W4PLEWGV7MVDO3/_SSL2154_tondi_hexagons-medalion%2B28_FINALE_sm.jpg Armerina Romana Villa del Casale - The Four Seasons Room (see floor plan #21) This third room of the private flat might have been used as a vestibule for guests to access their bedroom (Room of the Fishing Putti, see floor plan #22). The field is governed by hexagon created with two strand braids, green, red and yellow, of which intersection delimitates lozenges (diamond shapes) and six-pointed stars in which are enclosed the figured tondi (circular designs). The frame is defined by a series of cubes placed in perspective with alternating colors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825931668-T2UM3HCIPVV904CFFD5W/_SSL2156_spring-28_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail: The Four Seasons" room (see floor plan #21) The Four Seasons floor-mosaic includes: a young woman depicted with roses on her head representing Spring (as seen above); a young man with ears of corn on his head representing Summer; a girl with grapes on her head representing Autumn; and a young man with his head adorned with leaves and a coat representing Winter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825954584-7C0LE489AGWGNYNWRTJ8/_SSL2159_autumn_28_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: The Four Seasons Room (see floor plan #21) The young man with his head adorned with leaves and a coat represents Winter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825952842-NX0OTQWFRDYWECFH8ZD8/_SSL2158_fish+mosaic-bl_28_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: The Four Seasons Room (see floor plan #21) The Pisces symbol in Greek/Roman mythology was associated with, amongst other gods, Poseidon/Neptune respectively. The island of Sicily became the first Roman province in the 3rd century B.C.E. and its importance was based on its strategic location at the center of the Mediterranean and the sea trade that united the Roman empire. Although the Romans ruled over Sicily for 600 years, Sicilian citizens continued to speak Greek instead of Latin, while the Romans did not hesitate to exploit the island's resources. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682825934496-NTNJKPJRY86QPL99RAFX/_SSL2157_bird+mosaic+possibly_crp_FINAL_28_sm.jpg Armerina Romana Villa del Casale - Detail: The Four Seasons room (see floor plan #21) The animals represented in the tondi exhibit great naturalness and realistic attention to details and poses. Mosaic artisans relied on local stones for the bulk of their work, but imported unusual colors for special highlights. When no stone would do, they turned to glass in bright colors like blue and green. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837434778-9GKKYVLWEPLYQBNWXREO/_SSL2183_room+view_fishing+putin+w+frescoes_orig_FINAL_sm.jpg Armerina Romana Villa del Casale - Room of the Fishing Putti (see floor plan #22) The fishing putti (cherubs), presented with vivid realism, refer to the significance of fertility and eternal love in Roman culture. This room was used as a guest bedroom and was accessed through the Room of Four Seasons (see floor plan #21). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837358016-5G9OJ5SW3XONFP5UDF6N/_SSL2178+_Putin+fishing-hook_FINALE_sm.jpg Armerina Romana Villa del Casale - Detail: The Fishing Putti (see floor plan #22) Putti are winged infants who either play the role of angelic spirits in religious works, or act as instruments of profane (secular) love. Above, we are offered an insight into the fishing systems used in the 3rd century as one putto fishes with a line and another empties his catch from a fishing basket. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837370862-0IQW3DHWVGC17KKYCP8T/_SSL2180_fishing+putin+w+net2_FINI_sm.jpg Armerina Romana Villa del Casale - Detail: The Fishing Putti (see floor plan #22 In this boat, one putto uses a net to catch fish in cooperation with another boat (not shown), while another uses a line to fish in a well stocked sea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837395705-8FL72L0RANZQAQ3E5PVY/_SSL2182_Putin+catch+fish_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail: Room of "The Fishing Putti" (see floor plan #22), a guest room On this well designed boat, one cherub fishes with a trident, while another removes a fish from his line. In the upper part of the scene is the background of a large seaside villa (villa maritima) with an exedra (portico) and long colonnade. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837217319-MIIW8XAKL1N7K42O8ND1/_SSL2164-a_Small+Hunting+scene_FINALMENT_30_sm.jpg Armerina Romana Villa del Casale - The Small Hunt Room (see floor plan #23) This room, located in the northern portion of the peristyle, is the largest room in the northern section of the villa and could have been used by guests. The mosaic scenes represent the various phases of hunting that took place in the countryside surrounding the villa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837306848-GCQH8YPJ0H6SOFY0QLV5/_SSL2172-j_man+leading+dogs_FINALE_30+P03_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt (see floor plan #23) On the left of the first register, a servant leads two dogs in the countryside where they will hunt fox and rabbit. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837316797-1B2RFE9ZPLDIDKNMTJF8/_SSL2173-k_man+sends+dogs+chase+fox_FINAL_30+P03_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt (see floor plan #23) On the right of the first register the servant led and released two dogs in the countryside where they are shown hunting fox. The beater involved in fox hunt wears knee-length socks tied below the knee called fasciae crurales (bands on the legs), a 3rd century fashion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837332922-ID6OFN8VSD0PGW7UPG45/_SSL2174-l_two+men+w+dog+carry+pig+in+net_FINE_30+P03_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt (see floor plan #23) On the left of the second register a boar is carried upside down on a pole while one of the hunting dogs follows the catch with interest. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837265439-4RK71DWYDD1YPOJIJYNV/_SSL2166-g_sacrifice+to+Diana_FINAL_30+P02_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt Room (see floor plan #23) The center of the second Register depicts a sacrifice of atonement to Diana, represented on an altar with a bow and quiver. In this scene, scholars have assumed that Costantius Cloro is on the left, Maximian's Caesar. His son Constantine, the future emperor is behind him and his son Maximian is to his right. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837258135-YALPCTU82X6NL9SNZQJ1/_SSL2165-f_hunters-birds-in-tree_FINE_30_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt (see floor plan #23) On the left side of the third register a couple of bird-catchers scrutinize the foliage of a tree to find the hiding place of two thrushes. The one to the right, holding a falcon on his shoulders, with a natural gesture puts a hand on his forehead to get shade and identify the perched birds, while the one on the left holds a decoy bird. They both use glued lime-sticks, which have an adhesive substance spread on a branch or twig, upon which a bird might land and be caught. Any bird landing on a lime-stick becomes stuck, falls upside down, and as it flutters too free itself it becomes progressively more attached to the stick. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837210462-DJL0CFDSO5VNF5LJD6EC/_SSL2164-b+_hunting+scenes_Banquet+CRP_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt (see floor plan #23) In the center of the third Register of the Small Hunt mosaic the banquet is held in a clearing under a large red tent: the hunters having tied the horses, display themselves on the stibadium, the semi-circular cushion surrounding the canteen, on which a roasting (perhaps) turkey is placed. The atmosphere among the guests is jovial and serene, insomuch as the character to the right rewards the dog, his faithful companion, with a mouthful of food. Some servants continue serving the lords by drawing more food from the baskets. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837245081-HPC033C6YN9NDOYG1VI6/_SSL2164-e_Small+Hunting+two+dogs+vs+rabbit_30.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt (see floor plan #23) On the right side of the third register a beater with two hounds chase a hare. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837233561-TUSOSIFS3XOLDE8L41X4/_SSL2164-d_Small+Hunt+-+rabbit+w+spear_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt mosaic (see floor plan #23) On the right side of the fourth register a hunter hits a hare hiding in a bush. It is of interest to observe the rich vegetation, reproducing plants, which were originally present in the area of the villa, such as cypress and oak trees. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837234551-KDVEX7K6J4RCK4VXG3GU/_SSL2164-c_Small+Hunt+run+deer+into+net_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt (see floor plan #23) On the left of the fifth register the episode of deer hunting is represented with two galloping horsemen pushing three large deer, with long curved horns, onto a net, which is stretched between two low trunks. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837286008-A9HXSOICVOS05LO02GVK/_SSL2167-h_Lancing+Boar_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: The Small Hunt (see floor plan #23) The right side of the fifth register depicts the killing of a wild boar who has savaged one of the huntsmen who is lying bleeding on the ground while two other companions take refuge behind a rock. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688689146133-OFKYRYJ7TI2YN7ZJANCN/_SSL2196_31%2BP01_circles%2Band%2Boctogons_FINE%2Blt_sm.jpg Armerina Romana Villa del Casale - Room of the octagonal design (see floor plan #24) This first utility room of the master's northern apartment complex and the one attached to it (see floor plan #25), were probably spaces reserved to services and other activities related to the adjacent reception rooms; probably they could host an office that required an antechamber. Probably, the rooms were designated to the cubiculariae (servant bedchamber), for the servants in charge of the custody of the rooms in the manor flats. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683959491063-R5FUVNQ9DDHTPWRR8PP1/_SSL2198_circles-octogons-guilloche_31+P01_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Room of the octagonal design (see floor plan #24) In this detail of the floor mosaic in the first utility room of the master's northern apartment octagons are presented in which a serrated bicolored crown encloses floral motifs, while the circles embrace large rosettes, proposing different versions of the scheme in crossed lozenge. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837558630-0B5DOZAHQ4D2OSLV1IVU/_SSL2199_Circle+design_FINAL+31+P01_sm.jpg Armerina Romana Villa del Casale - Detail: Room of the octagonal design (see floor plan #24) A closer look at the center of one of the octagons in this mosaic design presents alternating pink or grey sides of the diamond-shape that serves as an outline for alternating red and blue or blue triangles in the four sections created by the white cross. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837463208-74AHF7MSLWS92OK2W0N5/_SSL2189_squares-rhombus-swatiskas_FINITO_sm.jpg Armerina Romana Villa del Casale - Room of the Square Design (see floor plan #25) in the second utility room of the master's northern apartment the mosaic on the floor shows a checkerboard pattern with alternating squares, defined by a two-strained braid, and rhombuses, adorned by a frame in wavy tape. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837468263-LPF1M9KPO4QHZXJ17E37/_SSL2191+_Swatiska+mosaic+w+feather_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Room of the square design (see floor plan #25) This segment of the square design mosaic contains a swastika inner decorative design, which in ancient Greek and Roman religion represented Zeus and Jupiter, respectively. I enjoyed capturing the small bird feather sitting on this section of the floor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1682837519245-K9D1C10DVNJQ146A1ZVY/_SSL2192_rhombus+e+greek+sheild_FINE_sml.jpg Armerina Romana Villa del Casale - Detail: Room of the square design (see floor plan #25) This detail of the square design mosaic in the second utility room highlights the complexity of the design whereby in the triangles resultant from the rhombuses are placed some peltae, decorative motifs that recall the shape of the homonymous crescent-shaped shields of Greek origin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961746324-F5AASOZ80IEMF77FCS6I/_SSL2209_Hall+of+Great+Hunt-lft_FIN_36_sm.jpg Armerina Romana Villa del Casale - Ambulatory of The Great Hunt (see floor plan #26) This view of the ambulatory of the "great hunt" shows about one-third of the mosaic looking north. The Great Hunt is the longest mosaic extant in the world from the Roman Empire, as it extends the entire length of the room - 196.5 feet. The figurative scenes do not represent the killing of wild animals, but rather the capture and transport of ferocious and exotic animals for exhibit in the circus in Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961776512-FJMAAH2B06JOHM2N7GU3/_SSL2211_Hall+of+Great+Hunt-rt_FINE_36_sm.jpg Armerina Romana Villa del Casale - Ambulatory of "The Great Hunt" (see floor plan #26) View of two-thirds of the Great Hunt mosaic looking south. This mosaic can be read as a great hunting manual with an organic cartographic representation of the world as it was known at the time. It describes the imperial possessions in Africa, from Mauritania, in northwest Africa, to Egypt, up to the far-off lands in the East, visual testimony to Rome's authority over the whole world. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688172703761-82V3XIB4UGF48D4YSA1B/grande-caccia_FIN.jpg Armerina Romana Villa del Casale - Drawing of The Ambulatory of The Great Hunt By enlarging this drawing you will see the 196.5 foot mosaic floor with its individual images of animals being captured from many regions of the Roman world and their transportation by sea. The owner of the villa may have been directly involved in what must have been the enormously complex and costly business of capturing and shipping these beats to the amphitheaters that required them. The following photos of The Great Hunt are organized according this drawing - they move from the top to the bottom register and from the north part of the corridor (left) to its south (right). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961676190-4N6H9JWKKKDVF6MDTG7I/_SSL2204_leopard+chase+deer_FIN_sm_36.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) In the upper register of the hunt, a scene of deer and antelope running, with the deer is being caught by a leopard. Wealthy Romans chose themes to reflect their status, e.g., mythological stories would show off a man’s book learning, while scenes of wild animals being captured for fights in the arena might highlight his sponsorship of public games, or possibly in the case of Villa del Casale, the business interests of the owner. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961699774-3PSGCS14QAC439O9JDOO/_SSL2207_carriers_FIN_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory ofThe Great Hunt (see floor plan #26) In the upper register, carrying captured animals to the ship for transport. The Villa owner’s interest in the animals is further emphasized by the prominence given to them in the corridor mosaics of the two peristyles, one of which is shown earlier above. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1684368839576-TE6R7LPA4RFXCW954DBO/_SSL2204+bull+carry+animal+cases_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of the Great Hunt (see floor plan #26) Two oxen pulling a cart with caged prey with one attendant in the rear, one on the side , seemingly steering the oxen, and two men in front. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961673864-AU17OKE3D5OT0OZUS61E/_SSL2206_man+whip+Great+Hunt_FiNE_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt see floor plan #26) Two men in front of two oxen pulling a cart with caged prey (see previous photo). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961864391-HX7NN45GS5WUI4BKM6P5/_SSL2217_animals+boarding_FINE_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory The Great Hunt (see floor plan #26) The animals were transported to the nearest port, in this case possibly Carthage, one of the principal junctions for North African maritime traffic. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961791333-M7KY6K896W8EBH0T9RF8/_SSL2212_loading+ostrich_FINAL_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) Loading an ostrich on the ship for transport. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961835492-K7L3YYZHHNY83LXFVVD8/_SSL2215_navis+actuaria+loading_FINALMENTE_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of the The Great Hunt (see floor plan #26) The boat is a commercial galley, called a navis actuaria, which had sails as well as oars in order to ensure fast transport even in the absence of wind. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961863528-XGP8XIA738G33IF9H76M/_SSL2221_Cassowary+unloading_FINALMENTE+crp2_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) Unloading the animals in Italy, most likely near Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961888686-SUBT43TA3N99B0FDF4GF/_SSL2225_Basilica+entrance+from+Hall+Great+Hunt_36+P05_sm.jpg Armerina Romana Villa del Casale - The Basilica entrance (see floor plan #48) from the Ambulatory of the Great Hunt (see floor plan #26) The Emperor administered justice and organized official receptions in the Basilica. Remains of the marble slabs that adorned this area in the past are still visible. The floor was once all in marble: there are remains of rotae in red porphyry and polychrome marbles, with palms and flowers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961912073-EPJWP9L37F8XPLZ8YNUG/_SSL2227_officials+wih+bacculi+shores+Egypt_36+P05_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) Two personages are distinguished here who wear round hats and carry baculi (staffs), identified as imperial officials charged with directing the unloading of the animals to ensure their quick transport to Rome. The importance of this segment of the Great Hunt narration is expressed by its placement in correspondence with the entrance to the great Basilica (previous photo), where the "land between two seas", Italy, is represented by the Portus harbor as an arrival point for the hunting haul, 20 miles southwest of Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961886539-IMDHBBV1HSDPP0PYQ47Z/_SSL2223_unloading+tiger_FINALMENTE_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) Unloading a tiger at a port near Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961927078-H9MPZCXUU3CXUCXTNE21/_SSL2229_loading+elephant-camel-+port+Alexandria-36+P06_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) This scene seems to take place on the shores of Egypt, near the port of Alexandria, where there is a variety of animals arriving. On the boarding walkway we see an elephant, an animal that, for its majesty, was suited for triumphal ceremonies led by the Roman Emperors. In the background, some officials arrive leading a dromedary camel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961945987-Z6JJ2Y27CZB5D968XOZE/_SSL2231+dromedary+and+horse_FINE_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) This detail of the background of the previous scene in Egypt shows two legionnaires, identified by their cingulum militare (a red belt decorated with metal fittings), are standing with a horse and a dromedary camel (also known as an Arabian camel or one-humped camel). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961979854-IM6Q9DDG3SRW5AWD3O3R/_SSL2236_bull+w+horn+protect_36-P06_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) A buffalo that is being pulled to be loaded on a ship is trying to evade capture by arching itself, but its horns have been made less dangerous with a special cover. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683961954789-21F1LK07JUCFNVDHAPPD/_SSL2231_Tiger+walk_FINALE_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) In a tropical setting, two legionnaires lead a tiger to the ships. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962012101-DM92J5QBU3JYJFT58O0Z/_SSL2237_Gazelle_FINITO_36_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) Captured, a sable antelope is led to the ship for transport. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962179817-60U2FO64665N3NME2J82/_SSL2271_rhinoceros+and+hippo.FINE_36_skew_sm2.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hun (see floor plan #26) This episode is set in a marshland, similar to the Nile Delta, where a large rhinoceros is being captured. The legionaries are distinguished from the servants by their more elaborate tunics and the presence of a cingulum, a red military belt embellished with decorated badges according to rank, as well as a balteus, a leather bandolier worn diagonally across the chest, on which one hung one's sword. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1684104564958-QLNDCK1AWNMCVHJ1M3UU/_SSL2324_mt+lion+attacks+hunter_FINALE_sm2.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt" (see floor plan #26) A lion is speared as it attacks one of the hunters. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962244187-SQ4PVCVCQZXT9GIXPMJV/_SSL2274_Dominus+Villa_36P08_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) In this group of three figures, the central one, who is flanked by two guards, his protectores (body guards of a great man), attracted scholarly attention for his distinctive physiognomic representation and clothing. Some have identified him as the dominus of the Villa. He has the face of an elder, with a deep and serious gaze, wears a high cingulum, a richly decorated mantel and a Pannonian (pillbox) hat, and carries a baculus (a staff regarded as symbolic of authority), all elements that characterize a high-ranking figure with an important military post. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962343794-GPBX5WDJAP2UGPLA39P1/_SSL2279_oxen-cart_tiger-leopard_hunters_FINITO_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) After their capture, the animals to be taken to Rome were kept in large enclosed crates (lower right) in order to keep them calm and avoid injuries. In this manner, they arrived in good condition for the spectacle at the amphitheater. (Details of the above image are presented in the following two images.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962279007-K027SCW9Z7L5KIA31B47/_SSL2277_tiger+attacks+deer+blood_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) Detail of the previous floor mosaic of a lion attacking an antelope. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962308327-YCBXOSHW0WL9Z4LIWFN5/_SSL2278_leopard+attack+deer_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) A leopard attacks an antelope. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962400171-GAAN3PGQE4UA7IQVPNTN/_SSL2282_leopard+stalks+deer_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) An antelope and lion face off. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962398848-S1DE4Y0DQ0A2187GCL2D/_SSL2281_horserider+boards+boat_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) A legionnaire rides his horse on to a ship to return to Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1683962429686-8SZUS84TCNN2XKD2K6N9/_SSL2286_2022-10-30_tiger+and+griflon_FINALMENTE_sm.jpg Armerina Romana Villa del Casale - Detail: Ambulatory of The Great Hunt (see floor plan #26) A tiger is distracted by its image in a mirror so that it can more easily be captured, while a mythical creature, the Griffon, or gryphon, with the body, hind legs, and tail of a lion and the wings, front talons, and head of an eagle is distracted by a man inside a box so that it can be captured. The Griffon was considered a symbol of power, wealth, courage, and prestige. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1684640513216-K3V1R9B0L7KNUCQY8DQ6/Allegory+of+India_Great+Hunt+apse_IMG_1288_rev_FINAL.jpg Armerina Romana Villa del Casale - Detail: South Apse of The Great Hunt (see floor plan #26) [internet photo revised] The seated female figure in the south apse of the Great Hunt mosaic has been identified in the past as Africa, Libya, Arabia, Egypt, Oriens (the East), Asia and India. In the center of the apse composition, seated frontally on a large, amorphous rock, is a black-skinned woman with abundant, curly, black hair. The lady’s black skin, the frankincense tree, the tiger, and the elephant were all associated in Roman antiquity with various parts of Africa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797452537-B18LA9WSKD3LYP1958X2/_SSL2260_female+athletes+and+wall+frescoes_FINAL_34_sm.jpg Armerina Romana Villa del Casale - Room of girls' sports competitions (see floor plan #28) This room has a double floor, as can be seen in the upper left of the floor showing a geometric mosaic with an eight-pointed star with denticulated crowns and floral motifs. At some point in time the function of the room was changed, becoming the gym for the daughters of the house. The scene is divided into two horizontal compartments, which depict women competing in a variety of sports. The women are represented with subligar (panties) and stropkion (sport brassiere) and are engaged in various sports disciplines. Often the room is referred to as the room of ten girls in bikinis. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797478806-QUC0PKTWNP8C20XGTCNZ/_SSL2261_athlete+women_discus+thrower_sm.jpg Armerina Romana Villa del Casale - Detail: Room of girls' sports competitions (see floor plan #28) On the upper left of the floor, the woman on the left is holding two small hand weights called haltéres; these served to give momentum to the athlete's movement during the long jump. The woman on the right, a discus thrower, dynamically posed, is adorned with rich jewels that emphasize her aristocratic rank. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797227187-IVTJTH7XY60AH4AWGWPG/_SSL2262_women+race_sm.jpg Armerina Romana Villa del Casale - Detail: Room of girls' sports competitions (see floor plan #28) The two women on the upper right of the floor are racing. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797130620-MXASZS37XL8CR7Q4ULML/_SSL2258_two+volleyball_FIN_34_sm.jpg Armerina Romana Villa del Casale - Detail: Room of girls' sports competitions (see floor plan #28) The two women on the lower right of the floor are engaged in a game of handball. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797236327-AJYON3PMTWREL4YB1T34/_SSL2266_Crowning+race+winners_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail: Room of girls' sports competitions (see floor plan #28) On the left, the scene of the award ceremony is performed by the girl with a golden cloak, who is preparing to offer the crown and the palm to a girl who holds a radial wheel in her hands. The sport of the latter young woman crowned winner is the race with rings, as she carries the baton and spoked wheel used for those events. On the right, a girl with the victory palm puts the crown on her head. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687984727863-9IH1ATEAAJI3G2L67A51/_SSL2247_Orpheus+rm_sm_FIN.jpg Armerina Romana Villa del Casale - The Room of Orpheus (see floor plan #29) On the south side of the peristyle is the Diaeta (house) of Orpheus. This is a rectangular room with a semicircular bottom and a statue of Apollo Liceo, a Roman copy of a Greek original by Praxiteles of Athens (4th c. BC). The pairing of the figure of Orpheus with that of Apollo recalls the mythical tradition in which Apollo, the god of the arts, gave the lyre to the Thracian poet, Orpheus, who in turn mastered its use. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1690159916068-RSSKKQ2V8XNK56T9KJPG/_SSL2247_Orpheus_rev_crp_sm_Finale.jpg Armerina Romana Villa del Casale - Detail: The Room of Orpheus (see floor plan #29) In this mosaic, Orpheus is playing a harp (missing) and sitting on a stone under a tree. The poet who was able to charm animals with the sweet sound of his lyre. Captivated by the sublime music, they would run to him as a spellbound audience. This mosaic is a celebration of the power of the human intellect, represented by music and poetry, over the savage forces of nature, represented by the terrestrial animals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686796938570-2T6XAQ128RYWDFE24Y3A/_SSL2246_Lion-Tiger_Dieta+of+Orpheus_35_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: The Room of Orpheus (see floor plan #29) Above is a lion and tiger located in the bottom left of the Room of Orpheus. Also, among the animals there are an elephant, a dromedary, a bear, various antelopes, a peacock, a goose, a porcupine, a lizard and many others. A large part of the animals are from Africa, but not all. There are also some mythical animals, such as the Phoenix and a griffin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797010123-AM370O50KSF5RG6VR7YF/_SSL2248_Birds+from+Orpheus_35_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: The Room of Orpheus (see floor plan #29) A group of three different types of birds responds to Orpheus’s music. The phoenix, with the halo (upper left), imbues the music with sacred power. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797014240-SNICO1X9EYQG258S153V/_SSL2254_Orpheus+tree+birds_35_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail: The Room of Orpheus (see floor plan #29) Birds sit on tree branches captivated by Orpheus’s music. The exact use of the room is not known, but given the entrance is directly from the peristyle, the hall probably had a public purpose. It could also have been a room for leisure activities, like listening to music, poetry and reading. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797670669-YWHYOG4NLJGG7MVRANBB/_SSL2293_Putin+grape+harvest+and+drum_47+E01_sm.jpg Armerina Romana Villa del Casale - Xystus room (see floor plan #33-#35) Three putti in a row are busy pressing the grapes with their bare feet, moving in the vat full of grapes in an almost dance-like rhythm. This mosaic is found in one of the three antechambers in the north side of the Xystus, the large open ellipsoid atrium (see floor plan #32), which may have been used by guests to have a walk after a lavish lunch in the triclinium (see floor plan #39). The rooms around the courtyard are where guests would retire after meals in the company of girls skilled in the art of love and dance. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687998084181-WHYFF3HFKGKHBG967E90/_SSL2342_Hall+of+Arion_Rm32_sm.jpg Armerina Romana Villa del Casale - Diaeta of Arion (see floor plan #42) The Diaeta of Arion is a large living room in which the lady of house would listen to music or chat with family members. The lunette of the room presents the Ocean God (now unintelligible). He has long, thick hair decorated with two claws and a beard formed by marine plants; Polyps, fish, shrimp and other sea creatures come out of his mouth. The image suggests a universal symbology: Oceanus supplies water to the whole earth, sending it to the sky to then receive it again from the rivers. This attribute could be applied to the Emperor, who justly distributes the goods for the life of his citizens to then receive back the fruits. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687998135870-PVA171T1N0I8GHOX77BZ/_SSL2347_Lyre-2+nereids_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Diaeta of Arion (see floor plan #42) The poet Arion (middle of the mosaic) appears on the waves riding a dolphin and playing a zither. He is framed by sea monsters that come out of the sea in the shapes of griffins, tigers, panthers, wolves, lions, and oxen ridden by lovely cupids. The Hall of Arion is a celebration of the power of the human intellect, represented by music and poetry, over the savage forces of nature. Where Arion subdues the animals of the sea, previously we saw Orpheus had done the same to the terrestrial animals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687998167081-CEWNPCGWQ037F3K00IMI/_SSL2350_Nereid+and+sea+creatures_FINE_Rm32_sm.jpg Armerina Romana Villa del Casale - Detail: Diaeta of Arion (see floor plan #42) This mythological scene highlights one of the Nereids, the elegantly feminine water nymphs, and Triton. The Nereides (Nereids) were fifty sea-nymphs, daughters of Nereus the old man of the sea. They were goddesses of the sea's rich bounty and protectors of sailors and fishermen, coming to the aid of those in distress. With trade on the Mediterranean Sea essential to the economy of Sicily it is no wonder that the Nereids would be included in the mosaic decorations of the Villa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687998186860-HQ1V3D3888ADMNGIFQ4Y/_SSL2352_Nereid+pouring_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Diaeta of Arion (see floor plan #42) As this Nereid pours water from a horn we are reminded that the name Nereides not only means "Daughters of Nereus" but also "the Wet Ones" from nêros the Greek word for "wet". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687998206525-VMLPV64IVQWZ3UUCI3JN/_SSL2352_sea+god_FIN_Rm32_sm.jpg Armerina Romana Villa del Casale - Detail: Diaeta of Arion (see floor plan #42) In Greek mythology, the Nereides dwelt with their elderly father in a silvery grotto at the bottom of the Aegean Sea. The Nereid Thetis was their unofficial leader and Amphitrite was Poseidon's queen. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687998117717-GVF9APO19A4E2Q5IMM12/_SSL2345_woman+w+mirror_Tiger_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Diaeta of Arion (see floor plan #42) The Nereides were regarded by the ancients as marine nymphs of the Mediterranean, in contra-distinction from the Naiades, or the nymphs of fresh water, and the Oceanides, or the nymphs of the great ocean. The beautiful Nereids are wrapped in ample mantels, display rich jewelry and wear their hair in the helmet and 'turban' styles popular at the end of the third century and beginning of the fourth century A.D. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687998072356-CI5E5DQWJBCWNGLM96KA/_SSL2342_41+P01+Neried+feeds+dragon__FINITO_sm.jpg Armerina Romana Villa del Casale - Detail: Diaeta of Arion (see floor plan #42) The Nereides were depicted in ancient art as beautiful, young maidens, sometimes running with small dolphins or fish in their hands, or else riding on the backs of dolphins, hippokampoi (hippocamps) and other sea creatures. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687998103306-0U885W3S5TRYWMDW864B/_SSL2345_putti+w+seacreature_Nereid+w+putin_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Diaeta of Arion (see floor plan #42) Individually, the Nereid represented various facets of the sea from the salty brine, to the sea foam, sand, rocks, waves and currents, as well as the various skills possessed by seamen. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687995942890-AFBL4QQTQL5OIBW1AM9P/_SSL2317_semi-circular+portico_nymphaeum-water_FIN_44+P01_RM31_sm.jpg Armerina Romana Villa del Casale - Semi-circular hall (see floor plan #43) This space in the southeast apartments introduced the rooms of the master's southern apartment and its semi-circular form functioned to connect the various rooms that it opened onto. As is often the case in the villa, practicality is not detached from architectural precision: the little courtyard was enriched with a fountain and a nymphaeum that provided cool air and a constant supply of water. The columns were set in a hemicycle to hold up the compluvium (roof that slopes indoors) which collected the water to send to the impluvium (tub) on the floor of the room with its mosaic presenting putti intent on fishing. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687995889808-KV6BVDF7216DW0G6Z8ND/_SSL2311_portico+putin+fishing-w-creel_FINITI_40P02_Rm31_sm.jpg Armerina Romana Villa del Casale - Detail: Semi-circular hall (see floor plan #43) The Hall was used to free the rooms of the children of the dominus from the Diaeta of Arion room (see floor plan #42). The mosaics in the portico depict winged cupids on boats with nets, traps and harpoons in a sea filled with fish. Above, a putto is holding a fish while another empties its catch from a basket. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687995844341-F0RJHAK2TM600ZGAPG9R/_SSL2314+Putti+w-creel+etal_FINITO_40P02_Rm31_sm.jpg Armerina Romana Villa del Casale - Detail: Semi-circular hall (see floor plan #43) One putto steers the boat while the other prepares to throw its basket into the water. The shoreline is represented by the buildings and promenade in the background. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687995884136-8QK565GRKOZ6STPEW6PA/_SSL2315_Portico+fishing+III_FINALE_40P02_Rm31_sm.jpg Armerina Romana Villa del Casale - Detail: Semi-circular hall (see floor plan #43) The communality of fishing is represented here with two boats pulling on a net having filled it with fish. The shoreline is represented by the buildings and promenade in the background. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687995979728-J6MO4L6LU7I05CBX8RWK/_SSL2325_fish+w+trident_FINE_sm.jpg Armerina Romana Villa del Casale - Detail: Semi-circular hall (see floor plan #43) The putto standing in the boat prepares to throw a trident in order to spear a fish. In Greco-Roman culture, the trident is the most famous symbol of power over the sea and an indispensable attribute of the god Poseidon (Neptune). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687996003394-B4L68FDYCXHU8HGD4P6B/_SSL2325-B_putit+fish-w-net+and+hook_FINALE_sm2.jpg Armerina Romana Villa del Casale - Detail: Semi-circular hall (see floor plan #43) The putti are using a net and a fishing pole to catch fish. In the background is a sequence of maritime villas, each with a different form but all featuring long arcades that open out onto the sea with trees in the background. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687990232739-LHTYTOKYK5YC99YWTOH5/_SSL2307_Room-Children+bird+race_FIN_44+P02_Rm33_sm.jpg Armerina Romana Villa del Casale - The Vestibule of the Little Circus (see floor plan #44) Mimicking a race at the circus, chariots pulled by animals are led by children around a central spine with two tiers. As in the mosaic of the quadriga (chariot drawn by four horses) race in the biapsidal hall of the baths (see floor plan #13), the victory is won by the charioteer of the green faction (lower right) who brakes his animals and leans back to receive the victor's palm. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687990203065-ME3WXOK6A8185NWX8MAW/_SSL2305+ostrich+chariot_FIN_sm_Rm33.jpg Armerina Romana Villa del Casale - Detail: The Vestibule of the Little Circus (see floor plan #44) The factions are identifiable by the color of the children's tunics, and by the plumage of the birds: flamingos for the Reds, geese for the Whites, gallinule for the Blues (as seen above) and pheasants for the Greens. Around their necks, the birds wear the attributes of the seasons, which symbolize the passing of the seasons and the cyclical nature of time. Garlands of flowers around the necks of the flamingos indicate Spring; spikes on the geese, Summer; grape bunches on the chests of the gallinules, Autumn; and olive branches on the pheasants, Winter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1687990188215-P0N98M1IR7HV2D3ZRCHW/_SSL2303_two+children+chariot+race+FIN_Rm33_sm.jpg Armerina Romana Villa del Casale - Detail: The Vestibule of the Little Circus (see floor plan #44) Each small two-horse chariot is accompanied by a sparsor, who is in charge of urging on his faction's chariot and throwing water to cool the charioteer and the animals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797750060-WQ5QVDZF4TIOKBTICVUZ/_SSL2302_cymbals_FINAL_sm.jpg Armerina Romana Villa del Casale - Detail of the Cubicle of the Daughter (see floor plan #45) Depicted on the apse floor of this room, is a mosaic scene of the Spring pagan festival to the goddess Flora (protector of blossoming and of pregnant women). Above are two girls weaving rose wreaths. There is also a tree where you can notice a leaf of ivy, the symbol of Maximian's (Roman Emperor from 286-305) family. Below this scene completing the floor mosaics are scenes of musicians arranged on three different levels, two of which follow. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797724864-V5MYNVLSRGD8Q5VEA014/_SSL2301_young+musicians_lyre_45a+P01_FINI_sm2.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the daughter (see floor plan # 45) The middle field of the floor is occupied by the figures of young musicians, actors, poets, and mimes who challenge each other in a theatrical competition, mimicking real competitions held among Roman children. The musician on the right wears a head piece similar to those being made by the girls above. The musical instruments are described in a highly detailed manner, such as the large lyre placed above a four-legged support in order to give it greater resonance. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1686797738808-HZKQBXFWIQOW55I8HWAD/_SSL2299_lyre+and+tympanum+player_FINALE_45a+P01_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the daughter (see floor plan # 45) Finally, on the bottom part of the room’s floor is a large tympanum, a percussion instrument topped by five keys marked with Greek letters, used to hold the membrane according to the desire tonality. In addition, a musician plays the lyre. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1690160748342-RO5LMXV228EG88NQCW3O/_SSL2328+_pan+vs+eros_FINITO_R_42+P01_Rm35_sm_crpII.jpg Armerina Romana Villa del Casale Pan, a forest divinity with the legs and horns of a goat and emblematic of irrational forces, and Eros, represented as a winged child, a symbol of the human soul and victory of reason over passion, prepare for a struggle. The judge who raises his arm in the air starting the competition is Silenus, wearing a crown of grape leaves on his head; He is connected to the cult of wine; distinguished for his great wisdom, he was entrusted with the education of the young Dionysus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688092167002-AJ7132XOEFVRRAAIRZ2H/_SSL2328+_pan+vs+eros_FINITO_R_42+P01_Rm35_sm.jpg Armerina Romana Villa del Casale - Vestibule of Eros and Pan (see floor plan #46) In the upper center of this mosaic of the struggle scene between Pan and Eros there is a table filled with prizes for the victor. Above these are crowns and palm branches; below are sacks of coins, the value of which we can clearly read. To the left of Pan and Silenus there is a satyr and two maenad (female followers of Dionysus). Behind Eros is a group of women and children who might allude to the domina and her family, represented by a maidservant and three young children. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688092203240-DIA96P9HNSN5FDI1KGHQ/_SSL2340_child+barnyard+hunt_43_FIN_Rm36_sm.jpg Armerina Romana Villa del Casale - Cubicle of the children hunters (see floor plan #47) Cubicle of the children hunters is considered the son's room. This room, identifiable as a bedroom, is composed of a rectangular space followed by a smaller area, the alcove (at the top), where the bed was located. The walls were initially decorated with a fresco depicting a procession of female figures on a blue background, still partly recognizable. In a later phase, this decoration was covered with marble facing, now lost. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688092189329-CY3CYF2NER45IGUOZ0AS/_SSL2338_women+pick+roses_43_FINAL_Rm36_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the children hunters (see floor plan #47) In the alcove we find illustrations of the transport, gathering and creation of crowns of roses by noblewomen or young flower girls, called coronariae. The girls are collecting roses in baskets in the upper register. Underneath, there is a young girl carrying baskets overflowing with roses and on the opposite side of the mosaic there is still another girl sitting on a basket, weaving wreaths of roses. In the lower register, a child carrying a pole across his shoulders, with baskets overflowing with roses hanging on either end. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688092170874-XXXBT1S3TR4XOY7VMVVT/_SSL2337_rat+bite-rabbit-duck_43_FINALE_Rm36_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the children hunters (see floor plan #47) The main section of the room presents on three registers, the middle two are shown here: some children intent on the capture of barnyard animals, reviving, in a minor key, the activities of the adults represented in other rooms of the villa. Not all the children are successful in the hunt: one is bitten by a rat (lower left) while another has fallen to the ground trying to escape a giant rooster (lower right). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688092136357-VXU05NMSLFD2TGETXJMI/_SSL2333_gather+peacock-peahens-goat+and+leaves_FINE_43_Rm36_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the children hunters (see floor plan #47) On the lower part of the floor, we see a boy brandishing a stick against a peacock, the latter often used to represent renewal, spring, and immortality, while a peahen views the scene. Perhaps the flowers and leaves and birds also in the scene symbolize Spring and renewal. In addition, possibly as a contrapuntal theme, on the right, another boy stabs a goat causing blood to gush from its chest and eventual death. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688092722016-WCW6KMX8EP0AZXMQWZRE/_SSL2382+Basilica+Icarus_FINAL_sm.jpg Armerina Romana Villa del Casale - The Basilica (see floor plan #48) The Emperor administered justice and organized official receptions in the Basilica. The imperial throne stood in the apse, raised above the rest of the floor. Today there are two statues in this area, one of Icarus (right) in that area. and the other of Ikaria (left). The tragic story of Icarus highlights the dangers of excessive pride. Although he was warned by his father not to fly too high, Icarus became overexcited and flew too close to the sun, causing his wings to melt and leading to his untimely death. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1690152054519-CVL5V74KHAJNX8VF3SLY/_SSL2225_Basilica_Icarus-Icaria_crp_36+P05_sm.jpg Armerina Romana Villa del Casale - Detail: The Basilica (see floor plan #48) The splendid Ikaria (left) that accompanies Icarus, has no place in Greek mythology but can be identified as an island of Greece. Igor Mitoraj’s fabrication presents her as a young female body, at times androgynous, without a head and arms. The missing arms are replaced by wings ready to take off, but the will to follow this Icarus otherness is held back by the grasp of an unknown hand that grabs her ankle and holds her to the ground. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688098492345-CNOZMT6L13VSDZ62RPRU/_SSL2389+_Basilica+rendering_sm.jpg Armerina Romana Villa del Casale - Artist's Rendering of the Basilica (see floor plan #48) Above is an artist’s rendering of the original Basilica room. The great basilica of the Villa Romana del Casale is the central space in the villa. When the villa was built the basilica was the central public room and, as such, it has certainly been one of the most beautiful in the villa. The basilica is the last of a series of progressively more prestigious spaces, starting from the atrium, through the peristyle, across the corridor of the great hunt to the basilica. Each space is placed higher than the previous so the basilica is the apex of the villa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1690153806757-ZBYMXQ5LLPDNED208L93/_SSL2377_Polyphemus+and+Ulysses_FINAL_Rm27_sm_crp2.jpg Armerina Romana Villa del Casale - Detail: Vestibule of Ulysses and Poliphemus (see floor plan #49) The Cyclops Polyphemus and Ulysses episode is depicted in this floor-mosaic. Polyphemus is represented with three eyes, a beard and long hair. He is sitting on a large rock, holding a disembowelled ram in his left hand and reaches for the crater full of wine with his right hand that the wily Odysseus (wearing a red tunic), has offered to him with the intention of getting him drunk. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090623253-N4I9E9P4BKPY3CMJMUS2/_SSL2377_Polyphemus+and+Ulysses_FINAL_Rm27_sm.jpg Armerina Romana Villa del Casale - Vestibule of Ulysses and Poliphemus (see floor plan #49) As Ulysses hands Polyphemus the wine, Polyphemus' flock is shown in the foreground, fundamental for the escape of Ulysses and his companions, who, taking advantage of the animals going out to pasture, will flee by clinging upside-down to their stomachs. This scene takes place entirely in the cave of the giant, described with naturalistic attention: the rocks curve in sloping tones while beyond there are various types of shrubs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090488887-5IZ3QSWMXG1OGPM2UMS3/_SSL2356+_fruit-garland-design_sm.jpg Armerina Romana Villa del Casale - Cubicle of Fruit (see floor plan #50) The cubicle of fruit was the bedroom of the domina. In this room are square shaped geometric designs that frame nine laurel wreaths with various types of fruit: figs, pomegranates, grapes, peaches and pears. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090491954-ZZFWBBN821EBN46T5D03/_SSL2357_turnips_38+P01_FN_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of Fruit (see floor plan #50) Within the twelve-point-star lozenge design is a garland surrounding pomegranates. The pomegranate symbolized fertility in Ancient Greece and Rome. It had a strong association to Hera, the Greek goddess of marriage and childbirth. The pomegranate was used in the ancient world to decorate the crowns of brides. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090559610-A9W7SNMWG9GHRD8PBFPA/_SSL2360_grapes_38+P01_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of Fruit (see floor plan #50) A wreath surrounding grapes is shown within the twelve-point-star lozenge design. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090615193-7QMQ9IYFF3M394N6USN3/_SSL2373_seasons+and+masks_39+P02_FIN2+copy.jpg Armerina Romana Villa del Casale - Cubicle of the Erotic Scene (see floor plan #51) This room was the bedroom of the dominus; it is decorated with geometrical designs, masks and busts of women. In the center there is a famous medallion, a dodecagon with a laurel wreath and the erotic scene. In the hexagons one notes the busts of the four Seasons, moving counter-clockwise from above: Summer, Autumn, Winter and Spring. in addition, eight circles containing laurel wreaths surround female theatrical masks. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090534451-5N5F5XB6A2Z3040ISV54/_SSL2363_Cupid+and+Psyche_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the Erotic Scene (see floor plan #51) In the center of the room, inside the laurel wreath, is a young woman with her back turned, standing on tiptoe to get closer to the face of a youth who embraces her and reciprocates her kiss. The two lovers have been identified as the mythological figures of Cupid and Psyche who, after a whirl of events, celebrate their love with matrimony. The attribution is supported by the presence of a situla, a golden vase used in marriage ceremonies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090587142-WFIDD16VO8444X3SASL6/_SSL2371_summer_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the erotic scene (see floor plan #51) Depiction of Summer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090563020-3SE0KHSEZVGHYCX1G5CL/_SSL2368_Winter-Season_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the erotic scene, the bedroom of the dominus (see floor plan #51) Depiction of Winter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688090594896-EIOL6DA1VV4M4ZJL3ETS/_SSL2372_female+theatrical+mask_FIN_sm.jpg Armerina Romana Villa del Casale - Detail: Cubicle of the erotic scene (see floor plan #51) Within the eight-point lozenge, a circle containing a red and yellow laurel wreath surrounds a female theatrical masks characterized by large eyes and hair gathered on top of the head. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1688176482371-V3IVSD30OAQXCR0UP79I/_SSL2395_Piazza+Armerina+Cathedral_FIN_sm.jpg Armerina Romana Villa del Casale - Piazza Armerina Cathedral (Duomo di Piazza Armerina) Leaving the Villa Romana del Casale, one views Armerina with its cathedral dedicated to Mary of the Victories (Maria Santissima delle Vittorie). It is the seat of the Bishops of Piazza Armerina. Built on the foundations of an earlier church of the 15th century and based on a design by architect Orazio Torriani, its construction began in 1604 and ended in 1719, while the dome was added in 1768. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1684573447836-OMIVPBO0KJ72TOO3QK52/SSL02100_entrance+area%237.jpg Armerina Romana Villa del Casale - Polygonal Courtyard (see floor plan #7) Wilson, R.J.A., Piazza Armerina, University of Texas Press, Austin, 1983. Enna, M., Piazza Armerina. Villa Romana del Casale, Edizioni Enjoy – Ragusa, Italy, 2011. “The Great Hunt Mosaic, Villa Romana del Casale,” https://villaromana.mused.org/en/stories/2/the-great-hunt-mosaic “How to Make a Roman Mosaic - Manufacture Techniques,” https://theancienthome.com/blogs/blog-and-news/how-to-make-a-roman-mosaic “Villa Romana del Casale,” https://en.wikipedia.org/wiki/Villa_Romana_del_Casale Pensabene, P. and Gallocchio, E., “The Villa del Casale of Piazza Armerina,” https://www.academia.edu/9004164/P_Pensabene_E_Gallocchio_The_villa_del_Casale_of_Piazza_Armerina_in_Expedition_53_2_2011_pp_29_37_2011 Stephan, A., “A Brief Introduction to Roman Mosaics,” Getty, https://www.getty.edu/news/a-brief-introduction-to-roman-mosaics/ “Ancient Roman Mosaics, Facts and Details,” https://factsanddetails.com/world/cat56/sub399/item2064.html “Ancient Roman Mosaics,” https://www.worldhistory.org/article/498/roman-mosaics/ “Roman Mosaics - History, Materials and Examples,” https://theancienthome.com/blogs/blog-and-news/roman-mosaics-history-materials-examples “Roman Mosaic,” https://www.worldhistory.org/article/498/roman-mosaics/ Villa Romana del Casale, https://villaromana.mused.org/en/items/9318/annointment-room Wilson, RJ.A., “Review of Piazza Armerina. La villa romaine de Casale en Sicile,” Brigitte Steger, Piazza Armerina : la villa romaine du Casale en Sicile. Antiqva 17. Paris: Picard, 2017. 253 p.; ill.. ISBN 9782708410268. University of British Columbia. roger.wilson@ubc.ca, The Nereides, from Dictionary of Greek and Roman Biography and Mythology, https://www.theoi.com/Pontios/Nereides.html http://www.sslanzilotti.com/2022-italy daily 0.75 2024-07-04 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693472115340-3P2LU3YVKLLXXCDN9Q6Y/_SSL0446_Brindisi+Harbor.jpg 2022 Southern Italy-Albania - Brindisi Harbor Since Roman times, Brindisi has been an important port city known throughout history as the “Gateway to the East.” Perched along the edge of the Adriatic Sea, it’s one of the largest cities in the Puglia region and has one of the most active trading and transport ports in Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693472115340-3P2LU3YVKLLXXCDN9Q6Y/_SSL0446_Brindisi+Harbor.jpg 2022 Southern Italy-Albania - Brindisi Harbor Since Roman times, Brindisi has been an important port city known throughout history as the “Gateway to the East.” Perched along the edge of the Adriatic Sea, it’s one of the largest cities in the Puglia region and has one of the most active trading and transport ports in Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693463040646-03IBAUNPY8QQITV6TEAN/DSC03705_Brindisi_Navy+Second+Mooring+Agent.jpg 2022 Southern Italy-Albania - Brindisi Navy Second Mooring Agent Throughout history, Brindisi has been ruled by various empires and kingdoms, including Ostrogoths, Lombards, and Kings of Sicily. During World War II, the city served as the capital of Italy, hosting King Victor Emmanuel III. Brindisi remains a strategic point on the eastern coast and the primary city of the Apulia region. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693463170774-2FQRA4L4ZRHJBS0WM44U/_SSL0451_Brindisi_Big+Rudder_Sailor+monument_sm.jpg 2022 Southern Italy-Albania - Monumento al Marinaio or the Italian Sailor Monument The Italian Sailor Monument built in 1933 in the shape of a rudder is 177 feet tall across the harbor from the end of via Appia. It was built in memory of the fallen sailors during both world wars; the names of the 6.000 Italian sailors fallen during the first war world are engraved inside. A marble Our Lady statue (1954) was put at the top. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693463056735-TBW2CAK4JLR7IWCUHRK3/DSC03724_Brindisi_Grand+Albergo+Hotel+Dining+Ceiling.jpg 2022 Southern Italy-Albania - Brindisi Grand Albergo Hotel Meeting Room Ceiling The Grand Albergo Hotel is located overlooking the waterway at the end of the Appian Way (the road between Rome and Brindisi in that period). This area was the place where (in Roman times) the travelers left to the East. From the Hotel, a splendid view of the port of the city is revealed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693463222498-T8J2EXDFLFYXXOFT6XL6/_SSL0453_Brindisi_Column+end+Appian+Way_2+to+3CE_sm.jpg 2022 Southern Italy-Albania - Roman Column (2nd to 3rd CE) at the end of Appian Way The Appian Way, the Queen of Roads, ends in steps leading down to Brindisi harbor and onwards to Africa and the Middle East. On top of these stairs the Roman constructors placed two 61.5 feet high columns crowned by a headband depicting Jupiter, Neptune, Juno, and Amphitrite and other gods of the sea. That happened more than 2000 years ago, at a time when Brindisi was one of the major Italian cities. In the Middle Ages it became the prime port for the crusades. The columns at the end of the Appian Way were the last thing crusaders saw after venturing out to recover the Holy Land, and the first landmark that greeted their return. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694307410828-I43S3MH5BI3AO10AQGCQ/_SSL0458_Appian+col+top+copy.jpg 2022 Southern Italy-Albania - Capital of Appian Way Column, Brindisi The capital of the Appian Way column (2nd-3rd CE) in Brindisi is decorated with four anthropomorphic figures, one for each side, depicting Neptune, facing the sea, on the side opposed Jupiter, Mars and Minerva on the other two sides. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693463753473-XO176BKAVTI09NXBLRVY/_SSL0459_Brindisi_second+col+AppianWay_sm.jpg 2022 Southern Italy-Albania - The second Roman Column at the end of the Appian Way, Brindisi Originally, there were two twin columns at the end of the Appian Way. Some have suggested that they were used as a point of reference for the sailors entering the port. The base and a rock of the column that fell in 1528 are still in place; the other part was given as a gift to the city of Lecce, to form a part of the column to St. Oronzo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693463984263-A5G6817V34N4APG1S0AH/_SSL0473_Brindisi_Piazza+Duomo+walk-Brandisi_sm.jpg 2022 Southern Italy-Albania - Brindisi Cathedral Church Bell Tower A medieval bell tower with a tunnel opens up to the ancient Piazza del duomo, which is also known as St. John the Baptist Church in the historic center of Brindisi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1710059785574-5R4TC3RB88PPW60DFVVK/_SSL0507_Brindisi+Cathedral_St+John+Baptist__crp_sm.jpg 2022 Southern Italy-Albania - Cathedral of St. John the Baptist, Brindisi Brindisi’s Cathedral Church, also known as St. John's the Baptist Church, was originally built between 1098 and 1132. It has been almost entirely rebuilt, following the original design, after the earthquake in 1743. Here Ruggiero, son of Tancredi, was crowned King of Sicily in the year 1191, and in the year 1225 celebrations were held for the marriage of Isabella of Brienne, queen of Jerusalem, to the emperor Federico II. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693464167062-GJWLGGJCPP0PVUNHXF57/_SSL0488_2022-10-19_Brindisi_Last+Supper_StJBap+chapel_sm.jpg 2022 Southern Italy-Albania - Holy Sacrament Chapel, St John the Baptist Cathedral, Brindisi Holy Sacrament chapel of the Brindisi cathedral was painted by Diego Oronzo Bianco in 1715. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694303421561-ETEJHYL9SDWS6CENFNZP/_SSL0493_Brindisi_Christ+Holy+Communion_crp_FIN.jpg 2022 Southern Italy-Albania - First Holy Communion (The Last Supper, detail) Holy Sacrament Chapel, St John the Baptist Cathedral Diego Oronzo Bianco’s Last Supper has a different focus than the Leonardo da Vinci (1495-1498) version. Leonardo presents a study of varied human emotion through the individual apostles’ responses to Christ’s announcement that one of them would betray him. Bianco’s Supper focuses on Christ as the Holy Sacrament, presenting Christ in a blessing pose with his right hand while holding a loaf of bread in his left hand. Through Bianco's Supper the faithful experience the first Holy Communion, the Christian sacrament of the Holy Eucharist in which bread is transformed into the body of Christ (transubstantiation). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694298182426-GVZO2GLYV5U12DBQV0CM/_SSL0490_Brindisi_Last+Supper_Holy+Sacrament+Chapel_StJohnBapCath.jpg 2022 Southern Italy-Albania - The Last Supper, Holy Sacrament Chapel, St John the Baptist Cathedral, Brindisi In Bianco’s Last Supper the apostles sit around an oval table, as individuals or in pairs, in contrast to Leonardo’s long rectangular table with the apostles grouped in threes, all on one side. Bianca’s Supper occurs within a room with receding Roman arches, a classical motif, while Leonardo’s room has an orthogonal-lined ceiling with three windows that reveal a countryside background. Leonardo uses the light from the window behind Christ to create the illusion of a halo, whereas Bianco illuminates Christ’s head with a halo of rainbow colors. In both versions Judas holds a bag of money, i.e., the Apostle in the right front of Bianco’s painting. Bianco inserts a small dog (lower front) emerging from under the table and drinking from the basin used to wash the feet of those about to supper unlike Leonardo's version. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694046797696-D4AHSVT1E0KODBA04490/_SSL0488_Brindisi_Duomo_Judgment+of+Solomon_V.jpg 2022 Southern Italy-Albania - Judgment of Solomon, Holy Sacrament Chapel, St John the Baptist Cathedral, Brindisi The Judgement of Solomon is a story from the Hebrew Bible in which Solomon ruled between two women who both claimed to be the mother of a child. Solomon ordered the baby be cut in half, with each woman to receive one half. The first woman accepted the compromise as fair, but the second begged Solomon to give the baby to her rival, preferring the baby to live, even without her. Solomon ordered the baby given to the second woman, as her love was selfless, as opposed to the first woman's selfish disregard for the baby's actual well-being. Some consider this approach to justice an archetypal example of an impartial judge displaying wisdom in making a ruling. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694144041574-0A2B7LQCH3KJ3NYV54T3/_SSL0526_Lecce+Colonna+d%27Oronzo.jpg 2022 Southern Italy-Albania - Column of Saint Oronzo, Lecce, Italy As stated earlier, two Roman columns once marked the end of the Appian Way in Brindisi. When one of them crumbled in 1582 some of the pieces were rescued and subsequently donated to Lecce (the base and capital remain in Brindisi). The old column was rebuilt in 1666 with a statue of Lecce's patron saint placed on top. Sant'Oronzo is venerated for supposedly saving the city of Brindisi from a 1656 plague. When this picture was taken in 10/2022 the statue was not on the column. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694138158469-WM4DUQB0AEHOH90UX6C9/_SSL0516_Piazza+Saint+Oranzo_Chiesa+di+Santa+Maria+della+Grazia.jpg 2022 Southern Italy-Albania - Church of Santa Maria of Grace in the Piazza Saint Oronzo, Lecce The Church of Saint Mary of Grace (rt middle) located across the Roman Amphitheater in Piazza Sant’Oronzo was built in the late 1500’s. The Roman amphitheater is in fact double the size, however when it was excavated, the Church of Saint Mary of Grace already existed. If the archaeologists had wanted to continue to dig, they would have needed to tear down the church in order to do so because it was built on top of the ruins. As a result, now you just see part of the well-preserved Roman ruins. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693464822482-XXJN2YUVR7SSA5RUNW6Z/_SSL0514_Lecce+Roman+Amphitheatre_Piazza+Sant-Oronzo.JPG 2022 Southern Italy-Albania - Roman Amphitheater, Piazza Sant Oronzo, Lecce, Italy The amphitheater in the Piazza Saint Oranzo is surrounded by other classical ruins, a Baroque triumphal arch, and the buildings of modern-day Lecce, reflecting the entire history of the city in one view. It was completely hidden from view and its existence unknown until 1901 when it was uncovered while digging to build a bank. The below-ground amphitheater was built during Roman Emperor Hadrian’s reign (r. 117-138 CE), at which time Lecce was just a small village that could be used as a resort or a trading port along the Mediterranean. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693533693621-ZX93YG2ECWQP98U9MS6J/_SSL0522_Lecce+Amphitheater+infrastructure_sm.jpg 2022 Southern Italy-Albania - Lecce Amphitheater Infrastructure The amphitheater we see today is just a part of the original structure, the rest of which is buried forever under the Chiesa delle Grazie but you can easily make out the horseshoe-shaped arena, which in its time could hold at least 15,000 spectators. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693534279140-BIPLZNE8RMS9RT3X0J9U/_SSL0588_Lecce_Amphitheater-infrastructure_sm.jpg 2022 Southern Italy-Albania - Lecce Amphitheater Infrastructure On the walls of the arena, images of animals are still visible: deer, bears, lions and bulls, which were all hunted for entertainment in the arena. Exotic animals were also hunted for sport, presented in morning exhibitions. Midday shows featured public executions or fights to the death between condemned prisoners, and in the afternoon, the “entertainment” concluded with gladiator fights. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693534462496-9OK7MMA6N4RLCSAIMY59/_SSL0530_Lecce_Porta+Napoli+1548.JPG 2022 Southern Italy-Albania - Porta Napoli, Lecce, Italy The main city gate, Porta Napoli, was erected in 1548 in anticipation of a state visit from Charles V, the Holy Roman Emperor (1519-1555) and King of Spain (1516-1556), with its possessions of the southern Italian kingdoms of Naples, Sicily and Sardinia. The name of Porta Napoli derives from the consular route, starting here and leading to Naples. On the pointy pediment is carved an enormous Spanish coat of arms and below an inscription celebrating the Emperor Carlo V, “triumpher in the American and African territories and during the wars against France, destroyer of the Turks and propagator of the Christian religion.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693534546823-B9UHWP1U92HSL7U2ACYL/_SSL0533_King+Ferdinand+I++of+the+Bourbons_obelisk_Lecce_sm.jpg 2022 Southern Italy-Albania - Obelisk dedicated King Ferdinand I of the Two Sicilies (December 1816 – January 1825, Lecce This obelisk, erected in 1822, stands in the center of a traffic circle, separated from Porta Napoli by Piazzetta Arch of Triumph. It is decorated on all four sides by relief panels and was erected to commemorate the visit of King Ferdinando I ( 1751 – 1825) of the two Sicilies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694149929887-XZOU5PL9HLIE7PG0UL3C/_SSL0542_S+Maria+della+Provinidenza+o+delle+Alcantarine.JPG 2022 Southern Italy-Albania - Santa Maria della Provinidenza o delle Alcantarine, Lecce, Italy The Church of Santa Maria della Provindenza is better known as the Alcantarine from the nuns who occupied the adjacent monastery now demolished. The façade is formed by three superimposed orders. In the lower part, niches house the statues in Lecce Stone of Saint Raphael the Archangel, Saint Anthony of Padua, Saint Francis of Assisi and St. Michael the Archangel. The second order is characterized by a central window and two niches that house the sculptures of Saint Peter of Alcantara on the left and Saint Paschal Baylon right. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693537431703-4GZTFXEHZC3AYD3YE0V6/_SSL0552_Lecce_S+M+P+o+d+A_Woman+wash+Christ+feet.jpg 2022 Southern Italy-Albania - A woman washes Jesus' feet, Church of Santa Maria della Provindenza, Lecce Inside the The Church of Santa Maria della Provindenza this painting illustrates the story of a woman who washed Jesus’ feet. “And behold, a woman who was in the city, a sinner; and when she knew that he was sitting at the table to eat at the Pharisee's house, she brought an alabaster jar of ointment, and standing behind at his feet, weeping, she began to wet his feet with her tears, and wiped them with the hair of her head, and kissed his feet, and anointed them with the ointment." The story concludes that Jesus said to the woman, “Because you believed, you are saved from your sins. Go in peace.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693537536456-0A8AJAZ65YPBATQMJC6J/_SSL0564_Lecce+naked+tennis+statue.jpg 2022 Southern Italy-Albania - What is there to say about a statue of a naked tennis player on a tennis club lawn in Lecce? https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693537597901-9A6O97497QJCK285RFGF/_SSL0568_Lecce+Piazza+del+Duomo+Cathedral_sm.jpg 2022 Southern Italy-Albania - Piazza del Duomo, Lecce The original Norman cathedral was built on Piazza del Duomo in the mid-12th century. More than 500 years later, the church was completely reworked in the baroque style and finished by Giuseppe Zimbalo. At the center of the façade is the portal, accessible by a staircase. Flanking the portal are niches containing statues of Saint Giusto (on the right) and Saint Fortunato (on the left). Above, in the center and standing within a grand and highly decorated arch, is a statue of Saint Orontius, Lecce’s patron saint. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693537655402-BINYPTUYYPGJZRKG8ALE/_SSL0568_Lecce_Duomo_S+Orontius+c.jpg 2022 Southern Italy-Albania - Saint Orontius, b. 22 A.D. – d. 68 A.D., Lecce Duomo facade, Italy Saint Orontius is traditionally known as the first bishop of Lecce, who was ordained by Saint Paul. A 12th c. manuscript states that a representative of Nero, Antoninus, imprisoned Orontius and his nephew, Fortunatus, threatening to kill them if they did not reject their new religion (Christianity). The two refused and managed to be released, and continued to preach in the Salento and at Bari. They were finally arrested again by Antoninus and executed with an axe 1.8 miles from Lecce, on 26 August. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693538007937-RU3HAYK4EE397KW79VA9/_SSL0584_Lecce+bike+to+Roman+Theater.jpg 2022 Southern Italy-Albania - Biking to the Roman Theater A Roman Theater is hidden amongst the buildings of the Baroque city. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694156235052-F4JFDEC278X4PGFP1GUE/_SSL0581_Lecce+Roman+Theater+cavea+area.jpg 2022 Southern Italy-Albania - Roman Theater cavea area The 2nd century theater was discovered by chance during an excavation to restructure a building. In this case, in 1929 during some works, the cavea was brought to light, i.e., the steps where the spectators took their seats. Then the statues that decorated the theater were found, statues going back to the times of the Antonini, Roman emperor from 138 to 161. Today we can only see a part of it having built all around it but it was thought to contain about 5.000 people. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693537986104-AYXKOER43M7WNI70Q6A7/_SSL0577_Lecce_Roman+Theater.jpg 2022 Southern Italy-Albania - Roman Theater Stage Area, Lecce As in all theaters of the 2nd-3rd centur,y both comedies and tragedies were performed. As for fights with animals or among gladiators there was the amphitheater (shown earlier on this site). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693467019662-RAYU1TFMKZ0TS1JNB3QO/DSC03713_Brindisi_Virgilio+Staircase+night.jpg 2022 Southern Italy-Albania - Virgilio Staircase, Brindisi Having returned from Lecce, an after dinner walk along the harbor and the Virgilio Staircase with the Appian Way Column at the top. On the right of the square are the remains of the house in which the Latin poet Virgil died. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693464459483-R69W2ZLD2UUE9MHAFPV7/DSC03717_Brindisi_Virgil+Monument.jpg 2022 Southern Italy-Albania - Virgil Monument, Brindisi The statue is a sculpture that was conceived by Floriano Bodini in 1988, dedicated to the Greek artist Virgil. It is located in this small garden on the seafront to honor the memory of Virgil, located near his house, adjacent to the Virgilio staircase, where he spent the last period of his life and where he died in 19 B.C. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693464518537-QSLXXH93OZH7RMQZ8KIF/IMG_0416_Brindisi_waiting+in+Brindisi+for+board+ferry-2.jpg 2022 Southern Italy-Albania - Waiting in the car line to board the ferry to Albania While in line, boarder guards checked not only documents but in some cases had drivers open their car trunks for inspection. I was asked why I was going to Albania. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693464720273-7Z6Q8FQPWYDCML7IKGWW/IMG_0423_Brindisi_Ferry+Albania_car+ingress.jpg 2022 Southern Italy-Albania - Last check before entering the ferry to Vlore, Albania A third check for documentation - passport - for ferry from Brindisi to Vlore, Brindisi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693464753434-SGRXXU3J5WT0E77GLL26/IMG_0429_Brindisi+to+Vlore+ferry+parked.jpg 2022 Southern Italy-Albania - Parked inside the ferry for the overnight trip to Vlore, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693555297258-C945FZGOSX39BMISSGWV/DSC03758_Albania-Vlore-Nobus+Hoterl_view+Adriatic.jpg 2022 Southern Italy-Albania - Morning over the Adriatic, Nobus Hotel, Vlore, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693538534904-T7AQKEM4KZK1YK2MB2H6/_SSL0594_Albania_2022-10-21_view+from+Vlore_Nobus+Hotel+_FINE.jpg 2022 Southern Italy-Albania - View from the Nobus Hotel and Spa, on the Adriatic Coast, Vlore, Albania The hotel was a great place to stay - comfortable, out of the city, great food, clean, and pleasant with accommodating staff. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693538571104-8S1P32TJH877TQILG04M/_SSL0615_Albania_Vlore_Road+to+Apollonia.jpg 2022 Southern Italy-Albania - Road to Appolonia, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693538571758-8IKS5M92XYORTFDNLAG3/_SSL0620_Apollonia+Church+and+Monastery.jpg 2022 Southern Italy-Albania - Apollonia Church and Monastery, Albania The monastery and the church of Saint Mary dates back to the 13 century. The monastic complex is Byzantine style and is built with recycled bricks and blocks from the ancient buildings of Apollonia. The church is one of the first of this type in Albania, i.e., in the shape of the cross with a central dome. The capitals of the porch are typical Romanesque style influenced from south Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694852614284-TL4FOR394TBDSJZE2Y2S/_SSL0625_Apollonia+13thc+monastery+refectory_sm_FIN.jpg 2022 Southern Italy-Albania - Refectory, Monastery of Saint Mary, Apollonia, Albania In the front of the Church of Saint Mary is the refectory (dining hall of the monastery), where some wall paintings of the 13th century are still preserved. Under the level of the floor excavations found earlier remains of a mosaic floor with zoomorphic motifs dating back to the 4th-5th century. In the back side of the church is the statuary porch and in the second floor of the monastery the archaeological museum of Apollonia. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693538847923-2UBO9ROQEXMRMN2KBV89/_SSL0625_Apollonia+13thc+Christ+12Apostles+Monastery.jpg 2022 Southern Italy-Albania - Christ teaching the 12 Apostles, 13th century, Refectory Monastery, Apollonia, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694162792272-8LC7YCJJJGG18J6R4CEO/_SSL0632_Apollonia+Monastery_jesus+washess+feet_sm.jpg 2022 Southern Italy-Albania - Jesus washes the feet of the Apostles, 13th century, Refectory Monastery, Apollonia, Albania Walking in sandals on the roads of Palestine in the first century made it imperative that feet be washed before a communal meal. When Jesus rose from the Last Supper and began to wash the feet of the disciples (John 13:4), He was doing the work of the lowliest of servants, an act of humility, whereby Jesus, the Lord and Master, should wash the feet of His disciples. Washing feet was more properly their work, but no one had volunteered for the job. As revealed in Matthew 20:28, He came “not to be served but to serve, and to give his life as a ransom for many.” The humility expressed by Jesus’ act with towel and basin foreshadowed His ultimate act of humility and love on the cross. (https://www.gotquestions.org/Jesus-washing-feet.html) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693539353791-KIBHXEFFDLBO33XZVM22/_SSL0635_Ap+monasteryhermit+in+blue+robe_sm.jpg 2022 Southern Italy-Albania - Saint Paul the Hermit, 13th century, Refectory Monastery, Apollonia, Albania Saint Paul the Hermit (not to be confused with the Apostle Paul) was the first hermit saint of the Christian church. Born in Thebes (now Luxor), Egypt, Saint Paul fled into the desert to avoid the persecution of Christians, and to dedicate his life to the solitary worship of God. Saint Paul became a model for successive hermit saints, as well as for the institution of Christian monasticism. According to legend, the saint was born in the year 228 and lived for 113 years until his death in 341. He resided in a desert cave, where he followed a rigorous routine of constant prayer and meditation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693539369401-6MMBWR96FARIMWSOSL5H/_SSL0640_Apollonia-monastery+floor+mosaic.jpg 2022 Southern Italy-Albania - St Mary monastery mosaic floor design, Apollonia, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693539405791-VMM7XSQNGF05CKX2G1L5/_SSL0650_Apolonia+wedding.jpg 2022 Southern Italy-Albania - Wedding pictures at St Mary's Church, Appolonia, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693539642488-7PD8IRNGHX5KZVJADLX3/_SSL0654_Apolloonia_funerary+stele+3rd+c+BC_limestone.jpg 2022 Southern Italy-Albania - Funerary stele, 3rd century BC, limestone, St Mary Monastery, Apollonia, Fier County, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693539664798-9PKO6X0QM2Y1M5FR57PP/_SSL0750_Apollonia+monastery.jpg 2022 Southern Italy-Albania - St Mary Monastery medieval painted wall piece, Apollonia, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694316619473-ZVL9EF14WFP46SSEBT18/_SSL0750_Apollonia_S+Mary+Monastery+section_Dark+Mystic_FINE.jpg 2022 Southern Italy-Albania - Last Supper, wall panel section, St Mary Monastery, Apollonia, Albania The words DARKA MISTIKE (Dark Mystic) are inscribed on the top of this painting. The Mystical or Last Supper is a special event in the Gospels, i.e., it foreshadows Jesus' sacrifice on the cross and it is a mystical event initiated by Christ so that Christians would always be able to receive Him in their bodies and souls. Christ is the only one shown with a halo, as the Holy Spirit hadn’t descended on the disciples yet. Judas Iscariot is placed on the left side of the table (in red), leaning forward to dip his piece of bread in the common dipping bowl at the center of the table. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693539704249-M8MW7CTFKIW7UVUA6E79/_SSL0755_Apolonia+monastery+floor+design.jpg 2022 Southern Italy-Albania - St Mary monastery mosaic floor design, Apollonia, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540000168-UCXWU775GQ0ZVAL7QXWM/_SSL0766_Aplloonia_urn+w-rosetta_3rd-2nd+c+BC.jpg 2022 Southern Italy-Albania - Urn decorated with a rosette design, limestone, St Mary Monastery, Apollonia Urns were used by the ancient Romans, 3rd to 2nd century BC, to hold bones and ashes of a deceased person. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540019522-F6NJPMAC6WZAZJ44FOAL/_SSL0774_Apollonia_sarcophagus_Amazonomachy_2nd+c+AD_sm.jpg 2022 Southern Italy-Albania - Fragment of a sarcophagus depicting the Amazonomachy, St Mary Monastery, Apollonia The marble sarcophagus (2nd century AD) in bas relief depicts a mythological battle between ancient Greeks and the Amazons, a nation of all-female warriors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540048926-K00CPNQSWRTXGCF378C8/_SSL0784_Apollonia_man+in+toga_2nd-3rd+c+AD.jpg 2022 Southern Italy-Albania - Man in toga, 2nd-3rd century CE, St Mary Monastery, Apollonia The toga was very much the defining Roman garment – in fact, non-citizens and many exiles were not allowed to wear it. The poet Virgil called the Romans ‘the togaed race/gens togata’ (Aeneid 1.282), but despite that it was originally worn by both the Romans and the Etruscans. In the early days of Rome, both men and women wore the toga, men wearing it without anything underneath except a loincloth; even later when it was worn nearly exclusively by men it continued to be worn by girls until they were 12. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540080687-HNARVDKX9J92E0UYH057/_SSL0794_Apollonia_God+of+Fertility-2ndcBC_HellenistticPer.jpg 2022 Southern Italy-Albania - The God of fertility, Hellenistic Period, 2nd century B.C., St Mary Monastery. Apollonia As protector of all seeds and the god of wine, male fertility, and freedom, Liber was an ancient Roman deity. Considered patron of the Roman plebe, he was a phallic deity and companion to two Roman goddesses also linked to fertility—Ceres, the goddess of agriculture, and Libera, his female equivalent. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540152641-359GD64KH1MJZLDBSCWU/_SSL0802_Apo_tombstone+w-Amazonomahia-HellenisticPer_3cBC_sm.jpg 2022 Southern Italy-Albania - Tombstone with Amazonmachy, Hellenisttic Period, 3rd century BC, St Mary Monastery, Apoloonia In Greek mythology, he Amazonmachy was the battle between Theseus and the Athenians and Penthesilea and the Amazons. The war occurred due to the abduction of co-queen Hippolyta by Theseus. The war was indecisive, with Hippolyta remaining in Athens and the restoration of the the state of affairs from before the war began. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694321433054-28NJMTL17O8MTI8842S8/_SSL0761_St+Mary+Monastery+entrances.jpg 2022 Southern Italy-Albania - St Mary Church and Monastery entrances https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694329199796-YJQ4Q96K8INS5LW1FKPY/_SSL0758_St+Mary+Monastery+Bell+Tower.jpg 2022 Southern Italy-Albania - St Mary Church and Monastery Bell Tower, Apollonia, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694495812612-IOKZ5FFDEJ4QPZFX2W9B/SSL00728_Apollonia_Boulee+and+Odeon_sm.jpg 2022 Southern Italy-Albania - Apollonia Archaelogical Park Roman ruins Situated in southwestern Albania, about 13 miles from the city of Fier, Apollonia was built by Greek colonizers on the lands of the Taulantii Illyrian tribe. It was considered to be one of the most prominent cities at the time, selected from over twenty other cities throughout the Mediterranean, to receive the glorious name of Apollo, the god of music and poetry. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693555728189-WWG3FOXI12LPK7ENJGCF/SSL00665_Apolonia+Bouleuterian+Archaeologic+graphic.jpg 2022 Southern Italy-Albania - 3D reconstruction of the the Monument of Agonothetes The monumental center of the Apollonia Archaeologic Park was excavated in the 1930s. It is located a short walk from St Mary Monastery and Church. The structure (left) known as the Agonothetes monument and was built in the last quarter of the 2nd century BC, during the Roman period. It had a ten-tier cavea (right) and functioned as Apollonia's municipal building for council meetings. Its small capacity highlights that the oligarchic political organization of Apollonia was preserved in its early Roman era. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693556693851-BY1785GFWW3HEW9RQAWY/SSL00668_Apolonia+Bouleuterian_sm.jpg 2022 Southern Italy-Albania - The Monument of Agonothetes, the Bouleuterian in Apollonia, Albania In ancient Greece, an agonothetes was the president or superintendent of the sacred games. At first the person who instituted the games and defrayed the expenses was the Agonothetes; but in the great public games, such as the Olympic Games and Pythian Games, these presidents were the representatives of different states. The structure had the form of a semicircle and served as an assembly place of the council of the city - the Bule. The front part of the structure was decorated in a special manner: there are 6 pillars crowned with capitals of the Corinthian style. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693556932691-98KWJE984QCLT30D3I7L/SSL00669_Apolonia+Odeon+seating+across+Bouleuterian.jpg 2022 Southern Italy-Albania - The Odeon at Apollonia Across from the Monument of Agonothetes, the Bouleuterian the Odeon was used for both musical and cultural events as well as for political meetings. The Odeon was built in the middle of the 2nd Century BC and the combination between Greek art style and Roman technology make it architecturally one of the most interesting buildings of Apollonia. It is cut out in the rocks. The diameter of the cavea (seating section) is 49 feet. The capacity of places was 150. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694335730788-8DJZAZVZLI34JOWLX0I1/SSL00695_Apolonia_Roman+road_crp_sm.jpg 2022 Southern Italy-Albania - Remains of a Roman road, Apollonia, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693557055876-50RI91OR1YWFR54CULDF/SSL00689_Apolonia-tree.JPG 2022 Southern Italy-Albania - Apollonia hillside https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693557059099-J93OU7AMC3WDAVS7QNYY/SSL00691_Apollonia+countryside.jpg 2022 Southern Italy-Albania - Apollonia countryside view https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694653450664-2V2XGVHZLLU6MC2RWJV0/SSL00724_Apollonia_monolith+sunlight_crp.jpg 2022 Southern Italy-Albania - Monolith, Apollonia, Albania This limestone monolith relates to the worshiped Apollo Agyieus (i.e., he of the street) as the protector of streets, roads, public places and entrances to homes. The Greeks named him Agyieus, as the protector God who draws off evil. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540171937-P8XQ655ZUHSAY1ZJCS7Q/_SSL0806_St+Mary+courtyard+valley+view_sm.jpg 2022 Southern Italy-Albania - Courtyard at sunset, St Mary Monastery, Apollonia The strategic position of the Monastery, overlooking the Myzeqe plains, affords a view where the horizon meets the Adriatic Sea https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540214745-J2YEJ9Y8O3XDF4LNYI29/_SSL0812_St+Mary+Albania_FINALE_sm.jpg 2022 Southern Italy-Albania - St Mary Monastery, sunset, Apollonia https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540193837-NH6VNH9IGCX2KV3XBY37/_SSL0807_St+Mary+Church-Bell+Tower_sm.jpg 2022 Southern Italy-Albania - Saint Mary Monastery with the bell tower at sunset https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693540233343-3OMU6A8N0NQU7IK8ZVII/_SSL0818_2022-10-21_Vlore-horse+wagon_sm.jpg 2022 Southern Italy-Albania - Horse and wagon on the road back to Vlore https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693553891317-KDQQAD4QP6R8PTXQWPWK/_SSL0838_Sunset+Adriatic_Albania_sm.jpg 2022 Southern Italy-Albania - Sunset over the Adriatic https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693554018441-I7NX1TKBKG3MLBFYDXWK/_SSL0843_Vlore+sunset.jpg 2022 Southern Italy-Albania - Sunrise over the Adriatic, Nobus Hotel, Vlore, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693554164588-XL3SWE2DGK3GT83B0SJT/DSC03750_Apolonia_2022-10-19_boating+adriatic+albania.jpg 2022 Southern Italy-Albania - Early morning boating on the Adriatic, Nobus Hotel, Vlore, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693554481412-8SBTJK5B2AYON283UP6R/IMG_0522_Albania-Vlore-Nobus_breakfast+view.jpg 2022 Southern Italy-Albania - Breakfast at the Nobus Hotel, Vlore, Albania on the Adriatic https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694386602651-599Q4UJTQT53UWIHAP5K/DSC03770_Vlore+coastline.jpg 2022 Southern Italy-Albania - Vlore coastline on the Adriatic https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693554369680-XKKWANN4QS7FM9VD4HMX/DSC03767_Apolonia-Vlore_row+boat_sm.jpg 2022 Southern Italy-Albania - Vlore beach area row boat, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693554467670-S0T3L8HH21B43ND04HUX/DSC03774_Albania_2022-10-22_Porte+Vlore_sm.jpg 2022 Southern Italy-Albania - Vlore Seaport Offices https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693554479428-G9GS2QC6R4V38BFLEAH8/IMG_0529_Albania+coin.jpg 2022 Southern Italy-Albania - Republic of Albaniia coiins The coin on the left has an image titled Illyrian King and the one on the right has the image titled Illyrian Queen. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694404191749-HUX8UUDHCSUTEIO37DFJ/DSC03776_Document+Control_Vlore+Port%2C+Albania.jpg 2022 Southern Italy-Albania - Document Control, Port of Vlore, Albania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693554093425-FGI658AS0RD7EREWZEWO/_SSL0853_Vlore+to+Brindisi+Ferry_Galaxy.jpg 2022 Southern Italy-Albania - Waiting to board the Galaxy ferry to return to Brindisi, a 6 hour and thirty minute voyage https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693554465212-3N8BODHXDU9Y4ARK0TXK/DSC03796_Albania+resistance_crossing+Adriatic.jpg 2022 Southern Italy-Albania - Two Galaxy passengers discuss resistance fighting in the Vlore area referring to a white building across the bay Two elders in discussion saw me photographing them and the one on the left told me that the other was explaining about the white building across the bay and his role in the resistance. Perhaps they were discussing events of 1961, when the Albanian government decided to use military force to expel the Soviet forces from Albania and to take control of four of the twelve Soviet submarines. On April 7, 1961, Albanian troops began to position the Vlora base and encircle the Soviet soldiers. Soviet forces were ordered to evacuate the base and leave Albania. Soviet troops initially resisted, but after several days of siege and negotiations, an agreement was reached. Soviet forces left the Vlora base on April 12, 1961 and withdrew from Albania. The Soviets withdrew, recalling eight submarines. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693613876065-RM7K1SPBWOPJJEZ0PFME/_SSL0872_Taranto+entry.jpg 2022 Southern Italy-Albania - Over the bridge and into old town Taranto https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693614021179-692884AFSBODKN2NRM1F/_SSL0875_Taranto+street.jpg 2022 Southern Italy-Albania - Graffiti in old town Taranto https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693616294926-0HITKGXFNIU8BHWR3XAN/_SSL0880_Taranto_San+Dominico+Chiesa_sm.jpg 2022 Southern Italy-Albania - Chiesa San Dominico, Taranto, Italy The Church of San Domenico (formerly the church of San Pietro Imperiale) is a Romanesque-Gothic church that stands on the western front of the historic center (Old Town) of Taranto, whose construction was completed around 1360. The Dominican fathers settled there in the first half of the fourteenth century, the date of registration in the archives of the order is 1349. The main entrance can be reached by means of a Baroque staircase built in the center of the façade towards the end of the eighteenth century, when the San Domenico slope was created to connect Via Duomo with the lower part of the island. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694500605482-WZWK5DG5Y679NBQ3GTP6/_SSL0880_Taranto_San+Dominico+Chiesa+insignia_crp.jpg 2022 Southern Italy-Albania - Rose window and a coat of arms below it, facade of Chiesa San Domenico, Taranto The rose window often came to symbolize the Virgin Mary, as the rose is one of her primary symbols. In the center of the window there is a lamb with a cross, symbolizing Christ crucified. The coat of arms (bottom, at the apex of the entrance) bears the ox which is associated with the arms of the Taurisano family, whose main members were buried in the Cathedral (where a similar coat of arms is preserved on a tombstone). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694833528862-GSYIM3F1ES56V4QKEEUS/_SSL0881_calling+from+San+Domenco+Church-Taranto_FIN.jpg 2022 Southern Italy-Albania - Phone call on the landing of the Chiesa San Domenico, Taranto https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693616504853-3NIOQ90TNVNXUAI6WQ9R/_SSL0887_Taranto-San+Domenico+Chiesa+mass_sm.jpg 2022 Southern Italy-Albania - Mass at the Hight Altar in the Chiesa of St Domenico, Taranto, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693616732230-3JG5N5GICQS360S2FIZJ/_SSL0888_Taranto_SDomenico_Angel+Isaac+Jacob_sm.jpg 2022 Southern Italy-Albania - Abraham and Isaac at the altar, Chiesa San Domenico, Taranto, Italy According to the Hebrew Bible, God commands Abraham to offer his son Isaac as a sacrifice. After Isaac is bound to an altar, a messenger from God stops Abraham before the sacrifice finishes, saying "now I know you fear God". Abraham looks up and sees a ram and sacrifices it instead of Isaac. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694570041970-OQZJJF8RX28XR5VX3IRD/_SSL0890_Taranto_Crucifixion+street_crp_sm.jpg 2022 Southern Italy-Albania - The Crucifixion, on the wall in old town Taranto, sponsored by The Brotherhood of San Domenico https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693620388864-MBTTHDASZH5NN8EP9LIU/_SSL0900_Taranto_what+we+do+in+life+echoes+in+eternity.jpg 2022 Southern Italy-Albania - Secular public art, coastal road, Taranto The inscription on this image reads, “What we do in life echoes in eternity.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693620283012-BMVSYSNMDABY61UAXPXK/_SSL0895_Taranto+boat+harbor_crp_sm.jpg 2022 Southern Italy-Albania - Boat harbor, Taranto, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694914870908-JW6FJK6K8OCWAMRG1KQA/_SSL0902_Fishing+the+Gulf+of+Taranto-Ionian+Sea.jpg 2022 Southern Italy-Albania - Fishing the Gulf of Taranto, Ionian Sea https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693621448697-HIGTPMG8XZEGO78NJ5W7/_SSL0904_Tarantto+mermaid_crp_sm.jpg 2022 Southern Italy-Albania - Mermaid on the Rocks, public art, Taranto harbor, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693636691413-4DQWZDAVJR2G7Z6P4T2U/_SSL0967_Taranto_Cathedral+S+Cataldo.jpg 2022 Southern Italy-Albania - Guests enter the Cathedral of San Cataldo to attend a 50th year wedding anniversary mass and blessing The tradition at Taranto is that Cataldo came from the monastery school at Ireland, and arrived in this city enroute to or from the Holy Land and was chosen as its bishop. In Taranto, Cataldo broke down the pagan temples, preached the gospel and tended to those in need, and liberated the city of Bari from the plague. Miracles were soon attributed to him, e.g., he gave sight to a blind child; made a dumb shepherd boy speak. As their bishop, he exhorted the people to build a new church in honor of the Immaculate Heart of the Madonna and the Saviour. To encourage them he helped dig the foundations himself but one morning a mason was crushed by falling stones. Barely alive the mason was pulled from the rubble but after a blessing from Bishop Cataldo his wounds were healed. Cataldo died in Taranto on 8th March, 685. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694673729717-VJQUJZXXIHZPH8M2M1CB/_SSL0911_Taranto_Capellone+di+S+Cataldo+FIN.jpg 2022 Southern Italy-Albania - Capellone di S Cataldo, Taranto Cathedral, where a 50th year wedding anniversary was to be celebrated Among the greatest examples of 17th-18th century Neapolitan Baroque outside Naples is the Cappellone di San Cataldo in the Taranto Cathedral. Marble cladding predominates in it from the floor to the walls, up to the drum of the dome, which, however, is frescoed with paintings of episodes in the life of Saint Cataldo. Its most famous masterpieces are the large marble saints by Giuseppe Sanmartino (1720-1793) set in niches around the chapel. The most important niche was carved out to preserve the silver statue of Saint Cataldo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693635877150-JBB6LDYIFCLUE4J019PO/_SSL0937_S+Cataldo+Chapel+Ceiling_sm.jpg 2022 Southern Italy-Albania - Glory of Saint Cataldo, ceiling, Cappellone di San Cataldo in Taranto Cathedral In 1713, after ten years of a vacant see, the new archbishop Giovan Battista Stella commissioned the fresco decoration of the dome of the Chapel by Paolo De Matteis (b. Piano Vetrale, 1662 - d. Naples, 1728), who depicted the Glory of Saint Cataldo and Episodes from his life between the windows of the drum of the dome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694656863182-EAU1A29VTVNY8OBZYMNT/_SSL0936_S+Cataldo+Chapel_Episode+painting.jpg 2022 Southern Italy-Albania - Episode from the life of San Cataldo by Paolo De Matteis (1662-1728), drum of dome, Cappellone di San Cataldo, Taranto Cathedral Accordng to legend one morning a mason was crushed by falling stones. Barely alive he was pulled from the rubble but after a blessing from Bishop Cataldo his wounds were healed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694674660256-CQ78DZF3LENK420UEMWD/_SSL0929_S+Cataldo+Chapel_saave+from+plague.jpg 2022 Southern Italy-Albania - Episode from the life of San Cataldo by Paolo De Matteis (1662-1728), drum of dome, Cappellone di San Cataldo, Taranto Cathedral According to legend, In Taranto Cataldo broke down the pagan temples, preached the gospel and tended to those in need before visiting Bari, where, it is said, he liberated the city from the plague. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694764665646-HSFCHH3D8H4JQL71TAWN/_SSL0916_S+Cataldo+Chapel_S+Domenico+by+GSanmartino_crp_sm.jpg 2022 Southern Italy-Albania - San Domenico by Giuseppe Sanmartino, S Cataldo Chapel, Taranto Saint Dominic, (8 August 1170 – 6 August 1221), also known as Dominic de Guzmán, was a Castilian Catholic priest and the founder of the Dominican Order. The story is told that before his birth his barren mother made a pilgrimage to the Abbey at Silos, and dreamt that a dog leapt from her womb carrying a flaming torch in its mouth, and seemed to set the earth on fire. This story is likely to have emerged when his order became known, after his name, as the Dominican order, Dominicanus in Latin, and a play on words interpreted as Domini canis: "Dog of the Lord;" thus, this statue includes a dog with a flaming torch in its mouth at the feet of St Domenic. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694836189859-WSG4YLFCXE6HXBNLUG5G/_SSL0917_Taranto_S+Cataldo_S+Philip+Neri_G+Sanmartino_crp_sm_FIN.jpg 2022 Southern Italy-Albania - Saint Philip Neri by Giuseppe Sanmartino, Chapel of San Cataldo, Taranto Cathedral At an early age, Philip abandoned the chance to become a businessman, moved to Rome from Florence, and devoted his life and individuality to God. After three years of philosophy and theology studies, he gave up any thought of ordination. The next 13 years were spent in a vocation unusual at the time—that of a layperson actively engaged in prayer and the apostolate. At the urging of his confessor, Philip was ordained a priest and soon became an outstanding confessor himself. Some of Philip’s followers became priests and lived together in community. This was the beginning of the Oratory, the religious institute he founded. Giovanni Palestrina was one of Philip’s followers, and composed music for the services. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694833975777-6TNGHBYCSPAJQGS8S78W/_SSL0911_St+John+Baptist_+Giovanni+Nola_Taranto_Capellone+di+S+Cataldo+FINE.jpg 2022 Southern Italy-Albania - St John the Baptist by Giovanni Nola, Chapel of San Cataldo, Taranto Cathedral St. John the Baptist, (born 1st decade BCE, Judaea, Palestine, near Jerusalem—died 28–36 CE; feast day June 24), was a Jewish prophet of priestly origin who preached the imminence of God’s Final Judgment and baptized those who repented in self-preparation for it; he is revered in the Christian church as the forerunner of Jesus Christ. After a period of desert solitude, John the Baptist emerged as a prophet in the region of the lower Jordan River valley. He had a circle of disciples, and Jesus was among the recipients of his rite of baptism. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694757424926-2HGE0NTXDV4QEDLX7QQY/_SSL0913_St+Peter+by+John+Nola_S+Cataldo+Chapel_Taranto.jpg 2022 Southern Italy-Albania - St Peter by Giovanni Nola, Chapel of San Cataldo, Taranto Cathedral Saint Peter (died AD 64–68), also known as Peter the Apostle, Simon Peter, Simeon, Simon, or Cephas was one of the Twelve Apostles of Jesus Christ and one of the first leaders of the early Christian Church. He appears repeatedly and prominently in all four New Testament gospels as well as the Acts of the Apostles. According to Christian tradition, Peter was crucified upside-down in Rome under Emperor Nero. The ancient Christian churches all venerate Peter as a major saint and as the founder of the Church of Antioch and the Church of Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694757512502-M0C8CP6AS31E0460Y8F6/_SSL0920_Saint+Paul_Chapel+of+San+Cataldo_Taranto+Cathedral.jpg 2022 Southern Italy-Albania - Saint Paul by Giuseppe Sanmartino, Chapel of San Cataldo, Taranto Saint Paul was a Christian apostle who spread the teachings of Jesus in the first-century world, having first persecuted Christians, believing that they had broken away from their Jewish traditions. Paul converted to Christianity after experiencing a vision of Christ on his way to Damascus and eventually became convinced that fellowship with the risen Jesus Christ, not the observance of the Law, was all that was needed to receive God’s promise of salvation (Galatians 1:11–12; 3:1–5). Paul founded several Christian communities in Asia Minor and Europe from the mid-40s to the mid-50s AD. His epistles (letters) have had enormous influence on Christian theology, especially on the relationship between God the Father and Jesus, and on the mystical human relationship with the divine. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693632460543-1BMI501KTPDQSKTXRHYF/_SSL0921_Taranto_S+Cataldo_S+Franciss+Assisi_G+Sanmaartino_sm.jpg 2022 Southern Italy-Albania - Saint Francis of Assisi by Giuseppe Sanmartino, Chapel of San Cataldo, Taranto Cathedral St. Francis of Assisi, (born 1181/82, Assisi, duchy of Spoleto [Italy]—died October 3, 1226, Assisi; canonized July 16, 1228; feast day October 4), founder of the Franciscan orders of the Friars Minor (Ordo Fratrum Minorum), the women’s Order of St. Clare (the Poor Clares), and the lay Third Order. He was also a leader of the movement of evangelical poverty in the early 13th century. His evangelical zeal, consecration to poverty, charity, and personal charisma drew thousands of followers. Francis’s devotion to the human Jesus and his desire to follow Jesus’ example reflected and reinforced important developments in medieval spirituality. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694821318806-Y62USZ7PIERRF1S464CS/_SSL0928_S+Cataldo+Chapel+Priest+prepare+50-An.jpg 2022 Southern Italy-Albania - Preparing the Chapel for a 50th Wedding Anniversary mass and blessing, San Cataldo Chapel, Taranto The Chapel’s architect was Cosimo Fanzago (Clusone, 1591 - Naples, 1678), and his design was described as a "perfect synthesis of architecture, sculpture and pictorial decoration and a typical expression of that religious triumphalism inspiring much artistic production of the seventeenth century." Giovanni Lombardelli, a marble worker from Carrara, who was already present in Naples in 1637 among the members of the Guild of marble workers, was responsible for the construction of the high altar. In addition, Lombardelli himself proceeded to cover the walls of the Chapel with committed marble. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693637847939-1MXA3PXP51V0207YWXG1/_SSL0946_Taranto_S+Cataldo_Chapel+music.jpg 2022 Southern Italy-Albania - Instruments ready for the 50th wedding anniversary celebratory mass, San Cataldo Chapel https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693636093688-RC7BLFDORJMWRS9N85KH/_SSL0958_Taranto_S+Cataldo_more+chairs_sm.jpg 2022 Southern Italy-Albania - Priest bringing two chairs into the Chapel for the 50th anniversary couple https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694822740717-KDOV06CY3UH028V5MMNN/_SSL0942_san+cataldo+chapel+organ.jpg 2022 Southern Italy-Albania - Vestibule of the Chapel of San Cataldo egress to the Cathedral with organ pipes above https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694834818341-K4AOF0F4SAKPF5Z1775Z/_SSL0950_S+Cataldo-aisle+to+chapel_sm_FIN.jpg 2022 Southern Italy-Albania - Vestibule entrance to the Chapel of San Cataldo, Taranto Cathedral The Cappellone di San Cataldo is accessed through a vestibule of quadrangular shape, originally a 16th-century chapel, and the Cappellone remains unique in Apulia for the marble decoration. As with the Chapel, the vestibule is decorated with marble and statues of various saints. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693623238782-1TUHW5T3WANBOXKTETZD/_SSL0914_Taranto_S+Cataldo_S+Sebastian+GPagano.jpg 2022 Southern Italy-Albania - Saint Sebastian by Giuseppe Pagano, Vestibule of the Chapel of San Cataldo, Taranto Cathedral According to ancient traditions collected by Jacobus de Voragine in his Legenda Aurea (1264), Saint Sebastian was a 3rd century Roman soldier who served in the Praetorian Guard, one of the most prestigious units of the imperial army, at the time when the emperor Diocletian was actively persecuting Christians. Sebastian’s beliefs urged him to encourage others to die rather than renounce their faith, and that was precisely what Sebastian himself did when he was pressed to apostatize. He was tortured, bound naked to a tree and shot with arrows. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693624979776-0IT8SVP1FJKIPVKLGGGR/_SSL0915_S+Cataldo_S+Irene_GSanmaartino_sm.jpg 2022 Southern Italy-Albania - Saint Irene by Giuseppe Sanmartino, Vestibule of the San Cataldo Chapel, Taranto Cathedral St. Irene is the patron of girls, peace and several municipalities in Italy. Sources say Irene was born in Lecce, Italy to the Roman Emperor Licinius. Her pagan father, fearful of her beauty, locked her away in a tower at the age of six. She found God in her imprisonment, and He taught her the Christian doctrine. Baptized by Saint Timothy, she destroyed the idols that her father gave her to worship. Irene's father, angered by her actions, ordered for her to be tied to a horse and dragged to death. She survived the dragging and the horse turned on her father and bit him. His injury festered, leading to his death, but Irene prayed over his body and brought him back to life. In one rendition of her legend, Irene converted her father to Christianity and the two become evangelists. They convert thousands of pagans, until a Governor named "Ampelio" captured and imprisoned the pair. Ampelio attempted to torture Irene until she renounced her faith, and when she refused, he had her beheaded around 330 A.D. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694907579991-I3P9Q8MEEE3IRBSQ59LH/_SSL0924_Saint+Mark+w+lion%2C+Pagano_vestibule+of+San+Cataldo+Chapel_sm.jpg 2022 Southern Italy-Albania - Saint Mark, sculpted by the Neapolitan Giuseppe Pagano in 1804, Vestibule of San Cataldo Chapel The lion is one of the four living creatures described by Saint Jerome (circa 340 to 420) as symbols of the four evangelists. Matthew is assigned as a human, Mark as a lion, Luke as a bull, and John as an eagle. The lion, that is well-known as symbol of power, pride, magnificence, nobility and courage, was associated to Mark because it emphasizes the Resurrection power, the majesty and the regality of Christ and the characteristics of his Gospel. Mark in fact, in order to describe John the Baptist who announces to the men the arrival of Jesus, began his book with the citation “the voice of one that shouts in the desert” that makes people imagine to the roar of a lion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694821053222-HNW4E9DZDT6A9CMY4CJX/_SSL0922_St+Theresa_S+Cataldo+Chapel_Taranto_FINE.jpg 2022 Southern Italy-Albania - Saint Teresa by Giuseppe Sanmartino, Vestibule of the Chapel of San Cataldo, Taranto Cathedral Teresa of Ávila (28 March 1515 – 4 or 15 October 1582) was a Carmelite nun and prominent Spanish mystic and religious reformer. Active during the Counter-Reformation, Teresa became the central figure of a movement of spiritual and monastic renewal, reforming the Carmelite Orders of both women and men. Teresa claimed she was having religious visions and described what is known as the transverberation, in which a seraph drove the fiery point of a golden lance repeatedly through her heart, causing her an ineffable spiritual and bodily pain. The account of this vision was the inspiration for one of Gian Lorenzo Bernini's most famous works, the Ecstasy of Saint Teresa at Santa Maria della Vittoria in Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694841190660-3Q9YY06CV4EP88L03BG7/_SSL0939_S+Cataldo_S+Francis+Paola_Gg+Sanmartino_sm_FIN.jpg 2022 Southern Italy-Albania - Saint Francis Paola by Giuseppe Sanmartino, Vestibule of the San Cataldo Chapel, Taranto In 1436, Francis of Paola (27 March 1416 – 2 April 1507) and two followers began a movement that would become the foundation of the Hermits of Saint Francis of Assisi, which would later be renamed as the Minim friars. Their name refers to their role as the "least of all the faithful". Humility was to be the hallmark of the brothers as it had been in Francis' personal life. Abstinence from meat and other animal products became a "fourth vow" of his religious order, along with the traditional vows of poverty, chastity and obedience. Unlike the majority of founders of men's religious orders, and like his patron saint, Francis was never ordained a priest. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694824039294-D076ON772E6BU3YG4NDE/_SSL0940_St+Joseph_vestibule-san+cataldo+chaapel.jpg 2022 Southern Italy-Albania - Saint Joseph, Vestibule of the San Cataldo Chapel, Taranto Cathedral In 1778 the new archbishop of Taranto, the Neapolitan Giuseppe Capecelatro, was elected, and in 1790 he again approached Giuseppe Sanmartino for the creation of a St. Joseph, the putative father of Christ, to be inserted in the vestibule. St. Joseph is one of Giuseppe Sanmartino’s last works, considering that he would die in 1793. There remained four other vacant niches, which it was planned to fill with statues of St. John the Baptist and St. Peter attributed to the Renaissance sculptor Giovanni Nola, while those of St. Sebastian and St. Mark were sculpted by the Neapolitan Giuseppe Pagano in 1804. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694824802136-6KJKR53Z4V73HFH8VWTL/_SSL0957_Priests+for+50th+Anniversary+mass+and+blessing_san+Cataldo+Chapel.jpg 2022 Southern Italy-Albania - Priests ready for 50th Anniversary Mass and Blessing, San Cataldo Chapel, Taranto Cathedral https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693636646480-MXEZVOKHGAZ64UTKYSZT/_SSL0964_50th+Anniversary_S+Cataldo.JPG 2022 Southern Italy-Albania - 50th Wedding Anniversary Couple entering Saint Cataldo Cathedral, Taranto https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693638240524-KGV8KZHMG9BG3NCOQT7W/_SSL0972_Taranto+outdoor+table_sm.jpg 2022 Southern Italy-Albania - Taranto men in favorite pastime activity - sidewalk table conversation https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694918569737-OC5ECGNICGSHLZN5WPNF/_SSL0977_Temple+of+Poseidon_Taranto+Greek+Temple_FINE.jpg 2022 Southern Italy-Albania - Ruins of the the Greek Temple of Poseidon, Taranto, Italy The two columns are the remains of The Temple of Poseidon (or the Doric Temple), a peripteral (single row of pillars on all sides) Doric temple of Magna Graecia located in the modern Piazza Castello, situated in front of the castle and the sea in the historic center of Taranto. It is the oldest temple in Magna Graecia and the only Greek religious structure still visible in the old town of Taranto. The temple dates to the first quarter of the 6th century BC. It fell into ruin in the Middle Ages and parts of it were reused in the construction of other buildings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693641844629-WLDKZ8VVGJ9E1TDE78G8/_SSL0990_Taranto_Castle+Aragonese_sm.jpg 2022 Southern Italy-Albania - Castle Aragonese, Taranto, Italy The Castello Aragonese is a fortification in Taranto, Italy. Officially called the Castel San Angelo, it was built on the site of older fortifications dating to Greek occupation in the 3rd and 4th centuries BC. and a former Norman castle, based on a Byzantine one used to protect the area against the Saracen attacks. In 1481 the low ground in front of the fortification site was excavated to allow the passage of boats, and to create a moated defensive position. The present fortress was built for the then-king of Naples, Ferdinand II of Aragon in 1496 to reinforce the naturally low-lying link between the old town of Taranto on a peninsula, and the mainland. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693640475682-JIJAI5C1KWVR781CFIO1/_SSL0999_Taranto+Castle+Argonese_sm.jpg 2022 Southern Italy-Albania - Castello Aragonese, officially called the Castel San Angelo, Taranto, Italy The seven-towered fortress repelled an Ottoman attack in 1594, but it quickly lost its military significance with the advent of artillery. It was converted to an artillery platform and many interior spaces were filled in to provide a stable base for the guns. In 1707 under the Habsburgs it was converted to a prison however during the Napoleonic period it reverted to its original function as a military fortress. Since 1883 the fort has been occupied by the Italian Navy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693641592144-APVW4ISUMOOQSO0FEF9Y/_SSL0998_monument+to+Italian+Navy_sm.jpg 2022 Southern Italy-Albania - Monument to the Sailor of Taranto by Nittorio Di Cobertaldo, 1974 The Monument to the Sailor is dedicated to all sailors of the Italian Navy. This 16 ft high metal work (without the pedestal) depicts a couple of sailors raising a hat, typical gesture used to symbolically greet the arrival or the departure of the ships passing through the Navigable Canal that connects the Great Sea with the Small Sea. The bay of Mar Grande (“The Big Sea”) was the scene of the tragic battle of the “Taranto Night” (11-12 November 1940), during which the Italian Navy suffered serious losses in ships and men due to a massive attack by the British Royal Navy. The victory of the British fleet dealt an important blow to the Italian team, and above all, to the military reputation of the fascist regime. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693641927095-A5BWOES0L59TBLSN83L2/_SSL1011_Taranto+boat+harbor+Ionian+sea_sm.jpg 2022 Southern Italy-Albania - Taranto boat harbor, Ionian sea https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693642075310-VP2LAL5K7SC3HDJGMMNR/_SSL1015_Taranto+booat+submerged_sm.jpg 2022 Southern Italy-Albania - Submerged boat, Taranto coast, Ionian Sea https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693642143184-6UZ9KE0KS3YM704GKMUO/_SSL1017_Entry-Exit+Taranto.jpg 2022 Southern Italy-Albania - Leaving Old Town Taranto mid afternoon for Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797239769-C4N6ZIRP9QP7ZJ3631Y5/_SSL1020_Matera_al+falco+Grillaio_crp_sm.jpg 2022 Southern Italy-Albania - Dinner at al falco Grillaio Osteria, Via Domenico Ridola, 17, 75100, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797238880-78QV2TPN2G4HS1QVX9K3/_SSL1023_Matera+street+singer.jpg 2022 Southern Italy-Albania - Listening to a street musician on Via Domenico Ridola while eating at the 'al falco Grillaio' Osteria with the Chiesa del Purgattorio in the background https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797284296-A5SPHZ4RZ4YIS9JAGWZO/_SSL1033_Matera_Roger+Club_S+Eustacius+Art.jpg 2022 Southern Italy-Albania - Night life and religious art along Via Domenico Ridola, Taranto After dinner walking along the Via Domenico Ridola a cave-like corridor appears leading to the Roger Restaurant. The walls are decorated with religious art, as seen in other Italian cities. The first tondo on the right contained the image of St. Eustace kneeling with his horse standing behind him. In 994, Matera was occupied by the Saracens, the people invoked the Saint and the town was freed from the invaders. Since then, Saint Eustace became the patron saint of the town. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797284079-Y9LCRI8YAM30ZL4UPCS5/_SSL1039_Matera+by+night.jpg 2022 Southern Italy-Albania - Matera by night Matera basically lies on two separate Sassi (Rocks), two hills riddled with caves. For 10.000 years, people lived in these caves. Matera is in fact the third most ancient city in the world, after Jericho and Aleppo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797324968-DKTNQWNMW1UT2ZTM19C8/_SSL1041_Matera_Chiesa+del+Purgattorio.jpg 2022 Southern Italy-Albania - Chiesa del Purgatorio located on Via Domenico Ridola in the historic center Materna The Church of Purgatory (Chiesa del Purgatorio) is a Baroque style building of worship designed by Giuseppe Fatone and constructed by Vitoantonio Buonvino and Bartolomeo Martemucci between 1725 and 1747 with funding from the Confraternity of Purgatory, from which it takes its name. Russian Orthodox ceremonies are held in the Church every Friday. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797330121-GU7BPR0FH6P4I5SC7Q6D/_SSL1043_Matera_take+pity+on+me-at+least+you+my+friends.JPG 2022 Southern Italy-Albania - Designs above doorway of Chiesa del Purgattorio, Materna The façade of the Church of Purgatory is characterized by a series of decorations concerning the theme of death and redemption, from the angels found in the upper part to the skulls represented in the wooden portal. The Latin phrase over the main entrance states, “Take pity on me, at least you my friends.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695284393345-XDNX61DCQ7AV5A7EM0A4/_SSL1046_Nobiliity+of+Time_Dali+_SFrancisAssisiPiazza_Matera.jpg 2022 Southern Italy-Albania - Nobility of Time by Salvador Dali, Matera, in the Saint Francis of Assisi Piazza The Nobility of Time is one of the works of the Salvador Dali Persistence of Opposites exhibit in Matera. For Dalí Time is an inconstant constant, represented in its softness. It is now impossible, with the scientific discoveries of the twentieth century, to interpret time as something fixed. Relativity permeates everything, carrying within itself a fear of death, of the days passing by, and all the anxieties of the modern man. Dalí is submerged by it: through his paranoid-critical method, he plumbs and knows every turmoil of his unconscious, thus managing to transfer to his artworks that "paranoia" which is a chronic disease for him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695285301902-AL5P8R3JTDJ13FEUXE93/_SSL1055_Church+of+Saint+Francis+of+Assisi+.jpg 2022 Southern Italy-Albania - Church of Saint Francis of Assisi in the San Francesco Square, in Matera The Church of San Francesco d’Assisi is a church built in Baroque style and dedicated to Saint Francis of Assisi, after the saint visited Matera in 1218. The current church was built in the first half of the 13th century on the place of a subterranean church dedicated to Saints Peter and Paul. The church was enlarged and transformed between the 15th and 18th centuries. The Baroque facade houses three statues in the upper part, with the Virgin Mary in the center, and Saint Francis of Assisi and Saint Anthony of Padua on the sides. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798782572-9QSK1UORJMBE3Z2SZONI/_SSL1273_Matera_SFdA_I+go+with+time_FIN.jpg 2022 Southern Italy-Albania - Coat of Arms at entry of Saint Francis of Assisi Church, Matera, Italy The lion in the upper left quadrant of the coat of arms says, ”Col tempore spero,” “I hope with time.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798775675-1FCYKY3WHEQAWBP8THEE/_SSL1272_Matera_Church+S+Francis+Assisi_internal_sm.jpg 2022 Southern Italy-Albania - Nave of Saint Francis of Assisi Church, Matera, Italy The interior of Saint Francis of Assisi Church consists of a single nave, with side chapels and a beautiful painted ceiling. The nave ends with the quadrangular apse, introduced by a pointed arch and covered with a cross vault. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799035637-BYOP7ICY7FIKNKNBESGH/_SSL1279_Matera_SFdA_Choir+loft+organ.jpg 2022 Southern Italy-Albania - Altar, Choir, Pipe Organ and Polyptych Painting in Saint Francis of Assisi Church, Matera Close to the back wall, behind the main altar, there is the choir, whose parapet is decorated by a 15th-century polyptych with nine tempera paintings on wood, attributed to Lazzaro Bastiani. Above, there is the pipe organ built by Fratelli Ruffatti (Ruffatti Brothers) in 1955 and modified by them in 1978, with electric transmission and with 22 registers on two manuals and pedal. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798996619-TSGKDS6YLBEZXBLR3EV7/_SSL1278_Matera_SFdAChoir_Lazzaro+Bastiani_crp_sm.jpg 2022 Southern Italy-Albania - Polyptych on wood, Lazaro Bastiani, 15th c., St Francis of Assisi Church, Matera in the center of this 15th century polyptych is the Madonna enthroned with the Child and on the left San Pietro, San Francesco, Santa Caterina and Santa Elisabetta, on the right San Paolo, Sant’Antonio, San Bernardino and San Ludovico da Tolosa. Note the finesse of the features, the delicate features and the richness of details of the precious garments, which make it a work of unique value. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798795906-6FESDQ7SIM0PGCVN8MP9/_SSL1274_Matera_SFdA_confessional.jpg 2022 Southern Italy-Albania - Confessional, Saint Francis of Assisi Church, Matera, Italy Confession, also called reconciliation, in the Judeo-Christian tradition, the acknowledgment of sinfulness in public or private, is regarded as necessary to obtain divine forgiveness. The need for confession is frequently stressed in the Hebrew Bible. The necessity of confession is discussed in many places in the New Testament (James 5:16; 1 John 1:9), although there is no direct evidence that confession had to be specific or detailed or that it had to be made to a priest. The Fourth Lateran Council (1215) established the rule that every Christian should confess to a priest at least once a year. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798996805-MLZVLZOPUVD9C9GAX4CO/_SSL1277_Matera_SFdA_Madonna+Litta.jpg 2022 Southern Italy-Albania - Madonna Lactans, painting, Saint Francis of Assisi, Matera The Nursing Madonna, or Madonna Lactans, is an iconography of the Madonna and Child in which the Virgin Mary is shown breastfeeding the infant Jesus. In Italian it is called the Madonna del Latte ("Madonna of milk"). In the Nursing Madonnas, the focus is especially on the Blessed Mother’s gift of breastfeeding, a symbol not only of her motherhood of Christ but also of the nursing aspect of Virgin Mary’s love towards believers. Furthermore, art historians believe that these sets of paintings were meant to highlight the strong connection between the Blessed Mother’s milk and the blood of Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799070051-3SP8R82GKXJU2KMQP31Z/_SSL1284_Matera_SFdA_S+Agatha+of+Sicily.jpg 2022 Southern Italy-Albania - Saint Agatha, Saint Francis of Assisi Church, Matera In contrast to the Madonna Lactans’ symbol of love toward all believers, the Church of S Francis of Assisi also presents a painting of the virgin martyr St. Agatha. Having consecrated her virginity to God at a young age, she resisted the advances of a Roman prefect sent by the emperor Decius to govern Sicily. Her profession of faith and rejection of the prefect resulted in her brutal torture, during which her breasts were cut off. However, during her imprisonment, she had a vision of St. Peter the Apostle, who is said to have comforted her and healed her wounds with his prayers. She then allegedly died in prison around 251. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799033599-GKIAJKKJW3TNH7402SV4/_SSL1282_Matera_SFdA_wooden+Altar_S+Anthony+Padua.jpg 2022 Southern Italy-Albania - Wooden Altar of Saint Anthony of Padua by Stefano da Putignano, Church of Sant Francis of Assisi, Matera In 1224, Francis of Assisi entrusted his friars' pursuits of studies to Anthony (born Fernando Martins in Lisbon, Portugal). Anthony had a book of psalms that contained notes and comments to help when teaching students and, in a time when a printing press was not yet invented, he greatly valued it. When a novice decided to leave the hermitage, he stole Anthony's valuable book. Anthony prayed it would be found or returned to him. The thief did return the book and in an extra step returned to the Order as well. Today, St Anthony is venerated as the Patron Saint for lost articles, and is credited with many miracles involving lost people, lost things and even lost spiritual goods. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797403503-OQSS54VJYXJTRFUD0VV6/_SSL1059_Materia+street.JPG 2022 Southern Italy-Albania - Walking Matera's streets Matera has been occupied by countless groups including the Greeks, Romans, Byzantines, and Goths. The Sassi of Matera feature several types of architectural flourishes from different centuries including vaulted ceilings and winding stones steps. Exploring the interior of the Sassi is like stepping into a portal that allows you to witness moments in time which date back 9,000 years. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797442530-QYGGR3484RUBATEIPCIF/_SSL1081_Matera_Dali+horse_crp_sm.jpg 2022 Southern Italy-Albania - Horse Saddle with Time, Salvador Dali, Matera The 9.8 foot high bronze sculpture Horse Saddled with Time, was conceived by Salvador Dalí in 1980. As part of the Dali exhibit in Matera it includes the famous melted watch, which is used in place of a normal saddle, and the animal figure, which becomes the representation of life weighed down and harnessed by time. The sculpture symbolizes the omnipresence of “time” and the burden it brings to all of our actions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797414018-ZJ5UESX1A9M50SLBNOS4/_SSL1068_Cattedrale+di+Santa+Maria+della+Bruna+e+di+Sant%27Eustachio_II+view.jpg 2022 Southern Italy-Albania - Bell Tower and Cattedrale di Santa Maria della Bruna e di Sant'Eustachio, atop Matera A dig in 1906, near the Cathedral, in the town center, went thirty-five feet below the surface and found Christian coffins and the remains of a Saracen invasion from around 800 A.D. The scientists kept going, and below that they discovered statues, broken columns, and money from the Byzantine occupation, of around 400 A.D. Farther down, they uncovered ancient Greek and Roman coins and, under that layer, bits of ceramics from 3,000 years ago. Matera has long been a crossroads between East and West. Greeks, Romans, Longobards, Byzantines, Saracens, Swabians, Angevins, Aragonese, and Bourbons all passed through the town. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798741932-NHDF6KNWDT63ZC1CUKJZ/_SSL1236_Matera_cave+houses.jpg 2022 Southern Italy-Albania - Barizano Sassi, Matera, Italy The term sasso derives from Latin saxum, meaning a hill, rock or great stone. The Sassi are houses dug into the calcarenitic rock itself, which is characteristic of Basilicata and Apulia, locally called "tufo" although it is not volcanic tuff or tufa. The streets in some parts of the Sassi often run on top of other houses. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695017867007-X9LFSKDLHKYI58PIEMOH/_SSL1096_Sassi+Barizano+and+Gorge.jpg 2022 Southern Italy-Albania - Sasso Barisano, Matera built on the slope of the Gravina River The ancient town grew up on one slope of the ravine created by the Gravina river. The ravine is known locally as "la Gravina". The Sasso Barisano faces part of the Caveoso but it is very different. Rather than cave dwellings, here you have traditional houses and even palazzi excavated from the rock and the result is beautiful. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695010314928-QHA09GTTW38GDWB8N6I0/_SSL1101_Sassi+Bariizano-Gulch-TibetBridge.jpg 2022 Southern Italy-Albania - Sassi Barisano (lft) and the gorge connected to the Sassi Caveoso (rt) by the Tibetan Briidge (cntr) The Sassi is divided by the Gravna river and gorge. To get to the more undeveloped side you need to walk down into the gorge and cross the Tibetan bridge (center) or get a bus or taxi around to the other side. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797486980-492QVEZ648B54PXUZJ47/_SSL1091_Matera+caave+dwellings.jpg 2022 Southern Italy-Albania - Cave dwellings, Sassi Caveoso, Matera, Italy Cave dwellings, Roughly 9,000 years ago, a group of Paleolithic settlers built cave dwellings in Matera’s calcium-rich rocks. Human beings have consistently lived in Matera’s caves since they were first built—which makes them some of the oldest continuously occupied cave dwellings in human history. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693797453346-H0VJEGTMC05NYVUE2X6M/_SSL1088_matera_cave+dwelling.jpg 2022 Southern Italy-Albania - Shepherds' cave, Sassi Caveoso, Matera, Italy Local shepherds once would allow sheep, goats, and chickens to crowd inside of their cave dwellings alongside their human family members. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695000776282-PMS0UMUJUZKPCDKTDSGT/_SSL1105_Matera-Altieri+Cafe-Court+of+St+Peter_sm.jpg 2022 Southern Italy-Albania - Altieri Cafe, Court of St Peter, Matera, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798227514-KF3SIQDAEFDMTOXPUDM9/_SSL1113_Matera_fossil.jpg 2022 Southern Italy-Albania - Fossilized shell in rock near a cave house in Matera, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695018837094-4H1DBFJL96J99ZH7LY4M/_SSL1243_Matera+cave+homes_FINE.jpg 2022 Southern Italy-Albania - Sasso Barisano, Matera, Italy In the 1950s, the government of Italy forcefully relocated most of the population of the Sassi to areas of the developing modern city. Beset by extreme poverty and riddled with malaria, the unhealthy living conditions were considered inhuman and an affront to the modern Italian Republic. The current local administration, however, has become more tourism-oriented, and it has promoted the regeneration of the Sassi with the aid of the European Union, the government, and UNESCO. Today there are many thriving businesses, pubs, and hotels there, as described in an April 2015 article in The New Yorker. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798235013-YEHSGESR7298V14UPZBQ/_SSL1114_Matera_Casagrotta_cistern-water+storage.jpg 2022 Southern Italy-Albania - Cassagrotta (cave house), Matera, Italy Casagrotta (cave house) which was inhabited until 1957 and has now been turned into a museum giving visitors a true picture of what it would have been like to live here. Entry to the cave house with a cistern (a container for storing water) on the right of the portal and farm and house implements on the walls. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798291766-CTAMBZMQIC2YA8QVDPS6/_SSL1125_Matera_Cave+house_pitch+forks+et+al.jpg 2022 Southern Italy-Albania - Cassagrotta (cave house), Matera, Italy On the top row are setacci, sieves. The sieve was the basic utensil used, much in agricultural work as in the milling of cereals at mills and it was also necessary in the bakeries for flour. After winnowing, sifting of cereal grains was followed to remove the foreign matter, stones, soil and straw. When sifting, the grain fell down on a cloth, while the foreign matter, remained on the sieve and was thrown away. Below, wide tined pitch forks like this were used to pitch hay, grains, straw, and other agricultural products. Reaping, threshing, and winnowing were done by hand with simple tools like this wooden pitchfork and forked digging tools. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695084471094-KH6CQDVCOQ5TBQQODZOU/_SSL1147_Mlll+Room.jpg 2022 Southern Italy-Albania - Mill Room, Cassagrotta (cave house), Matera, Italy This area of the cave house is labeled a mill. The donkey or horse-driven rotary mill was a 4th-century BC Carthaginian invention, with possible origins in Carthaginian Sardinia. The mill spread to Sicily, arriving in Italy in the 3rd century BC. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695084451574-UTT65XVSON2PM4TIVWAM/_SSL1147_Mill+room+original+photo+w+donkey.jpg 2022 Southern Italy-Albania A picture in the mill room shows a donkey and workers at the cave house mill; the donkey was the power source for grinding grain and possibly pumping water. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798262354-PWQCPJCAZH6L830FK5MU/_SSL1116_Matera_sickles-bar+for+animals.jpg 2022 Southern Italy-Albania - Cassagrotta (cave house), Matera, Italy The sickles hanging on the top row were used for harvesting of the crops, grass and cutting of other vegetative matters. Directly underneath them is a drawbar for animals, probably used for the grinding mill, as there is a grinding stone sitting on the floor on the lower right of the wall. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695081925197-7IJR06F5LJTANSMYVJR0/_SSL1128_agricultural+implements+room_FIN.jpg 2022 Southern Italy-Albania - Farming Implements, Cassagrotta (cave house), Matera, Italy Farming implements include shovel, hand hoe and a manual plough. Those who could afford horses or oxen used them to pull plows, but many farmers had to complete tasks with using scythes, and shaped soil using hoes. By Roman times, light, wheelless plows with iron shares (blades) were drawn by oxen; these implements could break up the topsoil of the Mediterranean regions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798325033-G0ZTHG9AN9GD1DAUEDML/_SSL1146_Matera+cave+house_stable+implements.jpg 2022 Southern Italy-Albania - Cassagrotta (cave house), Matera, Italy The stable implements include a whip with scraper, horse/donkey shoes, a stirrup. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695079946480-6LSML0JEYNFP7VGYOD9W/_SSL1132_latrine-washroom.jpg 2022 Southern Italy-Albania - Latrine-washroom, Cassagrotta (cave house), Matera, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798293312-8SW2Q2Z7L5N41ZZAZH4V/_SSL1134_Matera+cave+house_bedroom.jpg 2022 Southern Italy-Albania - Cassagrotta (cave house), bed room with baby bed Matera, Italy Between the 1600s and 1800s people used hollowed-out logs for the purpose of a baby bed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695082799073-1NLOBHKV8YSUO1Y6V5DW/_SSL1135_Photos+of+living+cavehouse.jpg 2022 Southern Italy-Albania - Bedroom Photographs, Cassagrotta (cave house), Matera, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798324214-VSE8MZYBFR4JBVDT6FWG/_SSL1139_Matera+caave+house_kitchen+utensils.jpg 2022 Southern Italy-Albania - Cassagrotta (cave house), Matera, Italy Kitchen utensils include an iron for clothing, ladels, pots, pans, cups, coffee pots, strainer, and a pot hanging by a chain set up for cooking. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695085484499-2H6H4B201TNWQTAS97IK/_SSL1136_Cave+exit+bedroom+kitchen.jpg 2022 Southern Italy-Albania - Exit from bedroom-kitchen area, Cassagrotta (cave house), Matera, Italy Cave exit with bedroom furniture on the right and the kitchen cooking area on the left. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695090079592-N7B4B5SH3F2DLOPP4YGH/_SSL1097_Matera_S+Maria+de+Idris-San+Giovanni+in+Monterrone_fin.jpg 2022 Southern Italy-Albania - Saint Maria de Idris and San Giovanni in Monterrone Santa Maria de Idris (foreground) is connected to the rock crypt of San Giovanni in Monterrone (background) via a tunnel. The Church of Saint Maria of Idris is carved into a limestone rock of Monterrone that dominates the Sasso Caveoso. The rock church of San Giovanni called in “Monterrone” owes its name to the tuffaceous mass which dominates the Sasso Caveoso and the Casalnuovo district. Archaeological research, the dating of the frescoes and the few written documents date the original layout of the church from a period between the 12th and 13th centuries. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798354711-HT1AJJ2GTIHC0I4C1OHN/_SSL1164_Matera_Santa+Lucia+alle+Malve.jpg 2022 Southern Italy-Albania - Church of Saint Mary of Idris, Matera, Italy The name Idris is a deformation of the Greek Odigitria, which means guide of the way or of the water. This is an aspect of Virgin Mary which was venerated in Constantinople and the cult was introduced in southern Italy by Byzantine monks. The beautiful location of the Church of Saint Mary of Idris offers a unique view of the city. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798359204-ON8IN1GWQ1I1GCO1PQRO/_SSL1171_Matera_S+Maria+de+Idris-San+Giovanni+in+Monterrone_FIN_sm.jpg 2022 Southern Italy-Albania - San Giovanni in Monterrone, Matera, Italy The rock crypt of San Giovanni in Monterrone is connected to Santa Maria de Idris via a tunnel. The tomb holds several precious frescoes from the 12th to the 17th century. A fresco of John the Baptist is in the tunnel. In a lunette above the crypt is a 12th-century Christ Pantocrator. The title is Greek, meaning "All-Powerful." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798709139-LYDE75H4Y0HE4VATVI9A/_SSL1179_Matera_Madonna+de+Idris_Saint+.jpg 2022 Southern Italy-Albania - John the Baptist, fresco, 12th-13th-c., San Giovanni in Monterrone, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798682439-PVDT1ZC9E99K2JMLTVUY/_SSL1175_Matera_Madonna+de+Idris_Mundi+Salvator.jpg 2022 Southern Italy-Albania - Christ Pantocrator (Greek, "All-Powerful"), fresco, 12th-c, San Giovanni in Monterrone, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798680285-95763PNEVSQODG2LFT8A/_SSL1174_Matera_Madonna+de+Idris_S+Eustice+longing+for+god.jpg 2022 Southern Italy-Albania - Saint Eustace and the Stag, fresco, 12th-13th-c., San Giovanni in Monterrone., Matera One day, while hunting in the forest, Placidus saw before him a white stag of marvelous beauty, and he pursued it eagerly, and the stag fled before him, and ascended a high rock. Then Placidus, looking up, beheld, between the horns of the stag, a cross of radiant light, and on the image of the crucified Redeemer; and being astonished and dazzled by this vision, lie fell on his knees, and a voice, which to come from the crucifix, cried to him and said, ”Placidus, why dost thou pursue me? I am Christ, whom thou hast hitherto served without knowing me. Dost thou now believe?” And Placidus fell with his face to the earth, and said, ”Lord, I believe!” And the voice answered saying, “Thou shalt suffer many tribulations for my sake, many temptations; but be strong and of good courage, and I will not forsake thee." To which Placidus replied, “Lord, I am content. Do thou give me patience to suffer!” And when he looked up again the wondrous vision had departed. Then he arose and returned to his house, and the next day he and his wife and two sons were baptized, and he took the name of Eustace. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693798716716-OLWA5IU08V04KHWNAI0A/_SSL1185_Matera+sweep_sm.jpg 2022 Southern Italy-Albania - Street Sweep, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1694923458903-DPLFOGOHZEDAIZKM09XN/_SSL1408_Matera_Cattedrale+della+Madonna+della+Bruna+e+di+S+Eustachio_PM+light_FIN.jpg 2022 Southern Italy-Albania - Matera "skyline" with Cattedrale di Santa Maria della Bruna e di Sant'Eustachio in the distance A dig in 1906, near the Duomo, in the town center, went thirty-five feet below the surface and found Christian coffins and the remains of a Saracen invasion from around 800 A.D. The scientists kept going, and below that they discovered statues, broken columns, and money from the Byzantine occupation, of around 400 A.D. Farther down, they uncovered ancient Greek and Roman coins and, under that layer, bits of ceramics from three thousand years ago. Matera stands at what has long been a crossroads between East and West. Greeks, Romans, Longobards, Byzantines, Saracens, Swabians, Angevins, Aragonese, and Bourbons all passed through the town. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695113397714-7FRERSL5UOO6YTV77Y1K/_SSL1407_Matera_Cattedrale+della+Madonna+della+Bruna+e+di+S+Eustachio_crp_FINE.jpg 2022 Southern Italy-Albania - Cathedral of Madonna della Bruna and Sant'Eustachio, Matera The Cathedral, built between 1230 and 1270, is the Cathedral of Matera, dedicated to the Virgin Mary, the patron saint of the city, and to the Christian martyr Saint Eustace, protector of the city. The church is located on the highest point of the old city, on the area of the 11th century Benedictine monastery of Sant'Eustachio, and between the two Sassi, the ancient districts of Matera. On the left side of the church, there is the 170 foot high bell tower, with four floors, of which three with mullioned windows and the fourth with single light windows, surmounted by a pyramid. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695175918617-UKE4NVC7YFQG238WL9DI/_SSL1291_Matera_Cattedrale+di+Santa+Maria+della+Bruna+e+di+Sant%27Eustachio_FINAL+.jpg 2022 Southern Italy-Albania - Cathedral of the Madonna della Bruna and Sant’Eustacho, Matera, Italy The Cathedral facade is dominated by a rose window with sixteen rays, surmounted by the Archangel Michael. In the center of the facade, there is the main portal, closed by a round arch with the statue of the Madonna della Bruna. On either side of the door, are the statues of Saints Peter and Paul.. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695181937456-RMXZ7N4R2S5GFF48Z5WF/_SSL1296_Purgatory-Hell_CatdellaBruna-Eustachio_FIN.jpg 2022 Southern Italy-Albania - Last Judgment by Rinaldo da Taranto, late 13th c., Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera The famous fresco of “The Last Judgment” is the only surviving example of the original medieval pictorial decoration of the Cathedral. In Hell (middle section on wall), the Archangel Michael pierces sinners, which we see in a group attacked by snakes. There are also people in the group whom we can identify as a king, a pope, Benedictine religious etc. precisely to indicate the equality of souls after death. In Purgatory (upper part) we see a more static scene: purification tanks with the disturbing image of limbs and heads that emerge from the mouth of large fish: it is nothing but the symbolic rebirth of purified souls. In the lower order of the fresco there is a partially visible St. Peter martyr with St. Julian, Madonna and Child and St. Luke. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695194640971-0Z1K1XQMEOLP6SE8LZ7J/_SSL1301_Matera-Cathedral-Capella_sm_FINE.jpg 2022 Southern Italy-Albania - Altar wth fresco of the Madonna della Bruna, 1270, Cathedral of the Madonna della Bruna and Sant’Eustachio,Matera The altar houses the fresco “Madonna della Bruna”, protector of the city. The name “Bruna” according to some is a reference to the dark complexion of the face of the Madonna. On 2 July the Materani celebrate their patron saint with a spectacular festival: the feast of the brunette. The the prophet David, left, holds a scroll, “Respice in me et miserere,” i.e. Look upon me and have mercy. The prophet Isaiah, right, holds a scroll, “Omnes sitientes venite ad aquas,” i.e., All you who are thirsty, come to the waters.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695253313793-00GRUV5AG48BC9IND7VG/_SSL1303_Matera_Cathedral+lower+altar+opus+sectile_FIN.jpg 2022 Southern Italy-Albania - Opus Sectile design, Cristofaro Battimelli, 1735, detail of Madonna della Bruna altar, Matera This segment of the Madonna della Bruna altar highlights the opus sectile used to design the altar. Opus sectile is a form of pietra dura (“hard rocks”) popularized in the ancient and medieval Roman world where large pieces of materials were cut and inlaid into walls and floors to make a picture or pattern. Common materials were marble, mother of pearl, and glass. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799698052-YKUP8388CLCXC1NWY49E/_SSL1319_Matera+Cathedral+Bruna+Eustace_ceiling.jpg 2022 Southern Italy-Albania - Visitation of the Virgin by Battista Santoro, 19th c., Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera Battista Santoro inserted three paintings on the wooden ceiling important for the culture of Matera: St. John of Matera and S. Eustace in the medallions and “The Visitation of the Virgin” at the center. The Feast of the Visitation of the Blessed Virgin Mary (5/31) commemorates the Virgin Mary’s visit to her cousin, Elizabeth. The meeting of these two women was a joyful and unique event. Both found themselves pregnant in unusual circumstances – Elizabeth in her old age after suffering from infertility, and Mary by the Holy Spirit. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799662512-1SK0R5QZ17KOXADLJ18D/_SSL1317_S+Eustace+longing+for+God_sm.jpg 2022 Southern Italy-Albania - S Eustace by Battista Santoro, 19th c., ceiling medallion, Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera Legend says that Eustace was a Roman army officer who went hunting one day only to be confronted by a hart (an adult male deer, especially a red deer over 5 years old) with the image of a crucifix between its antlers. From the cross, Jesus spoke to Eustace who converted to Christianity. After many trials and tribulations, Eustace was martyred by Emperor Hadrian. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799740496-3YV95MF9VLT17GPVZ6TC/_SSL1323_Matera_Cathdral+B-E_Chapel+Annunciation_sm.jpg 2022 Southern Italy-Albania - Chapel of the Annunciation by Altobello Persio, mid-1500s, Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera The statues on the altar represent the Virgin and Angel Gabriel. In the upper lunette there is a Pietà and on the sides the statues of Ss. Rocco and Caterina d’Alessandria. The Annunciation is the announcement by the archangel Gabriel to Mary that she would conceive and bear a son through a virgin birth and become the mother of Jesus Christ, the Christian Messiah and Son of God. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799740261-6DR76FCINQJU823MVBMN/_SSL1335_Matera_Cathedral+B-ENativity+Chapel.jpg 2022 Southern Italy-Albania - Nativity Chapel by Altobello Persio (1507-1593) and Sannazzaro of Alessano, Cattedrale di Santa Maria della Bruna e di Sant'Eustachio, Matera Sculpted in 1534 by Altobello Persio and Sannazzaro of Alessano in painted limestone the chapel contains elements of the city: the castle on the top reminds us of the Tramontano castle; while the shepherds with the animals made in a perfectly realistic way (sheep, goats and guard dogs) take us back to the strong agro-pastoral vocation of the city in the 1500s. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799810828-6FKUUORKCK2F7R32ESDV/_SSL1342_Matera_B-E_Nativity.jpg 2022 Southern Italy-Albania - Nativity Scene, detail Nativity Chapel by Altobello Persio (1507-1593) and Sannazzaro of Alesssano, Cattedrale di Santa Maria della Bruna e di Sant'Eustachio, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695259644574-2GL5C9D3IT1LB5YHCKKD/_SSL1336_Nativity+Chapel_Three+Kings_Bagpipes.jpg 2022 Southern Italy-Albania - Nativity Chapel detail by Altobello Persio and Sannazzaro of Alessano,1534, Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera Above the nativity scene, under a castle, three kings, one from Africa, bring gifts to the newborn Christ while a bagpipe player, surrounded by sheep, celebrates the birth of the son of God. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799806939-0HTHJPNAHZB5DI9WZLRI/_SSL1340_Matera_Cath+Bruna+Eustace_Nat+Ceiling.jpg 2022 Southern Italy-Albania - Ceiling of Prophets and Saints, Nativity Chapel. Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695263128396-VRINZT66KL95H8BSXF8O/_SSL1339_Matera_B-E_Sybil+Delphi_FIN.jpg 2022 Southern Italy-Albania - Delphic Sibyl, ceiling of Nativity Chapel, Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera The Delphic Sibyl experienced a revival in cultural depictions during the Renaissance in the 15th c. AD and appears prominently among the frescoes of Michelangelo's Sistine Chapel ceiling. This revival is thought to be due to a Delphic Sibyl prophesy that is believed to foreshadow the coming of Christ. In her prophesy a savior is prophesied who will be misjudged and shamed by unbelievers with a crown of thorns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799772289-QGJJAYPGJNZIYG0DWKKQ/_SSL1338_Matera__B-E_Sybillaa+Agrippa.jpg 2022 Southern Italy-Albania - Delphic Sibyl, medallion, Nativity Chapel ceiling, Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera The sibyls were female seers from the ancient world whose prophecies it was claimed by early Christians, beginning around 500 AD, that the classical sibyls prophesied the coming of Christ. In this medallion Sibyl Agrippa holds a scroll with prophetic words inscribed, “Invisible verbum palpabitur germina inabitut rit,” “The invisible word will be palpated.” I assume that this was interpreted that the son of god would become flesh. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693799852605-5I1YU504VZH6ZUV76T2B/_SSL1365_Matera_Cat-B-E_S+Eustace+Altar_sm.jpg 2022 Southern Italy-Albania - The altar of Saint Eustace, Cathedral of the Madonna della Bruna and Sant’Eustachio, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693800012898-UYK6AITNJIVILC9OS5AV/_SSL1369_Matera+rooftoop+musi+lesson_sm.jpg 2022 Southern Italy-Albania - Rooftop music lesson, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693800055190-57VRAE8UEIDELLD3VUB7/_SSL1385_Matera-street_sm.jpg 2022 Southern Italy-Albania - Climbing the streets of Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695266147535-JYI9UBJDJ3B8LD3S3B3O/_SSL1377_Matera_exploring+cave+dwellings_sm_crp.jpg 2022 Southern Italy-Albania - Exploring the shepherds' caves in Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693800092818-4SWEW2D8VQ9IFNZEP9HR/_SSL1417_Matera_farm_Crypt+of+Original+Sin.jpg 2022 Southern Italy-Albania - Working farm, meeting place for the tour of the Crypt of the Original Sin, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693800112558-Z3JE1IO09G2U0GJ3JFCY/_SSL1423_Matera_Crypt+Or-Sin+farm_Orecchiette-Strascinate-Cavatelli.jpg 2022 Southern Italy-Albania - Farm products Orecchiette, Strascinate, and Cavatelli, Crypt of Original Sin, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693800136337-YJ4OE9DFSZJF2HKWOJSN/_SSL1432_Matera_farmer_Crypt+Or+Sin.jpg 2022 Southern Italy-Albania - Tending crops, farm. Crypt of Original Sin, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695279706139-IEAE9PXSRG3R7PQLA48T/_SSL1459_Staircase+to+Crypt+of+Original+Sin_Matera.jpg 2022 Southern Italy-Albania - Stairs to the Crypto Peccato Originale (Crypt of the Original Sin), Matera One of the many caves on the side of a ravine, the Crypt of the Original Sin features beautiful wall art that has endured for over a thousand years, earning it the nickname “The Sistine Chapel of Rupestrian Art.” The cave system seems to have been occupied on and off since the Paleolithic and Neolithic eras, and around the 9th c. became the home of monks who had come over to southern Italy from Eastern Europe and Asia Minor. One of those monks, today known only as “The Painter of Flowers of Matera,” after the red flowers that appear in his work, painted beautiful images from the Bible on the cave walls. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693800154804-8DMHYWNAU4919OPYBI1Z/_SSL1442_Matera+Crypt+OS_Mary-Child+wall+paint.jpg 2022 Southern Italy-Albania - Virgin Mary and Christ, Virgin Mary, majestically represented in the sumptuous clothes of the Byzantine Empress Basilissa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693800175750-2JS26QNVIHVB771YZBO3/_SSL1447_Metera_Crypt+OS_S+Peter-S+John_sm.jpg 2022 Southern Italy-Albania - Apostles, Pietro, Andrea e Giovanni by "The Flower Painter," Crypt of Original Sin, Matera https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693800160170-BRGQW4Q0S4JDOI8ZADUB/_SSL1449_Matera_Crypto+Peccato+Originale_II_789AD.jpg 2022 Southern Italy-Albania - Original Sin by the Flower Painter, Crypt of Original Sin, Matera In the back wall are depicted biblical figures related to (left to right, in three sections separated by palm trees) God the Creator, Light and Darkness, Genesis and to the Original Sin, which gives the name to the crypt. The frescoes are enriched with a huge number of flowers. All the paintings are described with a Latin epigraph. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1693805945986-IZ7MRCBWGPOZ8OLV5U2S/_SSL1462_rd+to+S+Martino+di+Finita.jpg 2022 Southern Italy-Albania - Road to San Martino di Finita, Italy http://www.sslanzilotti.com/lipariisland daily 0.75 2023-10-04 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696227808400-GJ07ZHOEUJROAWNEG2SM/_SSL1649_Lipari_Volcano+view+from+Quattropani+coast_Finiito.jpg Lipari lsland - Lipari volcano crater view from Quattropani coast The Aeolian Islands archipelago rose from the sea about 700,000 years ago due to volcanic activity. This volcanic activity resulted in lava flows which formed obsidian, black volcanic glass. The earliest known human settlements on the island of Lipari date back to the 5,000 B.C. These populations used obsidian to fashion sharp utensils as well as export the resource throughout the Mediterranean. With the dawn of the Bronze Age in 2,500 B.C., obsidian lost its significance as a major export, but Lipari remained influential because of its location between the island of Sicily and the peninsula of Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696227808400-GJ07ZHOEUJROAWNEG2SM/_SSL1649_Lipari_Volcano+view+from+Quattropani+coast_Finiito.jpg Lipari lsland - Lipari volcano crater view from Quattropani coast The Aeolian Islands archipelago rose from the sea about 700,000 years ago due to volcanic activity. This volcanic activity resulted in lava flows which formed obsidian, black volcanic glass. The earliest known human settlements on the island of Lipari date back to the 5,000 B.C. These populations used obsidian to fashion sharp utensils as well as export the resource throughout the Mediterranean. With the dawn of the Bronze Age in 2,500 B.C., obsidian lost its significance as a major export, but Lipari remained influential because of its location between the island of Sicily and the peninsula of Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695432937272-IN04R5RJY4DW2CVCPZCS/_SSL1505_Lipari+sundown.jpg Lipari lsland - Canneto shoreline, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695701358970-4FUVKOYEPRR1RYNY0AOI/_SSL1513_Lipari+parking_sm.jpg Lipari lsland - Lipari transportation and parking https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695609302586-T74ZVU0JQ43D1220RTP6/_SSL1516_buying+flowers_Lipari+town.jpg Lipari lsland - Flower shop in Lipari town https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695618681958-8XSUSTR88ORGWDXLE1UD/_SSL1522_Church+of+Saint+Petter+1545_FIN.jpg Lipari lsland - Lipari street with Church of Saint Peter, built in 1545 AD https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695619603406-AKX6DRGV1Q1QWL1LWJ4E/_SSL1524_Prince+of+the+Apostles_FIN.jpg Lipari lsland - "Apostolorum Principi" (Prince of the Apostles), St. Peter's Church, built in 1545, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695619959037-Z7V7NKMEDR1I5HVAZDT1/_SSL1526_Lipari_StPeterChiesa_casket.jpg Lipari lsland - Casket and mourners in St. Peter's Church, built in 1545, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695624084407-W77XWZL026MC45C9UZAH/_SSL1537_yoou+are+the+shepherd+of+the+sheep.jpg Lipari lsland - "Tu Es Pastor Ovium" (You are the shepherd of the sheep), main altar arch, St Peter's Church, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695623059370-0L8YRNFCDUE7GC6TYC64/_SSL1534_Liparii_LastSupper_six.jpg Lipari lsland - Last Supper, main altar, St. Peter's Church, Lipari, Aeolian Islands, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695623050664-ZJ2BW9NNR9HPNLP4293K/_SSL1535_S+Peter+at+altar_Lipari.jpg Lipari lsland - St. Peter, main altar, St. Peter's Church, Lipari, Aeolian Islands, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695623077551-WHKYHWZS14Y8ZHP1K14F/_SSL1536_Disposition+of+Christ_Altar+S+Peter_Lipari.jpg Lipari lsland - The Disposition of Christ, stained glass, main altar, St. Peter's Church, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695627371028-2EUM9KBO1KN7DMXJV00B/_SSL1539_Baptism+of+Christ_S+Peter+Lipari.jpg Lipari lsland - Baptism of Christ, an iconic image in Christian art, Saint Peter's Church, Lipari As we are on the island of Lipari, what more appropriate utensil would be used to baptize Christ than a seashell? https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695626418695-D5K28ANFS3O300AJWAYN/_SSL1530_Madonna+of+the+Consolation_S+Peter-Lipari.jpg Lipari lsland - Our Lady of Consolation, St. Peter's Church, Lipari Given the hardships the people of Lipari have endured, e.g.,: annihilation, slavery, pestilence, and economic hardships and having been conquered by a variety of peoples and nations throughout its 500,000 year history, Our Lady of Consolation seems to be an appropriate focus for a Madonna in Lipari. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433615131-JIH3W41PY4YDH890LS3X/_SSL1540_Tyhrrhenian+sea_Lipari_sm.jpg Lipari lsland - Lipari boat culture https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433626911-P1KVIU1VD0ESNAVZX1G3/_SSL1542_Lipari_boats+walking+dog_SM.jpg Lipari lsland - Early morning dog walking https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433649497-3XA6N1OK9IPTQTYTSAL2/_SSL1543_Lipari+Hotel.jpg Lipari lsland - Albergo Casajanca, Canneto, Lipari The Hotel Casajanca, the white building in the middle of this picture with the turquoise and white awning. The awning area inside the hotel is where breakfast is serve, which affords a beautiful view of the Tyrrhenian Sea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433665692-PPQKWIFK0T7PMQP1B0EV/_SSL1545_Lipari+hotel+street.jpg Lipari lsland - Via Marina Garibaldi, Canneto Via Marina Garibaldi is dotted with stores, cafes and restaurants and provides a promenade, lined with palm trees, adjacent to the beach. Also. there is the ever present Catholic church, e.g., Saint Christopher’s. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695625355646-KOMMWU9Q3TJGA9JWGI7V/_SSL1546_Tyrrhenian+late+PM_Lipari.jpg Lipari lsland - "Carento & Tourists - Smaller Island," ship with local fishermen in late afternoon Tyrrhenian Sea https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695773431529-2LQ79K0ZEDN2RIRY5CWK/_SSL1547_pumice+mining-Canneto-Lipari.jpg Lipari lsland - Lipari pumice quarry / mine with old pier used to load pumice stone on big vessels, Lipari Lipari was volcanically active until the middle Neolithic. Around 9,000 years ago an obsidian flow came out of a crater on the northern part of the island. Covering much of the obsidian flow are huge deposits of pumice, ejected from the volcano during explosions. It is very light due to its high porosity - so, pumice can float in water. The high quality Lipari pumice stone was exported to much of the world up until the end of 2007 when the mines were forcibly closed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695595213799-0O477E4SNF0DJUBWXISJ/_SSL1548_pumice+quarries_ear+Punta+Castagna%2C+Canneto%2C+Lipari+Island_FIN.jpg Lipari lsland - Pumice quarry, Punta Castagna, Canneto, Lipari Island In the Greek and Roman periods pumice was used for several reasons: it served as abrasive in producing marbles and metals to sharpen different tools and for tools and weapons during the middle-Neolithic; it was used: as a component in cement to lighten vaults, such as in domes like the Pantheon, during Roman age; in cosmetics and personal care products including for cleaning your teeth and getting a smooth skin; to sand and scrape writing scrolls during the middle ages; and in medicine to heal wounds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695595177664-I3M3JS9A3KIX242R5K3S/_SSL1551_pumice+quarry_Canneto+Lipari.jpg Lipari lsland - Pumice quarry, Punta Castagna, Canneto, Lipari Island In 2000 the Aeolian Islands became an UNESCO World Heritage site. At that time, it was decided that the pumice mining was to end by May 31, 2005. According to evidence provided, the northeast side of the island was totally devastated by the continuing operation of the pumice pits and the crater of Mount Pelato had, allegedly, become unstable. The National Park of the Aeolian Islands was established in 2007. Pumice mining was prohibited under National Law 354/1991 and new protected area boundaries drawn up for Lipari Island, excluding pumice quarries. In the end the mines were shut down by the police at the end of August 2007. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433684323-WTIQ8GZUQJKY5PIGCR6I/_SSL1556_Lipari+obsidian+glass+garden_crp.jpg Lipari lsland - Obsidian black-glass garden, Lipari Island The earliest known human settlements on the island of Lipari date back to the 5th millennium B.C. These populations used obsidian to fashion sharp utensils as well as export the resource throughout the Mediterranean. With the dawn of the Bronze Age in 2,500 B.C., obsidian lost its significance as a major export, but Lipari remained influential because of its location between the island of Sicily and the peninsula of Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695609829378-BKXI36U79BLAVXJJBVFM/_SSL1561_Lipari+Naval+Memorial+viewed.JPG Lipari lsland - Canneto coastline with pier extending from the World War I Memorial https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433699821-AVMCTZ0JHZRA4ECTAR8C/_SSL1565_Lipari+Naval+Memorial+WWI.jpg Lipari lsland - World War I Memorial, Canneto, Lipari The war memorial shows a sailor behind a shape of the front of a ship. It is dedicated to “The fallen of Aquacaldo in the great war, 1915-1918.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696207060853-J086YIJFYC22AH2YKGOO/_SSL1562_WW-I_naval+memorial_Lipari_FIN.jpg Lipari lsland - Soldier at War, bas relief on the side of the War Memorial in Canneto, Lipari, Aeolian Islands, Italy Mussolini’s fascist regime ruled from 1922 to 1945. The bound sticks on the edges of the monument are called fasces and were Roman symbols of power and authority. However, the fasces came to be associated with right-wing extremism when it was adopted by Benito Mussolini for his fascist movement (the term fascism itself is derived from the word fasces ). The fasces became the most well-known symbol of fascist Italy, and thus of fascism itself. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695701191356-PCK0EP7XEEEVIYTF2XEO/_SSL1574_fishing+Canneto-Lipari.jpg Lipari lsland - Fishing off the pier of the WWI memorial, Canneto, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695591579469-Q9QNCNWYPMV7BV20UR13/_SSL1568_Lipari+hotel+coast_FIN.jpg Lipari lsland - Canneto beach, Lipari In the eastern side of Lipari, about 1¼ miles north of Lipari town, along the town of Canneto is this lovely beach sitting in a beautiful bay. The Canneto beach is made up of mostly pebbles mixed with sand. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695701183313-8UI7EFU94FOPJ7H2OWNV/_SSL1580_Canneto+row+boat.jpg Lipari lsland - Canneto beach with row boat https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696210874451-WGLXWWXFBYTD61N3U6ND/_SSL1578_Lipari+water-foam-pebbles_crp_FIN.jpg Lipari lsland - Flowing water with pebbles, Canneto. beach, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695701153840-IEIUZD3ZMN0D4U39FB2B/_SSL1592_INRI_Canneto+Wall_Lipari.jpg Lipari lsland - INRI: Iesus Nazarenus, Rex Iudaeorum (Jesus the Nazarene, King of the Jews). According to the Gospel of John, 19:19-22: Pilate also had an inscription written and put on the cross. It read, “Jesus the Nazorean, the King of the Jews.” … and it was written in Hebrew, Latin, and Greek. So the chief priests of the Jews said to Pilate, “Do not write ‘The King of the Jews,’ but that he said, ‘I am the King of the Jews.’” Pilate answered, “What I have written, I have written.” The inscription Pilate had written is depicted on crucifixes with the abbreviation INRI. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695447038597-PJGAXXWSPMUSNZLFFT55/_SSL1593_Lipari+to+Salina+Is_FIN.jpg Lipari lsland - Lipari view of the island of Salina, Aeolian Islands, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695447703552-9VH77ACXOZYBTJMWB6Q0/_SSL1601_Lipari+bluff_FIN.jpg Lipari lsland - Bluff view across from the Sanctuary of Maria Santissima della Catena, Aeolian Islands, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433892638-6JNHV2HC4WITJSWCRA21/_SSL1599_Quattropani+Old+Church+1646+AD.JPG Lipari lsland - Sanctuary of Maria Santissima della Catena, hamlet of Quattropani, northern part of Lipari island The Sanctuary of Maria Santissima della Catena (Sanctuary of the Most Holy of the Chain) is also known as the Chiesa Vecchio, Old Church, and its construction dates back to 1588. Inside there is an oil painting on canvas from the 18th century and a wooden statue of Our Lady of the Chain from the same period. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696213350042-HJYN7MD9E9846T00SM3Q/_SSL1608_Our+Lady+of+the+Chain_Old+Church_Lipari.jpg Lipari lsland - Our Lady of the Chain, 18th century wooden statue (with the Madonna standing on chains), Old Church, hamlet of Quattropani, Lipari To make a long story short, and you might really enjoy the entire tale, In the year 1392, while Martin I reigned over Sicily, three young men were condemned to die on the gallows. Through a series of events, which included a raging storm, sheltering in the Church of Mary of the Port, chained prisoners and doors, prayers, sleeping guards, unchained prisoners and doors, directions from the image of the Virgin Mary, escape and recapture, and the people pleading to the king, the King stated, “The Blessed Virgin Mary has set them free, so will I.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696217975279-NE4V48CPASSXZUEB8156/_SSL1614_Lipari-nave+and+altar_18th+c_crp.jpg Lipari lsland - Nave and main altar of Maria Santissima della Catena, 1588, hamlet of Quattropani, northern part of Lipari island The nave and main altar of the “Old Church” includes the Holy Virgin with Child oil painting on canvas from the 18th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695780682454-KZFZEWYOI2TSX5JWOEMH/_SSL1615_Queen+of+Heaven_Chiesa+Vecchia+di+Quattropani.jpg Lipari lsland - Mary Queen of Heaven, Chiesa Vecchia di Quattropani, Lipari Mary is sometimes shown, in both Eastern and Western Christian art, being crowned by one or two angels, signifying that she is Queen of Heaven. This badly damaged painting was executed on wood panel. Panel paintings were made on a flat panel of wood, either a single piece or a number of pieces joined together. Until canvas became the more popular support medium in the 16th century, panel painting was the normal method, when not painting directly onto a wall (fresco). In the Netherlands the change took about a century longer; e.g., the young Rubens preferred it for the greater precision that could be achieved with a totally solid support. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433962099-D0RB9KDL4IHRUUZEJRBK/_SSL1620__Lipari+Quattropani+Old+Church+1646+AD+St-Cross.jpg Lipari lsland - "Jesus is nailed to the cross," the 11th Station of the Cross, Old Church, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695433980070-25TPT6L7BOQJKYOG0AH5/_SSL1622_Lipari_bell-Sanctuary+of+Maria+Santissima+della+Catena+.jpg Lipari lsland - Bell with inscription “Maria of the Chain” and image of Our Lady of the Chain. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695449878561-WT06815ICG3Y7U2F70OI/_SSL1626_Liparii+view+re+Sanctuary+maria+Santissima+della+Catena_FIN.jpg Lipari lsland - View of the Tyrrhenian Sea from the area of the Sanctuary of Maria Santissima della Catena, hamlet of Quattropani, northern part of Lipari island https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695450329708-Z3A0IKFH1STHM3ERQMR2/_SSL1627_view-Sanctuary+of+Maria+Santissima+della+Catena_FIN+.jpg Lipari lsland - Rock formation in the Tyrrhenian Sea from the area of the Sanctuary of Maria Santissima della Catena, hamlet of Quattropani, northern part of Lipari island https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696224303870-TG4U9C90XXZYELDR96QK/_SSL1629_Lipari_Mt+and+Sailing_Tyrrhenian_Chiesa+Vecchio_FINE.jpg Lipari lsland - Mountain view of sailing the Tyrrhenian Sea, area of the Old Church, hamlet of Quattropani, northern part of Lipari island https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695781593918-MHXYPLUG07L8DBVM50HM/_SSL1641_Quattropani+cactus+coast_Lipari.jpg Lipari lsland - Quattropani cactus coast, hamlet of Quattropani, northern part of Lipari island https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696115900547-RQ4IY072QV2221TJ6AX6/_SSL1637_Lipari_path+to+cave+of+Kaolin.jpg Lipari lsland - Path to Kaolin Mine, now disused kaolinite quarries in Quattropani, the upper part of the sea cliffs on the northwest coast of the island of Lipari, Aeolian Islands https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695782418556-ITBIEW13SDOEH7MSTEKI/_SSL1644_Lipari_path+to+Cave+di+Kaolin_FIN.jpg Lipari lsland - Kaolin deposit, quarry in Quattropani district, Lipari The main constituent in kaolin is hydrous aluminum silicate. Kaolin mostly forms when some events of secondary volcanism occur. Kaolin had been extracted in Lipari quarries since the Greek Age. Local artisans applied it for creating and painting pottery, among them the Painter of Lipari is worth to be mentioned (end of the 4th century – second half of the 3rd century BC). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696226729541-NRKNOO774UCZ5CEC1895/_SSL1634_lizard_crp.jpg Lipari lsland - Lizard, Kaolin quarry area, Quattropani, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434087816-IHDN9IHQ1TK3LMUHM4VK/_SSL1653_Lipari_Quattroopaani+coast.jpg Lipari lsland - Quattropani coast, Tyrrhenian sea, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695792708986-CSKG8WYQMX6EF0BD4JS3/_SSL1649_Lipari_Quattropani+coast+water+shimmer_FINAL_crp.jpg Lipari lsland - Tyrrhenian shimmer, Quattropani coast, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695435053721-GCP9XFBDN7N44ZBVXJN8/IMG_4885_Lipari_sunset.jpg Lipari lsland - Sunset over the Tyrrhenian https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695628930354-3MAJQOOQEP2HMOAC1LFH/_SSL1656_Lipari+ferry+port.jpg Lipari lsland - Herring Gulls waiting at ferry port https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434548896-G7IKKKZZXQRF0XG4VZMV/DSC03824_Lipari_Sicily+to+Lipari+ferry.jpg Lipari lsland - Green Lipari tied up at dock with part of the Lipari Castle complex behind https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434962908-RIUNABC8KWWESVHJEF46/DSC03916_Lipari+hawk_FIN.jpg Lipari lsland - Herriing Gull at Lipari ferry port https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696289634416-9221S7A9NM4N2KSBYTAS/acropoli-di-lipari-800x445_300.jpg Lipari lsland - The Acropolis of Lipari and the Castle overlooking the Mediterranean Lipari’s castle area had been populated from the Neolithic era (4000 B.C.), and every civilization which settled there left an indelible print upon the area’s architecture. The walls, built by the Spaniards in the 16th century, of the imposing fortifications are well preserved; they include previous fortifications of the 13th century with sheer defense towers and one tower, part of the Greek wall, which still has 23 rows of square blocks of the same thickness. (Above picture from: https://www.archeome.it/archaeology-the-acropolis-of-lipari-and-the-castle-overlooking-the-mediterranean/) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695454593042-Y1L005XXHF9LCG8M88XV/_SSL1649_Lipari_Quattropani+coast+water+shimmer_FINALE.jpg Lipari lsland - Lipari, Aeolian Islands off the coast of Sicily The Aeolian Islands archipelago rose from the sea about 700,000 years ago due to volcanic activity. This volcanic activity resulted in lava flows which formed obsidian, black volcanic glass. The earliest known human settlements on the island of Lipari date back to the 5th millennium B.C. These populations used obsidian to fashion sharp utensils as well as export the resource throughout the Mediterranean. With the dawn of the Bronze Age in 2,500 B.C., obsidian lost its significance as a major export, but Lipari remained influential because of its location between the island of Sicily and the peninsula of Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695607558103-A9NXAVE952XGB345FKXI/_SSL1521_The+1556+fortifications+atop+ancient+Greek+walls.jpg Lipari lsland - Fortifications atop ancient Greek walls, built in 1556, Charles V, Lipari In 1544, a Franco-Ottoman alliance army ransacked Lipari and enslaved the entire population. A number of the citizens were ransomed in Messina and eventually returned to the islands. Charles V, Emperor of the Holy Roman Empire and King of Spain, with its possessions of the southern Italian kingdoms of Naples, Sicily and Sardinia, had his Spanish subjects repopulate the island and built the massive city walls atop the walls of the ancient Greek acropolis (high city) in 1556. The walls created a mighty fortress, part of which you can see in this photo. While these walls protected the main town, it was not safe to live on the rest of the island until Mediterranean piracy was largely eradicated in the 19th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695690221453-32YPBR7XIPQMTZRQ30ZG/_SSL1827_Lipari_street+to+Wall_Church.jpg Lipari lsland - St. Bartholomew Cathedral, located in the Liipari citadel The conversion of the inhabitants of Lipari dates to the middle of the 3rd century AD, from which point a place of prayer has existed on the island. For safety reasons the cathedral was built over the foundations of a pre-existing Greek temple within the fortified upper citadel. However, the cathedral was destroyed between 836 and 837, when the archipelago was attacked by the army of al-Fadl ibn Yaqub and then by Abu'l-Aghlab Ibrahim ibn Abdallah ibn al-Aghlab. The building was rebuilt and it was expanded between 1450 and 1515, but was burnt in July 1544 after an attack by the Ottoman corsair Hayreddin Barbarossa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434453316-UZE8IJS4V4GZRECDK7SR/_SSL1819_Lipari_Brea_Bell+tower.jpg Lipari lsland - Bell Tower of Saint Bartholomew Cathedral, Lipari In 1516, Holy Roman Emperor Charles V led a campaign against Hayreddin Barbarossa, who retreated to Africa. After that, reconstruction work began in Lipari: the cathedral was rebuilt with barrel vaults as a living symbol of the islanders' Christian faith. The Baroque style facade of Lipari Cathedral is characterized by the contrast between the light stone of the lower order and the dark stone of the upper order. Completing the elevation is the imposing bell tower, made in the second half of the 18th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695701086822-GTDGU0XX039E72TE3V52/_SSL1661_ArchaeologicMuseumAeolian+entrance.jpg Lipari lsland - Archeological Museum of Aeolian Region complex, Lipari The Archeological Museum of Aeolian Region complex on Lipari is situated upon the Neolithic rock of the “Castello” of Lipari, a kind of a natural fortress, used by populations settled down on the island to defend themselves from attacks and invasions. The museum is the evidence of all the cultures and populations which have settled the territory. It contains the Bronze Era huts, some of the Greek-Roman buildings, and the urban plant of the 2nd B.C. The museum of Lipari is divided into six large areas, which are: the pre-historic section, the epigraphic section (ancient inscriptions), the classic section 8th c. BC to 5th c. AD), the section of the minor islands, the volcanologic section, and the paleontological section (prehistoric human and proto-human fossils). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695690191482-UITSLLP3IT3323491BVZ/_SSL1818_working+in+6th-5th+c+acropolis_Lipari.jpg Lipari lsland - Preserving the past, Castle Rock, acropolis (high city) in Lipari Work continues within the 16th century walls of the natural fortress of the Castle rock, a geological structure of volcanic origin, which dominates the two landing places of the island and has been continuously inhabited for six thousand years. The area of the Acropolis, called the Castle, which lies within the perimeter of the walls, is where populations of the Neolithic, those of the first half of the Iron Age, the Bronze Age and the existing remains of the Hellenic Age had their centers as is demonstrated by archeological findings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695701055677-RAVW88GDEKVAC0YKTUSN/_SSL1668_Acropolis+ruins++6th-5thc+BC_Rock_Lipari.jpg Lipari lsland - The settlement on Lipari Acropolis after 1500 BC, middle Bronze Age Huts in the village had an oval plan and were built using double-sided dry stone walls and polygonal blocks that had a thickness from 20 to 32 inches. There were discovered 19 huts. Each of the huts from I to Vl had an area of about 118-129 square feet. The structure Vl is the most complex because it is divided into two rooms and a minor one of rectangular shape (IV). One of the two rooms had a completely paved floor. The hut XII, is the largest of polygonal shape with seven sides and a surface of 690 square feet. Numerous fragments of Mycenaean pottery comes from this hut. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434143316-T8RTSXTLJHL79827YXBY/_SSL1698__Lipari+Archeoology+Museum+Region+LB+Brea+obsidian+glass.jpg Lipari lsland - Obsidian glass tools – points, blades, pscrapers, axes, and other sharp objects, Archeology Museum, Lipari town Obsidian was so rare that the obsidian flow (9,000 BC) defined Lipari as a center for tools and trading in the middle Neolithic (5,000 years B.C.). An obsidian rock quarry, dated to 4,000 years B.C., was discovered when they recently put in a local road. Pottery (in this Archaeological Museum) shows evidence of almost continuous occupation in Lipari since that time. There is also evidence that the people here trading throughout the Mediterranean and northern Africa. Basically, this area has attracted human settlers and traders since humans were able to navigate the Mediterranean. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696151087837-DD2HQZNRJ0710G3LIU6W/_SSL1737_Mid+Bronze+burial+jar_Milazzese.jpg Lipari lsland - Milazzese burial jar, Lipari-Valle District, Middle Bronze Age, 1500 to 1300 BC After 1500 BC the Sicilian culture of Thapsos (near Syracuse) established itself. On the Aeolian islands it developed an exclusive aspect called “Milazzese”, from the settlement discovered in Panarea on the Milazzese peninsula (northeast Sicily). The funerary rite, known in Milazzo, follows a tradition diffused in eastern Sicily. They used to bury their dead in a crouched position inside large jars (pithoi) resting on a pile of stones, closed with a stone slab or ceramic pan, and buried. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695708695291-6S6Y9I8JTMWWBG9BEVB6/_SSL1739_Mid+Bronze+age_burial+Milazzese_FIN.jpg Lipari lsland - Pithos, used as a burial jar, from the Milazzese, mid-Bronze Age, Lipari Pithoi were widely used in the ancient Mediterranean and Near East regions, mainly for the storage and transportation of goods. These storage containers were typically found half-buried in the floors of pantries and warehouses, where olive oil, water, honey, salt, and cereals were kept. However, pithoi were also used as coffins in which huddled skeletons were placed. Such burials were called enchytrismos burials. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695707303012-8VX754OVTNXTQCZDCTC2/_SSL1681_neolithic+jar_Brea+museum_Lipari.jpg Lipari lsland - Neolithic Trichromic Pottery (10,000 BC to 2,200 BC) Trichromic pottery is characterized by three colors: the yellow surface of the clay, the red color of the painted bands and the black of the lines around the bands. This pottery made of a depurated impasto was imported but also manufactured in Lepari with non-local clay, which came as trade goods for obsidian. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695850551721-K8HGVGP8A2S1CY9YPZS5/_SSL1758b_Bronze+Age+Mycenaean+ship.jpg Lipari lsland - Mycenaean civilization ship, Greece (1750 BC to 1050 BC) The navigation on the Mediterranean has never been easy. The sea surrounding the Aeolian Islands preserves shipwrecks with the entire cargo of goods and objects on board. The Mycenaean ship had a sharp bow, curved stern. a central mast with a square sail. This model lasted until the Roman age (625 BC to 476 AD). Ships sailed only in certain periods, preferably from April to October, to take advantage of the coastal winds and breezes. Transporting every kind of goods, from agricultural products to construction materials, across the sea was much faster and less expensive than by land. Sailing routes and the construction of ports reached the technological peak in Roman times. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695867436384-L58KLR6DO8XQDX2MNUT7/_SSL1745_amphorae+stack_sm.jpg Lipari lsland - Amphorae An amphora is a type of container with a pointed bottom and characteristic shape and size which fit tightly (and therefore safely) against each other in storage rooms and packages, tied together with rope and delivered by land or sea. The size and shape have been determined from at least as early as the Neolithic Period. Amphorae were used in vast numbers for the transport and storage of various products, both liquid and dry, but mostly for wine. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695856126471-9LMC1IQSRRJFGF3NS4Y6/_SSL1758C_types+anfore_ship+transport.jpg Lipari lsland - Transporting various types of amphorae In the holds, the amphorae were placed in parallel rows on top of each other, using the spaces between handle and handle in the row below by placing the tips of the row above. The amphorae of the bottom row had the tips inserted in the sand to maintain the stability of the load. In this way it was possible the compaction of the load using all the possible space. Depending on the size, the ship could have up to 4 or 5 levels of amphorae, which amounts to more than thousand containers. To prevent the amphorae were broken by the rolling of the ship, the interstices between one and the other were filled with straw and twigs to make the ship's cargo solid. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695867337263-C3L33ZTQVDN01K11Y9J4/_SSL1746_amphore_wreck+begin+3rd+c+BC_Lipari.jpg Lipari lsland - Punic amphorae from a shipwreck in the beginning of the 3rd c BC Between 1550 BC and 300 BC, the Phoenicians developed a maritime trading culture that expanded their influence from the Levant to North Africa, the Greek Isles, Sicily, and the Iberian Peninsula. Through contact and trade, they spread not only their alphabet but also their knowledge of viticulture (cultivation and harvesting of grapes) and winemaking, including the propagation of several ancestral varieties of the Vitis vinifera species of wine grapes. In Portugal, however, the Phoenicians were known to trade amphorae of wine for local silver and tin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695884559371-7JPF8Y279UN4P9PSBEHZ/340px-Amphora_Dressel_1B.svg.png Lipari lsland - Dressel 1B type amphora Italian Dressel 1B amphoraa was made with a thick, near vertical collar-rim, a long heavy cylindrical body, long oval-shaped rod-like handles and a solid spike. Key : 1: rim; 2: neck; 3: handle; 4: shoulder; 5: belly or body; 6: foot https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434142265-93MARW95M6ZE0EJM6IQT/_SSL1755_Lipari_Brea+Museo_Amphorae.jpg Lipari lsland - Amphorae used for carrying products for trade Since prehistoric times the amphorae, with different shapes over time, were transport containers. The shape of the Greek and Roman amphorae corresponds to specific practical needs such as stowage on ships trading. They have a strong edge made to withstand Impacts, strong handles and the lower tip that served as the grip for tipping and emptying the container and it also guaranteed a good stowage into boats. Also, the bases probably were held by some sort of rack, and ropes passed through their handles to prevent shifting or toppling during rough seas. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695949533839-161X2Q137ZU1KD1SIHE5/_SSL1762_funerary+vase+w+stone+top.jpg Lipari lsland - Cremation Grave, cinerary urn of the Milazzo Final Bronze Age (1100 - 900 BC) Cinerary urns were used for placing the cremated bones of the dead. The life expectancy of the Early Bronze Age and its contemporaries was around 35-40 years. People died at a very young age. Infant and child mortality was very high. The limited food resources and infectious diseases were factors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695458156270-FFPJNFMXT603FD6ODJRG/_SSL1673_vases+head+of+tomb+500-350BC_FINE.jpg Lipari lsland - Grave goods vases placed at the head of the tombs to accompany the deceased in afterlife, 500 - 350 BC, Archaeological Museum, Lipari Grave goods are usually personal possessions, supplies to smooth the deceased's journey into an afterlife, or offerings to gods. Most grave goods recovered by archaeologists consist of inorganic objects such as pottery and stone and metal tools, but organic objects that have since decayed were also placed in ancient tombs. If grave goods were to be useful to the deceased in the afterlife, then favorite foods or everyday objects were supplied. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695950303097-9UWGQBYKCEL0M36NLVMZ/_SSL1779_inhumation+jars+excavation+site.jpg Lipari lsland - The Ausonian (lower Italy) necropolis from the beginning of the Final Bronze Age. 1200-1100 BC Two different burial rites have been identified: inhumation (practice of burying the dead) inside jar and cremation graves within situla (vessels shaped like a bucket). In the latter, ashes of the deceased were collected in the urn that then was deposited in a little pit covered with dry stones. The majority of late Bronze Age cremations that have been found across Europe were performed in the “urnfield tradition”, where cremated remains were kept in urns along with other goods and offerings, which were then buried in fields. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695948255335-AMP7IBOYOPIJ08NZWH0V/_SSL1774_sarcophagus_Lipari+necroplis-5tht-3rd+c+BC.jpg Lipari lsland - Sarcophagi 5th to 3rd century BC) The oldest sarcophagi were made from clay in the shape of a tub or trunk together with another kind that was made in stone using blocks by Monte Rosa in the Pennine Alps (6th – 5th century BC). These blocks were only roughly fashioned on the outside. Moore than 500 examples have been found. From the end of the 5th century to the mid-3rd century BC these stone sarcophagi were made of four monolithic slabs well worked and smooth, with moulded frames and with gabled covers. Another kind was made of clay bricks and covered by tIles. The large grey stone sarcophagus differs from the others. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696116300593-DL6MTBNLGDWD0MLE85A9/_SSL1774_gravegoods+vases_Lipari+necroplis-5tht-3rd+c+BC.jpg Lipari lsland - Vases for grave goods placed outside the scarcophagi, Lipari necropolis-, 5th to 3rd century Wealthier graves may have included earrings, necklaces, and exotic foreign materials such as amber. Common binary societies had women perform duties such as mothering, processing activities, cooking, etc. and men perform duties such as hunting and fighting. For example, these societies would bury their women with jewelry and their men with axes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695689855026-L60DRXFMROSWD6VSVMNZ/_SSL1814_Liipari_Aphrodite+nude-IVc+BC.jpg Lipari lsland - Statuettes of a seated naked Aphrodite, with arms clinging to her sides, occur frequently in the second half of the 4th century BC in girls’ graves characterized by tiny jars. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696047720039-GHR7LIEPW8031HYHKKFH/_SSL1816_tomb+1161_340BC_Gnathia+style_FIN.jpg Lipari lsland - Tomb contents, 340 BC, Lipari Tomb contents with vases decorated in the initial “Gnathia style,” named after the ancient city of Gnathia (now Egnazia) in Eastern Apulia (Italian, Puglia). After 330 BC the extensive use of white paint dominated this style. As can seen above, the decoration was panted in white color with touches of yellow and red, and was applied on the black burnished vase. The new colors were fixed with a second firing. At the same time, the thematic range was reduced, limiting itself to tendrils of vine, ivy or laurel, theatrical masks, and, within the tendrils, male and female heads, doves and swans. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695960723398-WWHF2CZYZIBE8GBMBAHG/_SSL1790_Lipari-Brea_Ushibti-companion+VIc+BC.jpg Lipari lsland - Ushebti, blue glazed faience (a sintered-quartz ceramic material from ancient Egypt), 6th c. BC., Archaeological Museum, Lipari Ushebti figure with wig and agricultural tools: hoe and sickle, in Egypt ritually deposited in tombs, symbolic companions of the dead in afterlife. Hieroglyphic inscription not legible. Ushabtis were placed in tombs among the grave goods and were intended to act as servants or minions for the deceased, should they be called upon to do manual labor in the afterlife. The figurines frequently carried a hoe on their shoulder and a basket on their backs, implying they were intended to farm for the deceased. They were usually written on by the use of hieroglyphs typically found on the legs. They carried inscriptions asserting their readiness to answer the gods' summons to work. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695714272890-2MTBA40X3PCOFRWJ8IFH/_SSL1810_Goddess+Hecate_ArchMuseum_Lipari.jpg Lipari lsland - Red figure pottery, late 5th to 4th century B.C., Archaeologic Museum, Lipari Hecate, shown here with a hound and torch, was most notably in ancient Greek religion the goddess of magic, witchcraft, the night, light, ghosts, necromancy, and the moon. Further, she was the goddess and protector of the oikos (house/household, and entranceways. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434303482-2SXVLF5F59GUW9IXKGUP/_SSL1804_Liparii_Brea_Lipari+Vase+dance_4th-3rd+cBC.jpg Lipari lsland - Possibly Euterpe playing the flute while an old man “dances to the music” Euterpe is one of the nine muses, fathered by Zeus. All the muses were assigned various roles and Euterpe became the Muse of Music and Lyric Poetry. She is almost always depicted holding a flute. It is interesting to note that the flute playing was limited too certain occasions, as its sound seemed to the ancients to arouse enthusiasm and passion (Arisstotle, Politics, viii 3). For example, dramatic music was introduced with the Greek Drama, but limited to flute-playing. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696400934012-JUQJWPJ2AOD1PHLH2LBN/_SSL1676_Castle+Rock+view+through+wall+to+to+Liapri+town.jpg Lipari lsland https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434483646-1W56DOKMH20KLY23INYE/_SSL1820_Lipari_Muse+Archeologico+Regionale+Luigi+Bernabo%CC%80+Brea_arches_FIN+.jpg Lipari lsland - Following the Gothic style arches to exit the Archeological Museum and Acropolis area https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434514641-KK3A8NF1B5N5NS6BY5DD/_SSL1833_Lipari+beach+Rescue+boat.jpg Lipari lsland - Salvataggio (Rescue Boat), Canneto beach, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695945739474-VMVLV0QXDM8A3HWFCTKX/_SSL1835_Lipari_sundown%2Blast%2Bnight.jpg Lipari lsland - Boat sitting, ship sailing, sun setting https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696116857798-EHWTJYMIIEEZI5JGI8QI/DSC03836_Lipari_evening+beach_FIN.jpg Lipari lsland - Evening light on boats beached, moored and dry docked https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434568393-RURNJLHO8RZEKDGFZLUL/DSC03844_Lipari_San+Cristoforo+Basilica+Romana+Minore.jpg Lipari lsland - San Cristoforo Basilica Romana Minore, across the street from the beach, Canneto, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696144534062-48WY92UUCSBP8739VP51/DSC03840_St+John+Baptist_S+Christopher+Church_Canneto.jpg Lipari lsland - Saint Christopher Minor Roman Basilica, Canneto, Lipari In 2006 the statues of Saints Peter and Paul were placed on the sides of Saint Christopher’s and that of Christ the Redeemer on the top, artifacts blessed in Rome by Pope Benedict XVI. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696144534176-4ZH6ZYGJ7G0MDVLRCX78/DSC03842_St+Christopher+window_Church_Canneto-Lipari_FIN.jpg Lipari lsland - Saint Christopher carrying Christ, stain glass window, Saint Christopher Minor Roman Basilica, Canneto, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696144903047-10S71XS8GQBBO91UZW9R/DSC03848_2022-10-25_Evening+traffic_Canneta-Lipari_FINAL.jpg Lipari lsland - Evening traffic, Canneto, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696127623718-TLHKV3PBOPHOP3M9V724/DSC03858_early+morning+light.jpg Lipari lsland - Awaiting the sunrise in early morning light https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695701930961-FDM7EKVJUFCFBXGFUMFJ/DSC03860_Lipari_old+boat+shore_FIN.jpg Lipari lsland - Drydocked with sunrise colors https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434895392-KCOXOS5HWURNNDBDGJUW/DSC03876_Lipari+sunrise.jpg Lipari lsland Sunrise over the Tyrrhenian sea https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434949883-CNJ6RKQU2RO7XAB24G1W/DSC03888_Lipari+sunrise+and+boat.jpg Lipari lsland - Sunrise light revealing a boat on the Canneto beach, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434539262-SRAEBLPM1YSG8LNSPPIY/_SSL1839_Lipari_on+the+mirrors+of+flat+seas_FiN.jpg Lipari lsland - Poem on the steps leading to 2nd floor guest rooms, Albergo Casajanca, Lipar On the mirrors of flat seas and fireflies of stars, nebulous almost human outlines, plastic bodies with an intense life, round shapes full of mystery, are pregnant with silence and desire https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696117362296-830WYF85PI27ZRCL7XFW/DSC03894_Casajanca+desk.JPG Lipari lsland - Entry and front desk oof the Albergo Casajanca, Canneto, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695435016341-YKXK4PSACRETIRKRMYAC/IMG_0714_Lipari_breakfast.jpg Lipari lsland - The delight of a daily Albergo Casajanca breakfast https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695435047583-JEQ1H6LT071QH5DOC2HD/IMG_0720_Lipari+breakfast+view.jpg Lipari lsland - View of the Tyrrhenian Sea while eating breakfast inside Albergo Casajanca, Canneto, Lipari https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696399619571-0ZMVS2G4OQ22NYE0ZK2B/_SSL1828_ceramic+of+Liipari+town.jpg Lipari lsland - Ceramic of Lipari town https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1695434978750-LOJ0YOW63JK5FAKK48IS/DSC03932_Lipari+ferry+to+Vulcano+to+Sicily.jpg Lipari lsland - Ferry stop at the Aeolian island of Vulcano on the way back to Sicily Vulcano Island has an area of 8 square miles. Although the last major eruptions were in 1888–90, fumaroles of sulfurous vapor testify to continuous volcanic activity, and its Gran Cratere is still active. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696305337397-QKBGCJJRFPZE4BT5H0MS/DSC03942_Lipari_ferry+stop+Vulcano_crp.jpg Lipari lsland - Hotel Faraglione and the Carabinieri, port of Vulcano Island, Aeolian Islands, Italy The Carabinieri is the national gendarmerie of Italy who primarily carry out domestic and foreign policing duties. It is a military force with law enforcement duties among the civilian population. The Carabinieri boats are deployed for public safety and security operations and to patrol coast and territorial waters. http://www.sslanzilotti.com/agregento daily 0.75 2023-10-12 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696730689002-75BRAMVNO1AKIE0SEOFB/DSC03963_2022-10-30_sunrise+Tempio+della+Concordia.jpg Agregento - Sunrise over the Valley of the Temples, Agrigento, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696730689002-75BRAMVNO1AKIE0SEOFB/DSC03963_2022-10-30_sunrise+Tempio+della+Concordia.jpg Agregento - Sunrise over the Valley of the Temples, Agrigento, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696725984254-Z5JX2JDYT9J38SBTZI0E/_SSL2004_Temp+Zeus-ruins+crp.jpg Agregento - Ruins of the ancient city of Akragas, Agrigento, Sicily Agrigento was founded around 581 B.C. Already home to indigenous peoples who maintained commercial relations with the Aegean and Mycenaean, the Agrigento area saw the rise of the Akragas polis , a city state founded by Greek colonists from Gela, Sicily. Hosting more than 1000,000 people and boasting high standards of living at its peak in the mid-5th c. B.C., Akragas was first destroyed by the Cathaginians in 406 BC but prospered again in the 3rd c. B.C. and then, through a complete redevelopment, after 210 B.C., following the Roman conquest and its renaming to Agrigentum. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696472689044-AXGCF7MVHYSKWKV0YP3F/_SSL1860_Concordia_Agrigento-Sicily.jpg Agregento - The rich lands of Agrigento Agrigento contains the remains of the magnificent Doric temples that dominated the ancient town, much of which still lies intact under today's fields and orchards. Selected excavated areas reveal the late Hellenistic and Roman town and the burial practices of its early Christian inhabitants. Early settlers initially benefitted from rich lands in the region ideal for cultivating olives, grapes and cereal. This led to the city prospering and developing into one of the most culturally advanced Greek cities in the Mediterranean region. The temples themselves were built between 510 B.C. and 430 B.C. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696408234404-08EA2S3FZYS8KSFBMA6E/_SSL1861_Temple+of+Hera_Agregento.jpg Agregento - Agrigento, the City of Temples, Sicily Agrigento is known as the City of Temples for its expanse of Doric temples of the ancient Greek city located in the so-called Valley of the Temples, included, in 1997, among the UNESCO World Heritage Sites. The temples sit not in a valley but on the western summit of the hill of ancient Girgenti. The site consists of eight temples and various other remains: the Temple of Hera, the Temple of Concordia, the Temple of Heracles, the Temple of Olympian Zeus, the Temple of Castor and Pollux, the Temple of Hephaestos and the Temple of Demeter. All are found in the same area, while the Temple of Asclepius is located on the banks of the Akragas River. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696408346287-1M8E5ECFTM69FW8QA7O0/_SSL1865_Temple+of+Hera_Agregento.jpg Agregento - The Temple of Hera The Temple of Hera was built around the year 450 B.C. Signs of a fire have led historians to believe the temple was damaged in the Siege of Akragas in 406 B.C. It is built in local calcarenite stone (a limestone) and is erected in a dominating position, on the eastern extremity of the Hill of Temples and rests upon a base (crepidoma) with four steps and has six columns at the front and back, and thirteen along the sides. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696476193740-PA1I9RVUDXJJ706Q1WTL/_SSL1871_Floorplan+Hera_Agrigento.jpg Agregento - Floor plan of the the Temple of Hera, Agrigento, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401659248-3YS1ZLZLU4CT3LEZ5PRK/_SSL1870_Agrigento_Temple+of+Hera_FIN.jpg Agregento - The Temple of Hera, Agrigento The interior of the Temple of Hera was divided into three rooms: the central one called cella was preceded by a porch (pronaos) and followed by a room at the rear (opistodmos) both the pronaos and opistodomos had two columns in front. The cella was used to house the image of the deity or god to whom a temple was built to dedicate and worship. Worshippers and visitors would often leave sacrifices or offerings to the deity and its image within the cella. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697076831186-5XJPFI6BCRO4VPN6GY0A/Temple+of+Hera+de+Wint-Westwood-1821.jpg Agregento - Old view of the Temple of Juno, Agrigento, Sicily, created by de Wint and Westwood, printed by McQueen, London, 1821 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696477495272-O2FG2I2ERRPR60BMW2X6/_SSL1874_Altar+Temple+of+Hera_Agrigento.jpg Agregento - Altar of the Temple of Hera, Agrigento, Sicily On the eastern side of the temple are the remains of the monumental altar that originally was preceded by ten steps, which led to the level where sacrifices took place. The altar was placed outside in front of the temple. This enabled the priest to face his congregation, who was assembled outside. With the temple entrance at the priest’s back, the congregation could then watch him and look toward the temple. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696482405953-UVBMFCR26Y29R39JKFIO/_SSL1882_Temple+of+Hera+side_FIN.jpg Agregento - Temple of Hera, Greek temple, circa 450 B.C., Agrigento, Sicily Long after the Greek Temple of Hera Lacinia (Juno) was damaged by fire during the Siege of Akragas of 406 B.C. by the Carthaginian army under Hannibal Mago, The Doric temple was restored at the time of the Roman province of Sicily, with the original terracotta roof being replaced by one of marble. If still in use by the 4th-and 5th century, the temple would have been closed during the persecution of pagans in the late Roman Empire. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696482264110-ZYWC5RGF25NEJK5S7N74/_SSL1871_Scheme+of+Doric+Order_Agrigentoo.jpg Agregento - Scheme of Doric Order The columns on the ruins include the architrave (the horizontal layer that rests directly on the columns and supports the weight of the entablature); abacus ( a flat slab forming tthe uppermost member or division of the capital of a column ); echinus ( a rounded mooldng below an abacus on a Doric or Ionic capital); necking grooves (separates the necking of the column from the upper drum of the shaft beneath); and the shaft (the column consists of the shaft, which increases n diameter almost invisibly up to abouot one-quarter of its height, and diminishes slightly after that point. It has no base, but rests immediately on the stylobate); below are the stylobate (the top step of the crepidoma, the stepped platform upon which colonnades of temple columns are placed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696579137355-RY9GYKX8CK0636PDT1UG/_SSL1896_back+side+of+Hera_Agrigento_FINE.jpg Agregento - The Temple of Hera, rear view, built 450 B.C., Agrigento, Sicily Hera may have been the first deity to whom the Greeks dedicated an enclosed roofed temple sanctuary, on the Greek island of Samos about 800 BCE. In ancient Greek religion, Hera is the goddess of marriage, women and family, and the protector of women during childbirth. In Greek mythology, she is queen of the twelve Olympians and Mount Olympus, sister and wife of Zeus, and daughter of the Titans Cronus and Rhea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697084420054-RRB3DT13WH7J68XABYRE/Hera_Campana_Louvre_Ma2283.jpg Agregento - The Capana Hera, a Roman copy oof a Hellenistic original, 3rd c. B.C., from the Louvre, Paris The Temple of Hera would have contained an image such as this statue of the goddess Hera (Roman Juno) holding a royal sceptre (missing) in one hand and a cup in the other. She wears a diadem or crown and veil. As Queen of the Gods, Hera will always be shown with the regalia associated with the office. Therefore she is often depicted holding a sceptre or staff, as in this image. The veil indicates her married status and is a symbol of modesty, thus relating to her domain of Marriage and married women and as protect of women from harm during childbirth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401690862-2WJMH7RMZXLHBCXH26PC/_SSL1891_Agregento+fossil+Hera_FIN.jpg Agregento - Fossilized shell in limestone near the Temple of Hera, Agrigento, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401728801-VER3GHCV4U3PVZEMI40E/_SSL1905_Agregento_acrosolia+entombment.jpg Agregento - Acrosolia - a large recess used as a place for entombment In late Roman times and during the first centuries of the Early Medieval period (4th-8th century A.D.) the urban layout of the Hill of the Temples and the plain south of it was greatly modified. Along with the transformation of pagan cult buildings, many surrounding areas were converted into cemeteries; these were by then on the outskirts of the inhabited settlement. After the southern city wall had lost its function as a defensive fortification, an Early Christian cemetery developed between the 4th and 7th centuries A.D. Numerous arcosolium tombs hewn out of the stone ridge known as the Hill of the Temples may be easily seen. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401731952-HSVZVEWA0IWG6BC364GR/_SSL1917_Agregento_Arcosolia+entombment.jpg Agregento - Christian acrosolia entombment, 4th - 7th centuries, southern wall, Agrigento The term arcosolium refers to a kind of grave that is frequent in Christian catacombs, in which the rectangular tomb is closed by a horizontal slab (mensa) and sits in an alcove, plastered and painted with an arched ceiling. Arcosolia generally contained two or three burials side-by-side, or one above the other, and more than one tier of them might be present. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696408052425-Y1LGN6U9B1KX9EA8RDZP/_SSL1916_Southern+wall-cemetery.jpg Agregento - Christian acrosolia entombment, 4th - 7th centuries, southern wall, Agrigento Initially, the early Christian concept of death was very similar to that of the ancient Greeks and Romans: a sleep. However, this sleep was not thought of as an eternal, everlasting end after which nothing else could be accomplished. With the examples of both Lazarus and the daughter of Jairus, both of whom Jesus Christ raised from the dead, and the resurrection of Jesus Christ Himself, the sleep of death loses its permanence. Thus, for Christians, by extension of this, death ceases being an end and becomes a new beginning for the soul in its next journey toward the afterlife. Even the resting place of the dead took on a new meaning. It became known literally as a sleeping-room for the dead, as the dead would all one day be resurrected with the coming revelation, rather than an eternal home. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401760830-1JZZFNBTMDZSW0VRDVWX/_SSL1923_Agregento_two+togati_FIN.jpg Agregento - Two togati, first half of the 1st century A.D. The statues, dated as belonging to the first half of the 1st century A.D. because of the drapery pattern and the coloristic rendering of the folds, reproduce a widespread representation adopted for both the Emperor and his family members or for the municipal magistrates. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401694997-L6OHEYZP9WQZY5Y8C608/_SSL1889_Agregento+Concordia+and+fortification+wall.jpg Agregento - The southern city wall of ancient Akragas (Agrigento), Sicily The circuit of the fortification walls of ancient Akragas was of considerable extension (7 1/2 miles approx.). It had a quadrangular perimeter and was partly cut into the rock and partly entirely built with masonry. It dates back to the sixth century B.C. This defensive system can rightly be defined as an human enhancement to a natural system that it could play alone the role of protection of the city that was located between the defensive stronghold represented by the two hills of Girgenti and the hill, Rupe Atenea, to the North and the hill of the temples to the south. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401765733-T7V687WOKHB0KRU1NCAX/_SSL1931_Agrigento_concordia_FIN.jpg Agregento - Temple of Concordia, Valley of the Temples, Agrigento, Sicily The Temple of Concordia is the most well preserved ancient Greek temple outside Greece, likely because it was used as a Christian church after 6th century A.D . Due to its good state of preservation, the Temple of Concordia is ranked amongst the most notable edifices of the Greek civilization existing today. The exterior and the interior of the temple were covered by polychrome stucco. The upper frame had gutters with lion-like protomes (adornments), while the roof was covered by marble tiles. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696737526728-2AP189G6Q0VSKXAKY4K7/_SSL1935_Agregento+Concordi+Temple_FIN.jpg Agregento - Temple of Concorda, Agrigento, Sicily The Temple of Concordia owes its name to a Latin inscription with a dedication to the ‘harmony of the people of Agrigento’ found in its vicinity, albeit not associated to it. The building, in calcarenite blocks, is in Doric style (440 - 430 B.C.) and is founded on a base with four steps. Calcarenite is a type of limestone composed of sand-sized grains of calcite, usually in the form of tiny fossils, shell fragments and fossil debris. Although weathering may have a degrading effect on the appearance and structural soundness of limestone, Concordia has stood for 2,800 years. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401984909-0IYWYDY5D9JXOU9SUGVH/_SSL2059_Agrigento_Shell-fossil+near+restaurant_FIN.jpg Agregento - Fossilized shell in limestone, Agrigento, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696797791215-EH7QO4IJQXQ4R9CTA0GF/_SSL1952_Concordia_front_Agrigento.jpg Agregento - Front view into the interior of the Temple of Concordia, Agrigento, Sicily The temple has six columns at the front and back, and thirteen along the sides. The interior of the Temple of Concordia was divided into three rooms: a central room called cela was preceded by a porch (pronaos) and followed by a rear porch (opisthodomos); both the pronaos and opisthodomos had two columns in front. On the sides of the door to the cella, there were stairs that allowed access to the roof. The interior and the exterior of the temple were coated by white stucco with polychrome decorations. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401803978-VCUC5E2XXX7PNRUYBQJU/_SSL1957_Agregento-Concordia.jpg Agregento - Rear of Temple of Concordia changed to the front entrance of the Church of Peter and Paul, Agrigento By the 370s A.D., the Roman empire had embraced Christianity and everything changed. After an initial period of tolerance, emperors instituted sharp anti-pagan laws. Concordia, along with the other surviving temples, was closed. But two hundred years later, in 597 A.D., the bishop Gregorius took seat in the temple and consecrated it to the Saints Peter and Paul, after having expelled the pagan demons Eber and Raps from the building. The building remained a church until the 18th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696811721819-ZEG80PZ2LB3SL2BZRLD6/_SSL1933_C_Reconstuct+Christian+Church-Concordia.jpg Agregento - Artist's reconstruction of the Christian church in the Temple of Concordia, by A. Carlino-Ink-Park Authority 2008 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696799843870-RRIWELQ96L5R6E1FLZ2U/_SSL1945_Cooncordia-arches+columns_crp_FiN.jpg Agregento - Arches of the Church of Saints Peter and Paul within the structure of the Temple of Concordia When the temple was turned into a church in the 6th century A.D. the entrance was moved to the rear, and the rear wall of the cella was destroyed. The spaces between the columns were closed, while 12 arched openings were created in the cella, in order to obtain a structure with one nave and two aisles. The pagan altar was destroyed and sacristies were carved out in the eastern corners. The sepultures visible inside and outside the temple date to the High Middle Age. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696810390438-SS8SKWFPQBRCNAXJ6YEP/Artist+rendering+of+interior+of+Concordia-St+Peter+Paul+copy.jpg Agregento - Interior of the Temple of Concordia/Church of Peter and Paul, by J.F. d'Ostervald, 1822, Agrigento https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696581101833-09KEWRV4IFMHKNQOJETJ/_SSL1948_Giambertoni_Roman-Christian+Cemetery_Agrigento.jpg Agregento - Early Christian Necropolis between the Temple of Concordia and the Temple of Heracles , 3rd - 5th century A.D. In the ancient world, the spaces provided for the dead were completely separate from those of the living: in the Greek and Roman worlds, the walls that encircled the city also constituted the limit beyond which the burial areas stretched. In Agrigento, it was only in late antiquity, particularly from the 4th/5th century onwards, that burials began within Agrigento, partly due to population decline, which left large uninhabited space that could be occupied by burials. Another reason for burials within cities was the spread of Christianity, which introduced a new concept of death and the relationship with the deceased, i.e., death became a new beginning for the eternal soul. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401841676-GFW2S7OE1R6JXZEZ959W/_SSL1958_Agrigento+goats.jpg Agregento - Girgentana goats The import of the first specimens of the Girgentana goat came from either the Greeks or the Arabs. It was bred and selected in Sicily, particularly in the southwestern area. Its name derives from Girgenti (the name of the city Agrigento) and it is the only endemic animal of the area. Its milk, renowned for its good ratio of lipids and proteins, is intended for direct consumption. Facing extinction, the Association for the Protection of the Girgentana goat was established with the goal to reintroduce and preserve the goat within the Valley of the Temples, where the traditional presence of the grazing Girgentana goat has contributed to landscape and culture of the Valley. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696931084696-IUVFSULCTAAGKNRRQ234/_SSL2048_Agrigento_milk+goat_III_FIN.jpg Agregento - Milking a Girgentana goat, old photo provided as information at the Valley of the Temples, Agrigento https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696993338518-NZJ4XUM1D6CHV28XBOFH/_SSL1961_Girgentana+horns_FIN.jpg Agregento - Girgentana goat horns, The Valley of the Temples, Agrigento, The beauty in both male and female Girgentana breed is due to its straight horns twisted into a spiral form; they are never excessively separate from each other, but almost joined at the bottom and are very developed in males. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696981521402-PYZNLRWRVAXEUQAIQCX8/_SSL1964_Christian+ossuary_Agrigento.jpg Agregento - Ossuary used in early Christian burial, Agrigento An ossuary is a small container in which the bones of the dead were inside – that means that after a person died, their body was buried in a burial cave and after a certain period of time the bones were removed and placed in an ossuary. The greatly reduced space taken up by an ossuary made it possible to store the remains of many more people in a single tomb than possible in coffins. Early Christians practiced the use of an ossuary to store the skeletal remains of those at rest in Christ, as they believed the dead body rests in the tomb as on a bed until God raises the person up. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696503104916-3YZ0R18NIPVP6HB2LNIG/_SSL1967._Giambertoni+Cemetery+Agrigento_Roman+graves.JPG Agregento - Paleo-Christian Cemetery, Agrigento As early as the 3rd century A.D., much of the land around the Temple of Hera Lacinia was being used as a Christian cemetery. Early Christians always preferred burial as the method of disposition inherited from Judaism, whereby the dead were only buried, not cremated, and the example of Jesus' burial in the tomb. Upon arriving at the grave, the body would be lowered into the ground and covered with minimal ceremony, and a blood sacrifice would be made over the ground in order to both purify the land and honor the deceased once more. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696585466611-E1BPEHO93X2WSSNU0GKZ/_SSL1971_PaleoChristian+Cemetery_Agrigento.jpg Agregento - Paleo-Christian burial site Christians practiced burial of their dead, as the bodies of Christians were considered to have been sanctified by baptism and the reception of the sacraments, and thus were to be treated with dignity and respect, as befits a "Temple of the Holy Spirit" (1 Corinthians 3:16–17, 6:19). During times of persecution, pagan authorities erroneously thought they could destroy the martyrs' hope of resurrection by cremating their remains. Though the church always taught that the destruction of the earthly remains posed no threat to the bodily resurrection, many Christians risked their lives to prevent this desecration of the relics of the saints. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401875540-8KGF2QW2QG2BLH3ETYVP/_SSL1986_Agregento_Ercole+temple.jpg Agregento - The remaining columns of the Temple of Hercules, Agrigento, Sicily The Temple of Ercole (Greek: Heracles; Roman: Hercules) is traditionally accepted as the most ancient of the Greek Akragantine temples, dating to the final years of the 6th century B.C. The temple originally had 6 columns on each facade and 15 along the sides. The temple, in Doric style, is peripteral, that is, with columns along the entire perimeter, and hexastyle, that is, with six columns on the short side. Inside there is a cella (naos) where the statue of the deity (Hercules) was kept. The roof was decorated with gutters in the shape of lion heads. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401879500-CXYH11NP5A8WCZSWUCG2/_SSL1994_Agregento_Ercole+Temple_col+fallen.jpg Agregento - Fallen columns and remnants of the Temple of Heracles, possibly due to an earthquake, Agrigento https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696994654164-C1X5OENUBFTNS21Y6FVS/Model+of+Temple+of+Zeus.jpg Agregento - A model of the Temple of Zeus, Archaeological Museum of Agrigento, Sicily (https://www.worldhistory.org/image/2644/temple-of-zeus-model-agrigento/) The Temple of Zeus was constructed in the 480s B.C. It measured around 371 ft. (longer than an American football field) x 184 ft. and stood on a five-step base; it was 108 ft. high. The Temple of Olympian Zeus (or Olympeion; known in Italian as the Tempio di Giove Olimpico) was the largest Doric temple ever constructed, although it was never completed and now lies in ruins. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401916013-T2UDPFJE01SC58CRIPEQ/_SSL2015_Agregento_Temp+Zeus_altar+staircase_sm2.jpg Agregento - Steps of the Temple of Zeus, Agrigento, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401950815-51V8Y3CVJDKWJZABHJGE/_SSL2026_Agrigento_Zeus+Temp_caryatid_FIN.jpg Agregento - Telemon of the Temple of Zeus The Telamons were giant statues (about 26 ¼ feet high) probably located outside the temple to fill the interval between the columns. In accordance with the theory most accredited by archaeologists, the Telamons were a decorative element and also a support for the structure. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696913676741-24FX3H4IOLL728FC45X0/_SSL2014B_Colossus_Temple+of+Zeus_Agrigento_FINE.jpg Agregento - Standing telemon surrounded by temple ruins, a soldier, and a man sitting on a rock at the Temple of Jupiter/Zeus, image provided at the Valley of the Temples, Agrigento https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696997069440-JRNR5Y20JBG9WZ59O7XF/Thelemon_in_situ_-_Model_of_Temple_of_Zeus_-_Museo_Archeologico_Regionale_-_Agrigento_-_Italy_2015-2.jpg Agregento - Model illustrating the placing of the Telemon on the exterior of the Temple of Zeus, Agrigento © José Luiz Bernardes Ribeiro / CC BY-SA 4.0 It is generally believed that the telemon stood on a recessed ledge on the upper part of the outer wall, bearing the weight of the upper portion of the temple on their upheld hands, as illustrated in this model. Forty 26¼ foot-high colossal Atlas statues., adorned the 5th c. B.C. Temple of Zeus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696721920874-ROI9Y9PHMF7O1EVP1UFT/_SSL2012_Capital_Temp+of+Zeus_Agrigento.jpg Agregento - Ruins of the Temple of Zeus, Agrigento, Sicily The Temple of Zeus is said to have stood till the year 1100; but is now a perfect ruin. Diodorus calls it the largest temple in the whole island, but adds that the calamities of war caused the work to be abandoned before the roof could be put on; and that the Agrigentines were ever after reduced to such a state of poverty and dependence, that they never had it in their power to finish this superb monument of the taste and opulence of their ancestors. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696997075315-G0XQLY1D1GEKRMNOPQ9Q/Temple+of+Zeus+Arch+ruins_Agrige29.jpg Agregento - llustration showing ruins of the Temple to Jupiter in "Voyage Pittoresque des Isles de Sicile, de Malthe et de Lipari" by Jean-Pierre Louis Laurent Houël - 1782-1787 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697016760186-HUYOW72FN5OZWH3PB90S/Temple+of+Zeus+and+Altar.jpg Agregento - Artist rendering Temple of Zeus and its Altar The architectural device of the monumental altar located in front of the entrance, on the same axis as the temple itself, was introduced into Sicily towards the mid-6th century B.C. and is first seen in Akragas in the Temple of Heracles/Hercules and repeated n the Temple of Hera/Juno. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697016749367-9NIP9QDK35B6TDVL3YQK/_SSL2034_Altar-Temple+of+Zeus_FIN.jpg Agregento - Altar of the Temple of Zeus, Agrigento, Sicily At the east end of the Temple of Olympian Zeus is a massive altar that would have been used for the simultaneous sacrifice of large numbers of animals, generally sheep or cattle. The meat was then roasted and consumed by the worshippers in sacred banquets, while the fat was burnt on the altar so that, in the form of smoke, it reached the deities on high. But animals were not the only ones sacrificed on Zeus's altar. The discovery of the Lykaion boy's remains is compelling precisely because the Zeus Lykaios festival was notorious for its sacrifice of young boys. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401953081-7PLKI66VQU2WOILX2FZO/_SSL2041_Agrigento_Zeus_altar+piers_FIN.jpg Agregento - Altar Piers, Temple of Zeus, Agrigento A survivor of later robbing is the structure with vertical stone uprights (piers), now separated by empty spaces which would once have been filled with earth and stones that served to hold up the staircase composed of L-profiled steps. This led to the upper level, bordered to the east by a balustrade; here dawn sacrifices were conducted, facing the rising sun. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697019926649-N7SQAOBY9ZRO8DX7I8YP/Artist+rendering+Altar_Temple+of+Zeus.jpg Agregento - Altar of the Temple of Zeus with priest sacrificing above the underlying structure of piers, image provided at the Valley of the Temples, Agrigento https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1696401624567-Y8IGTQ0P3LH8MHHZISD1/_SSL1847_Agregento+Temple+of+Concordia+by+night_FIN.jpg Agregento - Evening in the Valley of Temples, Agrigento, Sicily http://www.sslanzilotti.com/taormiina daily 0.75 2023-10-15 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094748771-OZCQAGXQH0BB52FYQ6B2/_SSL2448_Taormina+view_sm.jpg Taormiina - The Theater of Taormina is sited on a rocky promontory overlooking the town and the Ionian Sea and in the shadow of Mount Etna. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094748771-OZCQAGXQH0BB52FYQ6B2/_SSL2448_Taormina+view_sm.jpg Taormiina - The Theater of Taormina is sited on a rocky promontory overlooking the town and the Ionian Sea and in the shadow of Mount Etna. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094182426-JTR0A207AALSQ46QHBO2/_SSL2409_Taormina+street+scene.jpg Taormiina - Street scene walking up to the Taormina Theater https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094168247-AOLZPBDT7RLDTZZ5C5BJ/_SSL2408_Taormina_Porta+Messina+Restaurant.jpg Taormiina - Porta Messina Restaurant, Taormina, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697186313573-W0ZMKDD0Z1Q4QK6QJWUZ/_SSL2424_Taormina_theater+stage+view_FIN.jpg Taormiina - Ruins of Taormina Theater, Sicily The ruins of the theater we see today were sited by ancient Greeks in the 3rd century BCE but re-envisioned during of Rome’s 600-year occupation. The Hellenistic theatre the Greeks built has all but disappeared beneath the layers of Roman brick and concrete. The Greek theatre became a Roman theatre in the 1st century CE and that theatre in turn was transformed into a gladiatorial arena 300 years later. The ruins at Taormina today are a 600-year compilation of Greek and Roman constructions, over two thousand years of wear and erosion, and countless patches and repairs performed by stewards of the theatre site. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697183302172-2K4C0HVSNKW9K5QS9863/taormina-ancient-theatre-1825-de-Belmont.jpg Taormiina - The ancient theatre in Taormina, painting by Louise-Joséphine Sarazin de Belmont, 1825, now in the Metropolitan Museum of Art, New York https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094222811-TJDZK5TS9NTDJZ3UH6S8/_SSL2427_Taormina_theater+view.jpg Taormiina - Taormina theater ruins, right side of the scaenae frons, Sicily In Greek theater, the scaenae frons was the building behind the stage used both as the back scene and the actors’ dressing room. During the Roman period, it was no longer painted in the Greek manner but tended to have architectural decorations combined with luxurious ornamentation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094193467-8SAJHRO7R252ZXKMUF3B/_SSL2421+_Taormina+Gr+Theater+view_sm.jpg Taormiina - Raised stage of the Theater of Taormina, Sicily According to 5th-4th century B.C. Greek pottery decoration the stage was built around 3.3 feet above the ground and had steps at the front. Actors performed on the stage which had an entrance on the left and right sides and from a single central doorway in the scenery behind, usually made to resemble a temple, palace, or cave. The use of painted scenery is also very likely. The stage scene could also have a top platform from which actors could play gods speaking down upon the audience and actors alike. Technical additions included a wheeled platform (ekkylema) pushed out of the doorway and used to dramatically reveal new scenery, and a crane (mechane) situated to the right of the stage and used to lift actors who were playing gods or heroes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697335728253-XC949HCAWZRDCI4XDRNE/_SSL2428_Taormina_Theater+seating_sm.jpg Taormiina - Cavea, Taormina Theater, Sicily The theater’s cavea (semicircular tiered seating) has a diameter of 358 ft., seating 5,400 spectators. It is, except for that of Syracuse, the largest ancient theater not only in Sicily, but in the Italian peninsula and North Africa. The 3rd c B.C. Greek theater at Taormina was carved directly into the living rock of Mount Tauro . To carry out the gigantic work of the theatre, it was necessary to level the natural hill on which it stands and about 130,800 cubic yards of limestone rock was extracted. Large columns would have been hauled up the mountain by slaves to encircle the stage. Little of this earlier Greek theatre exists except for a few stone seats with 3rd century inscriptions and the remains of a Hellenistic sanctuary at the top of the cavea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697270854647-MIKADJH7RIUJ4Z2WTT49/_SSL2456_Taormina_mosaic_FIN+sm.jpg Taormiina - Polychrome figure of Triton with a sea horse and fish In the town of Taormina an extraordinary cultural heritage of mosaic floors has been discovered in private houses dating to the late Hellenistic period and Roman Imperial times (2nd century BC - 3rd century AD). This mosaic is an example of old restoration attempts of mosaics found in the 1950/60s inside private houses in Taormina that were mounted on rigid supports in reinforced concrete, fixed with iron braces and were then put on display on the corridor wall of the orchestra of the ancient theater. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697358844353-3AQJQCZWXU1RDR3H2WF8/_SSL2462_Taormina_Sarcophagus.jpg Taormiina - Bacchic scene, marble, from a sarcophagus, 2nd century A.D., Taormina Necropolis As elements of the iconography of Dionysius (in Greek)/Bacchus (in Latin), maenads and satyrs are shown dancing and playing Bacchic musical instruments. Music and dance played an important role in bacchanalia, showing figures dancing. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697349548339-UV27SPD7JQFP5VEBVOHZ/_SSL2467_Nobid_1c+AD..jpg Taormiina - Female head of a Niobid, from Taormina, ancient Theater, 1st century A.D. In Greek mythology, the Niobids were the children of Amphion of Thebes and Niobe, slain by Apollo and Artemis because Niobe, born of the royal house of Phrygia, had boastfully compared the greater number of her own offspring with those of Leto, Apollo's and Artemis' mother: a classic example of hubris. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697352635721-GZ7FI20IHHFU8BALJ40C/_SSL2471_Taormina+Theater+Roman+construction.jpg Taormiina - Theater changed structure and function, Taormina, Sicily The Greek theatre was designed to accommodate dramatic or musical performances and so included an orchestra at the lowest levels of the theatre and a large scene where actors or dancers would perform. After the Punic Wars the Romans annexed Sicily, forcing out the Carthaginians. While Sicily remained largely Greek culturally, the Roman settlers expanded the theater and shifted its function to reflect Roman entertainment. The majority of the ruins we see today are the result of numerous Roman reconstructions and additions that began as early as the Trajanic/Hadrianic period, (98 to 138 A.D.). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697352649974-XEX2MPFPLRCFRADKXT2P/_SSL2443_Under+the+theater.jpg Taormiina - Under the stage area of the Taormina Theater, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094899099-RF0YXQXO6XVQ25XBRD6K/IMG_0848_Taormina+Theater.jpg Taormiina - The. Theater at Taormina, Sicily The type of performances held in both Greek and Roman theaters were quite similar. Comedy and tragedy dominated, and theaters housed drama competitions and festivals to be carried out throughout the year. Masks, costumes, props, songs, and music all made up the show, with actors communicating with the audience directly or indirectly. Roman dramas, while originally taking themes from Greek topics and myths, eventually began to adopt their own themes with Etruscan and Latin origins. Choruses in Roman tragedies were incorporated into on-stage action, an aspect that differed from Roman comedy. Roman comedy were either Greek adaptations or entirely Roman in a Roman setting. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094862275-33G834QUJL3ZTCLBN068/_SSL2478_taormina_S+Caterina.jpg Taormiina - Church of Saint Catherine, with statue of St. Catherine above the entrance, Taormina, Sicily According to legend, Catherine was a princess who showed great intellectual prowess from childhood. As a young woman she had a vision of the Virgin and Child, and converted to Christianity. She was martyred for refusing to give up her Christianity. The accepted version of the saint’s life includes her asking Christ at the moment of her death to answer the prayers of those who remember her martyrdom and invoke her name. In the medieval Christian mind, this made her a powerful intercessor – i.e., she would intercede with God on behalf of the person praying. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697094880600-8HG2HDUT0AXMHV2Q4T9Y/_SSL2486_Taormina_St+Caterina+satue.jpg Taormiina - Statue of Saint Catherine, within St. Catherine Church, Taormina, Italy As a princess, Catherine's attributes include a crown and royal robes, in addition to a palm frond, open prayer book and a sword. The palm frond pinned on her robe symbolizes that she was a martyr for her Christian faith even under torture. The sword she holds symbolizes her martyrdom and death by decapitation under the pagan emperor Maximinus, who ruled from AD 306 to 312. The emperor, over whom she triumphed, is shown crushed beneath her feet. The book in her left hand is symbolic of her intellectual achievements. Catherine’s legend may simply represent a of a series of persecutions of Christian women. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697352683403-E12CH8OL3OHNG53B1KI9/_SSL2482_Main+altar+St+Caterina.jpg Taormiina - Main altar of Saint Catherine Church On the main altar you can see an imposing painting depicting Saint Catherine's martyrdom, attributed to the Sicilian painter Jacopo Vignerio (XVI century). Below the main portal there is a beautiful crypt fully excavated during the recent restoration, in 1977. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697352665684-JZYJZ67J5GYBA45V69GT/_SSL2483_Last+Supper_St+Caterina+Church.jpg Taormiina - The Last Supper, Church of Saint Catherine, Taormina, Sicily It seems to me that the Last Supper bas relief at the bottom of the altar of the Church of Saint Catherine owes much to Leonardo DaVinci’s version of the Last Supper. The St. Catherine version focuses on the same moment in the Last Supper, i.e., when Christ announced that one of the apostles would betray him. Christ’s arms and hands are in similarly posed as portrayed by DaVinci, having just established the sacrament known as the Holy Eucharist. At that point Christ announces the betrayal in both works. Finally, although the Saint Catherine Last Supper shows the apostles organized in different groups and their individual physical and psychological expressions are different from those of da Vinci’s apostles, both works of art provide the viewer with insight into the effect of Christ’s announcement oof betrayal on the apostles. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697360720185-O8U7U1C7AGXPQI7W2UHW/_SSL2489_Bar+Pirandello_Taorminaa.jpg Taormiina - Bar Pirandello: Pasticceria, Gelateria, in Taormina, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697342689635-ZX1MJL6PRZRS8KU8R9WL/_SSL2445_Taormina_view_Mt+Etna_crp_sm.jpg Taormiina Mount Etna, view from the Ancient Greek/Roman Taormina Theater, Sicily http://www.sslanzilotti.com/siracusa daily 0.75 2026-02-27 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697598987789-50IQFWDGUG3AMKB1AUKM/_SSL2508_sun-rock-stone+quarry.jpg Siracusa - Path through Rock Formation, Archaeologic Park of Neapolis, Siracusa, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697598987789-50IQFWDGUG3AMKB1AUKM/_SSL2508_sun-rock-stone+quarry.jpg Siracusa - Path through Rock Formation, Archaeologic Park of Neapolis, Siracusa, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697598939289-D6S43113GN69MFBRXLYH/_SSL2503_Archimedes+Tomb.jpg Siracusa - Necropoli Grotticelle, Archaeologic Park of Neapolis, Siracusa, Italy Carved into the limestone rocks in the area north of the Neapolis Archaeological Park, the Grotticelle Necropolis is a true “city of the dead”, containing graves from the Greek, Roman and Byzantine periods and an important testimony to Syracuse’s ancient history. The first burials date to the Bronze Age, but it was with the Greeks, in the 3rd century BCE, that the Necropolis reached the height of its splendor. After a period of neglect, it came back into use in the 1st century BC under the Romans as a columbarium with two tiers of niches for cinerary urns to be stored. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701035933104-UKFDCS1RVRFMF0FUV62I/_SSL2503_Archimedes+Tomb_Arch_detail_FN.jpg Siracusa - Tomb of Archimedes, (l. 287-212 BCE) Among the many tombs carved into the limestone rock is the famous Tomb of Archimedes, distinguished by the arch over the tomb. Archimedes was a Greek engineer and inventor who is regarded as the greatest mathematician of antiquity and one the greatest of all time. He is credited with a number of inventions still in use today (such as the Archimedes screw) and is referred to as the father of mathematics and mathematical physics. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700205694996-4SASUQRL8M1OKG7TBA6U/Archimedes_Scholar_D+Fetti+1620.jpg Siracusa - Archimedes (Portrait of a Scholar) by Domenico Fetti, 1620 Archimedes is referred to as the father of mathematics and mathematical physics. His major theories included the fundamental principles of mechanics; methods for finding the center of gravity, surface area, and volume of geometric figures; the principle of buoyancy; and, of course, an estimate for the value of pi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701031405724-9CZNVC15V676JGTIC7VF/roman-soldier-killing-Archimedes-mathematician-royalty-free-illustration-1678294759_sep.jpg Siracusa - Archimedes being confronted by a Roman soldier during the takeover of Siracusa Archimedes is said to have been so completely absorbed by intellectual pursuits that he would frequently forget to eat or bathe. At the fall of Siracusa to the Romans in 212 BCE, he was assassinated by a Roman soldier, as he was so involved in his work on mathematics that he did not run even when the solder came to him. When the Romans invaded Siracusa, Archimedes’ “engines of war” helped defend the city. These devices included cranes to drop rocks, claws to lift ships from the water, and machines to fire wooden missiles. He also devised a set of mirrors that focused sunlight on enemy ships, setting them on fire. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701033863259-B7GB4CC0JAHCITSI9CL8/_SSL2513_Entry+to+the+Latomia+Grotta+die+Cordari_FiN_sm+.jpg Siracusa - Entry to the Latomia Grotta die Cordari (Cave of the Ropers), Archaeologic Park of Neapolis, Siracusa The word latomia comes from the Greek words for stone and cut, and it indicates open-air jails which were full of prisoners and slaves back in the 5th century BCE. The inmates used to work in the caves to extract calcareous rock, which used to be used for almost all works of construction back in those days. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599016911-Q1PV3R2WWT1MOV60W99T/_SSL2514_Syracuse_Stone+Quarry.jpg Siracusa - Grotta die Cordari (Cave of the Ropers), Archaeologic Park of Neapolis, Siracusa https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599045086-TW4T28I07YVO5LCV0OPJ/_SSL2518_A+arch_stone+quarry_Syracusa.jpg Siracusa - Grotta die Cordari (Cave of the Ropers), Archaeologic Park of Neapolis, Siracusa https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599067743-AKLW74QEOZU0A3DABHT6/_SSL2522_stone+quarry.jpg Siracusa - Grotta die Cordari (Cave of the Ropers), Archaeologic Park of Neapolis, Siracusa https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700544214161-OZFHNLVRDVYJJ4JNTW4T/san-paolo-latomie-bellomo.jpg Siracusa - St. Paul preaches in the Latomie, watercolor on paper by Francesco Paolo Priolo, 1867 In the year 61 AD, during a stop on his way to Rome, the apostle Paul was said to have spoken to the Sracusans at the Latomie. In the work you can see the Saint preaching inside a cave, which clearly looks to be the Grotta dei Cordari, as seen from the slope of the walls, depicted as a backdrop. The Saint is portrayed with his right hand raised in the act of preaching, surrounded by his companions and a devout crowd who are listening attentively to him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599086729-GJNK6HG677HD4Q5H9265/_SSL2523_Syracuse_stone+quarry_man+sits.jpg Siracusa - Grotta die Cordari (Cave of the Ropers), Archaeologic Park of Neapolis, Siracusa https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697598961545-50IFGM0UEBOKAJZI6ZOY/_SSL2507_Syracusa+arch+park+tree.jpg Siracusa - Archaeologic Park of Neapolis, Siracusa https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700697836695-GT25WQPA4GCQ4B0C90ER/_SSL2525_Syracuse_ear+of+dionisis_FIN.jpg Siracusa - Orecchio di Dionisio (Ear of Dionysius), Archaeologic Park of Neapolis, Siiracusa This cave was dug in Greek/Roman times to provide water storage for Siracusa. A narrow tunnel was dug first. This tunnel was widened by digging down and sideways afterwards, giving the cave its unusual shape. The small narrow tunnel is still visible on the top of this artificial cave. An earthquake struck this area causing damage, and the cave became unusable for water storage afterwards. The cave is featured as the location of the tomb of Archimedes in the 2023 film Indiana Jones and the Dial of Destiny. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700707911570-YI5KAJD5LNYJUC6GSTV6/_SSL2531_Syracuse_ear+of+dionisis-S_FIN.jpg Siracusa - Orecchio di Dionisio (Ear of Dionysius), Archaeologic Park of Neapolis, Siracusa The Ear of Dionysius, from which the route of the large urban quarries starts, was most likely formed out of an old limestone quarry. It is 75.5 feet high and extends 213.3 feet back into the cliff. Horizontally, it bends in an approximate "S" shape, vertically it is tapered at the top like a teardrop (see previous photo). Because of its shape, the Ear has extremely good acoustics, making even a small sound resonate throughout the cave. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599110495-DFK9522E9Y8WG2A56N7K/_SSL2530_Syracuse_ear+of+dionisis.jpg Siracusa - Inside the Orecchio di Dionisio (Ear of Dionysius), Archaeologic Park of Neapolis, Siracusa The name of the cave was coined in 1608 by the painter Caravaggio, who was shown the grotto by the mathematician, antiquarian and archaeologist Vincenzo Mirabella. It refers to the tyrant Dionysius I of Siracusa. According to legend, Dionysius used the cave as a prison for political dissidents, and by means of the perfect acoustics eavesdropped on the plans and secrets of his captives. Another legend claims that Dionysius carved the cave in its shape so that it would amplify the screams of prisoners being tortured in it. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700462058177-TQN4CM3SJC4FIWDLSWWC/Dionysius+I+of+Syracuse.jpg Siracusa - Dionysius and "The Sword of Damocles" by Richard Westall, 1812 The picture basically tells a story of “walk a mile in my shoes.” Damocles admired the tyrant Dionysius (c. 432 BC – 367 BC) for what he perceived was a life of splendor and power. Damocles expressed how ‘fortunate’ Dionysius was, to which Dionysius replied, “So, Damocles, since this life delights you, do you wish to taste it yourself and make trial of my fortune?" Damocles said that he desired this, not realizing that power often came with an actual life dominated primarily by fear: e.g., being afraid that someone will kill him, either to eradicate the tyranny or to become tyrant themselves. Later, while Damocles was enjoying all the trappings of a luxurious life in Dionysius’ palace, the later ordered that a shining sword, fastened from the ceiling by a horse-hair, be let down so that it hung over the neck of that ‘fortunate’ man. Realizing his precarious situation, Damocles begged Dionysius that he should be allowed to depart because he no longer wanted to be ‘fortunate.’ https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701046085840-9HGYYHGZ9O2PDE0K8J7W/_SSL2541_Syracusa+Greek+theater_refurb.jpg Siracusa - Greek Theater, Neapolis Archaeological Park, Siracusa. Sicily The Greek Theater of Siracusa was first built in the 5th century BCE, rebuilt in the 3rd century BC and renovated again in the Roman period. In antiquity it had great international fame and prestige being the most important building for shows of the Greek-western world, a very high example of civil architecture. It was also a place of worship and large popular assemblies, the site of public trials and, in Roman times, it was also adapted for circus and variety exhibitions. Today, it is a part of the Unesco World Heritage Site of "Siracusa and the Rocky Necropolis of Pantalica". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599129380-5KERFB3LYJOTKN6ELQKI/_SSL2539_Syracuse+Greek+Theater+floor+plan_sm.jpg Siracusa - The Greek Theater, architectural plan, Neapolis Archaeological Park, Siracusa. Sicily The Greek Theater of Siracusa can house 15,000 to 16,000 people, originally had 67 orders of steps, 21 of which were large square-shaped boulders that were removed in the 16th century by the Spaniards on behalf of Charles V (b. 2/24/1500 – d. 9/21/1558), Emperor I King of Spain, King of Naples and the last “real ruler” of the Holy Roman Empire, for the fortifications of Ortigia (Siracusa area) and the remaining 46 are carved directly into the rock. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700209763893-SYD9IM0BZAWZ9O0D8FKF/_SSL2537_Greek+Theater-semicircular+orchestra.jpg Siracusa - The Greek Theater, Neapolis Archaeological Park, Siracusa, Sicily At the end of the staircase, in the lowest level of the Greek Theatre, there is the semicircular orchestra that was intended to house the choir that at that time had the task of describing what was happening at that time because it often could not be represented on the scene (part located in the area behind the orchestra). The Greek Theater of Siracusa was one of the major centers of theatrical, political and spectacular life of the time. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701056642922-MHR554VO6SYC30ZHBRKK/artist+renderiing+Greek+theater_FINAL+copy.jpg Siracusa - Artist rendering of a Greek Theater in the 4th century BCE Ancient Greek theater dates back to the 6th century BCE and was deeply rooted in religious and civic rituals. Nearly every Greek and Roman city of note had an open-air theater, the seats arranged in tiers with a view of the surrounding landscape. Here the Greeks sat and watched the plays first of Aeschylus, Sophokles, Euripides, and Aristophanes, and of Menander and the later playwrights. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700630929485-JHZ5DM30E4QP31IZN941/Hercules_Wrestling_with_Death_for_the_Body_of_Alcestis.jpg Siracusa - Hercules Wrestling with Death over the Body of Alcestis, oil on canvas by Frederic Leighton, c. 1870 Greek theater goers would see plays such as the tragedy Alkestis by Euripides, which was originally performed in Athens at the City Dionysia in 438 BC. With much drama the play begins with Alkestis’s death and ends with the hero Herakles (Heracles) wrestling Thanatos, the divine personification of death, for her soul and bringing her back to life. He then brings her as a veiled woman to Admetus, her husband, and asks him to take her and look after her while he is away on his labors. When Admetus lifts the veil, he finds it is Alcestis, back from the dead. Heracles has battled Death and forced him to give her up. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599152034-DYGDGZ71A6TZOENT2TZ8/_SSL2542_Syracusa+Roman+Amphitheater+plan_FIN.jpg Siracusa - Roman amphitheater floor plan, Archaeologic Park of Neapolis, Siracusa The Roman Amphitheater, perhaps begun under the reign of Nero (Roman emperor), was built between the second half of the second and fourth centuries AD., but for years it remained buried and was only brought to light in 1839 by the Duke of Serradifalco (a scholar, architect and scholar of Sicilian archaeology and architecture). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599171029-4NR4WNIHGC2ZDEITTY0U/_SSL2543_Syracus_Roman+Amphitheater_1st-3rd+c+BC.jpg Siracusa - Roman amphitheater, Archaeologic Park of Neapolis, Siracusa, Italy This 2nd-century Roman amphitheater was originally used for horse races and gladiatorial combats. The amphitheater is located in the ancient suburb of Neapolis, measuring around 450 feet (length ) by 390 feet (width). The seating in the cavea is separated from the arena itself by a high platform, under which was a vaulted corridor through which gladiators entered the arena. Above this were the front seats, which were reserved for high ranking individuals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700460869975-VEPOL179O02FB8JTKEKT/Horses-Roman-Mosaic.jpg Siracusa - Roman Horse Race, mosaic, 3rd century A.D. "A two-wheeled chariot," wrote journalist Lionel Casson in Smithsonian magazine, "was …pulled by a team of four horses that would be driven at the fastest gallop they could generate. They made 12 laps around the course — about nine kilometers — with 180 degree turns at each end. …viewers enjoyed not only the excitement of the race but the titillation that comes from the constant presence of danger: as the teams thundered around the turns, or one chariot tried to cut over from the outside to the inside, crashes and collisions were common and doubtless often fatal. In one celebrated race in the Pythian games, the competition was so lethal that only one competitor managed to finish!" [Lionel Casson, Smithsonian, February 1990] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599177157-4NZZUCXHQLZBO21YWAM8/_SSL2544_Syracusa_RomAmphitheater_central+pit.jpg Siracusa - Roman amphitheater, Archaeologic Park of Neapolis, Siracusa, Italy At the centre of the arena there was a rectangular pit, which was originally covered. An underground passage ran from this pit to the entrance at the southern end of the amphitheater. This pit and passage were necessary for machinery used during the shows. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599194084-1BTO7PMQQKY883ZFLDTD/_SSL2546_amphitheater+entrance_Syracusa.jpg Siracusa - Roman amphitheater, Archaeologic Park of Neapolis, Siracusa, Italy The amphitheater had two entrances and a complicated system of steps which led from the upper levels to the exterior. The cavea (steps for spectators) is dug in part into the rock of Colle Temenite (natural rock on which the entire Archaeological Park is based) and in part formed by blocks that were later used by the Spanish to fortify the city of Syracuse, in fact, the Spanish plundering of the sixteenth century have completely destroyed the raised part of this amphitheater. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700634349913-J7JLBQA1H6LH7TFQY0TN/gerome-pollice-verso+copy.jpg Siracusa - Pollice Verso (Thumbs Down), Jean-Leon Gerome, 1872, Phoenix Art Museum The Roman amphitheater was a multipurpose building dedicated to mass entertainment. Their repertoire varied, encompassing all sorts of violent sports. The most common were gladiatorial fights, where professionally trained athletes competed in hand-to-hand combat in front of a frenzied audience. Contrary to traditional beliefs, the gladiators rarely fought to the death. For every ten gladiators who entered the ring, nine probably lived to fight another day. The best gladiators would gain both glory and wealth, becoming ancient superstars. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700706010490-LLQUYARAKUS8W7UK2B9T/_SSL2549_Altar+of+Hieron.jpg Siracusa - Altar of Hieron, Archaeologic Park of Neapolis, Siracusa, Italy The Altar of Hieron (Italian: Ara di Ierone) was built in the Hellenistic period in Magna Graecia by King Hiero II (circa 235 BC. and is the largest altar known from antiquity. The enormous structure is nearly 219 yards long (an olympic stadium according to the measurements of the time), 24 yards wide and roughly 16 yards tall, but what is left today, unfortunately, is only the base of the structure, carved out of the bedrock of the Colle Temenite. The altar was destroyed when the Spanish plundered it for building materials for the city. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599214041-BU1F1YLKF53VVDNB6SZK/_SSL2553_Syracusa_Altar+of+Hieron_3rd+c+BC_sm+.jpg Siracusa - Altar of Hieron, Archaeologic Park of Neapolis, Siracusa, Italy The monumental Altar of Hieron was built to commemorate the fall of Trasibulus in 466 B.C. and was dedicated, most probably, to Zeus Eleutherios (the Liberator), as commanded by the then tyrant Hieron II. Diodorus Siculus (Ist century B.C.) tells us that once a year, 450 bulls were simultaneously sacrificed in honor of Zeus. The corpses of the animals were then believed to have been burned at another raised platform in the center of the altar. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700873264183-VVK4GQRNCJH2K2EJNTY5/ancient_greek_sacrifices_by_tigerfaceswe_dd2d32r-414w-2x.jpg Siracusa - Ancient Greek Sacrifices by tigerfaceswe (https://www.deviantart.com/tigerfaceswe/art/Ancient-Greek-Sacrifices-790030035) During the sacrifice to the gods or heroes, the animals would be slaughtered on an altar and then the carcasses would be prepared and roasted on a spit or boiled in a large pot over a fire. The ritual, including the shared meal, was also important for community cohesion. Most Greeks were relatively poor and it is not unlikely that one of the only times the average person had the opportunity to eat meat was at an animal sacrifice such as the one to Zeus the Liberator. While these were solemn events, the people of Siracusa looked forward to these rituals as part of their annual calendar. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700703025813-M87XN9OGMWS0ANY4369H/Heracles+performs+a+sacrifice+at+the+shrine+of+Chryse.jpg Siracusa - Heracles performs a sacrifice of a bull at the shrine of Chryse, Athenian red-figure painting, on bell krater by the Kadmos Painter (ciirca 420 BC-390 BC), Vienna, Kunsthistorisches Museum Bulls were used in the annual festival sacrifice to Zeus the Liberator, as the bull was a symbol of strength in ancient Greece and some believed that bull’s blood had certain magical properties. The Greeks believed that gods and heroes demanded sacrifice as part of their worship. The sacrifices often, but not always, took the form of live animals, typically goats, pigs, or other common farm animals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700459417706-LIKTZUR81U90CELKZJ3A/_SSL2562_Piazza+Duomo_Siracuse.jpg Siracusa - Piazza del Duomo, Siracusa, Sicily, Italy Piazza del Duomo is the main square of Siracusa, located in the historical center of the city, on the island of Ortygia. The semielliptical square gathers many beautiful Baroque buildings. To the south of the square, there is the Church of Santa Lucia alla Badia, dedicated to the patron saint of Siracusa, Saint Lucia. The church was built between 1695 and 1703, after a design by the architect Luciano Caracciolo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599320065-CNKQ5I5B19PQGFKBV89Q/_SSL2580_Syracusa_Chiesa+di+S+Lucia+alla+Badia_sm.jpg Siracusa - Santa Lucìa alla Badìa, built 1695-1703, Piazza Duomo, Siracusa, Italy A church and monastery at this site, attached to a female Benedictine monastery was present by the mid-15th century, generally thought with the patronage or Queen Isabelle of Spain (1451 – 1504). It was supposedly built at the site at which St Lucy officials unsuccessfully attempted to force her into prostitution. The monastery and church were destroyed by the 1693 Sicily earthquake. When the present church was reconstructed the facade was transferred to face the piazza Duomo, the site of more religious celebrations. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1699594271748-WSME9ETC3FCZPD9XGVAU/_SSL2582_Syracusaa_S+Lucia_symbols_FIN.jpg Siracusa - Coat of Arms of St Lucia on facade of Church with "Saint Lucia Virgin and Martyr, Siracusa" inscribed above The facade of St Lucia is decorated just above the main portal with symbols of the martyred patron of Siracusa, St Lucy; these include a column, a sword, a palm, and a crown. A dagger symbolizes how the Roman soldiers finally killed the virgin martyr with a sword. The crown symbolizes the wreath of candles she wore on top of her head to light the way, needed, according to legend, for her to carry food and water to Christians who had been forced to hide out in the dark catacombs of Rome. The palm illustrates Lucy’s victory over evil. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701048768314-UHIZVCXCOQ68SS2QS7F8/_SSL2597_Syracusa_Martyrdom+of+S+Lucy+altar.jpg Siracusa - Main altar, Santa Lucìa alla Badìa, Siracusa, Italy On the altar is an oil on panel painting, Saint Lucia Led to Martyrdom by Deodato Guinaccia (1579) and below the altar a panel entitled the Martyrdom of Santa Lucia. Lucy was probably a victim of the wave of persecution of Christians that occurred late in the reign of the Roman emperor Diocletian (284–305 CE). References to her are found in early Roman sacramentaries and, at Siracusa, in an inscription dating from 400 CE. As evidence of her early fame, two churches were dedicated to her in Britain before the 8th century, at a time when the land was largely pagan. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599347482-D4I4WD73LBG9RPA54KRW/_SSL2588_Syracusa_Martyrdom+of+S+Lucy+1579-Guinaccia.jpg Siracusa - "Saint Lucia Led to Martyrdom" by Deodato Guinaccia (1579), 3 signs of her martydom - rope, pitch and dagger According to legend, Lucy came from a wealthy Sicilian family. Spurning marriage and worldly goods, however, she vowed to remain a virgin in the tradition of St. Agatha. An angry suitor reported her to the local Roman authorities, who sentenced her to be removed (rope) to a brothel and forced into prostitution. This order was thwarted by divine intervention; Lucy became immovable and could not be carried away. She was next condemned to death by fire (pitch), but she proved impervious to the flames. Finally, her neck was pierced by a sword {dagger) and she died in Siracusa, Sicily, in the year 304 CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701049920105-MSX70E94XG37VQOP9AZ4/_SSL2600_Syracusa_Glory+and+Miracle+of+S+Lucy_1783-Vieri.jpg Siracusa - Glory and Miracle of Saint Lucia, ceiling painting by Marcello Vieri (1783) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599421122-L2FY4LIZT9WE7GV0ZSOG/_SSL2602_Syracusa_Burial+S+Lucy_Caravaggio-1608_copyy.jpg Siracusa - Burial of Santa Lucia by Michelangelo Merisi, known as Caravaggio, 1608 Caravaggio’s style is clearly recognizable: dark colors in the background and figures emerging from the light; in the foreground, two men prepare the burial for the Saint. Lying on the ground the body of the martyr, who seems almost asleep, were it not for the almost invisible cut in the throat. Alongside, some of the people cry moved by the death of Saint Lucy. Among them we can recognize a bishop and the painter’s self-portrait. The Siracusans, in fact, have always considered the canvas as a relic to which one can turn their prayers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700721486670-CRM259PGHMW6IGG0NX15/_SSL2603_Syracusa_Piazza+del+Duomo.jpg Siracusa - Piazza Duomo, Siracusa, Sicily The most important building in the square is, without doubt, the Baroque Cathedral of Siracusa (right), dedicated to the Nativity of the Blessed Virgin Mary. The Cathedral, located to the east of the square, incorporates parts of a Greek doric temple dedicated to Athena, the ancient Greek goddess of wisdom and war. The Palace of the Superintendence of Cultural Heritage of Siracusa, followed to the north by the Palazzo Arezzo della Targia and the Palazzo Beneventano del Bosco, are on the west (left) across from the Duomo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599295621-KFD4DQZS0MG5QQDH3EE0/_SSL2569_Syracusa_Cathedral_sm.jpg Siracusa - Duomo di Siracusa, Siracusa, Sicily, Italy Siracusa Cathedral began life as the Greek Temple of Athena. In 535 CE, the Byzantines converted the temple into a church; it was dedicated to the Nativity of Mary. The Arabs conquered Sicily in the 9th century and converted the church into a mosque. In the 11th century, Siracusaa surrendered to the Norman King Roger I. He renovated and transformed the building back into a working church. In 1693, an earthquake destroyed the Norman facade and it was rebuilt by the architect Andrea Palma, a major works in Sicily during the 1700s. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599584123-C6O4S7DI9NWT03YUXK6Q/_SSL2630_Siracusa_Duomo_S+Peter.jpg Siracusa - Saint Peter by Ignazio Marabitti (b. 1719 – d. 1797), facade of the Duomo di Siracusa, Sicily The facade, on the first level, contains statues of St. Peter and St. Paul. St. Peter (above) holds a keys in his left hand and a book in his right hand. The keys represent Peter’s authority as the leader of the twelve apostles and the head of the early Church. Jesus said to Peter, “I will give you the keys to the kingdom of heaven.” The book is attributed to Peter as he is the source for Mark’s gospel and he preached God’s word. The Latin inscription states, The Apostles, principal founders of the Syracuse Church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599556604-R76679DXEGLD524YVHDY/_SSL2629_Syracusa+Duomo_St+Lucy.jpg Siracusa - Santa Lucia, the martyred patron of Siracusa, by Ignazio Marabitti (1719 - 1797), facade of the Duomo di Siracusa, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599320731-FBBAKIUTFB3OF4IUQK6M/_SSL2570_Syracusa_Duomo_St.+Marziano-1st+Bishop.JPG Siracusa - St. Marciano (the first bishop of Syracuse), by Ignazio Marabitti (1719 - 1797), facade of the Duomo di Siracusa, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700875839985-DZI14J1O61PPM0PSJBLT/_SSL2613_Syracusa+Duomo_Chapel+of+Mary_FINE.jpg Siracusa - Duomo (Cathedral) of Siracusa, interior, central nave The interior of the Duomo contains one of the most important Doric monuments in all Sicily: the Temple of Athena. The Greek Temple was built in 480 BCE by the tyrant Gelone after the victory against Carthage in the battle of Himera. The Temple columns are clearly visible as well as some parts of the interior chamber. The Byzantines in the 6th century converted the temple into a church: included the exterior colonnade in the outer walls of the church and opened eight arches on each side of the interior chamber to create a building with three naves, dedicated to Virgin Mary. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700876075970-UWTBHPKY8UHXFBCCPOQX/_SSL2607_Syracusa+Duomo_Nativity+of+Mary-G+Brandi-1659_crp.jpg Siracusa - Birth of the Virgin Mary, 17th century painting, main altar, Duomo of Siracusa, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700883903815-CWMJ7NM7K2USFM1HFGPM/_SSL2608_opisthodomos-columnss_Duomo+interior+aisle.jpg Siracusa - View of the interior of the Duomo from the main altar looking at the south entrance. Flanking the south entrance door there are two gigantic columns from the opisthodomos, i.e., the rear porch of the original Greek temple of Athena that was on the site. The opisthodomos came to be a treasury, where the revenues and precious dedications of the temple were kept. Above the arches on both sides of the nave a Latin inscription indicates that the Duomo is the oldest Christian church in Europe: "Ecclesia syracusana prima divi Petri filia, et prima post Antiochenam Cristo dicata," which translates to The Siracusa Church was the first daughter of St. Peter, and the first after Antioch dedicated to Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599555776-TVHGM38GM9MVLGOQ1RU5/_SSL2626_Syracusa_Duomo_Spanish+marble+floor.jpg Siracusa - Geometric floor pattern, marble, Duomo of Siracusa, Sicily In the 15th century the Normans remade the Duomo floor in this polychrome marble. The circle is a universal symbol in many cultures and faiths of God, Infinity, Unity and Wholeness. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700881579479-BHX4LYTCPJ1XVX98J4Z0/_SSL2609_6-11c-Byzantine-Norman+apse_Madonna+della+Neve_Siracusa.jpg Siracusa - Byzantine-Norman apse, 6th-11th century, Duomo of Siracusa, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599468981-CKNCSGR7ZCBQKZ6E6RVS/_SSL2610_Syracusa_Duomo_Madonna+Snow_sm.jpg Siracusa - Madonna della Neve (our Lady of Snow), marble statue from the 16th c., by Antonello Gagini, Duomo of Siracusa On the night of August 4-5 in the year 358, it is purported that a miracle took place in answer to a prayer. A Roman patrician by the name of John and his wife had been praying to the Blessed Virgin, asking her what to do with their wealth. Childless, they desired to give their entire fortune to Our Lady but needed to know what the Blessed Mother would have them do with it. That night in a dream, the Blessed Virgin appeared to them and told that she wanted a church to be built on the Esquiline hill in Rome, and that she would show them where the church was to be built by covering the area with snow. Our Lady also appeared that night in a dream to Pope Liberius, telling him of her desire that a church be built and instructing him to go to the same hill. The next day both arrived at the hill to find an exact area covered with snow, an extraordinary miracle in the hot, muggy Roman month of August. The area the snow covered was marked off and Pope Liberius ordered that construction begin immediately on a new church. This church was to become known as St. Mary Major, which soon became the most important church dedicated to the Blessed Virgin in the West. (https://www.motherofallpeoples.com/) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599498579-942M187JQHF74ZIBATI4/_SSL2620_Syracusa_Duomo_Chap+of+the+Crucifix_13thc+Byzantine+scl_sm.jpg Siracusa - Crucifix, 13th century Byzantine school, Chapel of the Crucifix, Duomo of Siracusa https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599527008-H1IDP9CEGILCX0HX3MFM/_SSL2623_Syracusa_St+Marciano.jpg Siracusa - St. Marciano painting from the 15th century, Chapel of the Crucifix, Duomo of Siracusa, Sicily Marciano is considered the first evangelizer of Christianity in Siracusa, where he arrived in the year 39 CE, sent by Saint Peter, of whom he was a disciple. He is considered the first Bishop of Siracusa. His preaching was completed with that of Saint Paul. He made many conversions, for which he suffered persecution by the local Jewish community and in the year 68 CE he was martyred. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599527259-6G6T829QVD96Z60US6SY/_SSL2624_Syracusa_Duomo_S+Lucy+bones.jpg Siracusa - Santa Lucia's bones, underneath the painting of St. Marciano, Chapel of the Crucifix, Duomo of Siracusa Santa Lucia was martyred during the Diocletian Persecution, the last and most severe persecution of Christians in the Roman Empire. In 303 CE, the emperors Diocletian, Maximian, Galerius, and Constantius issued a series of edicts rescinding Christians' legal rights and demanding that they comply with traditional religious practices, while later edicts ordered all inhabitants to sacrifice to the gods. Local judges often enforced executions during the persecution, as capital punishment was among their discretionary powers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700892871461-BK9N530IUF9KMSLVLIB3/_SSL2628_Dome+ceilng_Chapel+of+the+Blessed+Sacraament_Duomo+Siracusa_crp.jpg Siracusa - Dome ceiling of the Chapel of the Blessed Sacrament (detail), Duomo of Siracusa, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700987089617-KUBULQVZ2J4CQKJWPS2X/_SSL2566_Doric+ext+columns+Duomo+Siracusa.jpg Siracusa - Doric columns from Temple of Athena, 480 BCE, side of the Duomo of Siracusa, Sicily The left side of this photo illustrates how the doric pillars of the original 5th century Temple of Athena were incorporated by the 6th century Byzantines into the walls of the cathedral. They are also visible from both the interior of the cathedral. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1700872342118-CY9MPUEOUXOMEPTPSL0M/_SSL2574_syracusa_violin+play_crp.jpg Siracusa - Street musician, Piazza del Duomo, Siracusa, Siicly https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701039985407-4VM6D0XM98FWMA45A24S/_SSL2559_Syracusa_Fountain+of+Diana_FINE.jpg Siracusa - Fountain of Diana by the sculptor Giulio Moschetti, 1906, in the Piazza Archimedes in Ortigia, Siracusa Diana/Artemis is the goddess of the hunt, wild animals and wilderness, childbirth and virginity, and was often shown carrying a bow and arrow. The fountain includes a triton and a mermaid with a child on her lap riding sea monsters. The fountain pays homage to the most famous myth of the city of Syracuse, that of the Fonte Aretusa. The legend tells that river god Alpheus fell in love with Aretusa, nymph of the goddess Diana/Artemis, and he tried to seduce her in every way. Aretusa invoked the intervention of the goddess that turned her into a spring, whose natural water is ideally combined (albeit with an artificial source) to this fountain. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1697599597569-KFSVYBHX38HPO8QJFLHH/_SSL2637_Siracusa_Fountain+of+Diana+water.jpg Siracusa - Fountain of Diana (1906) in the Piazza Archimedes in Ortigia, Siracusa In the center of the fountain, in a dominant position, on a high cliff-shaped base stands Diana / Artemis with a bow, quiver and a dog; At his feet is represented the nymph Arethusa at the exact moment in which the goddess Diana /Artemis is about to transform her into a spring to be able to withdraw her from the insistent loving attentions of Alfeus, who fell in love with her after seeing her bathing nude in a stream. http://www.sslanzilotti.com/catania daily 0.75 2023-12-11 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701153540799-TQWH0HYHD43SMH8R2PBJ/_SSL2654_Catania_Africa+store.jpg Catania - Africa Market, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701153540799-TQWH0HYHD43SMH8R2PBJ/_SSL2654_Catania_Africa+store.jpg Catania - Africa Market, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701153558538-G9RC7CW25DYNKQRJE8C3/_SSL2658_Catania_moped+outing.jpg Catania - Ageless moped transportation, Catania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701225920674-2IHBQXYEOQC1K9O52XUH/_SSL2655_Catania+laundry.jpg Catania - Laundry day, Catania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701227126299-6KRUMT564TVNO50LVNTF/_SSL2659_Catania+Public+Works.jpg Catania - Public Works morning start-up with sewer drain cleaning, Catania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154189227-HR5XPGEDO2SB4Q3CU6MR/_SSL2661_Catania_House+of+the+Mutilated.jpg Catania - Street sign: Via Casa del Mutilato or House of the Mutilated way, which has been mutilated by graffiti https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154159392-HHQUZHDNSO84NVJV80AX/_SSL2670_Catania_House+of+Mutilated+of+War.jpg Catania - Casa del Mutilato (The House of the Mutilated of War) Piazza Bellini, Architect: Ercole Fischetti, (1878-1959), 1939. Casa del Mutilato (The House of the Mutilated of War), the seat of the provincial section of the national amputees and war wounded. The statement inscribed across the top of the entry arch translates to: “The wounds which we bear have injured our bodies so much but the spirit is still untamed.” The motto on the. left column of the entry arch translates to: “Triumphant in the sacrifice.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154240107-VJ5MHOF2AUGX8LZQF0DD/_SSL2677_Catania_House+of+Mutilated_They+say.jpg Catania - Casa del Mutilato (The House of the Mutilated of War) Piazza Bellini, Architect: Ercole Fischetti, (1878-1959), 1939 On a wall of the Casa del Mutilatto a statement written in chalk across the wall on the side of the Casa del Mutilato states: “Diconoo di amare gli animali ma non amani gli animali. Odiano gli esseri umani e basta qualunque scusa per dar sfogo alla loro sete di violenza.” This translates to: “They say they love animals but they don’t like animals. They hate human beings and use any excuse to give vent to their thirst for violence.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701229916066-72W7X6SMG4BHZZN5UTI9/_SSL2666_Palazzo+Delle+Finanze.jpg Catania - Palazzo delle Finanze, 1926, Architect: Ettore Carmina, Piazza Bellini, Catania, Sicily The Palazzo delle Finanze is located in the historic piazza dedicated to Vincenzo Bellini across from the Massimo Bellini Theater. The Palazzo was built in neoclassical style, e.g. the grandeur of scale, the simplicity of geometric forms, and the dramatic use of columns across the facade. Also visible above, in the center of the piazza, is the Fountain of the Dolphins. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701472925435-N101QHJOP5JUXM577PCD/_SSL2681_Fountain+of+the+Dolphins_Bellini+Piazza.jpg Catania - Fountain of the Dolphins by Giambattista Vaccarini, 17th century, Bellini Plaza, Catania The author of the Fountain of the Dolphins, Giambattista Vaccarini, also built the Church of the Abbey of St. Agatha where, in the adjacent courtyard, the fountain was originally placed. In the 19th century it was dismantled and the parts were kept in the labyrinth of the Bellini Garden. Only in 1952 it was recomposed and placed in the middle of Piazza Bellini. During the reconstruction, the sculptor Salvatore Giordano added two copies of dolphins, in addition to restoring the existing ones. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154346978-UIO8O7TCK5XN3KEWFJNU/_SSL2679_Catania_Piazza+Vincenzo+Bellini.jpg Catania - Teatro Massimo Bellini, designed for opera, inaugurated 5/31/1890, seats 1200; Piazza Vincenzo Bellini, Catania, Sicily Catania’s opera house project was entrusted in 1870 to the Italian architect Andrea Scala who started to manage the building with Carlo Sada‘s help, another important Italian architect. Because of few financial incentives at that time, the theatre’s building finished in 1887 and it was inaugurated on May 31st 1890 with a wonderful show of “Norma” by Vincenzo Bellini, a local famous composer, that was already known in the whole peninsula. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701222568732-1U9KWST8LULAD1QEP0NY/DSC04021_Catania_BelliniTh_Roof-Sad.jpg Catania - Tragedy, rooftop statue, Teatro Massimo Bellini, Catania Vicenzo Bellini’s "Norma" is a tragedy in two acts that take place in 50 B.C. Gaul. Act II ends with Norma, a druid priestess, with her lover by her side, on the sacrificial pyre, where they are both engulfed by the flames. The opera features Bellini's signature long melodies and is considered a masterpiece of the bel canto genre, which is defined by a highly expressive style of singing. "Norma" also features one of the all-time great soprano arias, "Casta diva” (a prayer for peace to the goddess of the moon). As such, the opera is considered a defining role for operatic sopranos, including Maria Callas, who gave 89 stage performances (1948 to 1965) several of which exist on live recordings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701222580902-BRCOZCN524GX5KZS0OIH/DSC04022_Catania_BelliniTh_Joy.jpg Catania - Comedy, rooftop statue, Teatro Massimo Bellini, Catania During his lifetime Rossini enjoyed success as a composer of comedies as well as tragedies. However he is best known today for his comic operas—and particularly for Il Barbiere di Siviglia (The Barber of Seville). The plot follows the escapades of a barber, Figaro, as he assists Count Almaviva in prising the beautiful Rosina away from her lecherous guardian, Dr Bartolo, so she can be with her one true love. The opera ends with Figaro persuading Bartolo’s notary to wed Almaviva and Rosina with Bartolo arriving too late to do anything but bless the marriage. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701222584687-9SI902QPP747V7GOBFTQ/DSC04024_Catania_BelliniTh_Putti+Harp.jpg Catania - Putti playing the harp, rooftop statue, Teatro Massimo Bellini The harp was considered an instrument of divine/heavenly music. Putti are chubby male infants who either play the role of angelic spirits in religious works, or act as instruments of profane love. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701475903585-F059S3KDFGZ4VURS3HZG/_SSL2683_Catania_Pucini-Bellini-Coppola_crp_FIN.jpg Catania - Teatro Massimo Bellini facade, Catania, Sicily Above the 2nd floor arched windows of the theater are busts of famous Italian composers from the 16th to the 19th century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701221533044-1LJW2J6JZ08QPEMFO125/DSC03982_Catania_Bellini+Th_Pallestrina.jpg Catania - Giovanni Pierluigi da Palestrina (c. 1525 – 1594), Teatro Massimo Bellini, Catania Palestrina was a composer of late Renaissance music. The central representative of the Roman School, with Orlande de Lassus and Tomás Luis de Victoria, Palestrina is considered the leading composer of late 16th-century Europe. Primarily known for his masses and motets, which number over 105 and 250 respectively, Palestrina had a long-lasting influence on the development of church and secular music in Europe, especially on the development of counterpoint. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701663578370-PT3A9F86DXJCAQJITHGS/_SSL2663_Pergolesi-Cimarosa_Catania+Bellini.jpg Catania - Giovanni Battista Pergolesi (1710–1736) and Domenico Cimarosa (1749–1801) Giovanni Battista Pergolesi (lft) was an Italian Baroque composer, violinist, and organist, leading exponent of the Baroque; he is considered one of the greatest Italian musicians of the first half of the 18th century and one of the most important representatives of the Neapolitan school. Pergolesi created works of high artistic value and historical importance, which include L'Olimpiade, considered one of the masterpieces of the opera seria of the first half of the 18th century and the Stabat Mater, among the most important works of sacred music of all time. Domenico Cimarosa (rt) was an Italian composer of the Neapolitan School and of the Classical period. He wrote more than 80 operas, the best known of which is Il matrimonio segreto (1792); most of his operas are comedies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701221544285-Q3GU0ZSJQFM2UM62AO78/DSC03980_Catani_Bellini+OpTh_Paisiello.jpg Catania - Giovanni Paisiello (1741-1816) composed 94 operas which are known for their gracefully beautiful melodies In 1776 Paisiello was invited by the empress Catherine the Great of Russia to Saint Petersburg, where he produced his masterpiece, Il barbiere di Siviglia. In 1816, Rossini set a revised version of the libretto to music under the title of Almaviva ossia la inutil precauzione. Rossini's opera, now known as Il barbiere di Siviglia, is now acknowledged as Rossini's greatest work, while Paisiello's opera is only infrequently produced. Perhaps the best-known tune he ever wrote is "Nel cor più non mi sento" from La Molinara, immortalized when Beethoven composed piano variations based on it. Paganini also wrote violin variations based on the same tune. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701558704058-HTKYSXVPPVTBDIXA26JB/_SSL2663_Rossini_Catania+Bellini_crp.jpg Catania - Gioachino Rossini (1792 – 1868) gained fame for his 39 operas In addition to writing 39 operas, Rossini also wrote many songs, some chamber music and piano pieces, and some sacred music. He set new standards for both comic and serious opera before retiring from large-scale composition while still in his thirties, at the height of his popularity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701222567287-R9MENX4BGZGR7PDDXCCR/DSC04020_Catania_BelliniTh_Coppola.jpg Catania - Pietro Antonio Coppola, dramatic composer, (1793 – 1877) Coppola’s greatest success was with the opera: Nina pazza per amore (Rome, Teatro Valle, February 1835) which earned him great popularity, and which thrilled the spectators of all the main theaters of Europe. From 1839 to 1842, and from 1850 to 1871 he lived in Lisbon as director of music at the Teatro S. Carlo, as well as of the theater of Count Farrobo, for which he wrote three operas in Portuguese and one French. In the 1873 he settled in Catania where, at the special invitation of the Municipality, he took over the direction of the city's musical institutes. He lived there for the rest of his life. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154358519-4G4936HLEP3R4XGSNS1F/_SSL2685_Catania_Bellini+Theater_Saverio+Mercadante.jpg Catania - Saverio Mercadante (1795 – 1870) Saverio Mercadante composed as prolifically as Gaetano Donizetti or Gioachino Rossini and his development of operatic structures, melodic styles and orchestration contributed significantly to the foundations upon which Giuseppe Verdi built his dramatic technique. After 1831 he composed some of his most important works, including Il giuramento which was premiered at La Scala on 11 March 1837 in Milan. There were aspects of this work which moved Italian opera in a new direction, i.e., while the music contains a reliable Italian lyricism it moves away from ornamentation for its own sake. Mercadante used the orchestra not as a pale accompaniment to dramatic action, but as a full partner in the drama. The French soloist Jean-Pierre Rampal notably recorded several Mercadante concertos for flute and string orchestra. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701222549505-3TRNN4W5VSJ7UPGAGSVR/DSC04019_Catania_Bellini+Th_Pacini.jpg Catania - Giovanni Pacini (1796 – 1867), born in Catania, wrote some 74 operas After Rossini moved to Paris in 1824, Pacini and his contemporaries (e.g., Nicola Vaccai, Michele Carafa, Vincenzo Bellini, Gaetano Donizetti, and Saverio Mercadante) collectively began to change the nature of Italian opera and took bel canto singing in a new direction. Orchestration became heavier, coloratura was reduced, especially for men's voices, and more importance was placed on lyrical pathos. While there were exceptions, romantic leads were assigned to tenors (in Rossini's time, they were frequently sung by alto or mezzo-soprano women). Villains became basses or later baritones (while they often were tenors for Rossini). Over time, far more emphasis was placed on the drama. Pacini and his contemporary Nicola Vaccai exerted a strong influence on Bellini. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701502316419-Q1SUUFHUPD0WFMAEPFOU/_SSL2679_Gaetano+Donizetti_Bellini+Teatro__FINE.jpg Catania - Domenico Gaetano Maria Donizetti (1797–1848), Teatro Bellini, Catania Gaetano Donizetti is best known for composing almost 70 operas. Along with Gioachino Rossini and Vincenzo Bellini, he was a leading composer of the bel canto opera style during the first half of the 19th century and a probable influence on other composers such as Giuseppe Verdi. Like Verdi, he was intimately involved in the creation of the librettos for his operas. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701222551213-1UCO6YR3T89W4177S89E/DSC04018_Catania_Bellini+Th_Bellini+bust.jpg Catania - Vincenzo Salvatore Carmelo Francesco Bellini (1801 – 1835), Teatro Bellini, Catania Vincenzo Bellini is known for his long-flowing melodic lines for which he was named "the Swan of Catania." In 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before'." Born in Catania, Bellini began his formal studies in 1819 at the Real Collegio di Musica di San Sebastiano in Naples. He would go on to compose a total of 11 operas over the course of 10 years. While in Milan, between 1827 and 1831 he produced four great masterpieces, Il pirata, I Capuleti e i Montecchi, La sonnambula, and Norma. His last work was I Puritani, which premiered in January of 1835 in Paris. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701221561357-GWS000K554MBWN97R9V3/DSC03983_Catania_Bellini+Th_Verdi.jpg Catania - Giuseppe Fortunino Francesco Verdi (1813–1901) is best known for his operas In his early operas, Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement. After his success with the opera Aida (1871), he followed with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893). His operas remain extremely popular, especially the three peaks of his 'middle period': Rigoletto, Il trovatore and La traviata. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701227792697-6DD1S0UPULILS9JFQZ8I/_SSL2663_Teatro+Massimo+Bellini_FIN.jpg Catania - Teatro Bellini, entrance and ticket office area, Catania, Sicily The neo-Baroque-style facade of the theater designed by Andrea Scala, with the assistance of the Milanese architect Carlo Sada, was inspired by the Jacopo d'Antonio Sansovino (1486 – 1570) classic of the Marciana National Library of Venice. which architect Andrea Palladio (1508 - 1580), thought was the best building erected since Antiquity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701229439295-WXBBRS1HVG3L63U9HN3Q/_SSL2665_Teatro+Bellini+Ticket+line.jpg Catania - Teatro Bellini ticket line Theater goers line up for tickets to Tosca, music by Giacomo Puccini, Libretto of Luigi Illica and Giuseppe Giacosa https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701476308419-4T6OFNLRWLXJY1KCQQF3/_SSL2687_Catania_Sciuti+and+Sada.jpg Catania - Teatro Bellini Foyer, Catania, Sicily In the foyer of the theater there are two busts: on the right, the architect of the theater, Carlo Sada (1849-1924) and on the left, Guseppe Sciuti, the painter of the theater curtain entitled, Il trionfo dei catanesi sui libici (1883) - The triumph of the people of Catania over the Libyans. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154778613-P5MBOHE0U3BH6L5P50UR/_SSL2694_Catania_Bellini+Ceiling+Musical+Putti.jpg Catania - Foyer entry area ceiling decorated with musical putti, Teatro Bellini, Catania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154777666-9JC4J5MOLWXPI5A8OM55/_SSL2702_Catania_Bellini_hallway.jpg Catania - Hallway leading to the theater seating, Teatro Bellini, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701221568512-IWERT1DHQPDARL41PM8E/DSC03986_Catania_Bellini+Th_Ceiling+Bellini+Operas.jpg Catania - Ceiling frescoed by Ernesto Bellandi, Teatro Bellini, Catania, Sicily Bellandi celebrated Bellini by painting a ceiling fresco in which he was surrounded by his major operas: Norma, La sonnambula, I puritani and Il pirata, Norma, The Sleepwalker, The Puritans and The Pirate, respectively. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701741356143-LM3AX4IXVKONU34MCV5P/DSC04006_Catania_Bellini+Theater+4+tiiers.JPG Catania - Theater hall, Teatro Bellini, Catania, Sicily The theater hall has four tiers of boxes beyond the gallery and is of great decorative richness. It is purported to be one of the most beautiful of those built in the 19th century in Italy. During a tour of the theater I was told that the boxes above the fourth tier had limited visibility and therefore cheaper tickets were sold to those who were blind. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701742674580-GSIR6GZ2KW7EALXLNU8U/_SSL2711_Catania_Bellini_Theater+central+box.jpg Catania - Central opera box, perhaps for royalty, Teatro Bellini, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701745067592-NM48JGBZ78RBN21PXOWE/DSC04012_House.jpeg Catania - The House, Teatro Bellini, Catania, Sicily According to some specialized reviews, the “Bellini” holds the best acoustical in the whole world thanks to the combining of a recurring architectural feature, the classical horse shoe shape, and three attributes: the territorial basis, a prehistorical lava flow offering a great echo chamber, the Amenano river flowing underneath, which gives uniformity to the sound, and the bas-relief engravings, not only simple decorations, but operational for a perfect distribution of the sound waves. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154832683-A5HBD8W407OB9BRDNIC9/_SSL2717_Catania_Bellini_Stage.jpg Catania - The Stage, Teatro Bellini, Catania, Sicily The best lyric singer in the world, Maria Callas, who performed many times in Teatro Massimo Bellini, said that this theatre is featured by a surpassing acoustics. Many other important musicians of the 20th century appeared in this stage, like Luciano Pavarotti, Riccardo Muti and Renata Scotto. Every year, it hosts an opera and ballet season, a symphonic season and a chamber season. Rich in decorations and allegorical symbols that bestow an elegant style to the building. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154874580-T0XV5UZCZCCF4G1DMA0D/_SSL2724_Catania_Bellini_above+Stage.jpg Catania - Bas-relief engravings over the stage, Teatro Bellini, Catania, Sicily The bas-relief engravings assist the sound quality, as music sounds better in a more reverberant space, with longer reverberation times and carefully positioned reflecting surfaces that allow the audience to hear a blend of the instruments and the musicians to hear themselves. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701757634671-8JLKBSR5PQXPK0UNRKKX/_SSL2720_Elephant%2Babove%2Bstage%2BBellini_FIN.jpg Catania - Elephant in bas-relief engraving above the stage, Teatro Bellini, Catania The elephant can be seen in the center of this bas-relief engraving behind a man standing with a lance and shield. Catania was referred to as the “city of the elephant” in a report by an Arab geographer from the 2nd half of the 10th century. At that time, the inhabitants of Catania are said to have seen the elephant as a symbol of protection from the eruptions of Mount Etna. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701816748590-CPGDNYMQAG9KXZM1N9IM/Elephant+logo_Catania.png+copy.jpg Catania - The coat of arms of Catania, Sicily The coat of arms of Catania consists of different elements: 1. The crown recalls the rule of the kings of Aragon over Sicily; 2. S.P.Q.C. stands for Senatus Populusque Catanensium (the Senate and People of Catania); 3. A stands for Saint Agatha, the patron saint of the city, to whom the cathedral is also dedicated; and 4) as stated above, an elephant as a symbol of protection from the eruptions of Mount Etna. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701756980752-VV0NT64MWEXVS8NVS36Z/_SSL2732_Catania+Bellini+Foyer+Ceiling.jpg Catania - Minerva and her musicians, Reception Hall Ceiling, Teatro Bellini, Catania, Sicily Minerva was the Roman virgin goddess of music, poetry, medicine, wisdom, commerce, weaving, and the crafts. Minerva is thought to have invented the flute by piercing holes into boxwood. She enjoyed the music, but became embarrassed by how it made her face look when her cheeks puffed out to play. Because of this she threw it away and it landed on a riverbank where it was found by a satyr. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701757630405-Z9OCYG7A0CRCAG0TGCF8/_SSL2736_Catania+Bellini+Hall+Wall_FIN.jpg Catania - Shepherd boy with staff and dog, Reception Hall wall, Teatro Bellini, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701758699861-V1E01881AVJUC29V3BMF/_SSL2737_Catania_Bellini_Hall+walll.jpg Catania - Woman with wine vessel, painting, Reception Hall wall, Teatro Bellini, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701154952048-RFMNPBFJG8E5JPLYRY2E/_SSL2738_Catania_Bellini_Hall+Wall+Mercury.jpg Catania - Mercury, painting, Reception Hall wall, Teatro Bellini, Catania, Sicily Mercury, in Roman religion, god of shopkeepers and merchants, travelers and transporters of goods, and thieves and tricksters. He is commonly identified with the Greek Hermes, the fleet-footed messenger of the gods. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701733760312-61BAQXU7VUJZ0ABMPLN8/_SSL2730_Catania_Bellini+statue_FIN.jpg Catania - Vincenzo Bellini, bronze statue, Reception Hall, Teatro Bellini, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701245724434-GIWHV761BVZIP3H9OX8B/_SSL2745_Sidewalk+seating+Catania_I_B.jpg Catania - Afternoon sidewalk respite, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701246030637-L1VIFK1KR235PKZAPN5X/_SSL2746_Sidewalk+parking+Catania.jpg Catania - Sidewalk Parking https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701996502126-2CTIELU0XRSCSJHIKHDU/_SSL2749_sidewalk+coffee+and+smoke_FINAL.jpg Catania - Mid-afternoon sidewalk coffee and cigarette break, Catania, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702262414149-CE7MR2G9BPIWMMN8JMER/_SSL2750_Reflections+through+Italian+Hands_FIN.jpg Catania - Photographer's reflections through Italian Hands, Catania, Sicily https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701252238486-K8AKPYXZUJ7GWOZ6NW3K/_SSL2755_Museum+Know+Sicily+Wonders.jpg Catania - The Museum of Sicilian Marvels and Knowledge, U of Catania, Sicily The Museum of Sicilian Marvels and Knowledge was created with the aim to enhance Sicilian cultural legacy and to make it public through the representation of its main assets as a result of the university's centuries-old research, teaching and educational activities. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701253763085-6MQYGUNPWA5XAAB59BKJ/_SSL2757_Cardinal+Giuseppe+Benedettto+Dusmet.jpg Catania - Cardinal Giuseppe Benedetto Dusmet, Piazza San Francesco d'Assisi, Catania, Sicily The monument is in honor of archbishop and cardinal, Giuseppe Benedetto Dusmet (1818 - 1894), who was admired for his devotion to charity for the poor. The base has four reliefs depicting events of charity. The inscription has an anti-Marie Antoinette quote: “Sin quando avremo un panettello noi lo divideremo col povero” (As long as we have a cake we will share it with the poor). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701288834122-T4XWD44K7CRJVQ1430TN/_SSL2761._Piazza+San+Francesco+d%27Assisi.jpg Catania - Th Church of St. Francis of Assisi to the Immaculate Conception, Piazza San Francesco d'Assisi, Catania, Sicily During the Roman era, the site was home to a pagan temple dedicated to the goddess Ceres. In 1329 the Queen consort of Sicily Eleonora d'Angiò promoted the construction of the primitive convent and church of St. Francis of Assisi to the Immaculate Conception in gratitude to the Virgin for the escaped danger deriving from the eruption of Etna that same year. In 1693, an earthquake destroyed the monument. The façade was built around 1854 with three statues on the 2nd level, representing, rt to lft – St. Anthony of Padua, the Immaculate Conception behind a railing, and St. Francis of Assisi, and a statue of St. Agatha holding a tablet on the bottom level, left. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701158564299-WPXSVU7QWEM3G0V7O3ZZ/_SSL2794_Catania_Roman+Theater_w+Houses+etc.jpg Catania - Roman Theater of Catania, Sicily The Roman Theater was built in the 2nd century near the Roman era pagan temple dedicated to the goddess Ceres - a site marked today by the bell tower of The Church of St. Francis of Assisi to the Immaculate Conception in the background. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701155324611-FAXFWICCRQ0C3OG5QFLE/_SSL2764_Roman+Theater+Catania.jpg Catania - The Roman Theater of Catania, Sicily The Roman Theatre of Catania, built in the 2nd century, follows a common design of many ancient Roman theaters. It was built with seats rising along the hillside, where spectators would have faced south and towards the sea. The theatre ceased to be used between the 5th and 6th centuries. Archaeological work on the site was not begun until the 18th century under the Ignazio Paternò Castello, Prince of Biscari. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701291199582-SR0JJ1Q7JHZZM398VJZY/_SSL2799_Theater-back-front_Catania.jpg Catania - The Roman Theater of Catania, Sicily The theater’s auditorium (cavea section) originally measured 322 ft. deep, consisting of 21 rows of seats divided into wedges or cunae, seating nearly a maximum of 7,000 spectators, smaller than the theaters at Taormina and Siracusa by 1,000-3,000 seats. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702090689364-W2BL21K6W5LLT0F45PSG/Scaenae+frons+FINE.jpg Catania - Artist’s rendering highlighting the Scaenae, and illustrating the Palpitum (stage), Orchestra, and Cavea (seatiing) areas of a Roman Theater https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701927324220-MBO5AVPGLB4G9LEYWYCB/_SSL2795_theater+stage_Catania.jpg Catania - Orchestra, stage and scaenae frons areas, Roman Theater, Catania, Sicily The orchestra section had a diameter of nearly 72 ft. Behind the stage it likely had a scaenae frons decorated with marble columns, that gave it depth and complexity. The scaenae frons is the elaborately decorated permanent architectural background of a Roman theater stage used both as the back scene and as the actors’ dressing room. The form may have been intended to resemble the facades of imperial palaces and tended to have architectural decorations combined with luxurious ornamentation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701843864470-YBGU8QUTKNZ3YRJ3UX1U/_SSL2786_Theater+entrance+Catania.jpg Catania - The Roman Theater of Catania, Sicily Below the seats (cavea section) in the Roman Theater are the vomitoria or exit passageways. A vomitorium is a passage situated below or behind a tier of seats in an amphitheater or a stadium, through which big crowds can exit rapidly at the end of an event. Vomitoria can also be pathways for actors to enter and leave stage, The Latin word vomitorium, plural vomitoria, derives from the verb vomō, vomere, "to spew forth". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701221035076-OONUDAV5RA7UPP3PJZ6A/_SSL2783_Catania+Roman+Theater+w+houses.jpg Catania - The Roman Theater of Catania, Sicily The site of the Roman Theater was not cleared of houses that had been built into the structure, as is evident here, until 1959. Some of the marbles and artefacts recovered during excavations and restorations are on display in the adjacent Casa Pandolfo and Casa Liberti. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701158460975-7Y3PFVNKAVW8Z94YXNUC/_SSL2767_Catania_RomanTeatro_M+Aurelius-138-168AD_FIN.jpg Catania - Youthful portrait of the Emperor Marcus Aurelius, 138-168 CE, site of Roman Theater of Catania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701158474536-OY80U52A5DFBOYE2II11/_SSL2769_Catania_RomanTeatro_Head+of+Muse-Euterpe_FIN.jpg Catania - Head of the Muse, Euterpe, Roman Theater of Catania Euterpe was one of the nine Mousai (Muses), the goddesses of music, song and dance. In the Classical era, when the Mousai were assigned specific literary and artistic spheres, Euterpe was named Muse of lyric poetry. Her attribute was the double-flute. Euterpe's name was derived from the Greek words eu- and terpô, meaning "giver of much delight." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701158487528-YPSFWEZNRU1SPF3WZHXE/_SSL2770_Catania_RomTeatro_Head+Child_Eros_FIN.jpg Catania - Head of Eros as a child, Roman Theater of Catania In works of art Eros was usually represented as a beautiful boy, close upon the age of youth. In later times be also appears as a child with the attributes of a bow and arrows, or burning torches, and in a great variety of situations. According to Greek myths and literature, Eros was a very mischievous child who liked to cause trouble by making everyone he met fall in love. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701158501750-GBCIXXQIZ3CN06DBWCVH/_SSL2771_Catania_RomTeatro_head+of+nymph-muse_FIN.jpg Catania - Head of a muse, Roman Theater of Catania, Sicily In ancient Greek religion and mythology, the Muses are the inspirational goddesses of literature, science, and the arts. They were considered the source of the knowledge embodied in the poetry, lyric songs, and myths that were related orally for centuries in ancient Greek culture. Melete, Aoede, and Mneme are the original Boeotian Muses, and Calliope, Clio, Erato, Euterpe, Melpomene, Polyhymnia, Terpsichore, Thalia, and Urania are the nine Olympian Muses. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701158603794-UJD049TL4YM5N0ZEZ7BP/_SSL2802_Catania_Piazza+del+Duomo.jpg Catania - Piazza del Duomo, Catania, Sicily Piazza del Duomo is the main city square in Catania, flanked by both the centers of civic (city hall at Palazzo degli Elefanti) and religious power (Duomo or Cathedral of Saint Agatha). The Cattedrale di Sant'Agata was originally constructed in 1078–1093, on the ruins of an ancient Roman Thermae (Achillean Baths), by order of Roger I of Sicily, who had conquered the city from the Islamic emirate of Sicily. At the time it had the appearance of a fortified church (ecclesia munita). The devastating 1693 earthquake leveled most of the structure. Giovanni Battista Vaccarini designed the present Baroque structure and façade in 1711. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701158625974-44JS791MJC8RZN3TWZ0U/_SSL2805_Catania_Fountain+of+Elephant.jpg Catania - Fontana dell'Elefante, center of Piazza del Duomo, Catania, designed by Giovanni Battista Vaccarini, 1737 The Elephant Fountain with its black basalt statue of an elephant, commonly called u Liotru, has become the emblem of the city of Catania. An ancient legend tells of an elephant that allegedly hunted ferocious animals during the founding of Kατάvη. Under Muslim rule, the city was known as Balad-el-fil or Medinat-el-fil, meaning "city of the elephant." The Liotru did not become an official symbol of the city until 1239: before then, following a series of uprisings in order to move from being merely the domain of a bishop-count to a state-owned city. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701929914251-WXMWAKG9BQ2MYYD5PMKD/_SSL2804_Facade_Cathedral+of+St+Agatha_Catania.jpg Catania - Facade of the Cattedrale di Sant'Agata designed by Gian Battista Vaccarini, 1711, Catania The façade Duomo has three levels with Corinthian columns in granite, perhaps taken from the Roman Theatre of the city. All the orders are decorated with marble statues of Saint Agatha over the gate, Saint Euplius on the right and Saint Birillus on the left. The main door, in wood, has 32 sculpted plaques with episodes of the life and martyrdom of Saint Agatha, papal coats of arms and symbols of Christianity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702092479510-2T5T5SGNJOZKHIN4GCS8/_SSL2808_Interior+nave_Catania_Duomo+S+Agatha_FIN.jpg Catania - The central nave of the Cattedrale di Sant'Agata, Catania, Sicily Saint Agatha’s tomb was originally in a cave in Catania, but then her body was taken to Constantinople for about nine years, before being brought back to Catania in 1126. It now rests in the Cattedrale di Sant'Agata. The Cathedral also houses the tomb of Catania’s famous opera composer, Bellini. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702094326357-LLKNWLD2ZKTFKK0GSLTO/_SSL2808_St+Agatha+crowned+Heaven_Catania_Duomo+S+Agatha.jpg Catania - Painting of Saint Agatha crowned in heaven, above the main altar, Cathedral of Catania https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702104815668-HWEU8G0TQDZWX0NTCFGP/_SSL2811_Catania+Duomo+S+Agatha+martyr_FINE.jpg Catania - Saint Agatha martyred, Cattedrale di Sant'Agata, Catania, Sicily The legend of St. Agatha states that the Roman prefect Quintianus wanted her to marry him, but when she rebuffed him he first had her sent to a brothel and then, when she resisted all attempts to participate, he had her tortured by cutting off her breasts in addition to other torments. However, that night Saint Peter appeared to her and cured her wounds. Refusing to renounce her faith, she died in prison around 215 CE. An eruption of Mount Etna occurred a year after her death and many fled in terror to her grave. Her veil was taken and held against the onrushing flames, and suddenly the danger ceased. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702163996372-CIDMZ3LHOJQZHE7RW5WU/_SSL2806_Smoke+break+w+Sextus+and+Attalus_Agata+bell+tower+Catania_FIN.jpg Catania - A cigarette break with Saints Sextus (left) and Attalus (right) , Cathedral of Saint Agatha, Catania St. Attalus was martyred in Lyon, 171 CE, with St. Blandina and 3 other Christians. They were exposed to the beasts in the amphitheater before being placed on a hot iron seat. Eusebius, in his account of the first centuries of Christianity, in his Ecclesiastical History, circa 324 CE, concluded: “After they were exposed and insulted for six days, the martyrs’ bodies were burned to ash and swept by the wicked into the Rhone, which flows nearby, so that not even a trace of them would still appear on earth. They did this as if to conquer God and defeat their rebirth so that, as they said, “they might not have any hope of resurrection, because of which they have introduced a strange new cult, ignored torture, and gone joyfully to death. Now let’s see if they will rise again and if their god will save them.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702174209070-U4PLFTTRP8F9QWHHBMKW/sixtus2_FN.jpg Catania - Pope Sixtus II, fresco by Sandro Botticelli in the Sistine Chapel, 1481 Pope Sixtus II, whose statue as a young man (previous photo above) is on the exterior of the Duomo, was bishop of Rome from 31 August 257 until his death on 6 August 258. He was martyred (beheaded) along with seven deacons, including Lawrence of Rome, during the persecution of Christians by the Emperor Valerian. Originally, in the register above the history paintings, the decoration of the Sistine Chapel consisted of twenty-eight portraits of early popes who had died as martyrs, which includes Botticelli’s imaginary portrait of Pope Sixtus II. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702178216140-QVYZXH7HUH0J2183BV1F/_SSL2819_Catani_Amphitheater+sign+FIN.jpg Catania - Entrance of the Catania amphitheater from the Piazza Stesicoro ( left cornice and frieze digitally reconstructed) The excavated part of the amphitheater is now accessed by an ironwork gate. In 1906 the gate was decorated with some fragments of marble columns which were originally part of the upper loggia, two fragmentary Ionic columns, and part of an architrave (inscribed with AMPHITHEATRVM INSIGNE ("Eminent Amphitheater"). The iron gate is at the center, between the columns which have capitals, which support the architrave. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701504623553-C85LYYBKCI7V2JZ39OSQ/DSC04032_Catania_Amphitheate_S+Agatha+Church.jpg Catania - Amphitheater of Catania with the Church of San Biagi Saint Agata of the Furnace in the background The Amphitheater of Catania was built in the Roman Imperial period, probably in the 2nd century CE, on the northern edge of the ancient city at the base of the Montevergine hill. Only a small section of the structure is now visible, below ground level, to the north of Piazza Stesicoro. This area is now the historic center of the city, but was then on the outskirts of the ancient town and also occupied by the necropolis of Catania. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702179369866-N3BVGIONOPH4ODXX1FP9/Planimetria_dell%27Anfiteatro_romano_di_Catania.jpg Catania - Reconstructed relief plan, with the current street plan superimposed, 1907. The amphitheater of Catania is the most complicated and largest of all the amphitheaters in Sicily. The structure centered on an elliptical arena, surrounded by radial walls and vaults supporting the seating of the cavea, which had 14 steps and 32 aisles. A gallery ran around the outside of the structure, on which the external facade is mounted. The arena had a maximum diameter of 77 yds and a minor diameter of around 55 yds, with a circumference of 210 yds. The external diameter was 137 x 115 yds, while the external circumference was 338 yds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701223218714-137I43W24TUYJNRRVYU9/DSC04042_Catania+Amphitheater.jpg Catania - Amphitheater of Catania cavea (seating) From the theatre's dimensions it can be calculated to have held 15,000 spectators and almost double that number with the addition of wooden bleachers for standing spectators. According to an unconfirmed tradition, it was intended that naumachiae (staged sea battles) take place in the amphitheater, using the ancient Roman aqueduct of Catania to fill the arena with water. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702266056253-PRO4PUVAIKT0RHP4U9VC/_SSL2822_Catania+amphitheater+2c+AD+S+Agatha+Church_crp._FIN.jpg Catania - Catania Amphitheater, 2nd century CE, across from the Church of San Biagi Saint Agata of the Furnace The inscription installed on the excavated amphitheater “per me civitas catanensium sublmatur a Christo (Through me, the City of Catania is raised up by Christ), a statement attributed to Saint Agatha, who is meant to have been martyred nearby. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701223266752-Y7LCW57GVRHUKRYYYPGX/DSC04050_Catania_St+Agataa+alla+Fornace.jpg Catania - Church of San Biagi Saint Agataa of the Furnace The Church of the Furnace (Sant’Agata alla Fornace), which is also dedicated to Saint Blaise (Chiesa San Biagio), was only a simple chapel in the 4th century. In 1098 it was enlarged slightly but they could not build beyond the current dimensions because of the bastions of the Roman amphitheater and prison which flank it. Still visible today through a port-hole, in the chapel on the right hand side, is the furnace which at the time of the persecutions was used for the tortures and was the place where Saint Agatha was forced to roll naked on burning coal in her martyrdom. Having survived this torture, her breasts were cut off and she died in prison. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701323876065-XFLW5533BGHA9L1IZYKE/_SSL2840_Agatha+Cafe_Catania+center+cty.jpg Catania - Agatha Cafe, , Piazza Stesicoro, Catania, Sicily, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701223111762-B2Z6LY55C35TOM7UEJZX/DSC04035_Catania_Bellini+statue+1882.jpg Catania - Monument to Vincenzo Bellini, east edge of the Piazza Stesicoro, Catania, Sicily, Italy. The monument was commissioned by the comune of Catania to celebrate the native composer of opera, Vincenzo Bellini (1801-1835). Designed and sculpted by Giulio Monteverde, and inaugurated on 9/21/1882. Bellini is seated atop a column, but leaning forward, with a manuscript on the left knee. Below him is a seven register pyramid - the musical notes. Around him are four statues representing four of his operas: Norma, I puritani, La sonnambula, and Il pirata. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701306489419-6SGMWBM3C4KFEFOJ3XBK/_SSL2835S_Chiiesa+Agata+in+Prison.jpg Catania - Santa Agata al Carcere (Saint Agatha at the Prison), Piazza Santo Carcere #7, Catania, Sicily Santa Agata al Carcere was built in the 16th century adjacent to a modest-sized building where, according to tradition, the incarcerated Agatha received St. Peter who had come to heal the wounds inflicted by torture on her breasts. Kept inside is the outstanding panel by Bernardino Niger depicting St. Agatha conducted to martyrdom (1588). On the exterior, the uppermost floor of the church’s facade houses the church bells, and is decorated with a relief depicting Saint Agatha, flanked by two reclining angels offering her the palm of martyrdom. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702270403286-0QWR9GUM33JL2MDFD3H3/Bernardino_Nigro_St+Agatha+martyred+1588.jpg Catania - Martyrdom of Saint Agatha by “Bernardino Niger grecus” (1588), Santa Agata al Carcere, Catania The main altarpiece of Santa Agata al Carcere is a depiction of the Martyrdom of Saint Agatha by “Bernardino Niger grecus.” The painting depicts the Ancient Roman amphitheater in Catania behind the saint as she is taken by soldiers sent by Quintianus, who had been refused by Agatha due to her commitment to Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702278619798-OM11OX5UM34EH41C6N9Y/Sant%27Agata_in_carcere_visitata_da_San_Pietro_-_Vouet.jpg Catania - Saint Agatha's Vision of Saint Peter in Prison (c. 1625) by Simon Vouet, Galleria Regionale del Palazzo Abatellis in Palermo. Saint Agatha's Vision of Saint Peter in Prison shows the imprisoned Agatha of Sicily having a vision of a visit from an angel and Peter the Apostle, who heals the wounds inflicted by torture on her breasts. According to legend, after having Agatha stretched on a rack, her flesh torn with iron hooks, burned with torches, and whipped, Quintianus. ordered that her breasts be twisted and torn and then be cut off. After being sent back to prison in this mutilated state, Agatha saw Saint Peter appear to her and miraculously heal her wounds with a father’s love. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1701324843659-X0E89X7JP7EP90I423JN/_SSL2850_Catania+Public+Works+Cleanup.jpg Catania - End of a day at work cleaning water gutters, Catania, Sicily http://www.sslanzilotti.com/2022-rome daily 0.75 2024-03-10 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702774942785-WVXBENDDGQ78L3QFVXQB/_SSL2852_Rome_Paul+V+monument_Travestere.jpg 2022 Rome - Monument to Pope Paul V Borghese (1550 – 1621), Piazza Trilussa, with papal heraldic symbols, the tiara and keys, and below the Borghese heraldic symbol, with its eagle and the dragon N.B. The best way to view these photos is to set your device so that you can scroll the pictures up and down rather than sideways. When scrolling up and down all information concerning the photos is shown below the picture. Unfortunately, moving the photos side to side will result sometimes in the photo being covered with information. Enjoy! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702774942785-WVXBENDDGQ78L3QFVXQB/_SSL2852_Rome_Paul+V+monument_Travestere.jpg 2022 Rome - Monument to Pope Paul V Borghese (1550 – 1621), Piazza Trilussa, with papal heraldic symbols, the tiara and keys, and below the Borghese heraldic symbol, with its eagle and the dragon N.B. The best way to view these photos is to set your device so that you can scroll the pictures up and down rather than sideways. When scrolling up and down all information concerning the photos is shown below the picture. Unfortunately, moving the photos side to side will result sometimes in the photo being covered with information. Enjoy! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702852608733-TFQNCEL66MLQLC13H7HM/Pope_Paul_V_Caravaggio.jpg 2022 Rome - Pope Paul V, head of the Catholic Church from 1605 to 1621, portrait by Caravaggio, oil on canvas, dated 1605-1606 Pope Paul V (1550 – 1621), born Camillo Borghese, was known for being stern and unyielding, defending the privileges of the Church. In 1616 Pope Paul met with Galileo Galilei after Galileo had been warned not to hold or defend the heliocentric ideas of Copernicus (i.e., the Earth and planets revolve around the Sun at the center of the universe). In March 1616, Paul banned all books and letters advocating the Copernican system, as being "… altogether contrary to Holy Scripture.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702860394245-5USW9PZHNCDZXPBIIZQ2/_SSL2855_selling+papers+in+Trastevere+2.jpg 2022 Rome - Newspaper man, Piazza Trilussa, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709514299148-9K4T190FML5WOU5MI067/_SSL2856_Trastevere+to+Rome+bridge_FIN.jpg 2022 Rome - Crossing over the Ponte Sisto, one of Rome's many bridges that cross the Tiber, built bettween 1473 and 1479 by Pope Sixtus VI from Trastevere looking over to Rome The Ponte Sisto connects the lively and popular Campo de' Fiori area of Rome (reached through via dei Pettinari) and via Giulia with Piazza Trilussa in Trastevere across the river, where many young Romans and tourists gather for an aperitivo and dinner each night. The Ponte Sisto replaced an ancient bridge, the Pons Aurelius, which was located in the same place. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709514094143-FP51COUVSD4XMVEPC8OV/_SSL3040_Rome_Entrance+Villa+Borghese_FINE.jpg 2022 Rome - Entrance to the Villa Borghese, developed in 1606 by Cardinal Scipione Borghese, Pincian Hill, Rome, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703562304345-F8CNIFDXBCX9TTDEFAUD/_SSL2861_Borghese+gardens+walk_sm.jpg 2022 Rome - Borghese Gardens walk to the Galleria Borghese, Pincian Hill, Rome, Italy In 1605, Cardinal Scipione Borghese, nephew of Pope Paul V and patron of Bernini, began turning this former vineyard into the most extensive gardens built in Rome since Antiquity. The vineyard's site is identified with the gardens of Lucullus, the most famous in the late Roman republic. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702802226483-UJSMV5AZ5XZYIXERAOOC/_SSL2860_Antoninus+and+Faustina-Elder.jpg 2022 Rome - Temple of Antoninus and Faustina, married between 110 and 115 CE, designed by Cristoforo Unterperger, built in 1792, Borghese Gardens, Rome The Temple of Antoninus and Faustina was built as part of the renewal initiated by Marcantonio Borghese. The structure is composed of fragments of ancient architecture from the Roman Forum, combined with modern parts to imitate a ruin. The ancient statue of Faustina stands behind the facade. Antoninus and Faustina were exemplars of conjugal harmony, to whom newlyweds were directed to pray that they might live up to their example. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705115860400-VULZNT9W5WMA499SXPB7/SSL_3467+Villa+Borghese+Museum2_FINE.jpg 2022 Rome - Galleria Borghese, in the former Villa Borghese Pinciana, constructed by the architect Flaminio Ponzio (1633) The Galleria Borghese houses a considerable part of the Borghese collection of paintings, sculpture and antiquities, begun by Cardinal Scipione Borghese, the nephew of Pope Paul V (reign 1605–1621). Scipione commissioned sculptures that would come to define the Baroque movement. His splendid gardens were entered through a gate flanked by term figures carved by Pietro and Gianlorenzo Bernini. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702867428356-HS8U2CTCJYPGOVNI56T9/_SSL2991_Rome_Borghese_Card+S-Borghese_Bernini.jpg 2022 Rome - Bust of Cardinal Scipione Borghese, marble portrait by Gian Lorenzo Bernini, 1632, Galleria Borghese, Rome In this first of two busts commissioned by the Cardinal Borghese, Bernini shows the Cardinal as he looks to his right and opens his lips as if to begin speaking. Rather than a static figure in which the sitter's essence is captured by abstracting his character, Bernini has captured a specific gesture to create a likeness that is psychological as well external. The sense of movement is further emphasized by the dramatic creases and folds line his robe, suggesting the movement of his body. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703404411422-LIYVGIQFA5K4MZSMGLNH/_SSL2999_Rome_Borghese_Paolo+V_Bernini_FIN.jpg 2022 Rome - Bust of Pope Paolo V (1621) by Gian Lorenzo Bernini , marble, 2.5 ft., Galleria Borghese, Rome Bernini was just 23 years old when he received one of his first commissions to make a full-sized bust of Pope Paul V, the recently deceased uncle of his most important patron, Cardinal Scipione Borghese. Bernini depicts the pope almost bareheaded, his hair styled in the "tonsure of St. Peter," a practice that signified the renunciation of worldly fashion. Pope Paul V gazes at the viewer with a natural expression, his face individualized by the slight turn of his head, the delicate contours of his forehead and the tiny wrinkles carved around his eyes. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703404373880-X3A8DJGVA2TWVFCWSJ5E/_SSL2998_Rome_Borghese_Paolo+V_Bernini_Detail_FINE.jpg 2022 Rome - Detail of Bust of Pope Paolo V (1621) by Bernini, marble, 2.5 ft., Galleria Borghese, Rome The thick cope covering Pope Paul’s shoulders is richly decorated with embroidery of the patron saints of Rome, the Apostles Peter (holding his keys and a book [left]) and Paul (holding the sword of his martyrdom and a book [right]). Bernini manages to imply movement by the twisted lace on the collar and the curving of some of the strands flowing downward from the lace collar. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703470891455-WM3DAG4542L905QM9B4D/_SSL3011_Rome_Borghese_Amaltthea-Jupiter_Faun_Bernini.jpg 2022 Rome - The Goat Amalthea with the Infant Jupiter and a Faun, produced sometime between 1609 and 1615, by Gian Lorenzo, h: 17.7”, Galleria Borghese, Rome The story of the goat Amalthea tells how Zeus’ (Jupiter’s) father, Kronos, swallowed up all his newly born children, fearing losing his power. His wife Rhea suffered greatly from this, and when the next child was born, she slipped a stone wrapped in diapers and Kronos swallowed the stone, not suspecting anything. Meanwhile, Rhea hid Zeus on the island of Crete in the cave of Mount Ida. The goat Amalthea saved the life of the future supreme god. She hung on a tree baby Zeus in a cradle so that he could not be found on the ground, in the sky, or in the sea if Kronos was looking for him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709630999187-DFS87QW9RG0QWQUMP0E9/_SSL3009_Rome_Borghese_Goat+Amalthea+Juno+Faun_Bernini.jpg 2022 Rome - The Goat Amalthea with the Infant Jupiter and a Faun, produced sometime between 1609 and 1615, Gian Lorenzo, Galleria Borghese, Rome The Goat Amalthea with the Infant Jupiter and a Faun is the earliest known work by the Italian artist Gian Lorenzo Bernini. The goat of Amalthea is a divine goat that fed the baby Zeus (Jupiter) with its milk. Its name is translated from ancient Greek and means “gentle goddess.” Bernini includes the faun drinking the milk of Amalthea. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702873867181-TA9GNHNFP4OPTO9KAQQ6/_SSL2867_Rome_Rape+of+Proserpina_Bernini-1621-22.jpg 2022 Rome - Rape of Proserpina, carrara marble, h. 8.4 ft, by Gian Lorenzo Bernini, 1621 and 1622, Galleria Borghese The Baroque marble group, commissioned by Cardinal Scipione Borghese and finished by Bernini when he was just 23 years old, depicts the abduction of Proserpina, who is seized and taken to the underworld by the god Pluto. It features Pluto holding Proserpina aloft, and the three-headed dog, Cerberus (the hound of Hades that guards the gates of the Underworld to prevent the dead from leaving), to symbolize the border into the underworld. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702887739382-BV0EVX1WR1UFQ3RGPXUW/_SSL2869_Rome_Detail-Rape+of+Proserpina_Bernini.jpg 2022 Rome - The Rape of Proserpina, carrara marble, h. 8.4 ft, by Gian Lorenzo Bernini, 1621 and 1622, Galleria Borghese Bernini's statue depicts the climactic moment of the story, when Pluto grabs Proserpina, as can be seen by the imprint of Pluto’s fingers into Proserpina’s thigh and rib area, who struggles against him, with her left arm pushing against his head, as he carries her over the border of the underworld, symbolized by a marble Cerberus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702878340819-JEVXG8XRD5KRJX30PX76/_SSL2874_Rome_Rape+of+Proserpina_Bernini.jpg 2022 Rome - Cerberus, detail of The Rape of Proserpina, carrara marble, h. 8.4 ft, by Gian Lorenzo Bernini, 1621 and 1622, Galleria Borghese As early as Homer (c. 750 BCE) we learn that Heracles was sent by Eurystheus, the king of Tiryns, to bring back Cerberus from Hades the king of the underworld. According to Apollodorus, this was the 12th and final labor imposed on Heracles; and after Heracles captured Cerberus in the Underworld, he showed Cerberus to Eurystheus, as commanded, and then returned Cerberus to the Underworld. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702889415860-ZRASZHXUVE85TBTBQM9Q/_SSL2882_Rome_Aeneas-Anchises_Ascanius_FIN.jpg 2022 Rome - Aeneas, Anchises and Ascanius, white marble, h. 7.2 ft., by Gian Lorenzo Bernini, 1618-1619, Galleria Borghese, Rome Bernini's inspiration for the work was the Aeneid, written by the Roman poet Virgil between 29 - 19 BCE, which tells the story of Aeneas, a Trojan who left his home city and eventually ended up in Italy, where he became a progenitor of the Roman people. The precise scene depicted is the moment when Aeneas carries his father, the elderly Anchises, and his son Ascanius from Troy, after it has been sacked by the Greek army. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709012633335-6DWH1NHTQ03J28U9ES7C/_SSL2884_Aeneas-Anchises_Ascanius_CRP.jpg 2022 Rome - Aeneas, Anchises and Ascanius, white marble, h. 7.2 ft., by Gian Lorenzo Bernini, 1618-1619, Galleria Borghese, Rome In his hand, Anchises carries a vessel with his ancestors' ashes, on the top of which are two tiny statues of Di Penates, Roman household gods. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702895009906-61S6GBE8C86T16LFCHG6/_SSL2885_Detail+_Rome_Aeneas-Anchise-Ancanius_Bernini.jpg 2022 Rome - Detail of Aeneas, Anchises and Ascanius, white marble, h. 7.2 ft., by Gian Lorenzo Bernini, 1618-1619, Galleria Borghese The detail of Aeneas, Anchises and Ascanius highlights Aeneas’ son, Ascanius, who carries the sacred fire of the hearth. In Ancient Greece, the living flame of Hestia was tended constantly and never allowed to die out, for it represented the energy of all life and to let the flame extinguish was to invite a cold and barren existence. When new “subdivisions” were developed, fire was carried from the town’s hearth to light the fire of the new community, assuring its prosperity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703474431498-VYTBIAN8WG6VC2PP7TC3/_SSL3014_Rome_Borghese_Aeneas+flee+Troy_Barocci.jpg 2022 Rome - Aeneas fleeing from Troy (1598) by Federico Barocci (1535-1612), oil n canvas, 5.9 ft x 8.3 ft, Galleria Borghese Aeneas fleeing from Troy by Barocci was given to Cardinal Scipione Borghese, as an affirmation of the spiritual purity of the Roman Cardinal. In the 16th and 17th centuries, the exchange of gifts was a standard practice among the nobility, which constantly sought a higher social status as a way of establishing mutual and long-standing relationship. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702962289723-0TUFIYG1VL5U51MHUBJY/_SSL2890_Black+hunter_G+Campi_1651-53_smI.jpg 2022 Rome - Statuette of a black Hunter by Giovanni Campi after a model by Francesco Duquesnooy, 1651-1653, Galleria Borghese, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1702962285669-WEUBDDAIU30IA6XUE5TA/_SSL2892_Rome_Borghese_Black+Huntter-Campi.jpg 2022 Rome - Statuette of a black Hunter by Giovanni Campi after a model by Francesco Duquesnooy, 1651-1653, Galleria Borghese, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703478572680-DEN279MNDAG1GGU723D1/_SSL3021_Rome_Borghese_Juno-Jupiter_Carracci.jpg 2022 Rome - Jupiter and Juno (circa 1612) by Annibale Carracci (1560-1609), oil on panel, Galleria Borghese, Rome Of all the Roman gods and goddesses, Jupiter, god of natural phenomena and supremacy, was sovereign. Juno, in Roman religion, chief goddess and female counterpart of Jupiter, closely resembling the Greek Hera, with whom she was identified. Juno was connected with all aspects of the life of women, most particularly married life. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703229779563-IP7NJPMWGM7SWFZL4QCJ/_SSL2908_Rome_Borghesi_S+Jerome_Caravaggio_FIN.jpg 2022 Rome - Saint Jerome by Caravaggio (circa 1606). Galleria Borghese, Rome Caravaggio executed the artwork for Cardinal Scipione Borghese. Saint Jerome is not depicted as a penitent, as is often the case, but rather as a scholar. He is focused on reading and annotating the sacred passages and symbolically counters the futility of worldly goods. The harsh lighting underlines the muscles of his tired arms and the parallel between his bony head and skull. The images suggest, “a man is born to die, but the Word of God lives forever.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703371343855-OXMRY3IKYMAKHZM3XOQ8/_SSL2902_Borghese_David-Goliath_Caravaggio_FINiITO.jpg 2022 Rome - David with the Head of Goliath by Caravaggio, 1650, Galleria Borghese, Rome In David with the Head of Goliath, Caravaggio, another favorite of Cardinal Scipione Borghese, portrays a particular moment in the drama of David’s conquest by having Goliath’s head dangling from David’s hand with dripped out blood. However, David does not gesture triumphantly, e.g., as in the bronze sculptures of Donatello and Verrocchio, but rather seems sad, melancholy and moved as he observes the severed head of Goliath. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703987678878-6MCBEEC7T2FFAX9NY7DM/_SSL2904_head+of+Goliath_FIN.jpg 2022 Rome - Detail of David with the Head of Goliath by Caravaggio, 1650, Galleria Borghese, Rome In David with the Head of Goliath, the face of Goliath represents Caravaggio’s self-portrait. The sword in David's hand is inscribed ‘H-AS OS,’ an abbreviation of the Latin phrase humilitas occidit superbiam ("humility kills pride"). Caravaggio sent the painting to Pope Paul V, seeking pardon for the murder he had committed. Also, the image of David could be a portrait of the painter as a young man. It has been suggested that the wild behavior of the young Caravaggio essentially had destroyed his life as a mature adult, and he reflects on his own condition in this painting of a religious subject. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709360061000-OOWFFKCUDWEMDUHDUGVP/_SSL2953_David-back_+Bernini+armor._FINE.jpg 2022 Rome - David, completed between 1623 to 1624 by Gian Lorenzo Bernini, life-size marble, commissioned by Cardinal Scipione Borghese, Galleria Borghese The Books of Samuel describe David as a young shepherd and harpist. Armies were often organized by private means; soldiers brought their own horse and armor and relied upon family and friends to provide them with food. David had been chosen to take supplies to his brothers in King Saul’s army. When David stepped forward accepting Goliath’s challenge, he chose five stones from a stream, aimed one of them at the forehead of Goliath, fell him to the ground, and using Goliath’s sword, cut off his head. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703140853380-KKNKQAJY1GS3LPVDKWJN/_SSL2942_Rome_Borghese_David_Bernini.jpg 2022 Rome - David, completed between 1623 to 1624 by Gian Lorenzo Bernini, life-size marble, commissioned by Cardinal Scipione Borghese, Galleria Borghese Bernini’s David captures the episode of the battle itself. David is shown in motion, in a twisted position with muscles engaged to emit exaggerated energy and drama. He has not yet defeated Goliath, but is in the midst of battle, he is about to sling the rock. David's clothing is typical of shepherd's attire. At his feet lies the armor of Israel's King, Saul, and David’s harp. Given to David for battle by Saul, the armor was shed, as David was unaccustomed to it. The harp, refers to David being described as a talented harpist. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704357899552-UHYL9CUUPHMC6VPBV1QF/_SSL2956_Rome_Borghese_David_Bernini_FIN.jpg 2022 Rome - Detail of David, completed between 1623 to 1624 by Gian Lorenzo Bernini, life-size marble, commissioned by Cardinal Scipione Borghese, Galleria Borghese Bernini’s David is my favorite sculptural presentation of the David and Goliath story. Michelangelo was the first to portray David before the battle, showing him at the apex of his concentration, relaxed, but alert, resting on a classical pose known as contrapposto. Bernini presents us with David in the battle, looking at Goliath, and allows us to be there with David. As one scholar has commented, “What Shakespeare is to drama, Bernini may be to sculpture.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709360421245-DQ5T15QYFYD0BVX495AG/_SSL2944_Rock-Bag-Davide_Bernini.jpg 2022 Rome - Detail of David, completed between 1623 to 1624 by Gian Lorenzo Bernini, life-size marble, commissioned by Cardinal Scipione Borghese, Galleria Borghese Other sculptural versions of David, e.g., by Donatello and Verrocchio, portray David after he had beheaded Goliath. Verocchio’s David is gracefully posed standing triumphantly over Goliath’s head. Donatello’s bronze David depicts a young nude posed with his foot on Goliath's severed head. In contrast Bernini’s David an intense energy is in the process of being unleashed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703901474093-DKDRP70HBHQ5TMCHY954/DSC04072_Rome_Borghese_David_Determine.jpg 2022 Rome - Detail of David, completed between 1623 to 1624 by Gian Lorenzo Bernini, life-size marble, commissioned by Cardinal Scipione Borghese, Galleria Borghese Bernini’s David expresses pure determination, and a lack of fear. David looks at the enemy with intensity. The young man is serious: his eyebrows frown, and his lips are bitten. He is engaged and in motion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703997538601-YXUOTUE57N0STOBQW474/David+and+Saul+by+Rembrandt+1651-1658.jpg 2022 Rome - Saul and David (c. 1651 to 1658) by Rembrandt van Rijn, Mauritshuis Museum at the Hague Here Rembrandt allows us to experience another part of David’s story. David has just beaten Goliath and the Philistines and is back in the palace of King Saul, who is afraid that David will take his position as king due to his enormous popularity. King Saul has a curtain in his left hand and a spear in his right hand. Rembrandt uses the curtain to to express two different emotions of Saul at once. The tears in his left eye because of the beautiful music and the anger and jealousy of David’s growing popularity in his other eye. Saul eventually throws the spear at David, twice missing him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703137408889-FX74U493MGOFZ8S4RF3F/_SSL2887_Rome_Truth+Unveilded_Bernini_gen-cloud.jpg 2022 Rome - La Verita (Truth Unveiled), 1646 – 1652, Carrara marble, h. 9ft, by Gian Lorenzo Bernini (1598 – 1680), Galleria Borghese In Truth Unveiled by Time Bernini wanted to show Truth allegorically, as a naked young lady being unveiled by a Time figure above her. However, a figure of Time was never executed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703902025302-GIRDN0L214Y8YJVT0V1Q/DSC04084_Rome_Borghese+Ceiling_Apollo-Daphne_FIN.jpg 2022 Rome - Apollo and Daphne with Eros (cupid), ceiling painting in room with Bernini’s Apollo and Daphne, Galleria Borghese, Rome According to Greek Mythology Apollo had been mocking the God of Love, Eros (also known as Cupid). In retaliation, Eros fired two arrows: a gold arrow that struck Apollo and made him fall in love with Daphne, and a lead arrow that made Daphne doomed to repulsive love and denied the love of men. Apollo seeing the wood nymph Daphne falls madly in love with her. As she runs away terrified, she prays to her father Peneus: “Destroy the beauty that has injured me, or change the body that destroys my life.” Before her prayer ended, amongst other changes, her hair turned into moving leaves, her arms turned into swinging branches, and her legs, like clinging roots, were attached to the ground https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703313830760-FZP3JTC7341K5VT2V0KW/_SSL2959_Rome_Borghese_Apollo-Daphne_Bernini.jpg 2022 Rome - Apollo and Daphne by Gian Lorenzo Bernini, marble sculpture in the Baroque style in natural size, made and executed in 1622-1625 Bernini portrays Daphne fleeing from Apollo and captures the action through the use of diagonal lines. Bernini captures Daphne’s hair as it turns into moving leaves, her arms turn into swinging branches, and her legs attach to the ground as roots. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709362999368-ONPGBPQSE084O64YISY1/_SSL2972_Rome_Borghese_Apollo+Daphne_Bernini_crp_FIN.jpg 2022 Rome - Detail of Apollo and Daphne by Gian Lorenzo Bernini, marble sculpture in the Baroque style in natural size, 1622-1625 When Bernini unveiled Apollo and Daphne, the marble work was resoundingly hailed as a meraviglia—a marvel. Not yet 30 years old, the sculptor had captured motion, transformation, sexual appetite, and terror more convincingly than any other artist working in stone before him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703901921616-LT7LVQ6HO3U5P80N9ITJ/DSC04080_Borghese_Apollo-Daphne_Bernini.jpg 2022 Rome - Detail of Apollo and Daphne by Gian Lorenzo Bernini, marble sculpture in the Baroque style in natural size, made and executed in 1622-1625 Bernini received considerable help on Apollo and Daphne from his student, Giuliano Finelli, who worked on the details that show the transformation of Daphne from person to tree, such as bark and branches, as well as her weathered hair. An essential difference between Bernini and Finelli was that while Finelli was highly meticulous about carving tiny details, Bernini was less conscious of lacy frillery in dress, and more centered on the psychology and the overall emotional impact. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703377247654-YBGR9KR6SZX5XGXQIB7U/_SSL2965_Rome-Borghesi_Apollo_Dossi_FINAL.jpg 2022 Rome - Apollo and Daphne (circa 1522) by Dosso Dossi, oil on canvas (Giovanni Luteri), 6.3 ft. x 3.8 ft., Borghese Gallery, Rome Dosso Dossi tells the mythological story of Apollo and Daphne with Daphne in the left background fleeing from the attentions of Apollo as she transforms into a Laurel tree. Apollo, the god of poetry, plays the lyre, raising his bow aloft. Apollo’s green mantle, the edge of which is decorated with thin gold thread, matches his laurel crown, which refers to the transformation of Daphne into the tree that had become sacred to him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703378531299-WM7O7RE18PT99IV7FJ8I/_SSL2987_Rome_Borghese_model+LouisXIV_Bernini_1669_FINE.jpg 2022 Rome - Model for the Equestrian Sculpture of King Louis XIV, 1669, Terracotta model, Rome, Latium, Italy, Borghese Gallery The terracotta model for the equestrian monument to Louis XIV was created by Bernini, already in his seventies, in late 1669 and 1670. The sculpture of the Sun King on horseback was ordered during a trip to Paris by Bernini in 1665. Bernini decided to show him on the Mount of Glory controlling his galloping horse, his sceptre held horizontally; a symbol of regal equity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703385069404-HX5P09F9YM3M8L5F1HH8/_SSL2989_Rome_Borghesi_model+LouisXIV_Bernini_Francois+Girardon+.jpg 2022 Rome - Louis XIV, by Gian Lorenzo Bernini (1598 – 1680), left, and François Girardon (1628 –1715), right Bernini prepared an equestrian statue of King Louis XIV dressed as a Roman General. The king was not at all satisfied. It was transformed by Francois Girardon into a statue of legendary Roman hero Marcus Curtius and exiled to the other end of a large pond, nowadays outside the grounds of the Palace of Versailles. Girardon’s changes included placing a Roman helmet on the head, trimming the long hair, and modifying some features of the face, including the reduction of the size of the Bourbon nose. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703462338413-6SBR0ZE0GZFZK3CGJX5Q/_SSL2992_Rome_Borghese_Portrait+Boy_Bernini_FIN.jpg 2022 Rome - Portrait of a boy (circa 1638), 13” x 11”, oil on canvas, by Gian Lorenzo Bernini Portrait of a boy by Bernini came from the collection of Prince Chigi. The identity of the boy portrayed is unknown but some critics believe him to be a younger brother of Bernini. Rendered with rapid, dense brushstrokes, the boy’s face is characterized by an extraordinary candor, with an intense expression. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703456079315-MIEXOA8GLCXV397S15AX/_SSL3002_Rome_Borghese_SelfPor-YoungMan_Bernini_FIN.jpg 2022 Rome - Self Portrait of a Young Man (1623) by Gian Lorenzo Bernini, Galleria Borghese, Rome This work is Gian Lorenzo Bernini’s Self-portrait at the age of roughly 25; it is believed to be one of the artist’s first attempts at painting. Critics have proposed that it may have been executed at about the same time as the famous marble David, given the tense gaze which characterizes the face in the Biblical hero, an expression which Bernini studied on himself. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703470527412-X5W8LDZ4YDNPOPGPL886/_SSL3001_Rome_Borghese_SelfPort+Adult_Bernini_FINAL.jpg 2022 Rome - Self-Portrait at a Mature Age (1630-1635), oil on canvas by Gian Lorenzo Bernini. 21" x 16.5", Borghese Galleria The Self-Portrait at a Mature Age by Bernini appeared on the old 50,000-lira banknotes. The background, white shirt collar, and dark outer clothes are rendered with just a few brushstrokes, as Bernini has focused on the face, avoiding details that could distract him or the observer. Between about 1620 and 1640, Bernini devoted himself to painting, executing up to 200 works. Currently, only about a dozen paintings by the artist are known to exist. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705117468537-1HZT7BPVVUSJQATWV3LI/SSL_3472+BorgheseGardensbeggardrk_FINE.jpg 2022 Rome - Path through the Borghese Gardens toward the Pincio Terrace area, Pincian Hill, Rome Leaving the Galleria Borghese we are reminded of how far away the wonders of art can sometimes takes us from the calamities of life. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703557337671-O8B1QIEK4ZR7IK49V2M9/_SSL3025_Rome_Pincio+Gardens_crp_FIN.jpg 2022 Rome - Pincio Terrace area, Pincian Hill, Rome The Pincio (Pincian Hill) is located in the gardens of Villa Borghese. The After leaving the Galleria Borghese, a walk through the Pincio Gardens to the Pincio Terrace provides one of the most favorite panoramic viewpoints in Rome, including the Piazza del Popolo immediately below and a view to the Vatican. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703562718061-5JOPIS89YJW93211FNIV/_SSL3023_Rome_Piazza+del+Popolo_view_FIN.jpg 2022 Rome - East to west view of the Piazza del Popolo and the Vatican from Pincio Terrace lookout, Rome Below the Pincio Terrace, is the spacious Piazza del Popolo. On the north side of the Piazza is northern gate of Rome, adjacent on the east of the entry to the Parish Basilica of Santa Maria del Popolo. In the center of the Piazza is the Flaminio Obelisk of Sety I, and on the southern end, the Twin Churches of Santa Maria in Montesanto and Santa Maria dei Mircoli. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703833779941-62OVGXXO7UCQ5J4WXD67/_SSL3032_Rome_Piazza+del+Popolo+Obelisk+Sety+I.jpg 2022 Rome - The Flaminio Obelisk of Sety I (1290 BCE- 1279 BCE), Piazza del Popolo, H. 67 ft, with the base and the cross,100 ft., Piazza del Popolo, Rome The Flaminio Obelisk is one of the thirteen obelisks in Rome. Built for the temple of the Sun, or Ra, in Heliopolis in Egypt, it has a height of 85 ft. and, with the base and the cross, reaches 119 ft. The obelisk is red granite, and its sides were decorated with hieroglyphs by order of the pharaohs Seti I and his son Ramses II. The obelisk was brought to Rome in 10 BCE by command of Augustus and placed on the spina of the Circus Maximus. It was rediscovered in 1587, broken into three pieces, and was erected in the Piazza del Popolo by Domenico Fontana in 1589, at the command of Pope Sixtus V. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704064491007-TUP9A8I1PR4CJX8XTFTO/_SSL3030_Porta+Flaminia+Gate_Piazza+del+Popolo_FINITO.jpg 2022 Rome - Porta Flaminia, northern gate of the Aurelian Walls, Porta del Popolo inner facade adjacent to the Basilica of Santa Maria del Popolo, Rome The inner façade of the Porta del Popolo (Porta Flaminia) was designed by Gian Lorenzo Bernini for Pope Alexander VII on the occasion of the arrival in Rome of the abdicant and newly Roman Catholic convert, queen Christina of Sweden, on 12/23/1655. As a welcome to the Queen, an inscription was carved on the attic of the inner façade, Felici. Fausto. Q. Ingresssui - For a felicitous and auspicious entry, which also included the coat of arms of the Pope's family, the the House of Chigi (the six-pieces mount under the eight-rays star ). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704502134388-7Z2DQRIZVX4GP9PF2TIB/Roma_PlanRome_Gates+of+Rome.jpg 2022 Rome - Porta Flaminia is in the upper middle of this Roman Map which includes the ingress/egress gates of the Aurelian Wall The Aurelian Wall, a line of city walls built between 271 CE and 275 CE in Rome, Italy, during the reign of the Roman Emperor Aurelian. They superseded the earlier Servian Wall built during the 4th century BCE, shown within the Aurelian Wall surrounding the dark pink area. The Aurelian Walls enclosed all the seven hills of Rome plus the Campus Martius and, on the right bank of the Tiber, the Trastevere district (see Porta Septimiana, middle-left). . https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705128295967-WTA1K8QQIWO1SKBMXLW8/SSL_3051+Chigi6Hills+SMDPopolo3_FINE.jpg 2022 Rome - Basilica of Santa Maria del Popolo, built between 1472-1477, Piazza del Popolo, Rome The Basilica of Santa Maria del Popolo stands in the Piazza del Popolo next to the northern gate of Rome (Porta del Popolo). In 1099 Pope Paschal II decided to destroy the Domizi Enobarbi Mausoleum, an ancient memorial of the first Imperial Age, where Nero was buried. Rumors were spreading that the area was cursed by the Emperor Nero’s ghost. To solve this unusual problem, Paschal II exhumed the body of Nero and burned the remains. To bless the area he had a Chapel built on that very same site. In the 15th century, the church was completely reconstructed under the papacy of Sisto IV. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709631677099-IURSO7DCCOEVW0BVEQF4/SSL_3392_Chigi+Chapel-Creation-SMdePopolo+2011+copy_FINE.jpg 2022 Rome - Creation of the World (1516), a mosaic composition in the dome of the Chigi Chapel designed by Raphael, Santa Maria del Popolo, Rome The Chigi chapel was designed by Raphael for his friend and patron, banker Agostino Chigi as a private chapel and family burial place. Raphael's cartoons were executed by a Venetian craftsman, Luigi da Pace in 1516. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703832316566-YYCT6AUXSQB1G87CGQ3T/_SSL3034_Rome_P+del+Popolo_Twin+Churces_FIN.jpg 2022 Rome - The Twin Churches, designed by Carlo Rainaldi as viewed through the northern gate of Rome, Porta del Popolo On the south end of the Piazza di Popolo, stand the Santa Maria in Montesanto (built 1662 to 1675) and Santa Maria dei Mircoli (built 1675 to 1681) known as the Twin Churches because of their identical exterior structure. Originally part of a design for a monumental passage of Via del Corso, the churches were commissioned by Pope Alexander VII and financed by Cardinal Girolamo Gastaldi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708661178251-OG0Y8ZPYSCPX8O51P97J/_SSL3033_mom-son-phone_steps.jpg 2022 Rome - Mother and son with phone, resting in the Piazza del Popolo, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703838242719-IWUIIAWYR7AOMDX1W7CR/_SSL3044_Rome_S+Francesco+Chiesa.jpg 2022 Rome - San Francesco a Ripa (the term Ripa refers to the nearby riverbank of the Tiber), Trastevere, Rome, Italy The Church of San Francesco a Ripa is dedicated to Francis of Assisi who is said to have stayed in the adjacent convent in 1219, and in his cell you can still see the rock that he purportedly used as a pillow and his crucifix. The construction of the present church was begun in 1603 by Onorio Longhi, was finished in 1681–1701 with designs by Mattia de Rossi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703838314930-VN33437WGTE6ZF9C5LW6/_SSL3082_Rome_Tras_SF_Chapel_FIN.jpg 2022 Rome - Nave of San Francesco a Ripa, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704592685618-LQ7STB0YW2CQB05VLRHM/_SSL3366+_San+Francesco+parishioner_FIN.jpg 2022 Rome - Parishioner at the altar of San Francesco a Ripa, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704071271578-133MWAZ37MX7V4AH9YTH/_SSL3048_Rome_Travestere_S+Francis+High+Altar+statue_FIN.jpg 2022 Rome - High Altar (1746), San Francesco a Ripa, Trastevere, Rome The ornate high altar of San Francesco a Ripa was designed by a Franciscan known as Fra Secondo da Roma. The much older wooden statue (c. 1550) of Saint Francis of Assisi, which serves as an altarpiece, is the work of another Franciscan Fra Diego da Careri. The allegorical statues of Religion (rt) and Charity (lft), which stand atop the arches on either side of the altar, are the work of Fra Secondo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704155065783-RIBN04UGA7SG0BU8LI2T/_SSL3080_The+Cappella+Rospigliosi-Pallavicini_Spanish+Franciscan+St+Peter+of+Alca%CC%81ntara.jpg 2022 Rome - St Peter of Alcántara and St Paschal Baylon, altarpiece by Giuseppe Bartolomeo Chiari (1654-1727), Cappella Rospigliosi-Pallavicini (1713), Church of San Francesco a Ripa, Trastevere, Rome The Rospigliosi came to Rome from Tuscany after Cardinal Giulio Rospigliosi was elected Pope Clement IX in 1667. The Cappella Rospigliosi-Pallavicini was designed by Nicola Michetti (1675-1758) and Ludovico Rusconi Sassi (1678-1736), and dedicated to the Spanish Franciscan St Peter of Alcántara (1499-1562). St Peter of Alcántara was canonized on April 28th 1669 by Pope Clement IX (r. 1667-69). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704152959163-AR8R6K3R31O8P4FSUVDU/_SSL3078_Funerary+monument+to+Lazzaro+and+Stefano+Pallavicini.jpg 2022 Rome - Monument to Lazzaro and Stefano Pallavicini, Cappella Rospigliosi-Pallavicini (1713), Church of San Francesco a Ripa, Rome The funerary monuments on the side walls of the Cappella Rospiglioosi-Pallavivini were designed by Michetti and the sculptures are the work of Giuseppe Mazzuoli (1644-1725). The monument on the left, as seen above, is to Lazzaro and Stefano Pallavicini, with allegorical statues of Fortitude and Justice. The bronze skeleton is by Michele Garofolino. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704152960245-LBM5HQIYYX4L5CYO3M1G/_SSL3064_Funerary+monument+to+Maria+Camilla+and+Giovanni+Battista+Rospigliosi.jpg 2022 Rome - Monument to Maria Camilla and Giovanni Battista Rospigliosi, Cappella Rospigliosi-Pallavicini (1713), Church of San Francesco a Ripa, Rome The right wall of the Cappella Rospigliosi-Pallavicini Maria Camilla and Giovanni Battista Rospigliosi was designed by Michetti. The allegorical statues of Prudence and Charity are the work of Giuseppe Mazzuoli (1644-1725). The bronze skeleton is by Michele Garofolino. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704592664068-NEJW2WK07AHSCJJ6LB91/_SSL3369_Charity_san+francesco_Trastevere.jpg 2022 Rome - Charity by Giuseppe Mazzuoli (1644-1725), Cappella Rospigliosi-Pallavicini Maria Camilla and Giovanni Battista Rospiglios, Church of San Francesco a Ripa, Trastevere, Rome Mazzuoli was a skilled student of Gian Lorenzo Bernini and considered by some his successor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703838300590-27XMTRKZQSGPKKMPIFRE/_SSL3077_Rome_Trav_S+Francesco+ceiling.jpg 2022 Rome - Ceiling with dove of the Holy Spirit in the cupola, San Francesco a Ripa, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704098831572-37FA71RKLYOVUA0PH3GX/_SSL3075_Altieri+Cappella+SanFran+a+Ripa_FIN.jpg 2022 Rome - Cappella Altieri, the left transept of the church of San Francesco a Ripa, Trastevere, Rome The Cappella Altieri is home to the sculpture of Blessed Ludovica Albertoni (1671-74), by Gian Lorenzo Bernini (1598-1680). The sculpture, and the niche designed for its display, was created by Bernini on commission from Cardinal Paluzzi degli Albertoni Altieri in 1671. The cardinal, a nephew of Pope Clement X, was descended from Ludovica Albertoni. Bernini took on the project without pay. He was 71 years old when he began the work, and it was one of his last sculptures. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703838284596-MHK6MYYQX6F95AC0S4CF/_SSL3070_Rome_Trav_Ss+Fran_Ludovica_S+Anna-Virgin.jpg 2022 Rome - Cappella Altieri, in the left transept of the church of San Francesco a Ripa, Trastevere, Rome The Altieri Chapel is dedicated to St Anne, mother of the Virgin Mary. The altarpiece depicts the Virgin and Child with St Anne by Giovanni Battista Gaulli, better known as il Baciccia (1639-1709). Also located in the chapel is Bernini’s sculpture of Ludovica Albertoni, a Roman noblewoman who entered the Third Order of St. Francis following the death of her husband. She lived a pious life, working for the poor of the Trastevere neighborhood, under the guidance of the Franciscan friars of San Francesco Church, where she was buried in 1533. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704609836532-84RL1G4ATOJ9X507C3C7/_SSL3226_Rome_SFran_Ludivico_Bernini_FINE_crp.jpg 2022 Rome - The Agony of Blessed Ludovica Albertoni (1674), the Saint's body is buried beneath the sculpture, in the left transept, San Francesco a Ripa, Trastevere, Rome Bernini’s Agony of Blessed Ludovica Albertoni shows the Franciscan nun eternalized in a state of rapture as she reclines, eyes shut, mouth open, one hand touching her breast, taking her final breath. The blessed Ludovica Albertoni is propped up upon a cushion whose plump creases belie the material reality of its unyielding marble. In addition, note how the marble has been transformed into her flowing robes, and how the decorative folded carpet Bernini added below the saint helps to multiply the dramatism. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704148187634-6YRR2HJJBGOZ8U4P493Q/_SSL3358_Rome_SFran_Ludivico_Bernini_FIN.jpg 2022 Rome - The Agony of Blessed Ludovica Albertoni (1674), the Saint's body is buried beneath the sculpture, Cappella Altieri, San Francesco a Ripa, Trastevere, Rome Bernini’s genius presents us the figure of Ludovica Albertoni at the moment she takes her last breath and has the mystical communion with her God. As typical of Bernini’s, the Agony of Blessed Ludovica Albertoni is theatrical and enhanced by the natural light coming from a hidden window above the left of Ludovica’s head, a device designed by Bernini to get this precise effect. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707391166433-DVQ94UQD17G424OXP7CX/DSC04069+_St+Francesc+di+Ripa+bas+reliefd.jpg 2022 Rome - San Francesco a Ripa, exterior bas relief image from "the Parishioners of San Francesco a Ripa," Trastevere. Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703838332702-WZQAQP6AXYXOQTL2LXJA/_SSL3084_Rome_Tras_streetscene+mopeds.jpg 2022 Rome - Trastevere moped parking https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1703838350569-DYO7LUUXK4G5XOZEZ5CA/_SSL3085_Rome_Tras_tonight+we+will+make+love_FINE.jpg 2022 Rome - Trastevere wall art: STASERO FAREMO L’AMORE – Tonight we make love. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708469725701-98NENVOFYBHWMFDHP38A/_SSL3091_Trastevere_via+della+scala+restaurant+prep_FIN.jpg 2022 Rome - Restaurant prep for lunch on historic via Della Scala in Trastevere, Rome Facing Via della Scala, is Via di Santa Dorotea. The legend says that a baker's daughter, Margherita Luti, lived there at number 20. She was the lover of Raphael Sanzio (generally known in English as Raphael), who portrayed her in one of his most famous paintings, the Portrait of a Young Woman, also known as La Fornarina, which you can admire today inside the Galleria Nazionale di Arte Antica - Palazzo Barberini. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704176370771-MMHHVSQ8YH5B915H73EM/La_Fornarina_by_Raffaello.jpg 2022 Rome - The Portrait of a Young Woman (also known as La fornarina) by Raphael, between 1518 -1519, Galleria Nazionale d'Arte Antica in Palazzo Barberini, Rome One interpretation of the woman's identity assumes her to be Raphael's lover named Margherita; the figure's father was a baker and thus earned her the nickname of La Fornarina. According to Giorgio Vasari. Margherita was Raphael’s muse and appeared as the subject in many of his paintings. She is shown wearing items associated with her assumed romantic relations to the painter. Her golden armband signed Raphael Urbinas, and the placing a ring on her left, fourth finger can be seen as Raphael’s indication of La Fornarina as his. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704169838035-IFSFYM5O4N9CXRVRLIXU/_SSL3093_Porta+Settimiana-+entry+gate+to+Trastevere.jpg 2022 Rome - Porta Settimiana, 15th century, gate of the Aurelian Wall for Trastevere (identified on Roma Plan earlier above in middle, far left) Porta Settimiana marks the start of Via della Lungara, the 16th-century road that connects Trastevere with the Borgo (the 14th rione of Rome). It was built in 1498 by Pope Alexander VI over a small passageway in the Aurelian Wall, a line of city walls built between 271 AD and 275 AD during the reign of the Roman Emperor Aurelian. Today, from Porta Settimiana, Via Santa Dorotea leads to Ponte Sisto, which connects with the centro storico (historic centre). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704441993898-4OT08AXPZUONF73DHSYO/_SSL3354_Rome_Tiber+River.jpg 2022 Rome - The Tiber River with Trastevere on the right and Rome on the left connected by the Ponte Sisto (1453) The Tiber connected the city of Rome to Ostia, a vital ancient port. While all roads led to Rome, the Tiber led to the sea. Importers and exporters could move their goods quickly across the Empire and exchange cargo on ships headed across the Mediterranean. Trastevere is the neighborhood across the Tiber River from Rome’s historic center. In Rome's Regal period (753–509 BC), the area across the Tiber (to the west) belonged to the Etruscans - the Romans named it Ripa Etrusca (Etruscan bank). Rome conquered it to gain control of and access to the river from both banks. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708941126108-IIJA4VLUP1JRXJ00ZFS6/_SSL3115_train+to+Nettuno+11-42.jpg 2022 Rome - ROMA TERMINI to Nettuno to visit the WWII Sicily-Rome American Cemetery and Memorial In the Roma Termini (Rome train station) for a trip to Nettuno, a town and comune of the Metropolitan City of Rome, situated along the Tyrrhenian Sea, 37 miles south of Rome. Nettuno has ancient origins dating back to Roman times. The town's name is derived from the Roman god Neptune, which reflects its strong maritime connections. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708941303417-527Y6GSOL6TXF9BA8NWK/_SSL3125_Rome_train+to+Anzio.jpg 2022 Rome - The train from Rome passes through Anzio on the way to Nettuno, the home of the Sicily-Rome American Cemetery and Memorial {WWII} During World War II Anzio campaign, VI Corps suffered 29,200 combat casualties – 4,400 dead, 18,000 wounded and 6,800 missing or captured. There were a further 37,000 non-combat casualties. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708504577712-KF00UMF54YFIBCEA6LG2/_SSL3127_Rome_Nettuno+Train+stop.jpeg 2022 Rome - Nettuno is the site of the World War II Sicily-Rome American Cemetery and Memorial From 1940 to 1945, Nettuno and nearby Anzio were a single municipality (comune) called Nettunia. On January 22, 1944, Anzio and Nettuno were the theatre of an Allied forces landing and the ensuing Battle of Anzio, which began with Operation Shingle during WWII. American forces (5th Army) were surrounded by Germans in the caves of Pozzoli in February 1944 for a week, suffering heavy casualties. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708563188069-DE9876CZD36JAFQ9S2GD/USA-A-Anzio-FINE.jpg 2022 Rome - Allied Strategy in Italy, January 1944, surprise landing at Anzio and Nuttuno, 30 miles south of Rome and behind the enemy's "Gustav Line" By late October 1943 it was evident that the Germans strategy was to compel the Allied forces to fight a slow costly battle up the peninsula. To meet this situation, Allied staffs implemented a plan, Operation Shingle, for landing behind the enemy lines, with the purpose of turning the German flank, gaining a passage to the routes to Rome, and threatening the enemy lines of communication and supply to its “Gustav Line”. (https://www.ibiblio.org/hyperwar/USA/USA-A-Anzio/USA-A-Anzio-1.html) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708507880543-WYLNVJTAQOMPM3FPPECZ/Landing+at+Anzio+afire_FIN.jpg 2022 Rome - Operation Shingle: Landing at Anzio: Troops and equipment come ashore on the U.S. Fifth Army beachhead near Anzio, 22 January 1944 As the troops ready on shore, the USS LCI-20 is burning at left, after being hit by a German bomb. With her are (l-r): HMS LCI-274, USS LCI-39 and HMS LCI-260. At right, beyond the DUKW (an amphibious transport vehicle), are USS LCI-36 (or LCI-38) and USS LCI-44 (SC 212357). https://www.history.navy.mil/browse-by-topic/wars-conflicts-and-operations/world-war-ii/1944/anzio.html https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708560974642-6YN6JPZWRL1KR9741Q53/A-4+Sherman+hit+at+Anzio.jpg 2022 Rome - An A-4 Sherman medium tank burns after being hit by German fire during the battle for Anzio. Muddy fields confined most armor to the roads, making them easy target Regiments like the 45th Infantry Division regularly received support from divisional artillery and attachments from tank, tank-destroyer and engineer units. For example, in 2/1944, while experiencing heavy casualties, tanks from the 191st Tank Battalion reinforced I Company infantry, using the firepower of their cannon and machine guns to keep the Germans at bay. (https://warfarehistorynetwork.com/article/the-45th-infantry-divisions-desperate-defense-at-anzio/) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708563337543-BNS25FZI8C9LNFGNHNC9/Q-45th-Anzio-5-foxholes.jpg 2022 Rome - The 45th Infantry Division's Desperate Defense at Anzio, February 1944 The flat terrain of the Anzio battlefield provided no cover and little concealment. Here GIs burrow into their water-filled foxholes and wait for the next German assault. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708568491603-MJWXZ0LX4DC1TD256MNE/An+Airman%E2%80%99s+Saga_45thDiv_Anzio.jpg 2022 Rome - "An Airman’s Saga," The 45th Infantry Division's Desperate Defense at Anzio, in Warfare History by Christopher Miskimon, Fall 2020 [See: https://warfarehistorynetwork.com/article/the-45th-infantry-divisions-desperate-defense-at-anzio/] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708414277725-UPMGS06G2AU1YXLCRNCL/_SSL3134_Am+Cemetery+Entrance_FIN.jpg 2022 Rome - Entry to the World War II Sicily-Rome American Cemetery and Memorial, Nettuno We went to the WWII Sicily-Rome American Cemetery and Memorial to visit a specific grave. The partner of my eldest daughter is named after his grandfather, one of the fallen of the Italian campaign, who is buried in the cemetery. He never met his grandfather and wanted to visit the grave. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708420287326-6P3F6EA77W9Y7KT2IM4C/_SSL3137_Nettuno+Cemetery+meeting+room.jpg 2022 Rome - Sicily-Rome American Cemetery and Memorial Visitor's Building The Sicily-Rome American Cemetery and Memorial, established as a temporary cemetery in 1944, was formally dedicated in 1956. The visitor building provided a place for families and friends to mourn fallen loved ones and to remember their sacrifice. A picture of General Dwight D. Eisenhower, commanding general of the victorious forces in Europe during World War II, hangs over the fireplace. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708419170694-4LD5CNIUXC8B6HREOWO1/_SSL3208_Dedication+ceremony+cemetery+WWII.jpg 2022 Rome - Lieutenant General Mark W. Clark salutes those who fell on the Anzio beachhead at the Nettuno Cemetery on Memorial Day, May 30, 1944 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709163429159-6BIC0P6TA9D0GBPK8009/_SSL3139_Nettuno_Am+Cemetery_Water+entry.jpg 2022 Rome - Cenotaph honoring a those who are buried elsewhere, World War II Sicily-Rome American Cemetery and Memorial memorial marker The World War II Sicily-Rome American Cemetery and Memorial site in Italy covers 77 acres, rising in a gentle slope from this broad pool with an island and cenotaph, commemorating those who died in war and those buried elsewhere, flanked by groups of Italian cypress trees. The cemetery was established in Nettuno, as a temporary battlefield cemetery on 24 January 1944, two days after Operation Shingle began, the Allied landings at Anzio and Nettuno on mainland Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704241497502-49DNUK4JZ1DJRTW55JPW/_SSL3140_Pool+to+Memorial_FIN.jpg 2022 Rome - View looking north from the Memorial Pool to the Central Mall Lawn and the Memorial and Map Room of The World War II Sicily-Rome American Cemetery and Memorial The cemetery was established in Nettuno, as a temporary battlefield cemetery on 24 January 1944, two days after Operation Shingle began, the Allied landings at Anzio and Nettuno on mainland Italy. The pool leads to a wide central mall and the Memorial building, expressing America's remembrance of the dead. It consists of a chapel to the south, a peristyle, and a map room to the north. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708415006020-K47EHL0NPKICP4M9AAJJ/_SSL3157_grave+sites+in+line.jpg 2022 Rome - Beyond the pool is the immense field of headstones of 7,845 of American military war dead, Nettuno, Italy The majority of the individuals buried here died in the liberation of Sicily (July 10 to August 17, 1943); in the landings in the Salerno Area (September 9, 1943) and the heavy fighting northward; in the landings at Anzio Beach and expansion of the beachhead (January 22, 1944 to May 1944); and in air and naval support in the regions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708417972255-LEMO3IT2YKIAFKB0PUDL/_SSL3179_cross+with+info-Starbuck_FIN.jpg 2022 Rome - Grave markers, Sicily-Rome American Cemetery and Memorial, Nettuno Each grave marker lists the deceased name, rank, military position, birthplace, and date of death. For example, above, the front cross belongs to William T. Starbuck, a first lieutenant, who seems to have been a Navy fighter pilot in the 48th Squadron (FTR SQ) and the 14th Group (based on what I could discern from information concerning the abbreviations), was originally from Florida, and died August 17, 1944. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704184175405-YHQIA0P2U5D1T65LJFX5/_SSL3144_WWII+Sicily-Rome+Memorial.jpg 2022 Rome - Memorial Peristyle and Map Room, the World War II Sicily-Rome Memorial, Nettuno, Italy On the east façade of the Memorial, constructed of travertine and marble., a relief carving depicts a fallen soldier being carried by his guardian angel. Inside this part of the WWII memorial contains a map room that includes a bronze relief map and four fresco maps depicting the military operations in Sicily and Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704188225790-H73G4GTFZ3MUCV7JILEX/_SSL3147_Brothers+in+Arms.jpg 2022 Rome - Brothers in Arms, Peristyle, WWII Sicily-Rome American Cemetery and Memorial, Nettuno, Italy The bronze statue called Brothers in Arms stands within the memorial peristyle, outside the map room, representing the strong bonds forged between the U.S. Army and Navy during these arduous battles. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704190137251-26IT5WUIUYMLFHL5NW68/_SSL3151_Rome_Nettuno_MilOps-1943-45_FIN.jpg 2022 Rome - Map of Military Operations between 1943 to 1945, bronze relief, WWII Sicily-Rome Memorial, Nettuno, Italy The map room contains this bronze relief map and four fresco maps depicting the military operations in Sicily and Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704243736426-IC3WYR6U388PQMM5WQTY/_SSL3150_WWII+Assaults+from+Naples-Foggia+to+Europe.jpg 2022 Rome - Map of assaults on Europe launched from the Naples-Foggia area Item #1 on the map states, ”From bases in the Naples-Fogggia area the U.S. 15th Air Force launched its bombardment of Austria, the Balkans, and Germany. In collaboration with the desert air force and the allied air fleets already operating from England, our bombers and fighters attacked incessantly. Their objectives were the defeat of the German air force and the progressive dislocation and destruction of the enemy’s military and economic systems.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704250833580-IND2EOSLARVGNYSALHZM/_SSL3156_Rome_Nettuno_Landing+Map.jpg 2022 Rome - Map of the landing at Anzio/Nettuno and the Capture of Rome January 22, 1944 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708474609193-CRD6IHNVN0MV662QXEXJ/_SSL3205_Rome_Nett_AmCem_JewishStr_FIN_crp.jpg 2022 Rome - Jewish star amongst the Christian crosses is a reminder that American sacrifice would seem to be blind to religious affiliation https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708579920289-HUEQUX36O8L43Z8NLX31/_SSL3142_curved+rows+Cemetery.jpg 2022 Rome - World War II Sicily-Rome American Cemetery and Memorial, Nettuno, Italy The majority of burials at the cemetery are of men that died fighting in the liberation of Sicily, code-named Operation Husky (10 July to 17 August 1943); in the landings at the Salerno, code-named Operation Avalanche (9 September 1943) and the heavy fighting northward; and the landings, code-named Operation Shingle, at Anzio and Nettuno and expansion of the beachhead (22 January 1944 to May 1944); and in air and naval support in the regions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708475821037-98F8E08QZY4P7A6Y2MQ5/_SSL3143_Nettuno_Am+Cemetery_Crosses_FINE.jpg 2022 Rome - Too many crosses! World War II Sicily-Rome American Cemetery and Memorial, Nettuno, Italy I imagine the lives these young men might have lived, the lives of the children they might have had, the lives of the grandchildren they might have enjoyed. I imagine a world under Hitler. Such loss spawned by one man’s ideas. And yet, we seem not to learn from the lessons of history. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708580367465-8L6ATT3BFY87FBU78O0G/_SSL3207_Rome_Nett_Sicily-Rome_McDonald_crp_FIN.jpg 2022 Rome - A symbol of America the eagle sits over the egress/ingress gate of the World War II Sicily-Rome American Cemetery and Memorial The olive branch and the arrows held in the eagle's talons denote the power of peace and war. The eagle always casts its gaze toward the olive branch signifying that our nation desires to pursue peace but stands ready to defend itself. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704096078200-ZAXQ2R0KZBMAH9JPH2Z9/_SSL3129_Rome_Nettuno%2B9-9-1943.jpg 2022 Rome - Nettono wall plaque states “9th of September 1943, Day of the People’s Uprising of Nettuno Against Nazi-Facists” On September 8, 1943, Italy surrendered to the Allied forces after more than three years as a member of the alliance of the Axis Powers. At 7:30 P.M. Prime Minister, Marshal Pietro Badoglio, read the statement on the radio stating that "The Italian Government, recognizing the impossibility of continuing the unequal struggle against the overwhelming power of the enemy, and with the object of avoiding further and more grievous harm to the nation, has requested an armistice from General Eisenhower ... This request has been granted. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704092272027-4816UE6KOPD8S9P419H9/_SSL3130_Nettuno_Putin+Killer+Molly.jpg 2022 Rome - Nettuno graffiti - Putin the Killer compliments of "Molly" https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709540286396-XQONZVETWNESPL0PXU52/_SSL3214_Wait+for+the+ligh_Roma+Termini_FINE.jpg 2022 Rome - Leaving the Roma Termini, waiting with other train passengers at a traffic light in Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704416097952-M9RNGGQSKPFEHBOD437B/_SSL3230_Rome_S+Ivo+alla+Sapienza__Borromini_FIN.jpg 2022 Rome - Sant’Ivo alla Sapienza (1660), designed by Francesco Borromini, Palazzo della Sapienza, Rome The Sant’Ivo alla Sapienza uses a combination of concave and convex exterior and interior surfaces to create optical illusions utilizing shadow whilst still containing a strong sense of symmetry, as was common in the Baroque and Rococo period of architectural design. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704262545324-08PTDPHS7MBA6C2OV7TF/DSC04114_Rome_Borromini_St+Ivo+alla+Sapienza.jpg 2022 Rome - Church of Sant'Ivo alla Sapienza and its courtyard, 1660, designed by Francesco Borromini, near University of Rome La Sapienza palace, Rome When you enter the Palazzo della Sapienza (house of wisdom), the white travertine marble façade of the Church of Sant’Ivo rises up before you at the far end of the long courtyard, with its curved facade and glowing white drum, dome, and lantern. One of Borromini's hallmarks is his use of convex and concave exterior and interior surfaces that play against each other (see also the church of San Carlo alle Quattro Fontane). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704352514834-YNGR8ADH4I78XL3AFB4R/_SSL3230_Rome_S+Ivo+alla+Sapienza_Borromini_FIN_crp.jpg 2022 Rome - Inscription to Pope Alexander VII (1599 –1667), born Fabio Chigi, Pope from 1655 to his death, in May 1667, Rome On the top of Sant’Ivo alla Sapienza, Borromini crafted a unique spire topped with a laurel wreath, a bronze orb, a dove, and a crucifix. Some have compared the spire to the stinger of a bee, which is the symbol of the Barberini family of Pope Urban VIII. Below the spire surrounding the Latin inscription honoring Pope Alexander VII (Chigi) are the heraldic symbols of the Chigi family, i.e., eight-point stars and the six mons (mountains) . https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704353128460-GI7LREB0NPF8KJ0AVNKM/DSC04115_Pope+Alexander+VII.JPG 2022 Rome - Inscription to Pope Alexander VII (1599 –1667), born Fabio Chigi, head of the Catholic Church and ruler of the Papal States from 7 April 1655 to his death, in May 1667 In 1642 Francesco Borromini was appointed by Pope Urban VIII Barberini official Architect of the della Sapienza, the historical university of Rome founded by Boniface VIII in 1303. On that occasion, he was commissioned to build the chapel of Sant’Ivo, patron saint of jurists. Borromini completed the decorative elements by 1660, under the pontificate of Alexander VII Chigi, to whom the inscription on the facade is dedicated: "To Alexander VII Pontifex Maximus for having completed the Palazzo della Sapienza and for having provided it with a library and botanical garden, the lawyers of the Sacred Consistory placed (in the year) 1660". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704267645320-PA89OLHGE7PXMP2RTCNP/_SSL3232_Rome_S+Ivo+alla+Sapienza_Borromini_FIN.jpg 2022 Rome - The arched colonnades of the Palazzo della Sapienza, Francesco Borromini, 1660, Sant’Ivo alla Sapienza, Rome Across the concave façade, Borromini continued the lines of the Palazzo's two stories of arched colonnades evolving from their use in both Ancient Roman and Renaissance architecture. Sant’Ivo Alla Sapienza, once the University of Rome’s Law School, today is the home of the Italian State Archives, containing official documents from the the 9th c. to 1870 at the founding of the Italian Republic. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708647484040-SDIJ24DAE4U7RIXAVS4O/_SSL3497_SS+Maria+Rectory_Rome+street+scene_FINALE-sm.jpg 2022 Rome - Afternoon shopping in Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705135687754-NV43VH4IPKZ7WP1EVL3D/SSL_3336_Piazza+Navona_4Rivers_FIN.jpg 2022 Rome - Palazzo Pamphili, designed by Girolamo Rainaldi, built between 1646 and 1650, facing onto the Piazza Navona in Rome, Italy Pope Innocent X, whose family palace, the Palazzo Pamphili, faced onto the piazza Navona, commissioned Gian Lorenzo Bernini to build the Fountain of Four Rivers (1648-1651) in the center of the plazza (far right). Later, the Church of Sant'Agnese in Agone, of which Innocent was the sponsor, was built directly across from the Bernini’s Fountain. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704425749774-UJWTILDDCL8BSCX0DYWR/_SSL3240_Rome_4+Rivers_Piazza+Navona_Bernini_FIN.jpg 2022 Rome - Fountain of the Four Rivers (1651) by Gian Lorenzo Bernini, Piazza Navona, Rome The Fontana dei Quattro Fiumi represents four major rivers of the four continents through which papal authority had spread: the Nile representing Africa, the Danube representing Europe, the Ganges representing Asia, and the Río de la Plata representing the Americas. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704513591463-KV945Q6T4WNS8WSWLVXM/_SSL3240_Rome_NILE_4+Rivers_Piazza+Navona_Bernini_crp2_FINITO.jpg 2022 Rome - The Nile River God (1651) designed by Gian Lorenzo Bernini, commissioned from Pope Innocent X, Fountain of the Four Rivers, Piazza Navona, Rome The Nile River God’s head is draped with a loose piece of cloth (lifted with the left hand so that we can see, somewhat), meaning that no one at that time knew exactly where the Nile's source was. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704441954093-USQGGLY7D589KWWPGPDB/_SSL3348_PalmTree_4Rivers_Bernini_FIN.jpg 2022 Rome - Gian Lorenzo Bernini creates a theatrical scene by combining the Nile River God with an African lion and various tropical plants, Fountain of the Four Rivers (1651), Piazza Navona, Rome Bernini’s design for the fountain exemplified the Baroque tradition of dynamic movement in his sculpture. Each of the figures, including the animals, with perhaps the exception of the Ganges, appear as if in motion. The fountain epitomizes Baroque theatricality, which some have described as a form of play in the round. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704511213948-7ZO99RHEFN5GH827C4Z4/_SSL3241_Rome_4+Rivers_Bernini_Lion_FIN.jpg 2022 Rome - The African Lion, at the water hole, accompanying the Nile River God (1651), designed by Gian Lorenzo Bernini, commissioned from Pope Innocent X, Fountain of the Four Rivers, Piazza Navona, Rome Seven animals are depicted on the fountain. In addition to the bronze dove on top of the obelisk and the dolphins in the Pamphili coat of arms, scattered around the entire fountain are: the lion (above), the armadillo, the land snake, the sea snake, the horse, the dolphin and the dragon. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704441924381-SGQ1J9ILV117LWNM6DAM/_SSL3340_Rome_4+Rivers_Ganges+R_Bernini_FIN.jpg 2022 Rome - The Ganges River God (1651) representing Asia, designed by Gian Lorenzo Bernini, commissioned from Pope Innocent X, Fountain of the Four Rivers, Piazza Navona, Rome The Ganges River god shares the same side of the fountain with the Nile River god, with tropical plants and a lion between them, expressing what was seen as commonalities in the environments of both continents. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704944286610-8MDB9YD5ENVBP6GU357V/SSL_3327_Ganges+and+the+Dragon_2011-FINE.jpg 2022 Rome - The Ganges River God (1651), designed by Gian Lorenzo Bernini, commissioned from Pope Innocent X, Fountain of the Four Rivers, Piazza Navona, Rome The Ganges River god holds an oar in his hand alluding to the navigability of the river with the neck of a dragon wrapped around the oar, signifying the serpentine and twisting maneuverability of the river. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704530458811-14ILEJB5T4T69UJRAWN0/_SSL3326_Rome_4Rivers-de+la+Platte-gold-snake_FINIALE.jpg 2022 Rome - Rio de la Plata River God (1651), designed by Gian Lorenzo Bernini, commissioned from Pope Innocent X, Fountain of the Four Rivers, Piazza Navona, Rome The Rio de la Plata of Argentina and Uruguay, represents the Americas. The Río de la Plata River God is sitting on a pile of coins, a symbol of the riches America could offer to Europe (the word plata means "silver" in Spanish). Also, the Río de la Plata River God looks frightened by a snake, perhaps a warning to rich men about the evils of greed. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704765542389-HGA9FG2XCOY58PTMKF43/_SSL3315_land+snake+Four+Rivers_Bernini_crp_FIN.jpg 2022 Rome - Land snake attacking the Rio de la Plata River God (1651), detail of Fountain of the Four Rivers, designed by Gian Lorenzo Bernini, commissioned from Pope Innocent X, Piazza Navona, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709543487919-BH0ZPQASYHCD1U0PBYQW/_SSL3245_armadillo_Bernini_4Rivers_FINAL.jpg 2022 Rome - An armadillo sits behind and under the Rio de la Plata River God (1651), designed by Gian Lorenzo Bernini, commissioned from Pope Innocent X, Fountain of the Four Rivers, Piazza Navona, Rome The Rio de la Plata is shown with an armadillo, which was believed to be native to the area. However, its ridiculous appearance reveals how little was actually known of the New World. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707197863283-1HAWCRN08ZW74H1BP2CS/SSL_3314+Ftn+4Riversl_Plata_Danubecrp_FIN.jpg 2022 Rome - Danube River God (right), Fountain of the Four Rivers (1651), designed by Gian Lorenzo Bernini, commissioned from Pope Innocent X, Piazza Navona, Rome Between the Danube and the Rio de la Plata gods is a large horse, native to both regions, indicating a desired connection between Europe and the Americas. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704441907373-8E22GIC1HXHNFPLSF5XR/_SSL3338_Rome_4Rs_Danube-Pope+Coat+Arms_Pamphili_Bernini_FIN.jpg 2022 Rome - The Danube River God and Pope Innocent X's Pamphili family coat of arms, designed by Gian Lorenzo Bernini, Fountain of the Four Rivers (1651), Piazza Navona, Rome The Danube River God touches the Pope's personal coat of arms, since it is the large river closest to Rome, flowing from Germany to Ukraine. The coat of arms contains two dolphins around a seashell at the top of the heralds. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705110173911-H8D8JGOWKLD7UZ1P8Y89/SSL_3315_Danube_sea+snake+piazza+navona.jpg 2022 Rome - River god of the Danube, Fontana di Quatro Fiume by Gian Lorenzo Bernini, Piazza Navona, Rome As the Danube god touches the Pamphili herald with his right hand, a sea serpent swims by, perhaps a reminder of the dangers of the Danube River warfare to the Catholic Church in the long conflict between the Catholic Hapsburgs and the Muslim Ottoman Turks in Hungary. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704501521640-OUS5INRJ9RNHXAKQZA6V/_SSL3323_Bernini_4Riv_Fountain_Obelisk_FINITO.jpg 2022 Rome - Obelisk (80 CE), originally taken from Egypt by Domitian, Fontana dei Quattro Fiumi, designed in 1651 by Gian Lorenzo Bernini, Piazza Navona, Rome The Agonal obelisk, came from the Circus of Maxentius on the Appian way in the 4th century. The obelisk had lain in pieces for centuries in the Circus Maximus until Innocent X decided to use it for his fountain. It is surmounted with the Pamphili family emblem of a dove with an olive twig. The hieroglyphics, carved by order of Emperor Domitian, refer to him as 'eternal pharaoh' and to Vespasian and Titus as gods. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705134502090-OTI3MG92I5F22DZHVD2W/SSL_3331+The+Moor+Ftn+Piazza+Navona+shrpcrp_FIN.jpg 2022 Rome - Fontana del Moro (Fountain of the Moor), southern end of the Piazza Navona, Rome, Italy. Fontana del Moro was originally designed by Giacomo della Porta in the 1570s with later contributions from Gian Lorenzo Bernini in the 1650s. Bernini sculpted a large terracotta model of the central figure, which Giovanni Antonio Mari used as a guide when sculpting the final figure. Some of the original sculptures were moved to the Galleria Borghese in 1874. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704614108532-JSMS1BC16TGIIJI3LU1K/_SSL3251_Rome_Col+of+Marcus+Aurelius_FIN.jpg 2022 Rome - The Column of Marcus Aurelius, dedicated to the former emperor and his war effort in the Barbarian wars of his reign as Caesar of Rome from 161-180 AD, in Piazza Colonna, Rome, The Column of Marcus Aurelius is a Doric column containing a frieze, which depicts the Northern Germanic campaigns of Marcus Aurelius’ and his war with the Barbarians. The column's shaft is 97 ft high, on a 33 ft high base. About 10 ft. of the base have been below ground level since the 1589 restoration. The column is hollowed out for a stairway of 190–200 steps within the column up to a platform. The original statue of Marcus Aurelius at the top of the column was removed and switched with St.Paul after Christianity became the dominant religion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704615974302-7IAXGT7N33DMOIKHCBUJ/DSC04118_Rome_Marcus+Aurelius%27+Danubian+or+Marcomannic+wars_Crp-FIN.jpg 2022 Rome - The Column of Marcus Aurelius, dedicated to the former emperor and his war effort in the Barbarian wars of his reign as Caesar of Rome from 161-180 AD, in Piazza Colonna, Rome The carvers of the Column of Marcus Aurelius made the figures' heads disproportionately large so that the viewer could better interpret their facial expressions. The scenes repeatedly portray the weak and frantic barbarian people being crushed by the strong and orderly Romans. The pictorial language is unambiguous – imperial dominance and authority is emphasized, and its leadership is justified. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704660845294-WLF2T7EFVTNTM1YS9CT6/DSC04120_Rome_Marcus+Aurelius%27+Danubian+_FINE.jpg 2022 Rome - The Column of Marcus Aurelius, dedicated to the former emperor and his war effort in the Barbarian wars of his reign as Caesar of Rome from 161-180 AD, in Piazza Colonna, Rome As the emotion, despair, and suffering of the "barbarians" in the war are represented acutely in single scenes, the emperor is represented as protagonist, in control of his environment. Marcus Aurelius is purported to have said, “It is not death that a man should fear, but he should fear never beginning to live. Accept the things to which fate binds you and love the people with whom fate brings you together, but do so with all your heart. Never let the future disturb you.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704441293093-JW2R8XJMF3IIHEZIU6G1/_SSL3247_Rome_Pantheon_FINE.jpg 2022 Rome - The Pantheon, former Roman temple and a Catholic church (Basilica of St. Mary and the Martyrs) since 609 CE, Rome, Italy The Pantheon was built by Marcus Agrippa during the reign of Augustus (27 BCE –CE); Augustus was Marcus Agrippa’s father-in-law. The original temple burnt down, and Hadrian built the present building. The Latin inscription on the facade, “M. AGRIPPA. L. F. COS. TERTIUM. FECIT,” translates to: Marcus Agrippa, son of Lucius, built this when he was consul for the third time. The temple was dedicated (c. 126 CE) to the victory of the emperor Augustus over Antony and Cleopatra. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704441333506-JR58KKHRWQ6OHU3PICPS/_SSL3246_Rome_Fountain+of+Pantheon_Chigi__FIN.jpg 2022 Rome - The Fontana del Pantheon (1575), commissioned by Pope Gregory XIII, the Piazza della Rotonda, in front of the Roman Pantheon, Rome The Fountain of the Pantheon was designed by Giacomo Della Porta and sculpted out of marble by Leonardo Sormani. In 1711, Pope Clement XI requested that the fountain be modified and had Filippo Barigioni design a new layout, which included a different basin, made of stone, and the obelisk, created during the period of Ramses II (c. 1303 BC – 1213 BC), set in the center on a plinth with four dolphins decorating the base. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709252332633-VJ5TC9SJ09G7NTGD8I1X/_SSL3096+_Madonna-Bambini-Sts+Antonio-Gaetano_rev_FINE.jpg 2022 Rome - Madonna con bambini and Saints Gaetano and Antonio with fountain, Commune di Romane In Rome, as in all of Italy, remnants of public sacred art are omnipresent. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705129751258-A92B3TCC3F70QPMG21MO/SSL_3216_Bernini+Elephant_FiNAL.jpg 2022 Rome - Elephant and Obelisk was unveiled in 1667 in the Piazza della Minerva in Rome, adjacent to the church of Santa Maria sopra Minerva. When the friars of Santa Maria Sopra Minerva were digging a new foundation in 1665, they uncovered an obelisk. Pope Alexander VII (Fabio Chigi) commissioned Bernini to create a monument for the ancient Egyptian obelisk. The obelisk is 18 feet tall and is the smallest of the 13 ancient obelisks present in Rome today. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705134831358-UBMHCNCSPOWM202Y67F3/SSL_3215_Bernini+Elephant+closeup.jpg 2022 Rome - Bernini's elephant with a saddle decorated with the Chigi herald, six mons, to cover the base Bernini was forced to place under the obelisk Pope Alexander VII wanted an image to show how wisdom requires a strong foundation. Bernini produced an elephant supporting the obelisk on a saddle adorned with the Chigi herald. The elephant’s trunk defies the logic of marble. The Latin inscription at one side of the pedestal reads: "Let any beholder of the carved images of the wisdom of Egypt on the obelisk carried by the elephant, the strongest of beasts, realize that it takes a robust mind to carry solid wisdom.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704669512092-H2RYACXKN77UKRCR907B/_SSL3258_Rome_Beggar+woman_San+Maria+della+Vittoria.jpg 2022 Rome - Outside Santa Maria della Vittoria Church a beggar sits; inside, is Bernini’s Saint Teresa lies in the Cornaro Chapel San Maria della Vittoria, designed and completed by Baroque architect Carlo Maderno, located on Quirinal Hill in Rome, Italy. Santa Maria della Vittoria is a Catholic titular church and basilica dedicated to the Virgin Mary. There has been a titular church associated to its site as far back as 280 CE. The current church was rebuilt from 1585 to 1603 for a monastery of Cistercian nuns founded on the site in 1587, which still exists there. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704686560984-VAS3OF9G9HKNIDJ2JRAO/_SSL3287_Rome_Vittoria_Virgin+Mary+Triumph+Fall_FIN.jpg 2022 Rome - The Virgin Mary Triumphing over Heresy and the Fall of the Rebel Angels, frescoed in 1675 by Giovanni Domenico Cerrini, ceiling of Santa Maria della Vittoria, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704681481795-KS4IZHWCMLZON4FAFSMN/_SSL3282_Rome_S+Maria+Vittoria+altar.jpg 2022 Rome - San Maria della Vittoria, main altar gold sunburst breaking through the clouds, Rome San Maria della Vittoria, designed and completed by the early Baroque architect Carlo Maderno, built from 1608 to 1620 and located on Quirinal Hill in Rome, Italy. The main altar of Santa Maria della Vittoria church has an ornate gold sunburst breaking through the clouds. The church is the final resting place of Saint Victoria (d. 304 CE), whose preserved remains are on display inside. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704686726523-6E6ZBL4TIGUKU4UL6ME5/_SSL3283_Rome_S+Maria+della+Vittoria_Dream+Joseph_Guidi_FIN.jpg 2022 Rome - The Dream of Joseph by Domenico Guidi, left transept of San Maria della Vittoria, located on Quirinal Hill in Rome Genesis 37: Joseph had a dream, and when he told it to his brothers, they hated him all the more. He said to them, "Listen to this dream I had: We were binding sheaves of grain out in the field when suddenly my sheaf rose and stood upright, while your sheaves gathered around mine and bowed down to it." His brothers said to him, "Do you intend to reign over us? Will you actually rule us?" And they hated him all the more because of his dream and what he had said. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704686659118-R8PD9ESIJ8ITSBFPAOW7/_SSL3267_Rome_Vittoria_Hope.jpg 2022 Rome - Hope, image of a skeleton praying, by Gian Lorenzo Birnini, detail from the marble floor in the Cornaro Chapel, Church of Santa Maria della Vittoria, Italy, 17th century Bernini, as architect and designer, made use of the pietra dura process for decorating the floor pavements in the Cornaro Chapel where his Ecstasy of Santa Teresa is located. Pietra dura (meaning hard stone) is the result of stone intarsia technique of fitted colored stone pieces together so as to create patterns and images. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704686657143-LD27WP3VMR6F0KUDU1YI/_SSL3268_Rome_Vittoria_Despair.jpg 2022 Rome - Despair, a skeleton expressing hopelessness, by Gian Lorenzo Birnini, detail from the marble floor in the Cornaro Chapel, Church of Santa Maria della Vittoria, Italy, 17th century “Stone painting” was the term chosen by its initiators to define the pietra dura mosaic process. In 1588 Grand Duke Ferdinando I de'Medici established a court workshop in Florence to specialize in the making of semi-precious mosaics and inlays. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704679684719-8R2AIM8467MXCFG92666/DSC04126_Rome_S+Vittoria_Ecstasy+Teresa.jpg 2022 Rome - Ecstasy of Santa Teresa (1645–52) by Gian Lorenzo Bernini, in the Cornaro Chapel in the Church of Santa Maria della Vittoria, Rome The chapel, commissioned by Federigo Cardinal Cornaro, is in a shallow transept. The focal point is Bernini’s sculpture of The Ecstasy of St. Teresa (1645–52), a depiction of a mystical experience of the great Spanish Carmelite reformer Teresa of Ávila. In the center of the sculpted group Bernini represents Teresa’s vision, during which an angel pierced her heart with a fiery arrow of divine love. In theater boxes to the left and right of the event, Bernini furnishes witnesses to St. Teresa’s miracle. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704749804792-UPAGHX7KYVYF5YGM6W77/_SSL3260_Rome_Vittoria_S+Teresa+Fire_Bernini_FIN.jpg 2022 Rome - Ecstasy of Santa Teresa (1645–52) in the Cornaro Chapel in the Church of Santa Maria della Vittoria, Rome The figures of St. Teresa and the angel are sculptured in white marble. Teresa’s flowing robes and contorted posture depict a state of divine joy. The sculpture is lit by natural daylight that falls from a window hidden behind the valence above, and emphasized by the golden rays that stream down from that window. St. Teresa, lying on a cloud, suggests that we are witnessing a divine apparition. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705103237842-O1995V75ENWEI0TOMMDV/_SSL3279_Rome_Vittoria_S+Teresa_Birnini.jpg 2022 Rome - Ecstasy of Santa Teresa (1645–52) in the Cornaro Chapel in the Church of Santa Maria della Vittoria, Rome At left (above) and right of Teresa, in spaces resembling opera boxes, Bernini sculpted witnesses to validate this divine event through the male members of the Cornaro family. They are experiencing the miraculous vision as does the parishioner and visitor to the Chapel. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704755404628-AZNG6ZD37GS5DLTRHXCU/DSC04131_Rome_Vittoria_EcsTeresa_Cardinals.jpg 2022 Rome - Ecstasy of Santa Teresa (1645–52) in the Cornaro Chapel in the Church of Santa Maria della Vittoria, Rome In the right box, the Cardinal Patriarch watches the saint experiencing her ecstasy, while his three companions are ignoring her for their own conversation. The onlookers seem to be alive like ourselves, belonging to our world. The Cornaro Chapel carries Bernini’s ideal of a three-dimensional picture to its apex. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704681307361-1LIF6ENS6T6GZFJ08OUN/_SSL3281_Rome_Vittoria_EcstasyTeresa_FIN.jpg 2022 Rome - Ecstasy of Santa Teresa (1645–52) in the Cornaro Chapel in the Church of Santa Maria della Vittoria, Rome Bernini created his sculpture from St. Teresa’s description in her autobiography, where she had the vivid vision of an angel piercing her heart with a golden shaft, causing her both immense joy and pain: “The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it -- even a considerable share”. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704755451073-7AUEPZPQVZASAJYTQ1YB/DSC04127_Rome_Vittoria_Ecstasy+St+Teresa.jpg 2022 Rome - Ecstasy of Santa Teresa (1645–52) in the Cornaro Chapel in the Church of Santa Maria della Vittoria, Rome Teresa wrote, “ In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704759867612-EQ2JOML02KSH5WTLGX3I/_SSL3299_Rome_Office+Commerce+etc.jpg 2022 Rome - The Chamber of Commerce, Industry, Craft and Agriculture building in Rome, Italy The main building facade of the The Chamber of Commerce, Industry, Craft and Agriculture building in Rome features a cella wall and the distinctive eleven columns from the external colonnade of the ancient Temple of Hadrian, which was dedicated to the deified emperor Hadrian by his adoptive son and successor Antoninus Pius in 145 CE. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704759866528-OQBMOGC2E1EEFKLSTAP5/_SSL3304_Rome_Office+Commerce+etc+Sweep.jpg 2022 Rome - The Chamber of Commerce, Industry, Craft and Agriculture building in Rome, Italy The surviving one cella wall and eleven columns from the Hadrian Temple (145 CE) were incorporated into a later building in the Piazza di Pietra (Piazza of Stone – derived from use of the temple's stones to build the piazza), whereby its facade, alongside the architrave which was reconstructed later on, was incorporated into a 17th-century papal palace by Carlo Fontana, now occupied by Rome's Chamber of commerce. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708933596505-MPCYMK8VPKP167DV2OLJ/_SSL3307_Rome_Office+Commerce+etc_FIN.jpg 2022 Rome - The Chamber of Commerce, Industry, Craft and Agriculture building in Rome, Italy Entry to the Chamber of Commerce, Industry, Craft and Agriculture is an independent public body that, within the territorial boundaries for which it is responsible, carries out functions of general interest for the business system, dealing with its development within the local economy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709712141396-3WAKW7JXTHQQ8EUHCEWC/SSL_2261+Ftn+of+Triton+Bernini+1642-43_FINITO.jpg 2022 Rome - Fontana Tritone by Gian Lorenzo Bernini , Piazza Barberini, near the entrance to Urban's family Palazzo, travertine, 1642–43, commissioned by Urbano VIII Barberini, Rome In the center of the Triton Fountain rises a larger than life-size muscular Triton, a minor sea god of ancient Greco-Roman legend, depicted as a merman kneeling on a large shell. The fountain has a base of four dolphins that entwine the papal tiara with crossed keys and the heraldic Barberini bees in their scaly tails. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705110045518-1JZW99T6EIK0383DQY88/SSL_2265+Fontana+delle+api-+Fntn+of+Bees_Barberini_FINAL.jpg 2022 Rome - Fontana delle Api (Fountain of the Bees) by Gian Lorenzo Bernini (1644), Piazza Barberini, Rome Pope Urbano VIII Barberini commissioned Bernini to design and construct the “Fountain of Bees” to function as a public horse trough; Bernini adorned it with the Barberini herald bees. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709694136655-6OBYZNLXAAG06MMEQV2D/SSL_2312-Apostles-Christ-named-Pope-trans-PaulV_CMaderno_crp_FINE.jpg 2022 Rome - Facade of Saint Peter's Basilica, Rome, designed by Carlo Maderno (1556 – 1629) Below the statues of Christ and his apostles (see names above he statues) written across the facade, is: “Paul V Borghese, Supreme Roman Pontiff, in the year 1612, the seventh of his pontificate, erected in honor of the Prince of Apostles.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705123612286-ATBLZ3D6526IWPWXRKUF/SSL_2568+View+fromStPetersDuomo+shrpcontr.jpg 2022 Rome - Gian Lorenzo Bernini redesigned the open space before Saint Peter’s Basilica for Alexander VII 1656-1667) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705123461824-WLX827VGMXKP9V3C9DVR/SSL_2329+Berninin%27s+St+Peter%27s+Sq+Colonnade+140+stats+dist2+_2-crp.jpg 2022 Rome - Saint Peter's Basilica Square, Gian Lorenzo Bernini (1656-1667) Bernini designed Saint Peter’s Square, with four deep Doric colonnades, to embrace visitors, according to Bernini, in "the maternal arms of Mother Church." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705137771791-CL1W949FK5UK6N11EVWW/SSL_2610_St+Peter+Piazza+Fountain_FINE.jpg 2022 Rome - Le Fontane di Piazza San Pietro are two fountains in St. Peter's Square in Vatican City, created by Carlo Maderno (1612–1614) and Gian Lorenzo Bernini In 1667, Pope Clement X commissioned Bernini to build a second fountain, which closely followed the design of the Carlo Maderno (1612–1614) fountain on the north side of the square. The Bernini fountain, placed in the south side, was completed in 1677. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709715330154-D6DB4IK9MNAKG91WFKR2/SSL_2498+Bernini+Canopy+and+Dome_occulus2_FIN.jpg 2022 Rome - Interior of Saint Peter's Basilica, Apse and Baldachin, designed by Gian Lorenzo Bernini. 1623–1634, Rome A large Baroque sculpted bronze canopy, technically called a ciborium or baldachin, over the high altar of St. Peter's Basilica in Vatican City, The baldachin is at the center of the crossing, and directly under the dome of the basilica. Pope Urban VIII Barberini, commissioned the work and his family's heraldic symbols, the bee and the sun are depicted on the columns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707092739391-L1JVN7RNQ3U0JHZBIPAK/SSL_2543+St+Peter+interior+dome+contr+occulus_2.jpg 2022 Rome - Apse above the main altar of St. Peter's Basilica (under which St. Petter is buried), designed by Michelangelo, St. Peter's Basilica The high, domed ceiling is ornately decorated with painted stucco depictions of Christ, several saints, and numerous other heavenly hosts; gilt trim borders each image. The use of grandiose designs and decorations is common throughout Baroque architecture; it facilitates the desired overwhelming effect felt by the viewer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705123514686-X1YEZMYEZ09GSE1W2WNF/SSL_2486+Bernini+baldachino_V_H+_FINE.jpg 2022 Rome - St. Peter’s Throne, or Baldacchino, designed and built by Gian Lorenzo Bernini, 1623-1633 Bernini’s St. Peter’s Throne, or Baldacchino, stands in the center of the apse of St. Peter’s Basilica, marking the place of Saint Peter's tomb underneath. It is made of bronze with four columns 66 feet high. To make it, tons of bronze were taken from the ceiling of the porch of the Roman Pantheon -- prompting the comment that "what wasn't done by the barbari [barbarians] was done by the Barberini." Pope Urban VIII Barberini, commissioned the work and his family's heraldic symbols, the bee and the sun are depicted on the columns. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1705123574862-KUIB7IWTEAYQTTZU30G3/SSL_2547+Bernini%27s+alabaster+6ft+window+High+Altar+St+Peter%27s+Basilica.jpg 2022 Rome - Saint Peter's Throne, the baldacchino, is centered around an amber stained-glass window designed by Bernini with a white dove that symbolizes the Holy Spirit. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709007174287-YITPL6XO9278T1M89IDP/_SSL3527_Cistio+Bridge-the_Fatebenefratelli+Hospital_Tiber.jpg 2022 Rome - Ponte Cestio (originally built in 46 BCE) to the Fatebenefratelli hospital on Tiberine Island, Rome, Italy On the Tiber Island, across the Cestio bridge, is the Fatebenefratelli hospital, one of the oldest hospitals in the Capital, commissioned in 1585 by Pope Gregory XIII. The hospital introduced revolutionary healthcare innovations such as the division of the sicks into specific departments. Fatebenefratelli sheltered Jews during the Holocaust by diagnosing them with a fictitious disease called "Syndrome K". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704768820685-GLQA7P43SL1OEF80DT0Q/_SSL3550_Rome_Tiber+bank_photo+shoot_FIN.jpg 2022 Rome - Photo shoot on Tiberine Island, the only island on the Tiber River , Rome Tiberine Island is about 328 yards long and about 98 yards wide. From the 1st century BC, it has the shape of a ship and is connected to the mainland by the Cestio bridge, dating back to 46 BC., and the Fabricio bridge, built in 62 BC. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704783557913-2XVLTT9VCFI9DTCMNRCZ/_SSL3553_Rome_photo+shoot+by+Tiber_crp_FIN.jpg 2022 Rome - Photo shoot on Tiberine Island, Rome, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704769414033-5F36L7CMT3WQ2WIHRIZ6/_SSL3547_Tiber+River-il+vecchio+ponte.jpg 2022 Rome - Ponte Rotto, originally known as Ponte Emilio 2nd century BCE, Tiberina Island, Rome The Ponte Emilio (Latin: Pons Aemilius) is the oldest Roman stone bridge in Rome. It once spanned the Tiber, connecting the Forum Boarium, the Roman cattle market, on the east with Trastevere on the west. A single arch on the lower end of Tiberina Island is all that remains today, lending the bridge its name Ponte Rotto (Italian for the "Broken Bridge"). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704771271829-CEAFUNIM4AHZU1RF401D/DSC04204_Rome-Trastevere+Bridge_Mythical+Beast_crp_FINE.jpg 2022 Rome - Mythical dragon relief, detail on the single-standing arch of the Ponte Rotto (originally Ponte Emilio), lower end of Isola Tiberina, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709718673758-OTJ59IILFYHBA1LPOP03/_SSL3572_Rome_sea+gull_Tiber+flow_FIN.jpg 2022 Rome - Sea gull tranquility on the Tiber, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1704265538713-5UMA8EML5CSNYW8FA2WV/_SSL3216_band+on+the+bridge_Funkallisto_FINE.jpg 2022 Rome - Funkallisto band on Trastevere bridge Crossing back to Trastevere, entertained by Funkallisto on the way to returning to the San Francesco Hotel, a very convenient. place to stay; and it is just down the street from the San Francesco a Ripa Church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707119104547-IAC8IHM8TNEB8GN9UF1W/_SSL3631_Rome_S+Benedetto+facade_FINALE.jpg 2022 Rome - San Benedetto in Piscinula, early 12th century church, heavily restored, in the rione Trastevere, Rome, Italy The edifice of San Bennedetto was built around the year 1100, or perhaps a little earlier. The later 12th century Romanesque brick campanile is over the bottom end of the Church’s left aisle. It is the smallest in Rome that is still in use, which also preserves the oldest bell in Rome. There are two bells. The smaller one, with a diameter of 18 inches, has the year 1069 engraved on it. It is allegedly the only one in the city that survived the Sack by the Normans in 1084. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707105485563-0FUKBS0JSJCI52P5OWGV/_SSL3587_Rome_SBenedetto_Cosmatesque_FIN.jpg 2022 Rome - On entering San Benedetto church, you find yourself in the vestibule, which used to be the medieval atrium. Inside Benedetto one is treated to an original Cosmatesque floor and frescoes on the nave walls that were executed in the early 12th century. Cosmateque is a style of geometric decorative inlay stonework typical of the architecture of Medieval Italy, and especially of Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707105456054-HY4GD060LMJF3D6W7JQ5/_SSL3583_Rome_S+Benedetto_Cosmatesque+floor.jpg 2022 Rome - Cosmatesque work, or "Cosmati", 12th century, intricate marble flooring, San Benedetto Church, Trastevere, Rome The church is proud of its early 12th century serpentine floor by Magister Paulus. There are many larger and grander ones in Rome, but this is the only one which has been conserved rather than restored. Although some of the marble pieces are worn and cracked with time, and many of the inlay pieces are missing and have been replaced with cement, everything that you see is original and not replacement work of later centuries as most of the other such floors in the city are. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709869721938-BSRUY1923NH2THI7X4J7/_SSL3625_Rome_Benedetto_Cosmatesque_FINAL.jpg 2022 Rome - Cosmatesque work, or "Cosmati", 12th century, San Benedetto Church, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707358070629-S03CTRJ9D79FP7TVKA8X/_SSL3584_Rome_S+Benedetto+Cosmatsque_FIN.jpg 2022 Rome - Cosmatesque work at San Benedettto contains bands, panels and shaped reserves of intricate mosaic that alternate with contrasting bands, guilloches and simple geometric shapes of plain white marble. Guilloche is used generally for repetitive architectural patterns of intersecting or overlapping spirals or other shapes. Medieval Cosmatesque stone inlay designs with two ribbons winding around a series of regular central points are very often called guilloche; these central points are often blank. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707391082892-N3W8KPY4LW5W37NH47EB/_SSL3586_Cosmatesque+floor_S+Benedetto.jpg 2022 Rome - Cosmatesque work, Cosmati, floor of San Benedetto Church, Trastevere, Rome The Cosmati were a Roman family, seven members of which, for four generations, were skilful architects, sculptors and workers in decorative geometric mosaic, mostly for church floors. Their name is commemorated in the genre of Cosmatesque work, often just called "Cosmati", a technique of opus sectile ("cut work") formed of elaborate inlays of small triangles and rectangles of colored stones and glass mosaics set into stone matrices or encrusted upon stone surfaces. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707105542768-NAQ5KXA60OP6G3I53F4W/_SSL3608_Rome_S+Benedetto_cosmatesque.jpg 2022 Rome - Cosmatesque work, Cosmati, floor of San Benedetto Church, Trastevere, Rome Initial inspiration for the Cosmatesque technique was Byzantine, transmitted through Ravenna and Sicily, while some of the minutely-figured tiling patterns are Islamic in origin, transmitted through Sicily. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707105599635-1MLJLCLJ24BA0VXX8IDQ/_SSL3623_Rome_S+Benedetto_cosmatesque.jpg 2022 Rome - Cosmatesque work, or "Cosmati", 12th century, San Benedetto Church, Trastevere, Rome The center of this design is made of porphyry, an igneous rock with large crystals in a fine-grained matrix, often purple, and a prestigious Roman sculpture material. In its non-geologic, traditional use, the term porphyry usually refers to the purple-red form of this stone, valued for its appearance, but other colors of decorative porphyry are also used such as "green", "black" and "grey". https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707473325069-CCEKY3UBQQ2U805LYD9O/San+Benedetto_Piscinula_FIN.jpg 2022 Rome - Interior, San Benedetto Church (11th c.), Piazza Piscinula, Trastevere, Rome The church’s nave has four assorted columns in the arcades on each side. They are of different stones, and have assorted ancient limestone capitals of assorted orders which date from the 1st to the 5th centuries, i.e., they were taken from ancient ruins. The builders of the church had to play mix-and-match between columns and capitals in order to get the tops level, and some of the capitals had their bottoms chopped off. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708766528951-EN90EAICODNNXDPWB1RL/_SSL3581_Benedetto_Our+Lady+Queen+of+Heaven+Altar_crp_FINE.jpg 2022 Rome - Main altar, San Benedetto Church, Piazza in Piscinula, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707391126341-IOE89YCAV3KAPLT1KDQP/_SSL3598_Our+Lady+Queen+of+Heaven_Benedetto_sm.jpg 2022 Rome - Our Lady, Queen of Heaven (16th c.), apse of main altar, San Benedetto Church, Piazza in Piscinula, Trastevere, Rome The conch of the apse contains a damaged fresco of the 16th century, in the Venetian style, that depicts Our Lady, Queen of Heaven with allegorical representations of the Trinity. The figures are flanked by a pair of angels, one with a lute and the other with a triangle (for percussion). The fresco was unknown until the restoration of 2000. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707390985458-COMCX01GO872LMIFZ3EU/_SSL3589_Virgin-w-Child_S+Benedetto.jpg 2022 Rome - Below the apse and behind the altar, 14th century icon of Virgin with Child, unfortunately damaged, in a shallow niche with egg-and-dart carving on its vertical sides, San Benedetto, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707105512563-521UBJ7PVLLS278GA8KU/_SSL3605_Rome_Benedetto_S+Benedict_FIN.jpg 2022 Rome - St. Benedict as a Young Man, medieval icon restored by Luigi Galli in 1844, above main altar, San Benedetto Below the Virgin with Child is St Benedict as a Young Man holding a book that reads: Ausculta, o fili, precepta magistri, inclina aurem cordis tui ("Listen, son, to the precepts of the Master, and incline the ear of your heart"). It is the first line in his famous monastic rule. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707391160513-2M06NIIOGMG9AEHJVXCR/_SSL3597_St+Nicholas+of+Myra_Benedetto-altar+fresco+lft.jpg 2022 Rome - St Nicholas of Myra, born circa 280 in Patara, Lycia, an area that is part of present-day Turkey, left side of apse, Our Lady, Queen of Heaven Altar, San Benedetto Church, Trastevere, Rome Nicholas lost both of his parents as a young man and reportedly used his inheritance to help the poor and sick. A devout Christian, he later served as bishop of Myra. After his death, the legend of his gift-giving grew. In the 1700s, Dutch immigrants brought their celebration of Sint Nikolaas, whose nickname was Sinterrklaas, to America and he was transformed into the legendary character called Santa Claus, who brings Christmas presents to children around the world. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707390935063-Q1ZPIKVPSEDU3WN18J1O/_SSL3596_St+Blaise_Bnedetto-altar+fresco_rt_sm.jpg 2022 Rome - St. Blaise, 16th century fresco, right side of apse, Our Lady, Queen of Heaven Altar, San Benedetto Church, Trastevere, Rome Saint Blaise was the Bishop of Sebaste in Armenia (modern Turkey) around 1,700 years ago.vHe was persecuted and executed by the Emperor Licinius. While in hiding during his persecution, Blaise is said to have healed sick and wounded animals. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707616795623-Y6LQO0CD0E74L84GP9B9/_SSL3581_Benedetto_Priests+Busts+Altar_FINE_CRP.jpg 2022 Rome - Monuments to parish priests, Our Lady Queen of Heaven Altar, San Benedetto Church, Piazza Piscinula, Trastevere, Rome To the left of the altar is a monument to Antonio Piervenanzi, priest of the church from 1720 to 1730. To the right is another monument to Giovanni De Pretis di Taverna, of 1691. The sculptors of the busts seem to be unknown. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707118180053-2KIXW19P9C940WD8830R/_SSL3620_Rome_S+Benedetto_Cosmatesque.jpg 2022 Rome - Cosmatesque work, or "Cosmati", 12th century, San Benedetto Church, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707358114402-X4DPPS251X8H5DI1MXW8/_SSL3627_Rome_S+Benedetto_cosmatesque_FIN.jpg 2022 Rome - Cosmatesque work, or "Cosmati", 12th century, San Benedetto Church, Trastevere, Rome Opus alexandrinum is another form of opus sectile, where only a few colors are used, such as white and black, or dark green on a red ground, or vice versa. This term is particularly employed to designate a species of geometrical mosaic, found in combination with large slabs of marble, much used on the pavements of medieval Roman churches and even in Renaissance times. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707390930031-6B1CXBLY48MP24UKLX20/_SSL3619_Cosmatesque_S+Benedetto_floor_sm.jpg 2022 Rome - Opus alexandrinum, Cosmatesque work, or "Cosmati", 12th century, San Benedetto Church, Trastevere, Rome The opus alexandrinum technique was first introduced to southern Italy in 1071 at Montecassino. In the 12th century several variations of opus alexandrinum evolved at local centers in Italy, including the well-known Cosmati work of Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709877732758-CIB708MVRA0K29LZEBOG/_SSL3606_Rome_S+Benedetto_S+John+Bap+Lamb+God_FINAL_crp.jpg 2022 Rome - In the near corner of the left hand aisle is a fragment of a 14th century fresco depicting "St John the Baptist Pointing Out the Lamb of God," San. Benedetto Church, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707391025925-XMOLCVXEI3H6MPWNO339/_SSL3612_Madonna+della+Misericordia_Benedetto_sm.jpg 2022 Rome - Chapel of Our Lady, San Benedetto Church, in Piscinula, Trastevere, Rome The icon itself is a detached portion of a 14th century fresco of a type known as Our Lady of Mercy (Madonna della Misericordia). Note that the Christ-Child is holding a little cross. The icon was touched up in the 18th century. The crowns that are attached to the two figures are by Domenico de Angelis (1735 – 1804). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707391101184-0Q66OPDIXMZS0EU3LNTH/_SSL3626_Cosmatesque+flor+detail_S+Benedetto.jpg 2022 Rome - Opus alexandrinum, Cosmatesque work, or "Cosmati", 12th century, San Benedetto Church, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707391066413-U3WZQ58XYQJA9WD7ZSA5/_SSL3624_Cosmatesque_S+Benedetto_floor.jpg 2022 Rome - Opus alexandrinum, Cosmatesque work, or "Cosmati", 12th century, San Benedetto Church, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113559219-U07LYMLH3Z10LNA7DPRO/_SSL3632_Rome_Trastevere_street+Madonna.jpg 2022 Rome - Street scene in Piscinula, in the rione Trastevere, just south of the south end of the Ponte Cestio, part of the Piazza in Piscinula The sacred wall art, statue of the Madonna, on the left, is adjacent to the medieval Church dedicated to St. Benedict of Nursia. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707112707387-4UYRZ0YZLJEZOGTEGZNG/_SSL3633_Rome_Trastavere_Fallen-Omero+Ciai.jpg 2022 Rome - Plaque on a Trastevere wall near San Benedetto Church honoring the fallen The plaque reads, “On the day that sees the birth of the Italian Republic, Trestevere honors the partisan Omero Ciai (Maitardi), who fell in Sestri Levante for the freedom o Italy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707105664397-TK02PSNQSZ18ATVE8F5C/_SSL3628_Rome_Piscinula+water+fountain_FIN.jpg 2022 Rome - Piscinula water fountain next to San Benedetto Church https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113795652-PA64XD24H2C3A9F9AZAA/_SSL3640_Rome_Trastevere_S+Cecelia+Church.jpg 2022 Rome - Santa Cecilia in Trastevere, 5th-century church in Rome, Italy, Trastevere rione, devoted to the Roman martyr Saint Cecilia (early 3rd century AD) The first church on this site was founded probably in the 3rd century, by Pope Urban I; it was devoted to the young Roman woman Cecilia, martyred it is said under Marcus Aurelius Severus Alexander (A.D. 222–235). Tradition holds that the church was built over the house of the saint. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113791372-QU6TARCAQW7T7Z8N3VAV/_SSL3646_Rome_Trastevere_S+Cecilia_internal.jpg 2022 Rome - Nave of Basilica of St. Cecilia, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709882631314-WJ1ZRMWO3XS4EOJD0BQT/_SSL3651_Rome_Trastevere_S+Cecelia-A+del+Massaro-Apse_FINITO.jpg 2022 Rome - The Apse of Main Altar of San Cecilia Basilica has remains of 9th century mosaics depicting the Redeemer with Saints Paul, Cecilia, Paschal I, Peter, Valerian, and Agatha https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113827391-R7KEHKFJTPOXUURTF5TV/_SSL3649_Rome_Trastevere_MainAltar_S+Cecelia.jpg 2022 Rome - Main Altar, Basilica of St. Cecilia, Trastevere, Rome In 821 the body of St Cecilia was exhumed from the Catacombs of San Callisto by St Paschal I (d. 824) and returned to this church. Today her body rests within the crypt under the main altar. Under the ciborium, in black and white marble by Arnoldo di Cambio (1293), that shelters the main altar is a glass case enclosing the white marble sculpture of St. Cecilia (1600) by the late-Renaissance sculptor Stefano Maderno. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113868364-9FJ0AHS4U150ZDK2RDC7/_SSL3653_Rome_Trastevere_S+Cecilia_Stephano+Maderna-.jpg 2022 Rome - Martyrdom of Saint Cecilia (1599-1600) by Stefano Maderno (1576-1636), Basilica of St. Cecilia, Trastevere, Rome The recumbent statue of St Cecilia below the main altar is considered one of the most famous examples of Baroque sculpture. A gash on her neck recalls events surrounding her martyrdom in 230 A.D. for vowing her virginity to God. The executioner struck her neck three times with a sword but being unable to sever her head fled in fear. She survived for three days, offered all she had to the poor, and then expired. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113868822-7KBV7A7FXEORY8I6ES04/_SSL3660_Rome_Internment+and+Apparition+of+S+Cecilia+to+Pope+Paschal_13thc.jpg 2022 Rome - Internment and Apparition of San Cecilia to Pope Paschal, 13th century fresco, Basilica of St. Cecilia, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113899501-3DC5GGFFL2O2YDY752AV/_SSL3664_Rome_S+Cecilia_Penitent+Magdellan.jpg 2022 Rome - Penitent Magdalene, Basilica of St. Cecilia, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113900646-6WG3H20AI9SCPTBRHZTI/_SSL3667_Rome_S+Cecilia_SS+Peter+and+Paul_Giovanni+Baglione.jpg 2022 Rome - SS Peter and Paul by Giovanni Baglione (1566-1643), Basilica of St. Cecilia, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113939558-N76L1XREEMHNYYCBCZSY/_SSL3670_Rome_S+Cecilia+Church_Martyr+S+Agatha.jpg 2022 Rome - Martyrdom of Saint Agatha by Giusseppe Cesari (Cavaliere d'Arpino), 1568 - 1640, Basilica of St. Cecelia, Trastevere, Rome Tradition holds that Agatha, a young age, had professed her religion and consecrated her virginity to God. Thus, she resisted the advances of a Roman prefect sent by the emperor Decius to govern Sicily. This resulted in her brutal torture, during which her breasts were cut off. During her imprisonment, she had a vision of St. Peter the Apostle, who healed her wounds with his prayers. She was sent to the stake, but as soon as the fire was lighted, an earthquake occurred, causing the people to insist upon her release; she then allegedly died in prison. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113941056-S5DV9NEA1XFZ9D9ZT3SK/_SSL3671_Rome_St+Cecelia_St+Urbanus.jpg 2022 Rome - St Urbanus, Basilica of St. Cecelia, Trastevere, Rome Pope Urban I, also known as Saint Urban (d. 230) (Latin: Urbanus I), was the bishop of Rome from 222 - 230. Tradition credits Urban with the miracle of toppling an idol through prayer. This event is believed to have led to Urban being beaten and tortured before being sentenced to death by beheading. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707113992021-YGW2POIZOX4FYDW5RWNT/_SSL3672_Rome_S+Cecilia+Ch_Coronation+of+S+Cecilia_S+Conca+1727.jpg 2022 Rome - The Apotheosis of Santa Cecilia (1727) by Sebastiano Conca, fresco, nave ceiling, St. Cecelia Church, Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707640414095-AELA3A7LOIPBMELUFPA4/_SSL3680_Rome_S+Cecilia_Christ-Last+Judgement_Cavallini-1293_Rev_sm.jpg 2022 Rome - The Last Judgement (1289–93), fresco by Pietro Cavallini (1259 – c. 1330), Church of Saint Cecelia, Trastevere, Rome The Last Judgement fresco which remains today, covering the entire width of the west wall of the entrance, is likely part of a cycle of Old and New Testament scenes by Cavallini on the north and south nave walls, based on remaining fragments of an Annunciation scene and stories of the life of Jacob. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709887235630-8CQOHWYAA5YHPLNLYJ9I/_SSL3680_Rome_S+Cecilia_Christ-Last+Judgement_Cavallini-1293_Rev_CRP.jpg 2022 Rome - Jesus Christ, detail of The Last Judgement, fresco by Pietro Cavallini (1259 – c. 1330), Church of Saint Cecelia, Trastevere, Rome This fresco and others were plastered over in a remodeling under Cardinal Francesco Acquaviva in 1724, which included building an enclosed choir, the floor of which cuts off part of the Last Judgement. Rediscovered in 1900, the fresco can be viewed on weekday hours for a small fee paid to the Benedictine nuns of the church. Since 1527, a community of Benedictine nuns has lived in the monastery next to Santa Cecilia, and has had charge of the basilica. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708928506313-ADXXUP0FN1LMYC7L47FD/_SSL3684_Rome_St+Cecilia+Basilica.jpg 2022 Rome - Late afternoon exterior of the Basilica of Santa Cecilia in Trastevere, Rome The church façade was built in 1725 by Ferdinando Fuga, which incloses a courtyard decorated with ancient mosaics, columns and a cantharus (a large Roman vase/water vessel). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708927430456-GW80ZVPYT4JKUT2HNB7N/_SSL3687_mopeds+St+Cecelia_crp_FIN.jpg 2022 Rome - Via di San Cecelia to the Basilica Santa Cecilia https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707114064223-FUC959Q2GQIPTGNYB08S/_SSL3691_Rome_Trastevere.jpg 2022 Rome - Trastevere street scene https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709889236370-D2Z2MGAR2FRDZHU85ZRJ/_SSL3697_Rome_Trastevere_Street+Singer_FIN.jpg 2022 Rome - Trastevere serenade https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707114927827-N4OEL672KOBB4MHJ1PYF/DSC04170_Rome_Aqua+Paola_Fountain+of+the+Frogs_Fontana+delle+Rane.jpg 2022 Rome - Fontana dell'Aqua Paola (“The Fountain of the Paulian Water”), 1612, designed by Giovanni Fontana, Janiculum Hill, Rome The Fontana dell'Acqua Paola was built to mark the end of the Acqua Paola aqueduct, restored by Pope Paul V Borghese, and took its name from him. Pope Paul V decided to rebuild and extend the ruined Acqua Traiana aqueduct built by the Emperor Trajan in order to create a source of clean drinking water for the residents of the Janiculum Hill, who were forced to take their water from brackish springs or from the polluted Tiber. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708996631886-9RXWAATH3ZFJE9PNQ0D8/_SSL3375_dragon+Fontana+dell+Aqua+Paola.jpg 2022 Rome - Dragon and eagle of the Borghese herald and the papal herald, middle opening of the Fontana dell'Aqua Paola, 1612, commissioned by Pope Paul V Borghese, designed by Giovanni Fontana, Janiculum Hill https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707114917315-ZRNJ2ALCWOSVRTY9KL4X/DSC04172_Rome_Aqua+Paola_Paul+V+insignia.jpg 2022 Rome - Coat of Arms of Pope Paul V Borghese (the dragon and eagle), under the papal herald (tiare and keys), atop the Fontana dell Aqua Paola, Janiculum Hill, Rome The Coat of Arms of Paul V (Camillo Borghese, 1605–1621) shows the imperial eagle of the Hohenstaufen in chief, a tradition in Italian heraldry. Pope Paul V raised money for the fountain via a (unpopular) tax on wine and purchased the rights a spring near Lake Bracciano; that source being stated on the fountain’s upper facade. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708926885628-N3ZCIUWAFURVB2F2X6L6/_SSL3386_Rome_AquaPaola+view-Victor+Emanuel.jpg 2022 Rome - View of the skyline of Rome from the Fontana dell'Acqua Paola on Janiculum (Gianicolo) hill Visible are the two statues of the goddess Victoria riding on quadrigas (a chariot drawn by four horses abreast), atop the Victor Emmanuel II National Monument on the Capitoline Hill, in the symbolic centre of ancient Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707117242029-G9YENEN190OTTL506S84/_SSL3511_Rome_Victor+Emmanuel+monument.JPG 2022 Rome - The Victor Emmanuel II National Monument, built between 1885 and 1935 to honour Victor Emmanuel II, the first king of a unified Italy, realized by Giuseppe Sacconi. The Victor Emmanuel II National Monument (also known as Altare della Patria, "Altar of the Fatherland"), is a large national monument built between 1885 and 1935 to honor Victor Emmanuel II, the first king of a unified Italy. It occupies a site between the Piazza Venezia and the Capitoline Hill. The monument was realized by Giuseppe Sacconi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707114969973-SVH824RN6JM07ELXTC38/DSC04178_Rome_Tampieto.jpg 2022 Rome - Tempietto at San Pietro in Montorio (1502 - after 1511), design and direction of Donato Bramante, overlooking the eastern slope of Gianicolo hill, Rome The Tempietto by Bramante is a rounded structure known as one of the most definitive examples of High Renaissance architecture. “Architectural historians often argue that the Tempietto functions as a compelling geometrical metaphor for Leonardo da Vinci’s ‘Vitruvian Man’ (1490) – his study of the body’s proportions – where both of these designs exalt the human form by placing it firmly at the centre of a perfectly ordered universe.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707807061967-OJV9ANJQBV74RVFS9ENG/DSC04179_Rome_Tempieto_St+Peter_FIN.jpg 2022 Rome - Tempietto at San Pietro in Montorio (1502 - after 1511), design and direction of Donato Bramante, commissioned by Ferdinand and Isabella of Spain, Rome In the Gospel it is written that Jesus Christ would make Peter the "rock" (foundation) of the Church (Gospel of Matthew 16:18, you are Peter (rock), and upon this rock I will build my church). The Tempietto is meant to mark the traditional exact spot of St. Peter's martyrdom, which can be viewed through the circular grate in the floor in front of the statue of St. Peter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709958440341-7JNZ0P8GS3YDYS11W5YB/_SSL3398_Rome_Tempietto_S+Peter_Bramante.jpg 2022 Rome - Saint Peter, inside the Tempietto, 1502- 1511, Donato Bramante, commissioned by Ferdinand and Isabella of Spain, Rome The Saint Peter statue in the center of the Tempietto opposite the entrance depicts Peter with two keys. In Matthew 16:19, Jesus says to Peter, "I will give you the keys of the kingdom of heaven, and whatever you bind on Earth shall be bound in heaven, and whatever you loose on Earth shall be loosed in heaven." Below Peter is a bas relief of his upside-down crucifixion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709968030259-TXNE3CIZWIGBBL81Y8J8/_SSL3407_Rome_Tempietto_floor+mosaic_FINALE.jpg 2022 Rome - Circular designed cosmatesque on the interior floor of the Tempietto by Bramonte, Rome The circle, which has no beginning and no end, can symbolize the perfection and eternal nature of God. For some thinkers in Antiquity and the Renaissance, the universe itself was constructed in the form of concentric circles with the sun, moon and stars moving in circular orbits around the earth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709965139678-INV18JTQRVBV20QJ63A3/_SSL3410_Rome_Tempietto_steps+to+crypt.jpg 2022 Rome - Flight of stairs leading down into the crypt chapel that marks jthte spot of St. Peter's crucifixion, Tempietto, Donato Bramante, c. 1502, San Pietro in Montorio, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707806758607-BB7VRVD7FWWR4YANR6C9/DSC04184_Rome_Tempieto_St+Peter+gravesite_FIN.jpg 2022 Rome - The sacred spot in the Tempietto crypt where Saint Peter was martyred, lit partially from the circular window in the ceiling from the ground floor In the crypt of Saint Peter’s martyrdom, the spot of Saint Peter’s crucifixion is marked in front of the altar that contains a statue of Saint Peter holding the papal keys. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707115529170-KIS5SCB5GOOB3YQN00RY/_SSL3388_Rome_Mausoleo+Ossario+Giancolense.jpg 2022 Rome - The Garibaldi Ossuary Mausoleum, Janiculum hill, designed by Giovanni Jacobucci (1895-1970), Rome The Garibaldi Ossuary Mausoleum opened on 11/3/1941 on the Janiculum hill, where between April 30th and early July, 1849, the last courageous defense of the Roman Republic was led by Giuseppe Garibaldi. The Roman Republic was proclaimed 2/9/1849. The Mausoleum contains the remains of some 200 heroes killed in the battles for Roma Capitale from 1849 to 1870, the latter date marking the final event of the unification of Italy (Risorgimento). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709972921371-R7D0K2FZ4YXHQW11YRCZ/_SSL3433_Eyes_walk+from+Tempiettto_FINE.jpg 2022 Rome - Wall art walking from the Tempietto, Rome: Everyone is being watched. right out in the open! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707970786113-LHIT0AQ2Z75947B39KRN/_SSL3448_Rome_via4Fontana_R-Tiber_Juno_FINE.jpg 2022 Rome - The Quattro Fontane (the Four Fountains), commissioned by Pope Sixtus V, installed between 1588 and 1593, built at the direction of Muzio Mattei, Rome The Quattro Fontane (the Four Fountains) is an ensemble of four Late Renaissance fountains located at the intersection of Via delle Quattro Fontane and Via del Quirinale in Rome. Above, Tiber River Fountain (left) and the goddess Juno Fountain (right). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707967784321-I8G1R4BM8NBRDEASTBX2/_SSL3442_Rome_via4Fontana_Tiber_FIN.jpg 2022 Rome - The River Tiber Fountain, The Quattro Fontane (the Four Fountains), commissioned by Pope Sixtus V, installed between 1588 and 1593, built at the direction of Muzio Mattei, Rome Muzio Mattei (died 1596), an Italian nobleman of the House of Mattei, helped his family rise to prominence by supporting political and cultural initiatives of the Pope and the Church in Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707117081190-M9NKN56THIMMCGJE7HYJ/_SSL3453_Rome_via4fontana_Fountain+of+Juno.jpg 2022 Rome - The goddess Juno Fountain, The Quattro Fontane (the Four Fountains), commissioned by Pope Sixtus V, installed between 1588 and 1593, built at the direction of Muzio Mattei, Rome Sixtus V during his pontificate (1585-1590) created an aqueduct to improve the water supply in some areas of the city of Rome. The pope also wanted to give the city a network of public sources, some such as the Piazza dei Monti and Piazza d’Arcoeli, were built by the Vatican itself, while others, e.g., the Quattro Fontane, were built by private initiative in exchange for the supply of water for their properties. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707972474124-NHRL7M6815BU13HMV3HB/_SSL3478_Rome_via4Fontana_R+Tiber_Juno_sm.jpg 2022 Rome - The goddess Juno (detail), The Quattro Fontane, commissioned by Pope Sixtus V, installed between 1588 and 1593, built at the direction of Muzio Mattei, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707907926081-3K5CXQQZL4FZK64VM936/_SSL3469_Rome_via4fontana_Diana-River+Nile_FIN.jpg 2022 Rome - The goddess Diana Fountain (left) and Arno River Fountain (right), The Quattro Fontane, commissioned by Pope Sixtus V, installed between 1588 and 1593, built at the direction of Muzio Mattei, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707117040541-EGMQGOG5V1YIMXI8FUPB/_SSL3452_Rome_via4Fontana_Diana+2.jpg 2022 Rome - The goddess Diana Fountain, The Quattro Fontane (the Four Fountains), commissioned by Pope Sixtus V, installed between 1588 and 1593, built at the direction of Muzio Mattei, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707116970136-2ZSE2CO9HDNOKG1EXWH7/_SSL3440_Rome_via4Fontana_River+Arno-Nile.jpg 2022 Rome - The River Arno Fountain, The Quattro Fontane (the Four Fountains), commissioned by Pope Sixtus V, installed between 1588 and 1593, built at the direction of Muzio Mattei, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707117120332-XKAOZ85LTW1W5A2X57B0/_SSL3464._Rome_via4fontana_Fountain+of+Juno.jpg 2022 Rome - Drinking from fountain of the goddess Juno continued use today, The Quattro Fontane, commissioned by Pope Sixtus V, installed between 1588 and 1593, built at the direction of Muzio Mattei, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707117192523-D66RU7ZE7KUV5WHX1JPG/_SSL3483_Rome_church+of+San+Carlo+alle+Quattro+Fontane.jpg 2022 Rome - River Tiber Fountain is on the corner wall of the church of San Carlo alle Quattro Fontane, above it are two Greek crosses, one on the window and the other above it on the facade, Rome Francesco Borromini, by name of Francesco Castelli, who designed the Church of San Carlo alle Quattro Fontane, was among the key formulators of the Baroque style. The work of Francesco includes: the monastery church of San Carlo Alle Quattro Fontane (shown here) and the church of St Ivo the Wise. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1710040680728-SHX6EMBZE578HY6MYFE1/DSC04188_Rome_San+Carlo+alle+4Fontana+_Revised.jpg 2022 Rome - San Carlo alle Quattro Fontane, designed by Francesco Borromini (1599-1667) San Carlo alle Quattro Fontane is an example of why Borromini’s work is considered the embodiment of the extravagant and dramatic style of Baroque architecture - his unconventional approach to building design is evident in his complex spatial compositions, featuring the use of ovals and triangles to suggest movement where surfaces were obviously static. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707945766731-PURQFXRMDHS74TH9XWVP/DSC04192_Rome_S+Carlos+4Fontana_facade-St+John+of+Matha.jpg 2022 Rome - St John of Matha (1160-1213) by Sillano Sillani, 1682, right of St Charles statue on the facade of San Carlos Church of the Four Fountains, Rome The Trinitarians, formally known as the Order of the Most Holy Trinity and of the Captives (Latin: Ordo Sanctissimae Trinitatis et Captivorum; abbreviated OSsT), is a mendicant order of the Catholic Church for men founded by St John of Maltha in Cerfroid, outside Paris, in the late 12th century. The founding-intention for the order was the ransom of Christians held captive by Muslims, a consequence of crusading and of piracy along the Mediterranean coast of Europe. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708237911030-8734TRIZVSW0UWTIVJMN/DSC04190_St+Carlo+statue+over+doorway_FIN.jpg 2022 Rome - San Carlos Borromeo (1675) by Antonio Raggi, facade, San Carlos Church, Rome Charles Borromeo (1538 – 1584) was the Archbishop of Milan from 1564 to 1584 and a cardinal of the Catholic Church. His mother Margaret was a member of the Milan branch of the House of Medici; his uncle, Pope Paul IV, made him a Cardinal. Carlos was a leading figure of the Counter-Reformation combat against the Protestant Reformation. In that role he was responsible for significant reforms in the Catholic Church, including the founding of seminaries for the education of priests. Below the statue of St Carlos is the emblem of the Vatican. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707945767755-P75GDDFMMVOCYW6Z9KOO/DSC04191_Rome_S+Carlos+4Fontana_S+Felix+of+Valois.jpg 2022 Rome - Saint Felix of Valois (1127- 1212) by Sillano Sillani, 1682, left of St Charles statue on the facade of San Carlos Church of the Four Fountains, Rome Felix of Valois, OSST was a co-founder (with John of Matha) of the Trinitarian Order. Between the 8th and the 15th centuries medieval Europe was in a state of intermittent warfare between the Christian kingdoms of southern Europe and the Muslim polities of North Africa, Southern France, Sicily and portions of Spain. As the threat of capture was a continuous threat to Christian coastal provinces, the redemption of captives was listed among the corporal works of mercy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708235186626-BINH1IAY1YUBBWFKG3AK/DSC04197_Trinitarian+emblem+San+Carlos+Church+Rome.jpg 2022 Rome - Emblem of the Trinitarians, floor of San Carlos Borromeo Church, Rome The emblem of the Trinitarians takes the form of a Greek cross which is set against a white background. The vertical bar of the cross is red, while the horizontal bar is blue. The three colours symbolise God the Father (white), God the Son (blue) and God the Holy Spirit (red). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708237118672-3VTQ0J3YFKFTHJM9EXH3/DSC04194_Rome_S+Carlos+and+Holy+Trinity_ceiling.jpg 2022 Rome - Ceiling dedication to San Charles Borromeo, the Trinitarian Order, and the Holy Trinity, San Carlos Church, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1710044816497-2LODE781AA1GVRVLVRXC/DSC04198_Altar+Vision+of+St+Michael+de+SanctisGreek+Cross.jpg 2022 Rome - The Altar Vision of St Michael de Sanctis (1591-1625), wearing the Byzantine/Orthodox Christian, Greek Red and Green cross, San Carlo alle Quattro Fontane, Rome Michael de Sanctis, sometimes called Michael of the Saints, was a Discalced Trinitarian born in Vic, a city of Catalonia, Spain. St. Michael de Sanctis is known as the patron saint of those struggling with temptation, mental illness, and mental disorders. Above Michael is depicted wearing a the green and red Greek Orthodox cross. By 4th century AD, this cross was commonly used throughout Greece and the Byzantine Empire. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707948506065-CVEU9X8USXBTZCXRZYSE/DSC04198_Mary+Sacred+Heart_DETAIL_Carlo+4fountains.jpg 2022 Rome - Portrait of Mary holding the Sacred Heart, on the frame of The Altar Vision of St Michael de Sanctis (1591-1625), San Carlo alle Quattro Fontane, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707978051236-QJPXN84F77UDUT65WKI4/_SSL3473_Rome_Carlo+Fontana_S+John+of+the+Conception.jpg 2022 Rome - San John of the Conception (Juan García López-Rico (1561 – 1613), Spanish Roman Catholic priest from the Trinitarian Order who established the Order of Discalced Trinitarians The Trinitarian order, promoter of the Church of San Carlo, originated in 1198. Its main objective was to rescue the Christians who had fallen into the hands of Muslims. Following the reorganization of the order in the sixteenth century, it was divided into two branches, Spanish and French. The two Trinitarians in the painting and Christ with a crown of thorns in the small tondo underneath are depicted wearing the green and red Greek Orthodox cross. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707391019370-IP0BR52GTW3F6U8KC0LA/DSC04147_Six+Tiber+birds-rocks_FINE.jpg 2022 Rome - 4 + 2: Birds resting on the Tiber https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1710052818281-QE4S85AAFFW8GUKFRKE4/_SSL3513_Rome_Belli_Poet_FIN.jpg 2022 Rome - Monument to Giuseppe Gioacchiino Belli design by Michele Tripiscianol, inaugurated in 1913 for the 50th anniversary of the poet's death, located just off the Lungotevere in Trastevere Belli’s originality lies in his sonnets, which express his revolt against literary tradition, the academic mentality, and the social injustices of the papal system. The 19th-century poet wrote mainly in Romanesco, the Roman dialect. On the monument, below Belli, is a low square plinth, with a relief with symbols of Rome: an allegorical figure of the river Tiber lying and the Capitoline Wolf, a she-wolf suckling the mythical twin founders of Rome, Romulus and Remus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707729898061-GX18C1KWCJEA96GU2VEC/DSC04148_Rome_Santa+Maria+Trastavere_FIN.jpg 2022 Rome - Basilica of Santa Maria in Trastevere, 1140–43, Trastevere, Rome Basilica of Santa Maria in Trastevere is one of the oldest churches of Rome. The basic floor plan and wall structure of the church date back to the 340s, and much of the structure to 1140–43. The first sanctuary was built in 221 and 227 by Pope Callixtus I and later completed by Pope Julius I. The façade of the church was restored in 1702 by Carlo Fontana. It is surmounted by a balustrade decorated with the statues of four popes https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708238875562-KV0Z8EVIWOOZ01QYE7CB/DSC04148_Santa+Maria+Trastavere_upper.+facade_Mary-10_FIN.jpg 2022 Rome - Madonna and Child by Pietro Cavallini, 12th c. mosaic, Santa Maria in Trastevere The mosaic depicts the Madonna enthroned and suckling the Child, flanked by 10 women holding lamps. This image on the façade showing Mary nursing Jesus is an early example of a popular late-medieval and renaissance type of image of the Virgin. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707730060890-916NLFB870X56Q8SQZXC/DSC04161_Rome_S+Maria+Trastevere+interior_FIN.jpg 2022 Rome - Central nave and altar of Santa Maria of Trastevere, Rome The present nave preserves its original (pre-12th c.) basilica plan and stands on the earlier foundations. In the apse basin and in the apsidal arch, in addition to the mosaics with stories of the Virgin by Pietro Cavallini (1291), are the mosaics made around 1140 after the death of Pope Innocent II, represented there with the model of the church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707729936870-OBVPDMAUT21R8JCYIMVA/DSC04153_Rome_S+Maria+Trastevere_Cavallini+Aspe.jpg 2022 Rome - Mosaic, 1140-1143 after the death of Pope Innocent II, main altar apse, Santa Maria in Trastevere, Rome Six saints have gathered around the throne along with the donor. At the right side Peter is followed by the popes Cornelius, Julius I, and Calepodius. At the left Pope Calixtus stands next to Mary followed by St Lawrence. At the far left Pope Innocent II appears as the donor, holding a model of the church. At the bottom appears a frieze of lambs, with the Lamb of God in the centre. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1710057605207-0MERP2LR2KPP1S9VKXBL/DSC04151_Mary-Christ_SM+Trstevere+apse.jpg 2022 Rome - Christ and the Virgin seated together on a throne in the middle of the composition in the apse of Santa Maria Trastevere, 1140-1143, Rome The centre of the apse composition in Santa Maria in Trastevere features a subject previously unknown in Roman monumental art. Here, for the first time, Mary is pictured seated next to Christ on a richly ornamented heavenly throne. Both are dressed in precious garments and Mary is further adorned with a gold crown. Christ’s right hand is on Mary's shoulder, and with his left presents an open book inscribed with a portion of the liturgy for the feast of Assumption. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1708936078864-YCIY95IA3M3JS7DPGUOY/_SSL3696_Trrastevere+pigeon.jpg 2022 Rome - Trastevere wildlife, Resting with tourists on the Fountain in Piazza Santa Maria in Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1707793125159-ATKMTEQTALRHCFEYZL9Q/DSC04209_Trastevere+Piazza+Fountain.jpg 2022 Rome - Fountain in San Maria Trastevere Piazza in the square in front of the Church of Santa Maria Trastevere, Rome The Fountain in Piazza Santa Maria in Trastevere is believed to be the oldest fountain in Rome, dating back to the 8th century. The present fountain is the work of Donato Bramante, with later additions by Gian Lorenzo Bernini and Carlo Fontana. The S.P.Q.R. sign is an abbreviation for Senatus Populusque Romanus (“The Senate and People of Rome"), referring to the government of the Roman Republic. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709176444904-I4FOCH93J4P260XAQEXY/_SSL3109_Trastevere+elder+morning+walk_sm_FIN.jpg 2022 Rome - Elder morning walk in Trastevere, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709006474333-IIAR2KL7PYWG1LPNUE48/_SSL3308_St+Luigi+di+France_FIN.jpg 2022 Rome - The Church of St. Louis of the French (Italian: San Luigi dei Francesi, designed and built between 1518-1589, near Piazza Navona in Rome The church of San Luigi dei Francesi is the national church in Rome of France. It is most famous for its Contarelli Chapel, which contains a cycle of 3 paintings by the Baroque master Caravaggio in 1599–1600 about the life of St. Matthew: The Calling of St Matthew, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew . https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1709007240293-7FJBM15MKC26EF2RN9RN/_SSL3310_I+nourish+and+I+extinguish_St+Luigi+France+Chiesa_FIN_sm.jpg 2022 Rome - "I nourish and I extinguish" (Nutrisco et Extinco), Latin inscription around the dragon relief on the left side of the facade of San Luigi dei Francesi, Rome, Italy http://www.sslanzilotti.com/raphael-segnatura daily 0.75 2024-08-06 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720259278679-EIXVQXJ2P7R3ZQGBY278/DSC01657_VAT_Julius+Ligurus_floor+mosaic+copy.jpg Raphael's Signatura Stanza - “Iulus Ligur P P II” refers to Pope Julius II, floor mosaic in the Stanza della Segnatura, the former library and private office of Pope Julius II, Palazzi Pontifici in Vatican City Welcome to the Stanza della Segnatura, one of the so-called Raphael Rooms in the Palace of the Pontiffs. I took the photographs while visiting the Vatican Museum in March, 2024. The best way to view the photos is to adjust your screen size so that you can scroll them up and down. This allows the explanations for each photo to be presented under the pictures instead of on top of them. (There are a couple of photos that I did not take on my visit but used to provide a somewhat complete presentation of the room; they are marked “internet.”) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720259278679-EIXVQXJ2P7R3ZQGBY278/DSC01657_VAT_Julius+Ligurus_floor+mosaic+copy.jpg Raphael's Signatura Stanza - “Iulus Ligur P P II” refers to Pope Julius II, floor mosaic in the Stanza della Segnatura, the former library and private office of Pope Julius II, Palazzi Pontifici in Vatican City Welcome to the Stanza della Segnatura, one of the so-called Raphael Rooms in the Palace of the Pontiffs. I took the photographs while visiting the Vatican Museum in March, 2024. The best way to view the photos is to adjust your screen size so that you can scroll them up and down. This allows the explanations for each photo to be presented under the pictures instead of on top of them. (There are a couple of photos that I did not take on my visit but used to provide a somewhat complete presentation of the room; they are marked “internet.”) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720260420611-WGOYCIXLYPCD3P94W3IK/VAT_S_DSC01657_Julius+Ligurus+PP+II_floor+mosaic_FIN.jpg Raphael's Signatura Stanza - “Iulus Ligur P P II” (center) refers to Pope Julius II, floor cosmatesque, Stanza della Segnatura, former library and private office of Pope Julius II, Palazzi Pontifici in Vatican City Welcome to the Stanza della Segnatura, one of the so-called Raphael Rooms in the Palace of the Pontiffs. I took the photographs while visiting the Vatican Museum in March, 2024. The best way to view the photos is to adjust your screen size so that you can scroll them up and down. This allows the explanations for each photo to be presented under the pictures instead of on top of them. (Four of the images, marked “internet,” are not my photos but were included in order to provide a somewhat more complete presentation.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718430388398-ZLUCETEFH17LTIWMWQYL/VAT_RR_Portrait_of_Pope_Julius_II_della_Rovere_%28by_Raffaello_Sanzio%29_%E2%80%93_Galleria_degli_Uffizi%2C_Florence.jpg Raphael's Signatura Stanza - Pope Julius II (head of the Catholic Church and ruler of the Papal States, 1503 to his death in 1513), by Raphael (1511-1512), oil on wood Pope Julius II commissioned Raphael to decorate the four rooms (stanze) of his Vatican apartments. Raphael worked from 1508 until his death in 1520. The four rooms are named - Room of Signatura (1508-1511), Room of Heliodorus (1512-1514), which were decorated practically entirely by Raphael himself; The Room of the Fire in the Borgo (1514-1517) and The Hall of Constantine (1517-1525) were designed by Raphael but largely executed by his pupils and by Giulio Romano. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718503268226-30X0683R1E4XTRDUK3UI/VAT_RR_493_file.jpg Raphael's Signatura Stanza - Self-portrait (1506), Raffaello Sanzio da Urbino (1483 – 1520), oil paint on board, Uffizi Galleries (internet) Raphael Sanzio was considered one of the greatest artists of the Renaissance, as he mastered the signature techniques of the High Renaissance — sfumato, perspective, anatomical correctness, and authentic emotionality and expression. I photographed the frescoed Raphael Rooms, in the Palace of the Pontiff, the central and the largest work of Raphael's career. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1717121244878-RBRXHNZ2K3T0KVOCB0I4/VAT_S_Stanza-della-Segnatura+_Raphael+1509-11+FIN_int.jpg Raphael's Signatura Stanza - Stanza della Segnatura (Signature Room), frescoes by Raphael (1509-1511), library and private office of Julius II, Palazzi Pontifici (The Palace of the Pontiff) in Vatican City (internet) The Stanza della Segnatura was named after the highest papal tribunal, whose judgments require the pope’s signature. With the theme of wisdom appropriately chosen for the room, Raphael presents the three greatest categories of the human spirit: Truth, Good, and Beauty. The Supernatural Truth is illustrated in the Disputation of the Most Holy Sacrament (Theology), the Rational truth is represented in the School of Athens (Philosophy). Good is seen in the Cardinal and Theological Virtues and the Law, while Beauty is represented in the Parnassus with Apollo and the Muses. The idea was to bring together natural philosophy and revealed theology, science and the arts, all under the supreme protection of the Church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718582813411-M3MQS445MERIHX32LEWL/VAT_S_IMG_0598_Ceiling+Segnatura+Stanza+_Revised.jpg Raphael's Signatura Stanza - Ceiling of the Stanza della Segnatura by Raphael (1508 - 1511) Palazzi Pontifici (The Palace of the Pontiff) in Vatican City The figures on the ceiling of the Stanza della Segnatura complement the themes of the frescoes. The four women in the roundels point us to the central theme of each fresco. Above the School of Athens, we have Philosophy (top), above the Parnassus there’s Poetry (right), above the Disputation of the Holy Sacrament there’s Theology (bottom) and above the fresco of the Cardinal and Theological Virtues, we have Justice (left). In between these small frescoes, there are scenes that combine the categories. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718590728419-X38GMCU881GYO8AO27YI/VAT_S_IMG_0606_detail_Theology+over+Disputation_Raphael-1510-11_FINE_sm.jpg Raphael's Signatura Stanza - Theology, ceiling roundel by Raphael (1509-1510), above the Disputation of the Holy Sacrament, Stanza della Segnatura, Palazzi Pontifici (The Palace of the Pontiff) in Vatican City Raphael’s Theology wears a white veil with green and red robes, which represent theological wisdom. Two putti hold signs stating "Divinar rerum notitia", i.e., "Knowledge of Divine things. In the panel to the left of Theology, Raphael portrays the story of Adam and Eve, who by rupturing the tacit covenant between them and God, thus established the need for religion and the Savior, Christ. In the right panel is the Greek myth of Apollo and Marsyas, the satyr, who was flayed to death, punished by Apollo, because of his hubris, i.e., he had dared to challenge a god. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718594418894-S9EC779BNRPS9LIGX4BR/VAT_S_IMG_0596_Disputation+Holy+Sacrament_Theology_wall-ceiling_FINE.jpg Raphael's Signatura Stanza - The Disputation of the Most Holy Sacrament (La Disputa), with the Theology roundel above, frescoes by Raphael (1509-1510), Stanza della Segnatura La Disputa, the traditional name for what is really an adoration of the Most Holy Sacrament, portrays discussions concerning transubstantiation amongst the Church Militant (below) and the Church Triumphant (above). The painting is built around the focus of the disputation, in the center of the altar, the monstrance containing the consecrated Host, i.e., the body and blood of Christ; the Eucharist being the link between heaven and earth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1717222992459-K8X99OQ2UT52ZTRNKHOB/VAT_S_IMG_0603_detail_Heaven_Disputation+over+the+sacrament_Raphael-1510-11_FIN.jpg Raphael's Signatura Stanza - La Disputa (detail, upper half), the Triumphant Church in heaven with the Holy Trinity - God the father, Christ and the Holy Spirit, by Raphael (1509-1510), Stanze della Segnatura, Palazzi Pontifici In Raphael's heaven we see, in the middle, the Holy Trinity surrounded by important Biblical figures, from left to right: Saint Peter, Adam, Saint John the Evangelist, David, Saint Lawrence, Judas Maccabeus, Saint Stephen, Moses, Saint James, Abraham, Saint Paul. They discuss the real presence of Christ as taught by St. Paul: “Whoever, therefore, eats the bread or drinks the cup of the Lord in an unworthy manner will be guilty of profaning the body and blood of the Lord” (1 Corinthians 11:26-27). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718596816902-TL8ABX5CMZHDCOP2YDP5/VAT_S_IMG_0603_Detail_Discuss_Disputation+over+the+sacrament_Raphael-1510-11_FINE.jpg Raphael's Signatura Stanza - La Disputa (detail, lower half), Historical theologians debate Transubstantiation (Christ’s presence in the Eucharist), fresco by Raphael (1509-1510), Stanza della Segnatura, Palazzi Pontifici The altar is flanked by men of the Church discussing the Eucharist, or Holy Communion, as the source and summit of Christian life. In 1551, the Catholic Church, via the Council of Trent, declared transubstantiation a dogma of faith stating that "by the consecration of the bread and wine there takes place a change of the whole substance of the bread into the substance of the body of Christ our Lord and of the whole substance of the wine into the substance of his blood.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718668958244-1NNEAZDR7LII72GBE3NR/VAT_S_IMG_0603_Detail-lft_St+Jerome_Discuss_Disputation+over+the+sacrament_Raphael-1510-11_FINAL_crp.jpg Raphael's Signatura Stanza - La Disputa (detail, lower left half), Historical theologians debate Transubstantiation, fresco by Raphael (1509-1510), Stanza della Segnatura, Palazzi Pontifici On the left of the altar, are seated Pope Gregory I and St Jerome (red robe). St Jerome's (b. 342-347; d. 420) translation of transubstantiation in the Latin Vulgate, the official Bible translation of the Catholic Church, reads: “Give us this day our supersubstantial bread.” This reference conveys the Church's teaching that the Eucharist becomes something above the ordinary matter or substance of bread. La Disputa represents Supernatural truth, i.e., that which cannot be known by the rational mind through science, but can be accepted through faith. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718669210964-Z0ILD795R2MMYYRGSZ7K/VAT_S_IMG_0603_Detail-rt_Sts+Augustine-Ambrose_Disputation+sacrament_Raphael-1510-11_FINAL_crp.jpg Raphael's Signatura Stanza - La Disputa (detail, lower right), Historical theologians discuss Transubstantiation, fresco by Raphael (1509-1510), Stanza della Segnatura, Palazzi Pontifici To the right of the monstrance are Augustine (with arm raised) and Ambrose, along with Pope Julius II (sitting). St. Augustine (circa 400 A.D.) upheld the concept of transubstantiation saying: “That Bread which you see on the altar, having been sanctified by the word of God, is the Body of Christ. …what is in that chalice, having been sanctified by the word of God, is the Blood of Christ.” Pope Sixtus IV (the uncle of Pope Julius II) is the gold-dressed pope, bottom of the painting), with Dante Alighieri (red robe and laurel wreath) standing behind him, and Aristotle (orange and blue robes) in front of Dante. In the back, fifth from right, stands St. Thomas Aquinas (with halo). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1716616709562-IV0QF7DZ1A2XYZG4OGXF/VAT_S_IMG_0608_cosmatesque+mosaic+floor+pattern.jpg Raphael's Signatura Stanza - Cosmatesque mosaic floor pattern, Stanza della Segnatura, Palazzi Pontifici in Vatican City The Cosmati were a Roman family, seven members of which, for four generations, were skillful architects, sculptors, and workers in decorative geometric mosaic, mostly for church floors. Their name is commemorated in the genre of Cosmatesque work, often just called "Cosmati", a technique of opus sectile ("cut work") formed of elaborate inlays of small triangles and rectangles of colored stones and glass mosaics set into stone matrices or encrusted upon stone surfaces. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719195658560-RZ67UJ60K88CPSECNB90/VAT_S_IMG_0602_VAT_Philosophy_Raphael_1510-1511_FIN+_WALL_FINE.jpg Raphael's Signatura Stanza - School of Athens (1510-1511), fresco by Raphael, Stanza della Segnatura In the School of Athens, Raphael presents Plato and Aristotle’s notion of the Seven Liberal Arts, adapted in the medieval university as the foundational curriculum. There were two basic dimensions of study: one based on language, the trivium ­— made up of grammar, rhetoric and logic, and one based on numbers, the quadrivium — made up of arithmetic, geometry, music and astronomy. Together, study of these sciences would lead to a “unified idea of reality.” Raphael portrays the greatest scientists, mathematicians, and philosophers across time sharing their ideas and learning from each other. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1717569290480-A7R6I6OBEWHMVGDXNEE6/VAT_S_IMG_0598_III_ceiling+Segnatura+Rm+_FINE+copy.jpg Raphael's Signatura Stanza - The Prime Mover (or the Unmoved Mover), ceiling panel left of the Philosophy roundel, fresco by Raphael, Stanza della Segnatura The Prime Mover, philosophically, can be seen as an allegory of the beginning of the universe. The Prime Mover or Unmoved Mover is a philosophical concept described by Aristotle as a primary cause or “mover” of all the motion in the universe. As is implicit in the name, the “unmoved mover” moves other things, but is not itself moved by any prior action. In Book 12 of his Metaphysics, Aristotle describes the unmoved mover as being perfectly beautiful, indivisible, and contemplating only the perfect contemplation: itself. The figure looks down, and with her left arm and hand gestures to The School of Athens where Aristotle is a central figure. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718932998127-B5Z89TVQHCKO53T43XGJ/VAT_S_IMG_0598_IV_PHILOSOPHY_Reason_ceiling+Segnatura+Rm_FINAL.jpg Raphael's Signatura Stanza - Philosophia (Rational truth) by Raphael (1510-1511), roundel on ceiling above The School of Athens, Stanza della Segnatura, Palazzi Pontifici in Vatican City Sitting above The School of Athens is “Philosophia,” representing the rational truth and holding two books: the red one "Moralis" (Morals), and the green one "Naturalis" (Nature). On the right of the Philosophy rondel Raphael depicts the Wisdom of Solomon, who decides to cut a baby in two in order to determine the true mother. Raphael painted The School of Athens, his allegory for science, on the wall opposite theology, i.e., La Disputa. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719208740135-SZ3Q62YDVO2HL7C6IULO/VAT_S_IMG_0600_Philosophy+Wall_Raphael_1510-1511_FINALE.jpg Raphael's Signatura Stanza - The School of Athens by Raphael (1510-1511), fresco, Stanza della Segnatura, Palazzi Pontifici in Vatican City In the School of Athens, Raphael establishes an architectural framework, characterized by a high dome, a vault with lacunar ceiling and pilasters and fills it with figures in a variety of poses and gestures, which he controls in order to make one group of figures lead to the next in an interweaving and interlocking pattern, bringing the eye to the central figures of Plato and Aristotle, symbolically used for Philosophy at the converging point of the perspectival space. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719035455804-4DDKH7O476UOP2F8ZM7Y/VAT_S_DSC01660_DETAIL-Plato-Aristotle_Raphael_Philosophy_FIN.jpg Raphael's Signatura Stanza - School of Athens, detail, Plato and Aristotle, fresco (1508–11) by Raphael, Stanza della Segnatura, Palazzi Pontifici in Vatican City Plato (c. 427 – 348 BC) and Aristotle (384–322 BC), his student, are the two central figures, standing under an archway at the center of the composition. The two men appear to be in an intense discussion, with Plato (left), holding his book Timeus, gesturing toward the sky, being engaged with such spiritual ideas as truth, beauty, and justice; and Aristotle (right), holding a copy of his Ethics, gesturing toward the ground, being concerned with worldly reality. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719461815592-ZYFPLU3MQ1CTRWYIRTBU/VAT_S_Cartoon-prep-lEcole-dAthene-Raphael-Pinacoteca-Ambrosiana-Milan.jpg Raphael's Signatura Stanza - Preparatory sketch of the School of Athens, in the Pinacoteca Ambrosiana in Milan (internet) Raphael’s Staircase in The School of Athens has a dual meaning. In addition to its decorative dimension, it serves in fact as an allegory of knowledge. First, because it highlights the different degrees of philosophy and science. For Raphael, each character has a precise place on the ladder of knowledge, corresponding to his importance and prestige. Secondly, because the staircase illustrates the approach of philosophers and scientists: it is a path, an ascent to knowledge. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1718934550729-58JOSP5YX5ZSPTU7TGWY/VAT_S_DSC01659-b_Plato-Aristotle+detail_Raphael_Philosophy.jpg Raphael's Signatura Stanza - School of Athens, detail Diogenes and Heraclitus, fresco (1508–11) by Raphael, Stanza della Segnatura, Palazzi Pontifici in Vatican City Sprawled out on the staircase steps below Plato and Aristotle, Diogenes (c.412 BCE-323 BCE), the unconventional Greek philosopher and founder of Cynicism, is seen reading in a relaxed pose. Diogenes made a virtue of poverty. He begged for a living and often slept in a large ceramic jar in the marketplace. He criticized the social values and institutions of what he saw as a corrupt, confused society. He also criticized Plato, disputing his interpretation of Socrates. The arch pessimist Heraclitus (b. circa 535 BCE) - thought to be a portrait of Michelangelo, who was then at work on the Sistine ceiling - is writing on a bench of marble. Heraclitus taught that there is nothing permanent except change, e.g., "No man ever steps in the same river twice, for it's not the same river and he's not the same man." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722983451456-SMY85AO7XB2QNFRANYNV/VAT_S_DSC01660_Detail_Socrates_Raphael_Philosophy_FIN.jpg Raphael's Signatura Stanza - School of Athens, detail, Socrates teaching, fresco (1508–11) by Raphael, Stanza della Segnatura, Palazzi Pontifici in Vatican City To the left of Plato and Aristotle, Raphael portrays Socrates (d. 399 BCE), wearing an olive green robe, and fingering syllogisms before a group, from left to right: Athenian statesman and general Alcibiades (450 BCE - assassinated 404 BCE), Greek philosopher Antisthenes (444 BCE-365 BCE) standing to his left wearing a black hat and a burgundy robe; Greek statesman Aeschines (389 BCE - 314 BCE), wearing a blue robe. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719278891990-OQE2Q6QECLFSCGRBK57U/VAT_S_DSC01660_DETAIL_Permenides_Raphael_Philosophy_FIN.jpg Raphael's Signatura Stanza - Hypatia and Nicomachus of Gerasa, School of Athens, detail, fresco (1508–11) by Raphael, Stanza della Segnatura, Palazzi Pontifici Standing facing forward is Hypatia (b. 350–370; d. 415 AD) a female philosopher, astronomer, and mathematician. She was a prominent thinker in Alexandria, Egypt, where she taught philosophy and astronomy and was renowned in her own lifetime as a great teacher and a wise counselor. To her right is possibly the mathematician and musician Nicomachus of Gerasa (c. 60- c. 120 AD) who authored Arithmetic Introduction. A Latin paraphrase of Nicomachus's works on arithmetic and music became standard textbooks in medieval education. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722983141111-GY6UPKHRLAVNDPS4WWEK/VAT_S_Raphael-Prep+Drawing+Pythagoras+in+School-Athenes-cartoon.jpg Raphael's Signatura Stanza - Pythagoras group, prepatory cartoon for The School of Athens, (1508–11) by Raphael, Stanza della Segnatura, Palazzi Pontifici in Vatican City https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719278797314-M06VL5BS0GI39DU1II21/VAT_S_DSC01659_Pythagoras_Raphael_Philosophy_FINE.jpg Raphael's Signatura Stanza - Pythagoras, detail, School of Athens, fresco (1508–11) by Raphael, Stanza della Segnatura, Palazzi Pontifici in Vatican City Pythagoras (kneeling, writing in book) believed that the world (including the movement of the planets and stars) operated according to mathematical laws. These mathematical laws were related to ideas of musical and cosmic harmony, and thus (for the Christians who interpreted him in the Renaissance) to God. A young man, Archimedes, helps him by holding before him a tablet with his Principles. Averroes is leaning behind Pythagoras and wearing a turban and a green robe; Anaximander (the first on the left in the foreground wearing a yellow robe) crouches, looking at Pythagoras’ work while writing on a sheet of paper. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719465800739-BJ90VZYIZEG8LERVGVPG/VAT_S_DSC01660-d_DETAIL_Zeno+and+Democritus_Raphael_Philosophy_FIN.jpg Raphael's Signatura Stanza - Zeno (c. 300 BCE) and Epicurus (341-270 BCE), The School of Athens (detail) by Raphael, Stanza della Segnatura, Palazzi Pontifici in Vatican City The head of Zeno of Citium is on the far left wearing a green hat and behind a small putto, and to his right is the Greek philosopher Epicurus leaning against a pedestal and wearing a crown of leaves on his head. Zeno was the founder of the Stoics School of philosophy, which he taught in Athens. Stoicism laid great emphasis on goodness and peace of mind gained from living a life of virtue in accordance with nature. Epicurus asserted that philosophy's purpose is to attain as well as to help others attain happy (eudaimonic), tranquil lives characterized by ataraxia (peace and freedom from fear) and aponia (the absence of pain). He taught that people should act ethically because, due to the power of guilt, amoral behavior would inevitably lead to remorse weighing on their consciences and as a result, they would be prevented from attaining ataraxia. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719279709380-EFDSWHEGCR15UB8TUN02/VAT_S_DSC01660_DET_Plotinus+_Raphael_Phil_FINE.jpg Raphael's Signatura Stanza - Plotinus, he School of Athens (detail) by Raphael, Stanza della Segnatura, Palazzi Pontifici in Vatican City Plotinus (204/5–270 C.E.), standing in a red robe, was a Greek philosopher and the founder of Neoplatonism, a school of philosophy that was influential in late antiquity, the Middle Ages, and the Renaissance. Taking his lead from his reading of Plato, Plotinus developed a complex spiritual cosmology involving three foundational elements: the One, the Intelligence, and the Soul. It is from the productive unity of these three Beings that all existence emanates, according to Plotinus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1717125420573-K5F4SAP18V96JXKTK98I/VA_S_IMG_0602_Detail_Euclid_Philosophy_Raphael_1510-1511.jpg Raphael's Signatura Stanza - Euclid (leaning over a tablet and holding a compass), School of Athens (detail), by Raphael, 1509-1511 Euclid is shown teaching geometry to his students, and Zoroaster (facing forward) is represented holding the heavenly sphere, while Ptolemy (back to us) holds the earthly sphere. Euclid (fl. 300 BC) was an ancient Greek mathematician active as a geometer and logician, and is considered the "father of geometry." Zoroaster was an Iranian religious reformer and the founder of Zoroastrianism, the first documented monotheistic religion in the world, founded in the second millennium BCE. He also had an impact on Heraclitus, Plato, Pythagoras, and the Abrahamic religions, including Judaism, Christianity, and Islam. Ptolemy tried to mathematically explain the movements of the planets. Raphael included a self-portrait, far right, looking forward, wearing a dark hat. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719473968349-5ZQ48DGW8F324CDOD2V1/VAT_S_Raphael+as+Apelles_742879%402x.jpg Raphael's Signatura Stanza - Apelles, The School of Athens (detail) by Raphael, Stanza della Segnatura, Palazzi Pontifici in Vatican City Raphael portrays himself as the Greek painter Apelles of Kos (facing forward, 2nd from right, wearing a black hat and standing behind his friend Sodoma, who is wearing a white hat). Raphael had been nicknamed by Vasari the "new Apelles.” Apelles was probably the most important Greek painter born about 370 BCE in Colophon. He worked for Alexander the Great and his father Philip. Apelles is famous for saying: “Not a day without a line”, i.e. do something every day! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1716614325242-NGONJK4OOP29E77ESE7P/VAT_S_DSC01656_VAT_cosmatesque+floor+mosaic+papal+keys_FIN.jpg Raphael's Signatura Stanza - Papal keys within a complex cosmatesque pattern adorn the floor of the Stanza della Segnatura, Palazzi Pontifici in Vatican City In cosmati work you can find bands, panels and shaped reserves of intricate mosaic alternating with contrasting bands, guilloches and simple geometric shapes of plain white marble. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720322306031-BLZR57RVC2E2680RJ8V8/VAT_S_IMG_0598_ceiling_Poetry_Inspired+by+the+Divine.jpg Raphael's Signatura Stanza - Poetry, roundel in the ceiling over the fresco of the Parnassus, Stanza della Segnatura, Vatican Museum Poetry holds a Lyre, which is associated with Apollo, god of music, poetry and the arts. The putti hold signs stating "Numine and Afflatur" i.e., "Inspired by the Divine." In the panel to the right of Poetry, the concept of inspiration by the Divine is manifested by the image of the Prime Mover or Unmoved Mover, the primary cause of all motion in the universe. Also, the application of the science of astronomy in the panel might be Raphael’s homage to Pope Julius II, i.e., a constellation on the globe can be calculated exactly: the night of 31 October 1503, the date that Julius II was elected pope. Raphael was “inspired” by Julius’ decision that the room should be decorated to honor past officers and followers of the Church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1716616809651-O9PALJQ10W484I68GION/VAT_S_internet_Raphael_El_Parnassus%2C_1511%29.jpg Raphael's Signatura Stanza - Parnassus, fresco by Raphael, Stanza della Segnatura, Stanza della Segnatura, Palazzi Pontifici (internet) Mount Parnassus, according to Greek mythology, was sacred to Apollo and the home of the Muses. As the home of the Muses, Parnassus became known as the home of poetry, music, and learning. Raphael’s fresco, Parnassus, presents the god Apollo seated at the center, playing the lyre surrounded by the nine Muses, protectresses of the arts, and by ancient and modern poets, among whom Homer (blind), Virgil and Dante are easily recognizable behind him, as well as the poetess Sapphos seated at the bottom left, with her name written on the scroll she holds in her left hand. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719815043283-88PWGOLX9FUBS7XWM005/VAT_S_IMG_0605_b_ceiling_Justice+with+Virtues+in+lunette_Justice+ceiling_FIN.jpg Raphael's Signatura Stanza - Justice, fresco in roundel on ceiling above The Cardinal and Theological Virtues, Stanza della Segnatura, Palazzi Pontifici in Vatican City The Cardinal and Theological Virtues and the Law is on the wall opposite the Parnassus. Raphael portrays Justice holding scales and a sword above the books on law. The more prominent position of Justice above the fresco is explained by the emphasis Plato placed on this fourth virtue. He introduced it to ensure the other three cardinal virtues existed in harmony. To the left of Justice is depicted Solomon’s wisdom via the story of two women who claim a baby as theirs and to the right is Adam and Eve whose justice was being expelled from paradise for breaking God’s law. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719902076365-VBRW0SSPZ9D88OBZBQ87/VAT_S_IMG_0605_b_Justice+with+Virtues+in+lunette_Justice+ceiling_FINE.jpg Raphael's Signatura Stanza - The Cardinal and Theological Virtues and the Law, (1511) Stanza della Segnatura, Palazzi Pontifici in Vatican City In the lunette below Justice, Fortitude, dressed in armor (left), sits in the shade of an oak tree (the oak tree symbolizes strength and alludes to the Della Rovere family to which Pope Julius II belonged). Prudence is placed on the highest step of the base. She has two faces: one of a young woman who looks at her reflection in a mirror handed to her by a winged putto; the other, of an old man, the symbol of old age, of which prudence is the chief quality. Finally, Temperance is represented holding a pair of reins. The three winged putti symbolize the theological virtues (Charity, gathering the fruits of the oak; Hope, in the center with a flaming torch; and Faith, at the extreme right, pointing toward the sky). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719986752268-MB6UZ2GJUJW47LW91NGZ/VAT_S_IMG_0607_a_VAT_Rm+Segnatura_Justice_left+wall_FINE.jpg Raphael's Signatura Stanza - Wall depicting "The Cardinal and Theological Virtues and the theme of Law (1511) Stanza della Segnatura, Palazzi Pontifici in Vatican City Below the frescoes presenting The Cardinal and Theological Virtues and the Law, there are two frescoes found lower on the wall also portraying scenes concerning the law. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1719989927059-F7SYW9PDOCY1NYSNPKRQ/VAT_S_IMG_0607_VAT_c_Tribonium+Handing+Law+Code+to+Justinian+by+Lotto_FINAL.jpg Raphael's Signatura Stanza - Emperor Justinian and the Corpus Juris Civilis , wall of The Cardinal and Theological Virtues and the Law, (1511) Stanza della Segnatura, Palazzi Pontifici in Vatican City To the left of the window below The Cardinal and Theological Virtues and the Law, is a fresco designed by Raphael but executed by his studio. It depicts the Emperor Justinian receiving the civil code known as the Pandects of the Corpus Juris Civilis from Tribonian (500 AD-542 AD), who was a Byzantine jurist and advisor. During the reign of the Emperor Justinian I, he supervised the revision of the legal code of the Byzantine Empire. These Pandects were important documents of Roman Civil Law that had been brought into accordance with Canon (Church) Law. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1716616638726-680YA5T698MU8BD7QKK0/VAT_S_IMG_0607_d_VAT_Gregory+IX+approving+Decretals_FINE.jpg Raphael's Signatura Stanza - Decretals of Gregory IX, wall of "The Cardinal and Theological Virtues and the Law," (1511) Stanza della Segnatura, Palazzi Pontifici in Vatican City Below the to the right of the window, Pope Gregory IX (as portrayed by Julius II) receives the code of canon law known as the Decretals of Gregory IX from Raymond of Penyafort, a Catalan Dominican friar in the 13th century, who compiled the collection of canonical laws that remained a major part of Church law until 1917 when it was replaced. Cardinal Giovanni de’ Medici, later to be Leo X, is standing on the pope’s far left. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720248949168-2BH6VX9UE8SJSEJ75JIU/VAT_S_IMG_0610_cosmatesque+rosette+floor+mosaic_fleur+FIN.jpg Raphael's Signatura Stanza - Rosette foral pattern, cosmatesque floor mosaic, Stanza della Segnatura, Palazzi Pontifici in Vatican City http://www.sslanzilotti.com/raphael-heliodorus daily 0.75 2024-07-19 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721088031558-M9WUKFZOS9A005Z2J5VW/VAT_H_Room+of+Heliodorus_FINE_internet.jpg Raphael - Heliodorus Stanza - Stanza di Eliodoro (Room of Heliodorus), 1511-1514, by Raphael, The Palace of the Pontiff in Vatican City The Stanza di Eliodoro was set up by Julius II (r. 1503-13) for the private audiences the Pope would grant to important political, religious and diplomatic dignitaries. The frescoes were designed to reflect the importance of the room's purpose and the meetings that took place there. The general theme of the pictorial decoration is the protection bestowed by God on the Church. Raphael painted four biblical episodes on the walls: The Expulsion of Heliodorus from the temple, the Mass of Bolsena, the Liberation of St. Peter and the Meeting of Leo the Great with Attila. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721088031558-M9WUKFZOS9A005Z2J5VW/VAT_H_Room+of+Heliodorus_FINE_internet.jpg Raphael - Heliodorus Stanza - Stanza di Eliodoro (Room of Heliodorus), 1511-1514, by Raphael, The Palace of the Pontiff in Vatican City The Stanza di Eliodoro was set up by Julius II (r. 1503-13) for the private audiences the Pope would grant to important political, religious and diplomatic dignitaries. The frescoes were designed to reflect the importance of the room's purpose and the meetings that took place there. The general theme of the pictorial decoration is the protection bestowed by God on the Church. Raphael painted four biblical episodes on the walls: The Expulsion of Heliodorus from the temple, the Mass of Bolsena, the Liberation of St. Peter and the Meeting of Leo the Great with Attila. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720402073771-AWF612DJDQE2KTPW6RIM/VAT_H_IMG_0584_ceiling.jpg Raphael - Heliodorus Stanza - Ceiling of the Room of Heliodorus (1512), Raphael, The Palace of the Pontiff in Vatican City Raphael painted the four frescoes of the vault representing episodes of divine intervention in the history of Israel: Moses before theBurning Bush (Exodus 3: 1-12), the Announcement of the Flood to Noah (Genesis 8: 15:20), Jacob's Dream (Genesis 28: 10-22)., and the Sacrifice of Isaac (Genesis 22:1-14). Raphael continued the theme of divine intervention and protection in the wall frescoes below each ceiling vault. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720402088061-F1S0ZJKJTYA1KJSVAYUL/VAT_H_IMG_0587_Expulsion+of+Heliiodorus_REV_FIN.jpg Raphael - Heliodorus Stanza - The Expulsion of Heliodorus from the Temple (1512), Raffaello Sanzio da Urbino (a.k.a., Raphael), Room of Heliodorus, The Palace of the Pontiff in Vatican City Heliodorus (far right, lying down) was sent to steal the treasure from the Jewish temple. In the center background the high-priest Onias is praying for the prevention of this disaster. The figure watching from the pontifical chair, sporting a beard and a red headdress, was supposed to be Pope Julius II, commissioner of the work, and celebrator of the painting's sub-theme of papal authority. Since Julius died during the creation of the work, Leo X seized the opportunity to be included in the work. According to some sources Raphael has portrayed himself and a friend as the bearers of the sedan. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720508022082-XJ1IPD3F9RVPX7WOIHT8/VAT_H_DSC01650_Moses+before+burning+bush_Hel+Room_crp-sm.jpg Raphael - Heliodorus Stanza - Moses before the Burning Bush, Raphael, fresco above the wall-painting of The Expulsion of Heliodorus from the Temple, The Palace of the Pontiff in Vatican City The story of Moses Before the Burning Bush promotes the theme of divine intervention and protection that pervades all of the Raphael frescoes in this room. Exodus 3:7 states: The Lord said, “I have indeed seen the misery of my people in Egypt. I have heard them crying out because of their slave drivers, and I am concerned about their suffering. So I have come down to rescue them from the hand of the Egyptian…." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720497039710-Q5PS9DMONL42PEJ0J7BD/VAT_H_IMG_0587_Expulsion+of+Heliiodorus_frame++internet_FINAL.jpg Raphael - Heliodorus Stanza - The Expulsion of Heliodorus from the Temple (1512), Raffaello Sanzio da Urbino (a.k.a., Raphael), Room of Heliodorus, The Palace of the Pontiff in Vatican City Heliodorus (far right, lying down) was sent to steal the treasure from the Jewish temple, money that had been reserved for widows and orphans. Pope Julius II, commissioner of the work, and celebrator of the painting's sub-themes of papal authority and protector of the faithful, witnesses the scene, sitting on his litter carried by his chair bearers, and surrounded by the widows and children who were to be the beneficiaries of the stolen money. The fresco includes a self-portrait of Raphael as one of the bearers of the sedan, to the left, directly below the Pope’s left hand. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721351149283-BARI4QDVTTOMF5A17VSW/VAT_H_Onias+III_Heliodorus_IMG-0587-hybrid.jpg Raphael - Heliodorus Stanza - Onias III, detail from The Expulsion of Heliodorus from the Temple by Raphael (1512), Room of Heliodorus, The Palace of the Pontiff, Vatican City This detail from The Expulsion of Heliodorus from the Temple illustrates the biblical episode from 2 Maccabees (3:21-28), in which the high-priest OniasIII prays for God to prevent the theft of synagogue’s treasure. The menorah in front of the priest shows that this event occurs in a synagogue. Thus, the fresco supports a sub-theme for the Room, important for Counter-Reformation efforts, i.e., the sacredness of the services, including sacraments, occurring inside church buildings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720395858704-THANNLIHF4PZ82D6TN28/VAT_H_DSC01653_detail_Expulsion+of+Heliiodorus_FINAL.jpg Raphael - Heliodorus Stanza - The Expulsion of Heliodorus from the Temple (detail), 1512, by Raphael, Room of Heliodorus, The Palace of the Pontiff Heliodorus (on the right, lying down) was ordered by Seleucus IV Philopator the king of Syria and the Seleucid empire (187–175 BCE), to seize the treasure preserved in the Temple in Jerusalem. Seleucus IV mostly spent his reign in attempts to pay the large indemnity his father Antiochus had left him as a result of the Treaty of Apamea (188 BC), the main clause of which saw the Seleucids agree to pay a large indemnity to the Roman Republic. As Heliodorus was in the act of stealing the treasure, answering the prayers of the high priest Onias III, God sent a horseman assisted by two youths with whips to expel Heliodorus. One message of the event is God will protect the Church from looting of foreign invaders, as in Raphael's fresco “The Meeting of Leo the Great and Attila,” located in the same room. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721185664526-7W7FZB9PRIR6XI1NJBRR/VAT_H_DSC01651_VAT_Sacrifice+of+Isaac_Hel++room_crp.jpg Raphael - Heliodorus Stanza - The Sacrifice of Isaac by Raphael, ceiling fresco over the Mass of Bolsena, Room of Heliodorus (1511-1514), The Palace of the Pontiff in Vatican City According to Genesis 22:1-14, God commands Abraham to offer his son Isaac as a sacrifice. When Abraham “reached out his hand and took the knife to slay his son… the angel of the Lord called out to him from heaven, and said, “Do not lay a hand on the boy. Do not do anything to him. Now I know that you fear God, because you have not withheld from me your son, your only son.” Abraham looked up and saw a ram and sacrificed it instead of Isaac. The story promotes themes implied in the Room’s frescoes, i.e., protection of the faithful through both divine intervention and papal authority. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720402079170-1BWFOJTUDJSUO3KL3KX4/VAT_H_IMG_0586_Mass+of+Bolsena_Raphael_1512-14_Rm+Heliodorus_FIN.jpg Raphael - Heliodorus Stanza - The Mass of Bolsena by Raphael, Room of Heliodorus (1511-1514), The Palace of the Pontiff in Vatican City The Mass at Bolsena depicts a Eucharistic miracle that is said to have taken place in 1263 at the church of Santa Cristina in Bolsena. A Bohemian priest who doubted the doctrine of transubstantiation was celebrating mass, when the bread of the eucharist began to bleed. The blood that spouted from the host fell onto the tablecloth in the shape of a cross and he was reconverted. The Mass of Bolsena and the fresco above it, The Sacrifice of Isaac, manifest the same theme, i.e., Abraham was willing to spill the blood of his son in sacrifice, as later did God the Father; both acts illustrate that God’s grace saves and protects those who believe. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721188996954-0YJD8W3X5C6KQ7SIX876/VAT_H_Estancia_de_Heliodoro_Misa_de_Bolsena_detail+_Felice+Rovere_REVISED.jpg Raphael - Heliodorus Stanza - Felice della Rovere, detail, “The Mass of Bolsena” by Raphael, Room of Heliodorus (1511-1514), The Palace of the Pontiff in Vatican City In a group on the far-left side of the Mass of Bolsena altar, Raphael included Felice della Rovere (c. 1483 –1536), wearing a black robe, holding a red hat, and looking up at the host. Felice was the illegitimate daughter of Pope Julius II. Born in Rome to Lucrezia Normanni and Cardinal Giuliano della Rovere (later Pope Julius II), she became one of the most powerful women of the Italian Renaissance, wielding extraordinary wealth and influence both within and beyond the Roman Curia. In particular, she negotiated peace between Julius II and the Queen of France. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721192698656-8HSESS6TJ46YIS1KCVEC/VAT_H_Mass+at+Bolsena_Julius_Raphaael+portraits_FIN.jpg Raphael - Heliodorus Stanza - Pope Julius and Rapahel portraits in “The Mass of Bolsena” by Raphael, Room of Heliodorus (1511-1514), The Palace of the Pontiff in Vatican City Present in this painting is a self-portrait of the artist, Raphael, as one of the Swiss Guard in the lower right of the fresco, facing out with bound-up hair. This is another instance in which Raphael has placed himself in his paintings. Also shown in the work is Pope Julius II (1443–1513), kneeling to the right of the altar. The four cardinals to his right have been identified as Leonardo Grosso della Rovere, Raffaello Riario, Tommaso Riario and Agostino Spinola, relatives of Julius. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720402504177-SMF2NVE346ST9DRMRAOE/VAT_H_IMG_0592_Mass+of+Bolsena_Raphael_1512-14_Rm+Heliodorus.jpg Raphael - Heliodorus Stanza - The Mass of Bolsena (detail) by Raphael, Room of Heliodorus (1511-1514), The Palace of the Pontiff in Vatican City In The Mass of Bolsena Raphael depicts the Bohemian priest celebrating mass at the Church of Santa Cristina in 1263 when the blood of Christ purportedly spouted from the Holy Eucharist. The following year, in 1264, Pope Urban IV instituted the Feast of Corbus Christi to celebrate this miraculous event. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720402503250-7VJSIX2UEFZD2G1362GQ/VAT_H_IMG_0593_Detail_Mass+of+Bolsena_Raphael_1512-14_Rm+Heliodorus_FIN.jpg Raphael - Heliodorus Stanza - Linen with the Blood of Christ, detail from The Mass of Bolsena by Raphael (1512), Room of Heliodorus, The Palace of the Pontiff in Vatican City According to the story of The Mass of Bolsena, when the blood of Christ spouted from the host and fell onto the tablecloth in the shape of a cross, the priest who had doubted transubstantiation was reconverted. The blood-stained Corporal of Bolsena is still venerated as a major relic in the Orvieto Cathedral. The fresco reinforces the theme of the importance in one's personal belief in God and the authority of the Catholic Church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720664819412-YIDZS4BTBQGUTYA4EGSA/VAT_H_IMG_2730_Orvieto+Cathedral+exterior.jpg Raphael - Heliodorus Stanza - Cathedral of Orvieto, begun in 1290 and completed in 1591, dedicated to the Assumption of the Virgin Mary The Cathedral of Orvieto was constructed under the orders of Pope Urban IV to commemorate and provide a home for the Corporal of Bolsena, the subject of Raphael’s Mass at Bolsena. To escape conflict in Rome, a papal palace was attached to the Cathedral that served as a refuge for five popes in the 13th c.: Urban IV (1261–1264), Gregory X (1271–1276), Martin IV (1281–1285), Nicholas IV (1288–1292) and Boniface VIII (1294–1303). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720681525238-B1D3F1LQKG1HFNN30OHJ/VAT_H_IMG_2722_Orvieto+Cathedral+facade_FIN.jpg Raphael - Heliodorus Stanza - Façade of the Cathedral of Orvieto, dedicated to the Assumption of the Virgin Mary A mosaic of the Assumption of the Virgin Mary is in the middle of the second level of the façade, under the rosette window. The large rose window was built by the sculptor and architect Orcagna between 1354 and 1380. In the niches above the rose window stand the twelve apostles. The center of the rose window holds a carved head of the Christ. Discovering the other many elements of this façade is worth the research. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721277530500-7NGP0CQ8YL7N737KAKTY/IMG_2953_comment+info+on+Bolsena+cloth_FINE.jpg Raphael - Heliodorus Stanza - Information on analysis of the blood on The Holy Corporal linen, placard located in the Orvieto Cathedral di Santa Maria Assunta Outside the chapel the following statement is presented: The information obtained through ultraviolet fluorescence indicates the presence of blood separated into plasma and serum. Scientific studies indicate that the death of Jesus was caused by infarct rather than a stab wound, and that the blood of a dead person separates into plasma and serum. The Gospel of John 19:34 confirms that blood (plasma) and water (serum) issued from the stab wound to the chest. The blood of the Eucharistic Miracle present on the Holy Corporal reminds us of the death of Jesus for the remission of our sins. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721368470117-0U994MG2OVMXKQC11MJ6/VAT_H_IMG_2955_Tabernacle-Reliquary-cloth+Bolsena+Orvieto_FIN.jpg Raphael - Heliodorus Stanza - Gothic aedicule-shaped tabernacle with the Reliquary of the Santo Corporale, (1337), altar in the Chapel of the Corporal, Orvieto Cathedral https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720668905668-XCKRJ54BG3BG1Y7P36ZA/VAT_H_IMG_2954_linen+Bolsena_orieveto.jpg Raphael - Heliodorus Stanza - The Holy Corporal linen, Chapel of the Corporal, Cattedrale di Santa Maria Assunta, Orvieto, Umbria, Italy The actual linen, purportedly stained by Christ’s blood, and the topic of Raphael’s Mass of Bolsena, is stored in the Reliquary of the Santo Corporale in the Chapel of the Corporal, built between 1350-1356. The miracle of the bleeding host involved a priest who became skeptical of the transubstantiation dogma. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720664813460-8T2B2AOK8ZGN60QY719A/VAT_H_DSC03316_Orvieto+Chap_Cloth_Crucifixion_Angels_FIN.jpg Raphael - Heliodorus Stanza - Frescoes, painted between 1357 and 1363 by Orvieto artists: Ugolino di Prete ilario, Domenico di Meo, and Giovani di Buccio Lionardelli. Chapel of the Corporal, Orvieto Behind the tabernacle containing Holy Corporal linen is a fresco of the Crucifixion of Christ at Golgotha, showing Christ and two convicted thieves hanging on crosses. The Gospel of John states that, after Jesus's death, one soldier pierced his side with a spear to be certain that he had died, and blood and water came out (John 19:34). In front of the tabernacle and reliquary, two marble angels point to the other wall frescoes, i.e., one points to the left wall depicting the history of the Eucharist and one points to the right wall depicting the miracles concerning the bleeding host throughout church history. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720664813780-8I7B6PDT1IIM1WXPWMAO/VAT_H_DSC03327_Orvieto+Chapel+Bolsena+Fresco+story_sm_FINE.jpg Raphael - Heliodorus Stanza - Episodes from the story of the “miracle mass in Bolsena,” frescoed on the right wall of the Chapel of the Holy Corporal (1357-1363), Orvieto Cathedral The left middle-row panel of this wall fresco records the 1263 Miracle of Bolsena, showing the blood of Christ on the linen at the mass; the right middle-row panel shows the presentation of the Corporal of Bolsena with Christ’s blood to Pope Urban IV. The left bottom-row panel depicts the Corporal of Bolsena linen being presented to the people of Orvieto. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720664847099-W2T8MX3IP4CW6CM1LA7X/VAT_H_IMG_2964_Orvieto+fresco+left+wall_body+Christ.jpg Raphael - Heliodorus Stanza - Fresco depicting the history of the Eucharist, painted between 1357 and 1363, Chapel of the Corporal, Cathedral of Assumption of the Blessed Virgin Mary, Orvieto This 14th century fresco teaches the dogma of transubstantiation, i.e., the consecrated host and wine are actually the body and blood of Christ, by presenting priests in mass during the consecration of the host as raising the actual body of Christ, shown in the panels in the top and bottom center. Also, Christ, the Eucharist, stands next to the chalice as the priest consecrates the wine, changing it into Christ's blood (bottom right panel). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1720402114988-IGYMWT2M1JV5I3EBWL60/VAT_H_IMG_0588_St+Peter+in+prison+w-ceiling_FINE.jpg Raphael - Heliodorus Stanza - Jacob’s Dream (ceiling) and Liberation of St Peter from Prison (wall), frescoes by Raphael (1514), Room of Heliodorus, The Palace of the Pontiff in Vatican City On the wall below the ceiling fresco of Jacob's Dream, is the Liberation of Peter, painted above and on each side of a window. The story is taken from the Acts of the Apostles, Herod the king, as the narrative says, "stretched forth his hands to vex certain of the church. And he killed James the brother of John with the sword. And because he saw it pleased the Jews, he proceeded further to take Peter also." https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721202572883-3R7LMQJ0ZDJJ0KBQSP0O/VAT_H_DSC01649_Jacob+Dream_Heliiodorus+ceiling_Raphael_crp.jpg Raphael - Heliodorus Stanza - Jacob’s Ladder, fresco by Raphael (1514), ceiling, Room of Heliodorus, The Palace of the Pontiff in Vatican City The story of Jacob's Ladder refers to the vivid, prophetic dream in which Jacob sees a ladder stretching from heaven to earth. The story of Jacob's ladder is often interpreted as a message of divine guidance, promise, and protection. It signifies God's covenant with Jacob and his descendants, who would go on to become the twelve tribes of Israel. It is also considered a significant moment in the life of Jacob, setting the stage for his transformation and spiritual growth, and affirming Jacob as the father of God's chosen people, the Israelites. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721206838893-21FI0IVOH903MNRZHBZM/VAT_H_IMG_0588-B_H_Liberation+St+Peter_HeliodorusRm_FIN.jpg Raphael - Heliodorus Stanza - Liberation of St Peter from Prison, fresco by Raphael (1514), Room of Heliodorus, The Palace of the Pontiff in Vatican City Liberation of St Peter from Prison as described in the Acts of the Apostles alludes to the divine protection granted to the pontificate. The fresco shows three scenes in symmetrical balance formed by the feigned architecture and stairs. In the center the angel wakes Peter, and on the right guides him past the sleeping guards. On the left side one guard has apparently noticed the light generated by the angel and wakes a comrade, pointing up to the miraculously illumined cell. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721015384649-ITNMESBOZPIR2XL0OD2G/VAT_H_DSC01654_VAT_LIberationSt+Peter+delivered+from+prison_Heliodorus+sm+crp_FIN.jpg Raphael - Heliodorus Stanza - Liberation of. St Peter, 1514, detail of center, Room of Heliodorus, The Palace of the Pontiff in Vatican City In the center of The Liberation of. St Peter the angel appears in the compartment over the window in a blaze of light, and this light illuminates all the other figures. It is as if Raphael meant to make it clear that the supernatural light from the angel was brighter and more intense than the light which falls from natural means. Thus, The Liberation of Peter, like the Expulsion of Heliodorus, keeps in mind the power of the divine over the human. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721359783971-UYFUUDHT564CKA86V03L/IMG_0595_VAT_Noah+and+Encounter+Leo+Great+vs+Attila_Raphael_1514_FIN.jpg Raphael - Heliodorus Stanza - Pact between God and Noah, ceiling fresco over The Meeting of Gregory the Great and Attila (wall), Room of Heliodorus, The Palace of the Pontiff, Vatican City The Pact between God and Noah and The Meeting of Leo I and Attila complement each other by expressing the theme of divine intervention and protection. The Meeting of Leo I and Attila, on the west wall, was the last fresco painted in this room. Initially, Raphael depicted Leo I the Great, with the face of Pope Julius II but after Julius’ death in 1513, Raphael changed the painting to resemble the new pope, Leo X. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721282754497-20RFG3RS96BC204FFWRX/VAT_H_DSC01652_VAT_Pact+twix+God+and+Noah_ceiling_FiN.jpg Raphael - Heliodorus Stanza - Pact between God and Noah by Raphael (1514), ceiling fresco over the wall fresco Meeting of Gregory the Great and Attila, Room of Heliodorus, The Palace of the Pontiff, Vatican City Genesis 9 states, “Then God said to Noah and to his sons with him: I now establish my covenant with you and with your descendants after you and with every living creature that was with you—the birds, the livestock and all the wild animals, all those that came out of the ark with you—every living creature on earth. I establish my covenant with you: Never again will all life be cut off by the waters of a flood; never again will there be a flood to destroy the earth." The covenant is an Old Testament iteration of the Heliodorus Room theme of divine intervention and protection; it also could be interpreted as a compact between God and mankind to care for and protect all living things on earth. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721365148644-ZBYSCXM2FV1E2L9UTRI3/IMG_0595-C_Gregory_Peter-Paul-+Attila_HeliodorusRm_Raphael_1514_crp_FINE.jpg Raphael - Heliodorus Stanza - Meeting of Gregory the Great and Attila, by Raphael and his assistants: R. del Colle, G. Romano, & G. Penni, detail, fresco (1514) The Pope and the Hun conqueror met in 452 in northern Italy. According to the legend, the apparition of St. Peter and St. Paul in the sky, armed with swords, persuaded Attila not to invade Rome. Raphael emphasizes this divine intervention by having a startled Attila with his recoiling arms and helmetless head looking up at Sts. Peter and Paul in awe. In contrast, Attila’s black horse, in the middle of the fresco, calmly exchanges eye contact with us while the Pope, on the left, simply raises his had to repel the invaders. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721274466235-EVLF5G68RRP8DOJK63ZD/VAT_H_Leo+X+by+Raphael.jpeg Raphael - Heliodorus Stanza - Portrait of Pope Leo X with the cardinals Giulio de’ Medici and Luigi de’Rossi by Raphael, 1518-1520, Uffizi, Florence As pontiff, Leo X became known for his patronage of the arts in Renaissance Rome and the luxurious lifestyle associated with it. He infamously said, “God has given us the papacy, let us enjoy it.” Under his tenure, Leo continued the project of rebuilding St. Peter’s Basilica, begun under Julius II, and commissioned famed Renaissance artists Michelangelo and Raphael for the task. Raphael was also charged with decorating the pontifical palaces and painting the tapestries in the Sistine Chapel. http://www.sslanzilotti.com/raphael-fire-in-the-borgo daily 0.75 2024-08-07 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721521369824-M7AEGIT0T8S8I8CGI58S/VAT_B_Charlemagne_Oath+Leo+III_Rm+Fire+in+Borgo.jpg Raphael - Fire in the Borgo - Room of the Fire in the Borgo completed between 1514 and 1517, Apostolic Palace, Vatican City This room owes its name to the fire that broke out in the year 847 in the neighborhood in front of St. Peter's Basilica. The room was used in the time of Julius II (pontiff from 1503 to 1513) for the meetings of the highest court of the Holy See, the Segnatura Gratiae et Iustitiae (The Signature of Grace and Justice), presided over by the Pope. However, at the time of Leo X (pontiff from 1513 to1521) the room was used as a dining room and the task of frescoing the walls was assigned to Raphael who entrusted a large part of the work to his school. The work was completed between 1514 and 1517. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721521369824-M7AEGIT0T8S8I8CGI58S/VAT_B_Charlemagne_Oath+Leo+III_Rm+Fire+in+Borgo.jpg Raphael - Fire in the Borgo - Room of the Fire in the Borgo completed between 1514 and 1517, Apostolic Palace, Vatican City This room owes its name to the fire that broke out in the year 847 in the neighborhood in front of St. Peter's Basilica. The room was used in the time of Julius II (pontiff from 1503 to 1513) for the meetings of the highest court of the Holy See, the Segnatura Gratiae et Iustitiae (The Signature of Grace and Justice), presided over by the Pope. However, at the time of Leo X (pontiff from 1513 to1521) the room was used as a dining room and the task of frescoing the walls was assigned to Raphael who entrusted a large part of the work to his school. The work was completed between 1514 and 1517. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721625090354-EZ7NTCQO9GLMUN5FHD4T/15_Estancia_del_Incendio_del_Borgo_%28Vista_general_I%29+copy.jpg Raphael - Fire in the Borgo - Room of the Fire in the Borgo completed between 1514 and 1517, Apostolic Palace, Vatican City After Raphael was assigned to fresco it, Julius II died and the new Pope Leo X (pontiff from 1513 to 1521) decided to have him paint scenes related to the various popes who had had the same name: Leo III (Crowning of Charlemagne and Justification of Leo III) and Leo IV (Fire in the Borgo and the Battle of Ostia). Much of the frescoes in this room were developed by Raphael's students because the Master was engaged by other Papal commissions such as the Sistine tapestries. Six seated figures of emperors and sovereigns who are protectors of the church are shown in the monochromes below the paintings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721446120957-GGWEX5TTGY23IIGD1DBL/VAT_B-1_IMG_0616_VAT_Ceiling_Room+of+Fire+in+the+Borgo_FINE.jpg Raphael - Fire in the Borgo - The Vault (ceiling) of the Room of the Fire of the Borgo (Stanza dell’Incendio di Borgo), painted by Perugino (1507-1508), Vatican City In 1508 Julius II (pontiff from 1503 to 1513) commissioned Pietro Vannucci, called the Perugino, to paint the ceiling of the room that at the time was used to host the meetings of the highest court of the Holy See, the Segnatura Gratiae et Iustitiae (The Signature of Grace and Justice), which was presided over by the pontiff. In concert with the room’s function, Perugino depicted in the four medallions: 1) the Most Holy Trinity, 2) the Creator enthroned among angels and cherubs, 3) Christ, as the Sun of Justice, Tempted by the Devil, and 4) Christ between Mercy and Justice. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721800418743-WTZ1O9XK04B77VKZER3X/VAT_B_DSC01665_Christ-Sol+Iustitiae-Tempted+Devil_Perugino_ceiling_sm.jpg Raphael - Fire in the Borgo - Christ, the Sun of Justice, Tempted by the Devil, by Perugino (1508), ceiling fresco above the "Justification of Leo III," Room of the Fire of the Borgo, Vatican City As the last prophetic book of the Old Testament (515-445 B.C.). Malachi refers to the coming Messiah who will restore all things and usher in the Kingdom of God. In Malachi 4:2, we see the Messiah referred to as the "Sun of Justice", sometimes called the "Sun of Righteousness." The period of waiting for the Messiah was a period of long darkness; but though the night is long, eventually the sun peaks above the horizon, and eventually illuminates the entire earth under its brilliance. By depicting Christ standing between symbolic figures of Holiness and Evil, Perugino reminds us of our freedom to choose between the light and darkness, between good and evil. This is what I love about art – it transcends time, place, culture, etc. to inform us of the human condition; it informs us of our choices today. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721455533018-9QXZSJ4J8GQ9JL9TLGNE/VAT_B_IMG_0619_VAT_Justification+of+Leo+III_Rm-Fire-Bargo_FINE.jpg Raphael - Fire in the Borgo - The Oath of Leo III, by the workshop of Raphael (1516-1517), Room of the Fire in the Bargo, Vatican City In the fresco, Pope Leo III, born a commoner, is seen at trial on December 23 AD 800 during which he was brought face to face with the nobles, including the nephews of his predecessor Pope Hadrian I, who believed a commoner should not be Pope. They had accused him of misconduct, and an angry mob had threatened to gouge out his eyes and tear out his tongue. Pope Leo escaped and fled north to the city of Paderborn where he met with Charlemagne, whom he had previously asked for support. Charlemagne and his forces then escorted Leo III back to Rome. There, Charlemagne held a council with both Pope Leo and the pope’s enemies. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721871464460-BUCDC5B0Z5UK3BWJOCTN/VAT_B_IMG_0620_Justification+of+Leo+III_Rm-Fire-Bargo_FINITO_crp.jpg Raphael - Fire in the Borgo - The Oath of Leo III, by the workshop of Raphael (1516-1517), Room of the Fire in the Bargo, Vatican City Pope Leo III is shown taking an oath of purgation - he swore that he was innocent of any crimes – while the Pope’s powerful supporter, Charlemagne, holding a crown, is watching seated on the upper left. As a result of this council, the Roman nobles who opposed Leo were banished. Then, two days later, on Christmas Day, 800 C.E., Pope Leo III crowned Charlemagne emperor of the Roman Empire. By crowning Charlemagne, the Pope Leo X gave the papacy and the church implicit authority over the empire, since with this act Leo set a precedent for crowning emperors, which subsequent popes would do throughout the reign of the Holy Roman Empire. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721453007560-0ZUSH9B7CHEVG9WT0QP9/VAT_B_DSC01664_Most+Holy+Trinity_Perugino_Bargo+ceiling_FIN.jpg Raphael - Fire in the Borgo - The Most Holy Trinity by Pietro Vannucci, called the Perugino, 1508, ceiling fresco, Room of the Fire of the Borgo, Papal Palace, Vatican City On the ceiling of the Room of the Fire in the Borgo, under which Raphael painted the The Coronation of Charlemagne (1516-17), Perugino depicted the Most Holy Trinity, the very essence of the Christian God. Showing in vertical continuation, above is the Father, holding the earth in his hand and surrounded by putti and angels, in the center Jesus incarnate, standing and glorious, surrounded by the kneeling Apostles, and below Christ, toward us, hovers the Holy Spirit, in the form of a dove. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721454422628-P805H1SZ41FHKFQ8G74K/VAT_B_IMG_0617_VAT_Crowning+of+Charlemagne_FINAL.jpg Raphael - Fire in the Borgo - The Coronation of Charlemagne, painted by the workshop of Raphael, most likely Gianfrancesco Penni using Rapahel’s design (1514-1517), Palace of the Pope, Vatican City The painting shows how Charlemagne was crowned Holy Roman Emperor by Pope Leo III (pontiff from 795 to 816), the continuation of the Holy Trinity on earth, on Christmas Evening, 800. Behind Charlemagne, a child page holds the royal crown that he just took off to receive the imperial one. According to Giorgio Vasari (often called “the first art historian”), the child page holding the royal crown is a portrait of the infant Ippolito de’Midici, whose father died when he was only five (1516), and he was subsequently raised by his uncle, Pope Leo X, and his cousin, Giulio de' Medici. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721706931417-OTJ2MFDHCW9DFMIUVN2W/VAT_B_IMG_0617_-B_VAT_Crowning+of+Charlemagne_crp_FINAL.jpg Raphael - Fire in the Borgo It is suggested that the fresco refers to the Concordat of Bologna, negotiated, in 1515, between the Holy See (the universal government of the Catholic Church) and the kingdom of France, since Leo III is in fact a portrait of Leo X (head of the Catholic Church and ruler of the Papal States (1513 -1521) and Charlemagne a portrait of Francis I (King of France, 1515 - 1547). Amongst other matters, the Concordat of Bologna permitted the Pope (Leo X) to collect all the income that the Catholic Church made in France, while the King of France (Francis I), was confirmed in his right to tithe the clerics and to nominate appointments to benefice (archbishops, bishops, abbots and priors). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721522348334-LD25TPVQKEYPWWTSN38X/VAT_B_DSC01663_Christ+between+Mercy+and+Justice_Perugino_Bargo+ceiling_FIN.jpg Raphael - Fire in the Borgo - Christ between Mercy and Justice, by Perugino (1508), ceiling fresco above “The Fire in the Borgo” by Raphael, Room of the Fire in the Borgo, Apostolic Palace, Vatican City As Sol Justitiae (the Sun of Justice), Christ triumphs (within the mandorla of divinity) suspended between Justice, equipped with scales and sword, and Mercy, who stands at His right, toward whom He turns with a benign gesture and gaze. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721876081814-PLVUZM3E35797XV3AV51/VAT_B_DSC01663_Detail+Justice+w+Solomon+knot_Christ+between+Mercy+and+Justice_Bargo+ceiling_crpII.jpg Raphael - Fire in the Borgo - Christ between Mercy and Justice by Perugino (1508), detail of ceiling fresco above “The Fire in the Borgo” by Raphael, Room of the Fire in the Borgo, Apostolic Palace, Vatican City The necklace on the chest of Justice is known as Solomon’s Knot, the sign named after the great King of Israel. On this sign there existed, since Mesopotamian antiquity, a very strong and complex symbolism, taken up by various peoples and reaching as far as Dante in the Divine Comedy. In the Middle Ages Solomon’s knot was used as an amulet to ward off evil and ensure justice. In Perugino’s fresco, the knot signifies the perfect equity of Justice. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721956502129-NYSN8PEEFDIVABKXOROH/DSC01661_VAT_Fire+at+the+Borgo+_FIN_sm.jpg Raphael - Fire in the Borgo - The Fire in the Borgo (1514), illustrated by Raphael and painted by his workshop, Room of the Fire in the Borgo, Palazzi Pontifici, Vatican City The Fire in the Borgo celebrates the intercession of Leo IV, by whose grace a fire which spread through the Borgo, a popular section of Rome near the Basilica of St Peter, was extinguished. The event depicted happened in AD 847 and is documented in the "Liber Pontificalis" (a collection of early papal biographies). The scene is highly effective and demonstrates Raphael's skill as an illustrator, although it may have been executed largely by his pupils. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723010746345-92SFKYBBHX1M7OB2VOEZ/VAT_B_Aenea+carries+Anchises%2C.jpg Raphael - Fire in the Borgo - Raphael’s drawing of Aeneas carrying Anchises, (ca. 1513-14), courtesy of Ashmolean Museum, University of Oxford. Raphael’s study of Aeneas carrying Anchises for The Fire in the Borgo, based on the episode of the Aeneid in which after a ten-year siege of Troy, the Greeks finally succeeded in overrunning the city by tricking the Trojans with the Trojan horse. As the city was being sacked, Aeneas, a Trojan prince carries his elderly father, Anchises, on his back from Troy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721963133169-6G9P8SUZQRQG12DQCAPQ/DSC01661_VAT-C_Aeneas_Fire+at+the+Borgo_Bernini_FIN.jpg Raphael - Fire in the Borgo - Escaping the fire, detail from The Fire in the Borgo (1514), illustrated by Raphael, Vatican City and Aeneas with Anchises and Ascanius (1618-1619) by Gianlorenzo Bernini, Borghese Gallery, Rome Raphael may have designed the group in the left foreground of The Fire in the Borgo, made up of an old man on the shoulders of a young man, and a child, from the episode of the Aeneid in which Aeneas, a Trojan prince carries his elderly father, Anchises, on his back; who in turn carries his ancestors' ashes and household gods. Ascanius, Aeneas' son, follows close behind. Aeneas eventually leads his family to Latium in Italy, where he becomes an ancestor of the Roman people. Aeneas was considered a role model for his commitment to moral duty, both before the gods and before other men. Next to Raphael’s illustration (left) I have included my photos of Bernini’s sculpture of Aeneas fleeing Troy from the Galleria Borghese, Rome. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721956542808-6MJPWH8OM4JCTDA1Q94J/DSC01661_VAT-B_Detail_Leo+IV_Fire+at+the+Borgo_FIN.jpg Raphael - Fire in the Borgo - Leo IV at The Fire in the Borgo (detail), illustrated by Raphael and painted by his workshop (1514), Room of the Fire in the Borgo, Palazzi Pontifici, Vatican City The Pope Leo IV, who again bears the features of Leo X, blesses the frightened crowd from a gallery located beyond the colonnades. The façade of old St Peter's appears behind him, in the background. Pope Leo IV managed miraculously to halt the raging fire, which was threatening this area of the city, by his benediction from the loggia of Old St Peter's. Thus, the Pope, through his grace, protected the people. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721967373744-I6TPQ35H33TNMWRY5DHN/VAT_B_IMG_0618_VAT_Battle+of+Ostia+in+849_wall-ceiling_rev_END.jpg Raphael - Fire in the Borgo - The Eternal Father Enthroned by Perugino (1508), ceiling fresco above The Battle of Ostia (849) illustrated by Raphael, painted by his workshop (1514-1515), the Room of the Fire in the Borgo, Vatican https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721522860021-RJ6ZK5HP3KWM5LM1ILHJ/VAT_B_DSC01662_Creator+Enthroned+etc_Perugino_Fire+Bargo+Ceiling_FIN.jpg Raphael - Fire in the Borgo - The Eternal Father Enthroned by Perugino (1508), ceiling fresco in the Room of Fire in the Borgo, Palazzi Pontifici, Vatican City The Eternal Father Enthroned, surrounded by cherubim and angels sits within the golden circle of light; he holds the world, the symbol of the entire creation, in his hand; his angels have the colors of the theological virtues and are shown suspended in superhuman spirit of God. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721523755177-I12M1YDHKLH2M2I8AXAL/VAT_B_IMG_0618_VAT_Battle+of+Ostia+in+849_Fire-Bargo_FINE.jpg Raphael - Fire in the Borgo - The Battle of Ostia (849) illustrated by Raphael, painted by his workshop (1514-1515), the Room of the Fire in the Borgo, Vatican City In the Battle of Ostia (849) the troops of Leo IV met the Saracen armies in combat. Raphael’s design of the miraculous victory of the papal army is celebrated, and, in addition, he alludes to Leo X’s plans for a crusade against the Turks directed against Constantinople. Leo X, in order to stop the advance of the Ottoman sultan, Selim I, who was threatening eastern Europe, made elaborate plans with France, England, Spain, and Portugal for a crusade. His plans fell through due to England’s insistence for control. In 1519 Hungary concluded a three years' truce with Selim I, but the succeeding sultan, Suleiman the Magnificent renewed the war in June 1521 and in August captured the citadel of Belgrade. The pope was greatly alarmed, and although he was then involved in war with France, he sent about 30,000 ducats to support the Hungarians. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721522912873-BHY6X473WL4YV0AC6ZDI/VAT_B_IMG_0622_DETAIL_Battle+of+Ostia+in+849_Rm-Fire-Bargo_FIN.jpg Raphael - Fire in the Borgo - Naval Battle detail, The Battle of Ostia (849), illustrated by Raphael, painted by his workshop (1514-1515), the Room of the Fire in the Borgo, Vatican City The naval Battle of Ostia took place in 849 in the Tyrrhenian Sea between a Muslim fleet and an Italian league of Papal, Neapolitan, Amalfitan, and Gaetan ships. The battle ended in favor of the Italian league, as they defeated the Muslims. It is one of the few events to occur in southern Italy during the ninth century that is still commemorated today, largely through the walls named after Leo IV and for the existence of this paining in the Room of the Fire in the Bargo. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721978828067-3TEZISPPRPEEH61FBR9W/VAT_B_IMG_0618-B_detail_Leo+IV_Battle+of+Ostia+in+849_Rm-Fire-Bargo+_crp_FIN.jpg Raphael - Fire in the Borgo - Leo IV blessing, detail, The Battle of Ostia (849), illustrated by Raphael, painted by his workshop (1514-1515), the Room of the Fire in the Borgo, Palazzi Pontifici, Vatican City News of a massing of Muslim ships off Sardinia reached Rome early in 849. A Christian armada, commanded by Caesar, son of Sergius I of Naples, was assembled off recently refortified Ostia, and Pope Leo IV came out to bless it and offer a mass to the troops, as shown here. After the Muslim ships appeared, battle was joined with the Neapolitan galleys in the lead. Midway through the engagement, a storm divided the Muslims and the Christian ships managed to return to port. The Muslims, however, were scattered far and wide, with many ships lost and others sent ashore. When the storm died down, the remnants of the Muslim fleet were easily picked off, with many prisoners taken. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1721978826399-IJS2SBVL2OFNXNA8L8DH/VAT_B_IMG_0618-C_detail+soldeirs_Battle+of+Ostia+in+849_Rm-Fire-Bargo+_FIN.jpg Raphael - Fire in the Borgo - Prisoners, detail, The Battle of Ostia (849), illustrated by Raphael, painted by his workshop (1514-1515), the Room of the Fire in the Borgo, Palazzi Pontifici, Vatican City In the aftermath of the Battle of Ostia, much flotsam and jetsam washed ashore and was pillaged by the locals, per jus naufragii (a medieval custom which allowed the inhabitants or lord of a territory to seize all that washed ashore from the wreck of a ship along its coast. This applied, originally, to all the cargo of the ship and the wreckage itself.) The prisoners taken in battle were forced to work in chain gangs building the Leonine Wall which was to encompass the Vatican Hill. Rome would never again be approached by a Muslim army. http://www.sslanzilotti.com/raphael-hall-constantine daily 0.75 2024-08-06 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722057008378-53SH6XFKDVJA9NKA6FW6/VAT_C_Constantine+Room_dsc_5032_FIN.jpg Raphael - Hall of Constantine - Hall of Constantine, walls painted between 1517-1524 by Raphael’s assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle, Papal Palace, Vatican City (internet photo) The Hall’s wall-frescoes depict episodes in the life of the Roman emperor Constantine: The Vision of the Cross, the Battle of the Milvian Bridge, the Baptism of Constantine, and the Donation of Constantine. He was the first emperor to embrace Christianity and to concede freedom of religion within the Empire. The entire Hall is a celebration of the triumph of the Christian religion over paganism. This was the last of Raphael’s Stanze to be decorated. Due to Raphael's death in 1520, at age 37, his assistants finished the frescoes, utilizing Raphael’s preparatory sketches. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722057008378-53SH6XFKDVJA9NKA6FW6/VAT_C_Constantine+Room_dsc_5032_FIN.jpg Raphael - Hall of Constantine - Hall of Constantine, walls painted between 1517-1524 by Raphael’s assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle, Papal Palace, Vatican City (internet photo) The Hall’s wall-frescoes depict episodes in the life of the Roman emperor Constantine: The Vision of the Cross, the Battle of the Milvian Bridge, the Baptism of Constantine, and the Donation of Constantine. He was the first emperor to embrace Christianity and to concede freedom of religion within the Empire. The entire Hall is a celebration of the triumph of the Christian religion over paganism. This was the last of Raphael’s Stanze to be decorated. Due to Raphael's death in 1520, at age 37, his assistants finished the frescoes, utilizing Raphael’s preparatory sketches. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722148873623-7OJ77N49ZBFHKCGY1KMA/VAT_C_INT_Tommaso_Laureti_Ceiling_Room_of_Constantine_FIN.jpg Raphael - Hall of Constantine - Ceiling fresco (1582-1585) by Tommaso Laureti (1530–1602), with central panel, The Triumph of Christianity, Hall of Constantine, Papal Palace, Vatican City (internet photo) The original wooden roof which Leo X (pontiff 1513 to 1521) had built was replaced under Gregory XIII (pontiff from 1572 to 1585) by the modern ceiling, the decoration of which was entrusted by order of the Pope to Tommaso Laureti who portrayed the Triumph of Christianity in the central panel to express the success of Christianity in honor of the first holy Roman emperor, Constantine. The work was completed under Pope Sixtus V (pontiff 1585 to 1590). The panel is surrounded by paintings of eight regions of Italy and three continents: Europe, Asia, and Africa. The corners of the ceiling depict the undertakings of Gregory XIII, and the frieze above shows heraldic elements of Sixtus V. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722140372658-QJHS1AQ02ZB45BJHKAWX/VAT_C_detail_Laureti_Triumph+Christaanity_Constantine_FINAL.jpg Raphael - Hall of Constantine - Detail of The Triumph of Christianity (1582-1585), by Tommaso Laureti, central panel of the ceiling of the Hall of Constantine, Papal Palace, Vatican City (internet photo) Within the Triumph of Christianity, Laureti captures an outstanding perspective of depth which pays tribute toConstantine’s destruction of all pagan idols within Rome (although actually Constantine did not destroy the pagan idols). The broken idol on the floor represents the removal of pagan gods/religion, which is replaced by Christ’s image on the cross, thus symbolizing the triumph of the Christian religion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722042450392-GDVECWULDCN7CEKIHETP/VAT_C_School_of_Raphael_Vision_of_the_Cross_FIN.jpg Raphael - Hall of Constantine - Wall of The Vision of the Cross, Popes, and Virtues (1517) by Raphael’s assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle, Papal Palace, Vatican City (internet photo) The Vision of the Cross refers to the vision that came to Constantine (272–337 A.D.) just before the bloody battle against Maxentius, who had proclaimed himself to be the emperor of Rome. The Vision of the Cross was a key event that was said to have been a step towards Constantine’s conversion to Christianity during his battles to become emperor. Also, as shown on both sides of the fresco, Vision of the Cross, decoration of the Hall’s walls was completed with figures of great Popes flanked by allegorical figures of Virtue, e.g., as shown here, on the right, is a portrait of Clemens I sitting on a papal throne. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722062305596-QMV3P40INCB4QFBULV7O/VAT_C_B_School_of_Raphael_Vision_of_the_Cross_crp_FINE_INT.jpg Raphael - Hall of Constantine - Vision of the Cross (1517) by Raphael’s assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle, Papal Palace, Vatican City (internet photo) According to the Eusebius' Life of Constantine (337 AD), in which he claimed to have heard the story from Constantine himself, Constantine saw a vision of "a cross-shaped trophy formed from light" above the sun at midday. In The Vision of Constantine, he is depicted in a military camp looking towards a giant cross in the sky that is surrounded by Greek words (τούτῳ νίκα) saying, “In this sign, conquer,” telling him that he would win the battle only if he used that symbol as his standard. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722664193146-RHN6MSTH6JL6ELZK6GAQ/VAT_C_Friendship+by+Raphael_1519_Vision+Cross_INT_Shad.jpg Raphael - Hall of Constantine - Friendship (wearing a blue gown) by Raphael (1519), painting in oil, adjacent to the fresco The Vision of the Cross, by Raphael’s assistants, next to portrait of Clemens I, Hall of Constantine According to Georgio Vasari’s (1511-1574) Lives of the Most Eminent Painters, Sculptors, and Architects, Raphael painted two figures somewhere in the Vatican rooms while experimenting with oil paint. In 2017, restoration artists found that unlike other figures, the figures of Justice and Friendship were painted in oil. Analysis of the brushstrokes confirmed that Raphael was the author of the allegories, created in 1519 shortly before his death in 1520. Raphael’s Friendship, wearing a blue gown, is found in the right corner of The Vision of the Cross. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722038508910-AUMJTOIHCDFPYBNHJR8B/IMG_0578-A_VAT_Battle+of+Pons+Milvius_exec+by+Ggiulio+Romano+Rm+Constantine_FINE.jpg Raphael - Hall of Constantine - The Battle of Pons Milvius (1520-1524) designed by Raphael and completed by his pupil Giulio Romano and other assistants (Gianfrancesco Penni and Raffaellino del Colle), Papal Palace, Vatican City The first fresco in the Hall of Constantine showed Constantine and his army as they witness the miraculous vision of a cross in the sky. The second shows him aided by angels and defeating Maxentius in the Battle of the Milvian Bridge just outside of Rome. The two murals teach viewers that Constantine won the decisive Battle of the Milvian Bridge because he heeded a heavenly message. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722977739354-19VF4AXVIDJN6U0BRMKZ/VAT_C_sanzio-raffaello-a-warrior-riding_INT.jpg Raphael - Hall of Constantine - A Warrior Riding a Horse and Figures of Two Nudes Fighting (1505) by Raphael, pen and brown ink, traces of fountain pen on yellow paper, Italy, Veneto, Venice, Academia Art Galleries This preparation drawing by Raphael, A Warrior Riding a Horse and Figures of Two Nudes Fighting seems to be reflected in the detail picture below in which a rider on a black horse, behind and to the right of Constantine, is engaged in battle. Raphael used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by the number of variants that survive: "...This is how Raphael himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done" wrote another writer after his death. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722039066318-D12WHJS6IDPY6J4HBE43/VAT_C_IMG_0578-B_VAT_DETAIL_Constantine+_Battle+of+Pons+Milvius-312AD_FINAL.jpg Raphael - Hall of Constantine - Detail of Constantine in The Battle of Pons Milvius by Raphael’s assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle (1517), Papal Palace, Vatican City This detail of The Battle of the Milvius Bridge shows that Constantine (in gold), as instructed in his vision, changed his military standards to bear Christian signs and symbols. e.g., the cross, and, consequently, sword-wielding angels (flying above Constantine) then joined him in the battle. The two frescoes claim both that Constantine chose to fight for God and that God therefore chose to fight for him. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722397209440-TV64IUDFSI0AGBQA7E13/VAT_C_IMG_0578_D_DETAIL_Battle+of+Pons+Milvius-312AD_Rm+Constantine_FINE.jpg Raphael - Hall of Constantine - Detail of The Battle of Pons Milvius by Raphael’s assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle (1517), Papal Palace, Vatican City The victory Constantine won with the help of the Christian God placed the emperor — and thereby the empire as well — under the protection of the Cross and in direct dependence upon Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722036503086-Y56CN7EO06E6QU4RJ2A1/IMG_0577_VAT_Detail_Black-White+Horses_Battle+Pons+Milvius-312AD_Rm+Const_FIN.jpg Raphael - Hall of Constantine - Detail of The Battle of Pons Milvius by Raphael’s assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle (1517), Papal Palace, Vatican City Already known as a skillful general, Constantine first launched his cavalry at the cavalry of Maxentius and broke them. Constantine's infantry then advanced; most of Maxentius's troops fought well but they began to be pushed back toward the Tiber. Maxentius then decided to order a retreat, intending to make another stand at Rome itself. However, there was only one escape route, via the bridge. Constantine's men inflicted heavy losses on the retreating army. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722841255944-04HPFSP5U36AX8CQGI04/VAT_C_Raphael_Study+for+the+Battle+of+the+Milvian+Bridge_FIN.jpg Raphael - Hall of Constantine - Study used for the Battle of the Milvian Bridge by Raphael Based on the designs of Raphael, who died in 1520, The Battle of the Milvian Bridge was painted by his assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle between 1520-1524 in the Hall of Constantine. Above is Raphael’s drawing in red chalk of a horse and rider that was included in the fresco, as can be seen in the center of the photo below, i.e., the white horse that has fallen onto its belly, with its rider looking up to the sky, perhaps at the flying angels with swords (see full fresco in top picture). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722033735675-6EJ4P0F1HB91C6JMJJ36/VAT_C_IMG_0580_Detail_Maxentius_Battle+of+Pons+Milvius-312AD_FINE.jpg Raphael - Hall of Constantine - Detail of Maxentius in The Battle of Pons Milvius by Raphael’s assistants, Gianfrancesco Penni, Giulio Romano, and Raffaellino del Colle (1517), Papal Palace, Vatican City This detail from The Battle of the Milvian Bridge depicts Constantine’s brother-in-law Maxentius (lower right), wearing a crown as the rival imperial claimant, struggling on his horse in the Tiber River. He seems to be looking up at Constantine (see top photo of the fresco) who is carrying a lance and leading the battle of his victorious human and spirit army. This detail image alludes to the report that Constantine’s outnumbered forces defeated Maxentius’ forces, which tried to retreat over the River Tiber on a pontoon bridge. In the chaos of the retreat, the bridge collapsed, leaving only the too-narrow Milvian Bridge as a route to escape. Maxentius and many of his men would drown or be trampled to death in the escape. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722851983169-8YQYVMXFZPU3CMSUFFAH/VAT_C_Justice+by+Raphael.jpg Raphael - Hall of Constantine - Justice (bearing a set of scales, at which she is staring) by Raphael (1519), painting in oil, wall The Battle of the Milvian Bridge, by Raphael’s assistants (1520-1524), Hall of Constantine Justice (left) is the other figure, besides Friendship, Raphael painted while experimenting with oils in the Hall of Constantine. However, his students didn’t dare finish his experiment with oil and used the secure and reliable fresco method for the Hall, as seen in the portrait of Pope Urban V and the allegory of Charity, both to the right of Justice, as shown above. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722037065452-6AQEGZ3JRV24PJU5QLFO/VAT_C_INT_Giannfrancesco_Penni_-_Baptism_of_Constantine+_FIN.jpg Raphael - Hall of Constantine - Wall of The Baptism of Constantine, painted by Giovanni Francesco Penni (c. 1520-1524), designed by Raphael The third fresco, opposite the wall of The Battle of the Milvian Bridge, depicts the legend of the Baptism of Constantine, suggesting what happened after the great victory at Milvian Bridge. The emperor, naked, kneeled before Pope Sylvester who baptized him, thus becoming the defender of Christianity. The figure of Pope Sylvester has the face of Clement VII, in homage to the pontiff who had continued the works in this Hall. In fact, it is widely accepted that Bishop Eusebius of Nicomedia baptized Constantine on his death bed, as was the custom of the time. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722033471350-SO6BY7DJGXSXDIHRTZGL/VAT_C_IMG_0582_Baptism+of+Constantine+by+Gioovanni+Francesco+Penni_FIN.jpg Raphael - Hall of Constantine - The Baptism of Constantine by Giovanni Francesco Penni (c. 1520-1524) after design by Raphael The baptism depicted here takes place in the Baptistry of the Lateran Basilica, which Constantine erected after his battle with Maxentius on the demolished campsite of his opponent's elite cavalry. Penni depicted the octagonal structure with its mighty Ionic pillars with great fidelity. Constantine kneels before Pope Sylvester I, who pours water over the emperor's head from a dish. Above stands a man dressed in blue holding a long cross that points to the sign of victory sent by God and is the symbol of Constantine's rule. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722033556280-NMLJIM4RC9G4I34S5RKA/VAT_C_IMG_0581_detail_Baptism+of+Constantine+by+Gioovanni+Francesco+Penni_FIN.jpg Raphael - Hall of Constantine - The Baptism of Constantine by Giovanni Francesco Penni (c. 1520-1524) after designs by Raphael According to legend, Constantine suffered from leprosy and asked pagan priests for a remedy. The pagans told him to slaughter little children and bathe in their warm blood. Constantine refused to do so, and for his merciful restraint, Saints Peter and Paul appeared to him and told him to seek out Saint Sylvester. He found the saint in hiding because of the persecutions, but Constantine led him into Rome in triumph. Sylvester then cured Constantine’s leprosy by having him do penance and take this baptismal bath. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722046589646-RKVN7D462F8R8N3D2QX1/VAT_C_Donation+of+Constantine.jpg Raphael - Hall of Constantine - The Donation of Constantine (1520 - 1524) most likely painted by Gianfrancesco Penni or Giulio Romano, Hall of Constantine In the fourth mural Constantine, on his knees, offers Pope Sylvester a golden statuette, symbolizing the city of Rome, and representing an actual document, the Donation of Constantine. The three-page Donation announces that the emperor is conferring vast political and ecclesiastical authority upon the Roman Church. However, in 1440, Lorenzo Valla showed that the Latin used in the Donation of Constantine document was not that of the 4th century, and was a forgery composed probably in the 8th century, used especially in the 13th century, in support of claims of political authority by the papacy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722752607127-1OZMZJHKYURZGK44MOAS/VAT_C_img_7285_Donation+of+Constantine_crp_FINE.jpg Raphael - Hall of Constantine - Detail of The Donation of Constantine (1520 - 1524) most likely painted by Gianfrancesco Penni or Giulio Romano The Donation document authorizes the pope to rule over “the city of Rome, and all the provinces, places, and cities of Italy and the Western regions.” It promotes the pope to be the ruler of the western half of the Roman Empire. As the Donation puts it, “Where the supremacy of priests and the head of the Christian religion have been established by the heavenly Emperor, it is not right that there an earthly emperor should have jurisdiction.” Accordingly, the Donation proposes the pope’s religious and political authority comes directly from God. Priestly and papal rule trumps mere political rule and is sufficient to replace it. Only in 1870, when the popes lost the last remnant of their political authority, did the Church cease to be directly involved in political rule. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1722841070870-VYWGW6QJAKKL8H33KEKB/VAT_C_IMG_3927_Raphael+by+Angelo+Doni+1506.jpg Raphael - Hall of Constantine - Portrait of Raphael by Angelo Doni, c. 1506, Pitti Gallery, Florence. After enjoying the artistic genius of Raphael in the four stanze in the Papal Palace, Vatican City, The Room of the Signature, The Room of Heliodorus, The Room of the Fire in the Borgo, and The Hall of Constantine, I thought it important to present a portrait of the artist as a young man. http://www.sslanzilotti.com/palazzo-barberini-1 daily 0.75 2024-09-06 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723331885327-LT96AAHJEG2GYPK87NYJ/B_IMG_1232_Palazzo+Berberini.jpg Palazzo Barberini_1 - Entry to the Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Italy Many of the artworks presented in the Palazzo Barberini from the 13th to 18th century, images of Christ’s crucifixion and the suffering of various martyrs, regardless of their religious purposes, are reminders of man’s inhumanity to man. Secularly, they are stories of the suffering that humans have imposed upon each other because of difference, and hopefully beckon us to choose a different path. Viewed from this latter perspective I believe them as visual messages from the past that have been saved to inform the present and guide us into our future. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723331885327-LT96AAHJEG2GYPK87NYJ/B_IMG_1232_Palazzo+Berberini.jpg Palazzo Barberini_1 - Entry to the Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Italy Many of the artworks presented in the Palazzo Barberini from the 13th to 18th century, images of Christ’s crucifixion and the suffering of various martyrs, regardless of their religious purposes, are reminders of man’s inhumanity to man. Secularly, they are stories of the suffering that humans have imposed upon each other because of difference, and hopefully beckon us to choose a different path. Viewed from this latter perspective I believe them as visual messages from the past that have been saved to inform the present and guide us into our future. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723331875222-G5CXJ4FI3DOA1RB13GF3/B_IMG_1236_Palazzo+Berberini+Bldg.jpg Palazzo Barberini_1 - Gallerie Nazionali di Arte Antica, Palazzo Barberini, designed for Pope Urban VIII, a member of the Barberini family, by the 16th c. architect Carlo Maderno on the old location of Villa Sforza, Rome Museum poster: Palazzo Barberini is a Baroque palace designed by three of the most important architects of the 1600s: Carlo Maderno, Gian Lorenzo Bernini and Francesco Borromini. The entrance hall ceiling is frescoed by Pietro da Cortona (1632-1639). Palazzo Barberini became a National Museum in 1953 as a second venue of the National Gallery of Antique Art, along with Palazzo Corsini, where the Gallery had first opened in 1895. The Barberini collections provide a comprehensive insight in Italian and European culture from 1200 to 1700, with masterpieces by Filippo Lippi, Raffaello, Caravaggio, Gian Lorenzo Bernini, Pompeo Batoni. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723531860214-081EJNQMESX9TQK09FD4/B_IMG_1243_Palazzo+Barberini_Entry.jpg Palazzo Barberini_1 - Entrance, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy In 1949 the Italian State acquired Palazzo Barberini from the heirs of the Barberini family along with part of their collection, making it one of two locations for the 5,000 works of art, including sculpture, sketches, and decorative art from the 13th to the 18th century of the Nazionale di Arte Antica, along with the Palazzo Corsini, with works from the Corsini collection and adding from the Torlonia, Chigi, Mattei and Sciarra collections. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725163204232-XC115QPO3KLSF7GN6RWP/IMG_1318_Cortona+ceiling_H_FINAL-DrkBr.jpg Palazzo Barberini_1 - The Triumph of Divine Providence and the Fulfilment of its Purposes Under Pope Urban VIII (1632-1639), fresco by Pietro da Cortona (1597-1669) and pupils, Palazzo Barberini, Rome, Italy Museum label: The immense composition celebrates the spiritual and political power of the Barberini family through myriad characters – over 100 of them – set in an open space, dilated to infinity beyond the limits imposed by the architecture. The only measure which can anchor the eye is the great rectangular cornice painted illusionistically to resemble marble, dividing the vault into 5 compartments. Divine Providence is seated at the center, enthroned on clouds, holding the royal scepter and commanding Fame to crown the coat of arms of the Barberini family. In each of the side panels, opposing principles are depicted, such as vices and virtues, good and evil: Minerva fells the Giants; Theology and Religion ward off lechery and debauchery; Hercules drives off the avid Harpies; and Good Government banishes war and ensures peace. With it whirling vitality… and frenetic rhythm, the fresco is one of the earliest and most accomplished examples of Baroque painting. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725419358217-Q5O2RN25EMLBQAURCYPK/DSC02601_detail_Providence-Bees_ceiling-PIetro+da+Cortona_14x11_FINAL_DrBr2.jpg Palazzo Barberini_1 - Divine Providence Commanding Fame to Crown the Coat of Arms of the Barberini family, detail, The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII In Pietro da Cortona’s Baroque ceiling, the open center of the vault celebrates the inauguration of the election of Urban VIII as pope, in which the crucial interchange between the earthly and heavenly realms occurs. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725427787857-3GEZQ8YSHZEX3TBCBKGZ/DSC02581_Crowning_ceiling%2Bof%2BPietro%2Bda%2BCortona_CRP_FIN_DrBR2.jpg Palazzo Barberini_1 - Crowning the Coat of Arms of the Barberini family, detail, The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII Pietro’s highly animated ‘spectacle’ of the Allegory of the Barberini Family takes place against an open sky where the figures are projected in perspective against an infinite space. In this upper section, the three theological virtues are portrayed holding up a laurel-leaf crown (symbol of poetry) which encircles three gigantic bees, an emblem of the House of Barberini and a symbol of Knowledge. Above them Religion holds up the gold keys signifying papal authority while the figure of Rome holds a tiara crown over Urban VIII to highlight the pope’s temporal and spiritual power. In this moving group, the figure of Charity marks the center of the large rectangular frame. The scene is lit by the light emanating from the image of Divine Providence below. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725423978568-5Z9ANUKMX5APWJ2MEF6A/DSC02586_Divine+Providence-Fame-Barberini_ceiling-PIetro+da+Cortona_CRP_DrBr2.jpg Palazzo Barberini_1 - The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, detail, fresco by Pietro da Cortona (1597-1669) Palazzo Barberini, Rome Divine Providence is seated at the center, enthroned on clouds, holding the royal scepter and commanding the embodiment of Rome to crown the coat of arms of the Barberini family; her head radiates light, at the apex of a pyramidal arrangement. Providence is held up by Father Time (carrying a scythe) and Fate (carrying a spindle). To the left of Providence a winged Immortality proffers a crown of stars as she flies towards the Barberini family symbol. Also, included are figures like Truth (dressed in white, below and right of Immortality) and Eternity who represent the triumph of religion and the papacy. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725509607973-MN21DZQRHMN0I9IVOHQ1/IMG_1318_Cortona+ceiling_V_FINAL_DrBr2.jpg Palazzo Barberini_1 - The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, fresco by Pietro da Cortona (1597-1669) Palazzo Barberini, Rome, Italy On the sides of the Allegory of Divine Providence are episodes of pagan mythology representing opposing principles, such as vices and virtues (clockwise): Hercules Drives Off the Avid Harpies, While Justice and Plenty Come to the Aid of the Beggars; Theology and Religion Ward off Lechery and Debauchery; Minerva Fells the Giants; and Good Government Banishes War and Ensures Peace. The scenes alluded to the virtue and power of the Barberini family that gave prosperity and peace to the people thanks to the primacy of intelligence over force. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725438117392-E1BC1Z0I6NNKEEH8Q3OI/DSC02592_Hercules+vs+Harpies_Justice-Plenty_PIetro+da+Cortona_FIN_DrBr2.jpg Palazzo Barberini_1 - Hercules, Justice and Plenty, detail, The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, fresco by Pietro da Cortona (1597-1669) Palazzo Barberini, Rome, Italy The scenes in Pietro’s ceiling alluded to the virtue and power of the Barberini family who gave prosperity and peace to the people thanks to the primacy of intelligence over force. Here, he presents Hercules Drives Off the Avid Harpies, while Justice and Plenty come to the Aid of the Beggars. Hercules drives off the harpies, half-human and half-bird creatures, whose name means 'snatchers' or 'swift robbers', and who were said to steal food from their victims while they were eating. Justice carries the fasces, the bundle of rods, which in ancient Rome symbolized a Roman king’s power to punish his subjects, and later, a magistrate’s power and jurisdiction, while Plenty brings food to the poor. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725517408297-Y8JYYJQQOTQ4TE9MDR2X/DSC02588_detail_theology+and+religion-lechery-debauchery_ceiling-Cortona_FINAL_DrBr2.jpg Palazzo Barberini_1 - Theology and Religion Ward off Lechery and Debauchery, detail of The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, fresco by Pietro da Cortona (1597-1669) Theology and Religion ward off lechery and debauchery, in the form of Venus reclining on the left, and Silenus on the right. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725441753578-9JTZQSOLSQTVS9XYUTVQ/DSC02588_detail_theology+and+religion-Venus-debauchery_Cortona_FIN_DrBr2.jpg Palazzo Barberini_1 - Venus, detail, Theology and Religion Ward off Lechery and Debauchery, The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, fresco by Pietro da Cortona Venus is in the pose described as the Venus Pudica, or "modest Venus," which referrs to the ancient Greek type of female nude, that is, a purposeful rendering of Venus so that her lower body is concealed from view. The proliferation of Venus pudica during the Renaissance marked a considerable effort to censor the female body, and its association with sexuality and eroticism. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725512989445-ZR5C1GU2IVM251GEBIJY/DSC02588_detail_knowledge+and+religion-lechery-debauchery+Cortona_FIN_crp_DrBr2.jpg Palazzo Barberini_1 - Silenus, detail, Theology and Religion Ward off Lechery and Debauchery, The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, fresco by Pietro da Cortona Some traditions portray Silenus as a notorious consumer of wine, who was usually drunk and had to be supported by satyrs or carried by a donkey. He was described as the oldest, wisest and most drunken of the followers of Dionysus. Silenus may have become a Latin term of abuse around 211 BC, when it is used in the Roman playwright Titus Maccius Plautus’ Rudens (The Fisherman’s Rope) to describe Labrax, a treacherous pimp or leno, as "...a pot-bellied old Silenus, bald head, beefy, bushy eyebrows, scowling, twister, god-forsaken criminal" https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725522651275-W5F2NYAMQP4FG7KL71F4/DSC02593_Minerva+fells+giants-PIetro+da+Cortona_FINAL_DrBr2.jpg Palazzo Barberini_1 - Minerva Fells the Giants, detail, The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, fresco by Pietro da Cortona (1597-1669) Palazzo Barberini, Rome, Italy Minerva Goddess of Wisdom is depicted overthrowing the giants who are seen being hurled down past the mountains they had amassed together to challenge the prominence of Heaven which is an allegorical representation of the defense of religious things. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725525552924-GZN9EKLYCD13WS11LHKP/IMG_1320_Good+Gov_Cortona_FINAL_DrBr2_B.jpg Palazzo Barberini_1 - Good Government Banishes War and Ensures Peace, detail, The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, fresco by Pietro da Cortona (1597-1669) All Pietro da Cortona’s scenes are meant to allude to the virtue and power of the Barberini family who purportedly gave prosperity and peace to the people thanks to the primacy of intelligence over force. Here Good Government rules over Vulcan's Forge on the left and Furor, on the right, who is bound as Peace closes the Janus temple. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725504039754-A9FJZB7YLIDMKGWZWJ6O/DSC02595_detail_Vulcan+forge_ceiling-PIetro+da+Cortona_FIN_DrBr2.jpg Palazzo Barberini_1 - Vulcan’s Forge, detail, Good Government Banishes War and Ensures Peace, The Triumph of Divine Providence and the Fulfillment of its Purposes Under Pope Urban VIII, fresco by Pietro da Cortona The allegory purports war can be stopped by Good Government. War is symbolized by Vulcan who is forging armaments, many of which are strewn on the ground in front of the forge. Vulcan made thrones for the other gods to sit on in Mount Etna, a volcano on the east coast of Sicily. Through his identification with the Hephaestus of Greek mythology, Vulcan came to be considered as the manufacturer of art, arms, iron, jewelry and armor for various gods and heroes, including the thunderbolts of Jupiter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725420191522-G230U1W4CBECNEVD177G/DSC02597_Furor+is+bound_Peace+closes+Janus+temple_da+Cortona_FINAL_DrBr2.jpg Palazzo Barberini_1 - Furor is Bound and Peace Closes the Doors of the Janus Temple, detail, Good Government Banishes War and Ensures Peace, The Triumph of Divine Providence ... Under Pope Urban VIII, Palazzo Barberini Pietro’s Good Government bounds Furor (bottom right), which according to Virgil’s Aeneid (1.148-56) influences the crowd, causing their anger to boil over into violence. Conversely, the wise statesman is a leader of great virtue who uses this to calm their anger and return them to their senses. The result is Peace (upper middle), who Pietro depicts closing the doors of the Janus Temple. Plutarch, in Life of King Numa, wrote that the Janus Temple at Rome had double doors, which they call the gates of war; for it always stands open in time of war, but is closed when peace has come. The latter was a difficult matter, and it rarely happened, since the realm was always engaged in some war, as its increasing size brought it into collision with the barbarous nations which encompassed it round about. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725533621301-WF50M7QS70WURYPGF5CZ/DSC02200_Palazzo+ceiling_Barberini+bees.jpg Palazzo Barberini_1 - Putti Crown the Barberini Coat of Arms, ceiling fresco, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Italy Palazzo Barberini presents a chronological and representative configuration of the leading schools of painting from the 13th to the 18th century. The 16th and 17th centuries are the most represented centuries with works by Raffaello, Piero di Cosimo, Bronzino, Hans Holbein, Lorenzo Lotto, Tintoretto, up to Caravaggio and his "Caravaggeschi" followers and the prosperous 17th century with works by Gian Lorenzo Bernini, Guido Reni, Guercino, Nicolas Poussin, Pietro da Cortona. Below, we begin with works from the 11th century collection. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724408646318-QO6DFDERPTBJ8RM95KN2/DSC02280_Madonna+Advocata-1050-1075_FINE.jpg Palazzo Barberini_1 - Madonna Advocata (1050-1075), Roman painter, Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome The canonical Byzantine figure known as Haghiosoritissa, The Madonna of Intercession/Advocate, in which Mary is depicted without the Christ Child, with both hands raised, is joined here by the uncommon detail of an image of Christ blessing. He appears to grant the prayers of the Madonna Advocata and possibly also to seal the authenticity of this icon thought to be miraculous. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723520912826-IEABHHXSQHWQK4GAMWUG/DSC02203_Crucifix_Berlinghieri_1250-60_FINAL.jpg Palazzo Barberini_1 - Crucifix by Bonaventura Berlinghieri and his family workshop, 13th century, tempera paint on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy From the museum label: “In the culminating act of the crucifixion, Jesus shows us the fatal wound in his rib cage, yet in accordance with an ancient tradition he is alert and virtually insensitive to his suffering. Thus the image clearly seeks to convey Christ’s dual nature: his human nature “without comeliness and liable to suffering”, in the words of Irenaeus of Lyon (130-202, Adversus haereses 3, 19:2), but more importantly, the triumphant “impassive” nature of the Deus fortis (God is strong). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723453464181-BJHNXD6GK9P5J3D8QMPG/DSC02204+Crucifix_Berlinghieri_1250-60_Head.jpg Palazzo Barberini_1 - Christus Vigilans, detail, Crucifix by Bonaventura Berlinghieri, 13th century, tempera paint on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Berlinghieri’s Crucifix is intended to bring into the reality of the ritual the iconic presence of the crucified Christ, alive (Christus triumphans – Christ triumphant), as a powerful deity who could overcome the torment of the Crucifixion. That is one of the reasons why Christus Vigilans (Christ the Watcher), being alive, appeals to the worshipper to look him in the eye, mindful of Psalm 121(4): "Behold, he that keepeth Israel shall neither slumber nor sleep". Christ's face is often painted, as here, on a tilted wooden support projecting out from the panel precisely so that he can look directly at the worshipper. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723518628302-MJMLR0S1GBJ3KQONC4KQ/DSC02206_Crucifix_Maestro+del+Bigallo_1250_FINAL.jpg Palazzo Barberini_1 - Crucifix (circa 1250) by Maestro del Bigallo (fl.1215/20-1265), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Based on the museum label: This cross by the so-called Florentine master “of Bigallo” perfectly illustrates such images can represent a composite of ideas, merging historical events with their past, present and future symbolic meanings. For example, at the top of the cross Christ reappears, blessing, above Mary interceding who also appears beside St. John on Golgotha (on the sides of Christ’s torso). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723518114477-DTDT5VDAI2CIP3YG46BY/DSC02206-B_Crucifix_Maestro+del+Bigallo_1250+FINE_CRP.jpg Palazzo Barberini_1 - Blood of Christ into the earth, detail of Crucifix (circa 1250) by Maestro del Bigallo (fl.1215/20-1265), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy From the museum label: The panel at the foot of Bigallo’s cross shows the (historical) Gospel story of St. Peter's denial, with the rooster prophesying the apostle's betrayal and sin. That is why the Redeemer's blood penetrates the bowels of the earth and bathes the skull which an early tradition tells us belonged to Adam, who was buried beneath Calvary. Thus, the cross is the linchpin between earth and heaven, between sin and salvation, between man's history and divine providence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723521649793-9Z7U62P38R3ULJEYDAWX/DSC02212_Crucifix_re+Sotio_1200_FINE.jpg Palazzo Barberini_1 - Altar Crucifix (ca.1200), Tempera on panel, follower of Albert Sotio (1100-1187), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy From the museum label: This cross is a magnificent example of an iconographical type that was developed and disseminated throughout the 12th century, particularly in central Italy. The primary function of such paintings was to conjure up the historic episode of the crucifixion in narrative form which explains the presence of the mourners, the Virgin Mary and St. John, on either side of the cross, on Golgotha. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723523194724-8QG616OX1R0XW077YLBU/DSC02214_Crucifix_Machilone-1257_FINE.jpg Palazzo Barberini_1 - Crucifix (1257) by Simeone E. Machilone, Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Based on the museum label: The image of Christus Patiens (Christ Suffering), dying or even dead on the cross, had been known in Byzantium and the West since at least the 9th century. In the 13th century, “Christ suffering" acquired a more specifically pathos-filled, sentimental tone, e.g., Machilone paints Jesus's face wearing a moving expression of grief and uses side panels to give more room to Christ's body as it bends under the weight of death. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723529276567-CN5IUV5N18DY3ST261HB/DSC02216_detail_Mary+John+sorrow_Crucifix_Machilone-1257_FINAL.jpg Palazzo Barberini_1 - Detail of the Grief of the Virgin and St. John, in the Crucifix (1257) by Simeone and Machilone of Spoleto (13th c.), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Simone and Machilone use iconography as a visual response to certain heretical positions current in the 13th century, e.g., Monophysites and Docetists, that denied the full reality of Jesus's human suffering. To emphasize the reality of Christ’s human suffering, in addition to the expression of grief on the face of Jesus, they mirrored that human emotion, as shown here at the end of Christ’s arms, in the gestures of the Virgin and St. John as they dry their tears. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724580651485-OJWCVK8ORPMFGNSZACJG/DSC02223_Apollo+with+lyre+ceiling+Barberini_FINE.jpg Palazzo Barberini_1 - Apollo Playing the Lyre, ceiling fresco, possibly by Andrea Camassei (1602 – 1649), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome The lyre of Apollo is an image of the celestial harmony, or the melody caused by the orderly revolutions of the celestial spheres. The lyre symbolizes the joy of connecting with the gods of Olympus through music, poetry, and dance. It also represents wisdom, moderation, and the peace of Elysium, the paradise where heroes go after the gods grant them immortality. Elysium is the closest Ancient Greek equivalent to the more modern, Abrahamic concept of heaven. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723544773612-0XK7HGW9MPS8ELCGV40Z/DSC02228_Virgin-Child_Segna+di+Bonaventura_1315-1320_FINALE-BL.jpg Palazzo Barberini_1 - Madonna and Child (1315-1320), by Segna di Bonaventura (1298-1331) Tempera on panel, 109 x 74 cm, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Segna di Bonaventura’s Madonna and Child is an excellent example of the persistence of the Byzantine style. It emerges here in the composition’s rather archaic hieratic and stern mood and in the drapery’s pure linear, golden or “chrysographic” treatment (i.e., the “golden highlighting” through use of gold lines in the image to define features such as the folds of clothing, as seen here in the Madonna’s scarf). The greenish hue of the figure’s flesh, is caused by the resurfacing of a primer layer created using the technique known as “verdaccio” or “bazzeo”. The image focuses on the gesture of Jesus as he grasps Mary’s veil, foreshadowing the shroud of his Passion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725594482883-RTDVM48N18TSCI353H4M/DSC02224_Madonna+with+Child_Niccolo_1335-40_FINE_Gr.jpg Palazzo Barberini_1 - Madonna and Child (1335-1340) by Niccolo di Segna Di Bonaventura, Siena active 1331-1348, Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Based on the museum label: Nicolo, the son of Segna di Bonaventura, whose uncle was Duccio, all painters of the Sienese school, presents Madonna and Child with an elaborate decoration of the Virgin's halo, which bears the inscription: "Ave Gratia Plena D[omi]n[us Tecum]" (Hail Mary, full of grace, the Lord is with you). The red sleeve of Mary’s blouse – traditionally a male, powerful, nearly divine color – is almost entirely hidden by her midnight blue cloak – receptive, quiet, humble like the night. Jesus's symbolic gesture involving raising and showing the Virgin's veil symbolizes the relationship between mother and child, e.g., the human nature that Christ inherited from his mother as well as their loving bond. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723543854658-EQM4X1OHBMD90M7N00FV/DSC02230_Virgin+Child_di+Palazzo+Venezia_FINE.jpg Palazzo Barberini_1 - Madonna and Child (1340-1350), Tempera on panel, by Maestro della Madonna di Palazzo Venezia (active 1320-137), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome From the museum label: The anonymous Palazzo Venezia Master - named for the museum in which this panel once hung – was a pupil or follower of Sienese painter Simone Martini, whose technique he emulated, particularly in the skilled application of punching (i.e., technique using mechanical tools to impress repeated motifs on gold foils to create decorative patterns) and so-called “sgraffito” (i.e., a technique that involves scratching a surface to create a pattern or shape from an underlying color) in his treatment of finely decorated damask fabrics. The figures gaze outwards in this picture while the Christ Child points to a scroll on which the words that he himself was to address to his apostles - “I am the way, the truth, and the life:” (John 14:6). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723619173939-KN8VZUJH4PFMUK6N3FJR/DSC02233_Enthroned+Virgin-Child-Saints_Dei+Crocifissi_FINE.jpg Palazzo Barberini_1 - Enthroned Virgin and Child with Saints (1380-1390), by Simone di Filippo, a.k.a. “Simon of the Crucifixes”, Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Museum label: This small triptych reveals the dual tendency that was such a feature of Late Gothic painting in Italy. On the one hand, the cloth of honor hanging behind Mary becomes an ornamental heraldic drape, while on the other, the artist breathes life into the iconic formula of the Virgin and Child, as they look into each other’s eyes, in an attempt to lend the figures and their gestures a more vibrant psychological immediacy and to offer them a more tangible and sculptural concrete space. The triptych, …is signed “Symon pincxit”. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723687271261-GH8Q1XT0DGSLTUWWRI3V/DSC02235_Passion+Christ_Baronzio-1330-40_FINE.jpg Palazzo Barberini_1 - Stories of the Passion of Christ (1330-1335), Giovanni Baronzio, a.k.a. Giovanni da Rimini, (died before 1362), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Giovanni Baronzio depicts six episodes from the Passion of Christ inserted in square compartments in a counter-clockwise order; starting from the top left the episodes are: Deposition, Lamentation, Resurrection, Descent into Limbo, Ascension, and Pentecost. Multiple aspects of this work, such as the narrative structure, the color palette and the search of naturalism in the representation of bodies and spaces, manifest the great influence of Giotto upon the Rimini school in the fourteenth century. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723690476096-JBR6R6RXP2128NSDPHE5/DSC02237_detail__Passion+Christ_Baronzio-1330-40_FIN.jpg Palazzo Barberini_1 - Descent into Limbo, detail, Stories of the Passion of Christ (1330-1335), Giovanni Baronzio, a.k.a. Giovanni da Rimini, (died before 1362), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome In the lower right compartment of the Stories of the Passion of Christ, Baronzio shows Christ, after his death, when he was supposed to have descended into the underworld, to free Adam and Eve, all the righteous, and the souls of Old Testament saints, and take them up to heaven. The church taught that those who died before the Christian sacraments would be relegated to a lower place until Christ could redeem them. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723695362023-PHLXLMNJ7OOQLIAJTC73/DSC02239_Life+Christ_Giovanni+Da+Rimini-1305-10_FIN.jpg Palazzo Barberini_1 - Scenes from the Life of Christ (1305-1310), by Giovanni da Rimini (active 1292-1338), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome In Scenes from the Life of Christ, Giovanni Baronzio presents a complex interpretation of events, e.g, the Virgin’s tender kiss in the Nativity scene (top left) heralds the final, tragic kiss at the tomb immediately below, accentuating the bond between the “mystery” of the birth and the crucifixion by emotional contrast. Scenes right to left: Nativity, Crucifixion, Lamentation, Descent into Hell (Limbo), Resurrection, and Day of Judgment. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723711293135-CH2ADJ1AK466GCCMCUJT/DSC02243_detail_Nativity_Scenes+Christ_G+daRimini_FINE.jpg Palazzo Barberini_1 - The Nativity, detail, Scenes from the Life of Christ (1305-1310), by Giovanni da Rimini (active 1292-1338), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723709559770-O6RJ47PUUO0P5E4SR6OR/DSC02244_detail_Crucifixion_Scenes+of+Christ_G+daRimini.jpg Palazzo Barberini_1 - The Crucifixion, detail, Scenes from the Life of Christ (1305-1310), by Giovanni da Rimini (active 1292-1338), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723709492336-5SCWEN0NTB3NPTVGOCLN/DSC02241_detail_Lamentation_Scenes+of+Christ_G-da-Rimini.jpg Palazzo Barberini_1 - The Lamentation, detail, Scenes from the Life of Christ (1305-1310), by Giovanni da Rimini (active 1292-1338), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723709464140-I0S765KZPA06AIP9NPZZ/DSC02242_detail_Descent+Hell_Scenes+Christ+Life+FIN.jpg Palazzo Barberini_1 - Descent into Hell (Limbo), detail, Scenes from the Life of Christ (1305-1310), by Giovanni da Rimini (active 1292-1338), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723709522976-A0DYZK79ZBCIPM5BOJ4Z/DSC02240_detail_Resurrection_Scenes+Christ_G-da+Rimini.jpg Palazzo Barberini_1 - The Resurrection, detail, Scenes from the Life of Christ (1305-1310), by Giovanni da Rimini (active 1292-1338), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723709424720-G87QGCE4L5JSRRHPLJET/DSC02239-B_Ascension_Life+Christ_Da+Rimini-1305-10_FIN.jpg Palazzo Barberini_1 - The Day of Judgment, detail, Scenes from the Life of Christ (1305-1310), by Giovanni da Rimini (active 1292-1338), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy From museum label: In stylistic terms Baranzio (da Rimini) combines realistic and pathos-filled effects, mindful of Giotto’s teachings, with skilled sophistication on a more abstract register, resorting to the golden Byzantine style too depict such other-worldly realities as Christ’s final manifestation in The Day of Judgment (here) or the angel of the Resurrection (next photo). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723778485467-A9QXFYT2PQPGD691V2KT/DSC02247_San+Cipriano_1325-1350_FINE.jpg Palazzo Barberini_1 - St. Cipriano (1325-1350), Tempera on panel, Venetian Painter, 14th century, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Museum label: "The showy scarlet background in both St. Cipriano (here) and St. Erasmus (below) marks the Venetian master’s close bond with the Byzantine figurative tradition that was so deeply ingrained and influential in Venice and the Adriatic area for such a long time. That a bond also emerges in his treatment of the folds in the drapery and his graphic, linear stylization of highlights, especially in the figure of the martyr Cyprian," who was beheaded on September 14, 258. Cyprian had already been imprisoned and exiled to the City of Curubis the year before for his refusal to burn incense to the Roman gods. He was brought back to Carthage to stand trial again, as the new proconsul, Galerius Maximus, was anxious to enforce the death penalty. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723778484277-Y4KJEWTFHWUCX9NNVZRN/DSC02246_San+Erasmo_1325-1350_FINE.jpg Palazzo Barberini_1 - St. Erasmus (1325-1350), Tempera on panel, Venetian Painter, 14th century, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Museum label: “The two panels, St. Erasmus and St. Cipriano once formed part of a structure comprising several more pieces, possibly a polyptych. That they were most probably painted by a Venetian master is suggested by the showy scarlet background peculiar – not to say exclusive – to a type of production typical of 14th century Venetian painting.” Bishop Erasmus was martyred around the year 303, after Western Roman Emperor Maximian had tortured him several times only to have him heal and escape with the help of an angel. Upon Erasmus’ re-capture, Maximian had Erasmus’ abdomen cut open and his intestines wound around a windlass and slowly pulled out, thus killing him. Thus, he’s invoked against stomach/intestinal problems. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723788941081-MA59TPSEE6QDQ63QG0JG/DSC02249_Sts+Andrew+and+John+Battista_Paolo+Veneziano-1350_FINE.jpg Palazzo Barberini_1 - Andrew the Apostle and St. John the Baptist (1350 ca.), by a follower of Paolo Venziano, Venice (1300 ca – 1358/62), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Museum label: “The two saints are conceived in a style that strikes a balance between Byzantine tradition and the search for a more vibrant palette and a more elegant line, hinting at the influence that the courtly International Gothic style was to have on Venetian painting from the mid-14th century.” Saint Andrew, a fisherman, was one of the twelve apostles of Jesus. The title First-Called stems from the Gospel of John, where Andrew, initially a disciple of John the Baptist, follows Jesus and, recognizing him as the Messiah, introduces his brother Simon Peter (St. Peter the Apostle) to him. John the Baptist is revered as a major religious figure in Christianity, Islam, the Bahai faith, the Druze faith, and Mandaeism. According to the New Testament, John was sentenced to death and subsequently beheaded by Herod Antipas around AD 30 after John rebuked him for divorcing his wife and then unlawfully wedding the wife of his brother. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723880929187-JULAU2RO0PY6QZILKZRS/DSC02258_Coronation+Virgin_di+PIetro-1390_FINAL.jpg Palazzo Barberini_1 - The Coronation of the Virgin (1390) by Niccolo di Pietro, Venice (1394-1427), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Museum label: The Coronation of the Virgin is a sophisticated example of the flamboyant style that inspired Venetian painting at the turn of the 14th c. Niccolo di Pietro’s small panel is considered a tribute to the decorative preferences of International Gothic in its most spectacular aspects. The elegant, linear rhythm of the draughtsmanship, the extremely fine handling of detail and the …abundance of gold give the picture the precious, jewel-like air of an item a goldsmith might have fashioned. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723881222749-BS6DXF21U9L64KH69SKG/DSC02261_Detail_Coronation+Virgin_di+PIetro-1390_FIN.jpg Palazzo Barberini_1 - Detail of The Coronation of the Virgin (1390) by Niccolo di Pietro, Venice, active 1394-1427), Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Based on the Museum label: In Niccolo di Pietro’s Coronation of the Virgin “the calligraphic treatment of the dark blue drapery, enveloping the three main figures as though in a single mantle, serves the better to highlight the delicate modelling of their faces and to illuminate God the Father’s imperious scrutiny, …Mary’s shy gaze,” Christ’s authoritative glorification, and the Holy Spirit’s unifying presence. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723861458942-8QTMP4P7WXPWMMVY4UUQ/DSC02252_Virgin-Child_Giambono_FINITO.jpg Palazzo Barberini_1 - Virgin and Child (1450), by Michele di Giovanni Bono, aka Giambono, Venice 1420 ca -1462 ca, Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Based on Museum label: Though working in the mid-15th century, Giambono still strikes a subtle, engaging balance between the new stimuli of Quattrocento paint­ing and the figurative tradition of the long Middle Ages. For example, whereas medieval paintings were flat with little to no shadows or hint of three-dimensionality, and the subjects were typically more serious and somber, Giambono’s Virgin and Child portrays a smiling Christ child as he looks at a goldfinch, a Renaissance art symbol of healing and redemption. Also, Giambono combines an exquisite Gothic grace of line with a sculptural sense of form in a fabric interweaving pure visual with a tactile taste for matter. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723863213451-3PP6TBNQ89MQDX8JKEGT/DSC02252_Embroidery+Detail_Virgin-Child_Giambono_FIN.jpg Palazzo Barberini_1 - Gilded embroidery (detail), Virgin and Child (1450) by Michele di Giovanni Bono, aka Giambono, Venice 1420 ca -1462 ca, Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Based on Museum label (cont.): The brocade spreading out behind the figures competes with the Venetian masters' textile ex­pertise to confer on the fabric of the image an al­most tangible consistency, for instance in the gild­ed embroidery edging the Virgin's mantle. In contrast to the flat garments of Medieval art, the strip of her mantle that appears to emerge from the picture almost offers itself to the touch, even overlapping the perfectly two-dimensional sig­nature at the very point where the painter's hand lays proud claim to the magic of his skill and talent. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723942015581-R8JK5KROIJUUNNU6YFF5/DSC02267_Sorrowing+Madonna_Changenet_GR3.jpg Palazzo Barberini_1 - Sorrowing Madonna (1485-1490) oil on panel, by Jean Changenet (Dijon, active 1484 - 1495), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Jean Changenet was a leading figure in Provence and Bergundian painting during the 15th c. transition from the Late Gothic style to the Renaissance. The stern figure of the Sorrowful Madonna stands out against an architectural background that already shows a grasp of perspective, but the picture focuses its intense pathos on two features: the ancient grieving gesture of the Virgin wringing her hands, and her pained face whose ashen pallor and blue lips appear to share bodily in her son's Passion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723951114823-KBH5ADRY0KEV9RH2JOFG/DSC02270_The+Nativity-Presetation_Evangelista-1490-95_FINE.jpg Palazzo Barberini_1 - The Nativity and The Presentation of Jesus in the Temple (1490-1495) by Maestro di San Giovanni Evangelista (Bruges, active 1490 - 1500), oil on panel, Palazzo Barberini, Rome Museum label: These panels, once part of a more complex structure, pick up the belated legacy of the art of the Flemish primitives with their typical combination of the meticulous observation of natural detail, a predilection for jewel-like consistency and widespread recourse to the codified repertoire of a ''disguised symbolism.” Thus, what prevails here are themes heralding the Passion, e.g., in the botanical symbology of the Nativity, and the fulfillment of the Sciptures, as suggested by the stories of Moses carved on the jube in the back­ ground of the Presentation. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723978078927-I0UOM2I7P0T6UEIQ6HKS/IMG_1263_Bacchus_Room+of+Columns_Palazzo+Barberini_FINAL.jpg Palazzo Barberini_1 - The Bacchus Fountain, Room of the Columns, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Museum label: The Room of the Columns was initially used as a “tinello”, or dining room, for the attendants of donna Costanza Magalotti Barberini (1574-1644), the sister-in-law of Urban VIII and mother of the nephews Francesco, Taddeo and Antonio. The ornamental fountain with the statue of Bacchus bears in the tympanum the joint coats of arms of the Barberini and Giustiniani families, perhaps in memory of the wedding, celebrated in 1653, between Taddeo’s son, Prince Maffeo (1631-85) and Olimpia Giustiniani (1641-1729), great-grandson of the pope Innocenzo X (1644-55). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723978082823-7CVOWCXNQCOPFHU9XIYD/DSC02278_Bacchus+fountain+_Room+of+Columns_Barberini_FIN.jpg Palazzo Barberini_1 - Bacchus Fountain, Room of the Columns, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Bacchus was the Roman god of agriculture, wine and fertility, equivalent to the Greek god Dionysus. It was said that Bacchus invented wine overseas, spreading knowledge of the cultivation of grapes and their processing into wine. He was also the patron of the arts and the protector of the theater. His festivals, the Bacchanalia, were celebrated with great enthusiasm and often involved wild, ecstatic revelry.This statue contains symbols of Bacchus, such as his crown of vine leaves, the wine grapes in his right hand, and the amphora (wine container), from which water flows, in his left. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1723978095266-2HC06FUZ0BBD0Z0IL8UC/DSC02276_Two-Statues+Rm+Columns.jpg Palazzo Barberini_1 - Two Roman female statues, Room of the Columns, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724119545325-NGY8ASF4RKV68GUX6Q8O/DSC02283_Orpheus_FINE.jpg Palazzo Barberini_1 - Orpheus Taming Animals with Music by Camillo Spallucci (1582/1605) commissioned by Duke Alessandro Sforza, vault of Room VIII, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy In Greek mythology, Orpheus was a poet and musician who could tame animals with his music. The god of music, Apollo, gave Orpheus a lyre, and the Muses taught him to play it. Orpheus's songs and playing were so beautiful that they could calm the seas, animate rocks and trees, and even pacify wild animals. The scene in which Orpheus tamed the wild animals by his music was well known in the Roman imperial time. The idea of civilizing barbaric traits through arts and poetry was a persistent cultural value throughout Roman times. It is a symbol of the victory of the civilization over barbarianism. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724128287816-67E0BRAHUEQ7OIO5H0JK/DSC02286_Frediani_Virgin-Child-Peter-Paul-1498_FINE..jpg Palazzo Barberini_1 - Virgin and Child between Saint Peter and Saint Paul (circa 1490), by Vincenzo Frediani (fl. 1476-1505), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy In Frediani’s Virgin and Child between Saint Peter and Saint Paul, on the left of the Virgin and Child, Saint Peter holds the papal keys in his hands, while on the right Saint Paul holds the sword with which he was martyred and a book representing his epistles. The image thus confirms that the authority of the Church was granted by Christ himself, a central tenet of the Counter-Reformation. Vincenzo di Antonio Frediani, an Italian Renaissance painter, was probably trained in Lucca but in the 1480s fell under the influence of Domenico Ghirlandaio and Filippino Lippi, and Sandro Botticelli. His composition, in particular, owes much to Lippi. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724377054322-D6X529YYGOPSRZ5DTQMH/DSC02289_Fiilippo+Lippi_Annunciation_1440_FINAL_ltbl.jpg Palazzo Barberini_1 - The Annunciation (circa 1440) by Filippo Lippi (1406-1469), oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy The Annunciation is the announcement by the archangel Gabriel to the Virgin Mary that she would conceive and give birth to Christ. It is important in Christian belief because with Jesus’s Incarnation (being made flesh) comes salvation for all mankind’s sin, with his eventual death on the cross. The task before artists was to envision the Annunciation story in pictorial form, and so a convention of symbolism was developed to make the “mystery” of the Annunciation, legible to the largely illiterate medieval worshipper. For example, Mary's virginity and spiritual purity are symbolized by the lilies Gabriel gently hands to her, while Mary herself becomes symbolic perspective, a point of transition and mediation like the gossamer curtain descending onto the bed, a metaphor for the "veil of the flesh" or the human nature embraced by Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724383956252-C39VPKP8QEN5F6ZT2G25/DSC02291_detail_Annunciation-Lippi_garden-lilies_FINAL_ltbl.jpg Palazzo Barberini_1 - Additional symbols of Mary’s purity, details of The Annunciation (circa 1440), by Filippo Lippi (1406-1469), oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy In Lippi’s Annunciation, Mary's home includes an airy loggia with classicizing columns and capitals opening out onto a space with a hortus conclusus or closed garden, further alluding to the Virgin's miraculous conception. Also, Lippi inserts an opened book on a stand, an image derived from the Gospel of Pseudo-Matthew that comments on the Virgin reading: “She was always engaged in prayer and in searching the law” (Chapter 6). The iconography of the book was used to reference, and was sometimes depicted open at, Isaiah’s prophesy: “And the Lord himself shall give you a sign. Behold, a virgin shall conceive, and bear a son, and shall call his name Emmanuel” (Isaiah 7:14). This was interpreted from the early medieval period as a prediction of the birth of Jesus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724371310669-AGK9LWK9XBHZK3UCV07X/DSC02290_detail_Angel+Annunciation_Lippi_crp_FINE_lt-bl.jpg Palazzo Barberini_1 - The Angel Gabriel, detail, The Annunciation (circa 1440), by Filippo Lippi (1406-1469), oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy In Lippi’s Annunciation, Gabriel kneels before Mary, an image derived from a courtly feudal custom of kneeling before a lady, and with his brilliant, gold-gilded wings, he says, “Rejoice, highly favored one, the Lord is with you; blessed are you among women!” But when she saw him, she was troubled at his saying…. Then the angel said to her, “Do not be afraid, Mary, for you have found favor with God. And behold, you will conceive in your womb and bring forth a Son, and shall call His name JESUS. He will be great, and will be called the Son of the Highest; and the Lord God will give Him the throne of His father David. And He will reign over the house of Jacob forever, and of His kingdom there will be no end” (Luke 1:26-48). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724371286361-9EKD3YZFGEY07YXV8H7R/IMG_1274_Annunciation_Holy+Spirit_Lippi_FINE-LTBL.jpg Palazzo Barberini_1 - The Holy Spirit, detail of The Annunciation (circa 1440), by Filippo Lippi (1406-1469), oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy After Gabriel announced to Mary that she would have a child, Mary said to the angel, “How can this be, since I do not know a man?” And the angel answered to her, “The Holy Spirit will come upon you, and the power of the Highest will overshadow you; therefore, also, that Holy One who is to be born will be called the Son of God…” (Luke 1:26-48). Lippi presents the Holy Spirit descending over Mary’s bed while Gabriel and Mary hold lilies, both images symbols of Mary’s purity. Lippi’s dove represents the Holy Spirit on its journey to make God incarnate as Christ, emissus caelitus (“sent from heaven”, and therefore not formed in the uterus). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724126856366-1R3SI8FY24XLHJDK4R4C/DSC02285_Orpheus+and+Euridice_FIN.jpg Palazzo Barberini_1 - Orpheus and Euridice by Camillo Spallucci (1582-1605) commissioned by Duke Alessandro Sforza, vault of Room IX, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy In Greek and Roman mythology, Orpheus’s attempts to bring Eurydice back to life after she dies. Orpheus is lyre player and poet whose music is so divine that it moves animals, trees, and stones, and calms the seas Eurydice is a beautiful nymph who dies from a snake bite on her wedding day. Grief-stricken, Orpheus travels to the Underworld to try to bring her back. He encounters Hades, the king of the underworld, and his queen Persephone, and plays music so beautiful that it moves them to tears. Hades allows Orpheus to take Eurydice back to the living world, but on the condition that he not turn around as she follows him out of Hades. However, Orpheus, in a moment of weakness, turns to see if Hades has fooled him, and thereby fails to follow Hades’ instructions, thus losing Eurydice forever. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724394331727-K2UWA59QYMDM03GYPZLS/DSC02293_Madonna-Child_Neri+di+Bicci-1465-70_FINAL.jpg Palazzo Barberini_1 - Virgin and Child (1465-1470) by Neri di Bicci (Firenze 1419-1492), attr., oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Based on museum label: Small devotional images, often in the shape of a tabernacle, known as "colmi da camera" and gen­erally depicting "Our Lady", were still very much in demand on the art market in Florence throughout the 15th century. Neri di Bicci's work­shop produced an enormous number of these im­ages and this small painting must have been one such, with its extremely traditional iconography of the Virgin in a half-bust pose enhanced by the gold background, the elaborate arrangement of haloes and pseudo-Cuphic motifs adorning her mantle. The variant here is the pomegranate, hinting at the Messiah’s sacrifice and eventual resurrection. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724398041560-J3CTIBE7DYUO097XL5XQ/DSC02294_detail_Madonna-Child_Neri+di+Bicci-1465-70_FINE.jpg Palazzo Barberini_1 - Virgin and Child (1465-1470), detail, by Neri di Bicci (Firenze 1419-1492), attr., oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy In Christian art, the pomegranate's red seeds represent the blood Jesus shed for humanity's salvation. Also, the pomegranate symbolizes the transition from life to death and resurrection, as the seeds will eventually be reborn. The act of opening the pomegranate's rough peel and harvesting the seeds has been described as a metaphor for the Passion of Christ, where suffering reveals an abundant treasure. In di Bicci’s Virgin and Child, while the Christ child looks up to his mother smiling, as if to say all will be well, she looks down at him with lovingly with the knowledge of his suffering and death. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724404133446-1G9PFDXXWEVL69F5ICJL/DSC02296_Madonna+adore+child+w+Angel_di+Miniatto-1480-90_FINE.jpg Palazzo Barberini_1 - Madonna Adoring the Child with an Angel (1480-1490) by Gherado di Giovanni di Miniato, oil on panel, 29’’ x 23”, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Museum label: In this small picture designed for domestic devotion, Gherado appears to be up to date with the stylistic developments in the contemporary Florentine art of Ghirlandaio, Leonardo and Botticelli. The scene of silent, contrite prayer is enlivened by Jesus’s gesture as he turns knowingly to his mother, grasping her symbolic veil - a symbol of the human nature that Christ inherited from his mother as well as their loving bond. In the background, in a perspective at once spatial and temporal, we see the tiny pinnacle of a church that still lay in the future but that was already present in figurative terms. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724546104186-IDMOUTW6KBI8KSZX5U6I/DSC02298_Crucifixion+w+sts+jerome+and+Francis-1490_FINE.jpg Palazzo Barberini_1 - The Crucifixion with St. Jerome and St. Francis (Siena 1436-1509/17), by Girolamo or his father Benvenuto di Giovanni, Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome The Crucifixion depicts a bleeding, dying Christ on the cross, with St. Jerome on the left and St. Francis on the right kneeling as witnesses to the horror. In the middle of the painting, Mary Magdalen, with her blond hair undulating down her back, touches Christ’s leg above his bleeding, nailed feet, causing her scarlet garment to absorb its color as the anguish flows through her. Angels flying around the bleeding Christ catch the drops of the Precious Blood in chalices as they fall from the sacred wounds. According to Hebrews 9:22, “Indeed, under the law almost everything is purified with blood, and without the shedding of blood there is no forgiveness of sins.” Thus, it is believed that Christ's wounds were channels through which his blood was spilled, sealing a new covenant and destroying the power of sin and death over humanity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724616263416-9XUD81HE4VSEHSC3PVNO/DSC02302_Crucifixion+w+sts+jerome+and+Francis-1490_crp_FIN.jpg Palazzo Barberini_1 - St. Jerome, Mary Magdalen, and St. Francis (detail), The Crucifixion possibly by Benvenuto di Giovanni, circa 1490, Tempera on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Based on Museum label: This small painting was an exponent of the particular school of Sienese Renaissance in which the new conceptions of figurative space and the influence of classical culture were filtered through a lasting interest in the liveliness of incisive draughtsmanship and a jewel-like palette. Benvenuto’s drapery's jagged folds in the robes of Magdelen, Jerome and Francis appear to mirror the craggy fault lines and rough crevices of Golgotha, so that the image takes on an almost crystal­line aspect, as clear as the light that illuminates the tragic scene without making any allowances for soft, atmospheric velature. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724577337798-NBAGXW3059QHHQQHM2CO/DSC02301_ceiling_Ulyseses+and+Sirens+Rm6_FIN.jpg Palazzo Barberini_1 - Ulysses Encounters the Sirens (1678) by Giacinta Camassei, ceiling fresco, Room 6, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy In Ulysses Encounters the Sirens Giacinta Camassei provided the 17th century residents of the Palazzo with a mythological figure embodying the Christian cardinal virtue of Temperance. In Homer’s The Odyssey, Ulysses and his crew encounter the Sirens while returning home from the Trojan War. The Sirens are beautiful, half-woman, half-bird creatures who lure sailors to their island with their enchanting songs. The songs are so hypnotic that they can cause sailors to crash their ships on the rocks. To avoid the Sirens, Ulysses instructs his crew to plug their ears with beeswax and tie him to the ship's mast. He tells them to ignore him if he tries to follow the song, and to keep their swords ready to attack him if he breaks free. When they hear the Sirens' song, Ulysses struggles to break free so he can join them, which would mean his death. However, his men remain faithful and refuse to release him, and the crew is able to safely sail past the Sirens' island. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724620429125-1LT4S4YH0M8WH69CRTSI/DSC02306_St+Sebastian_FINE.jpg Palazzo Barberini_1 - St. Sebastian with Two Donors (1480-1485) by Antonio Aquili, detto Antoniazzo Romano (1435 ca - 1508), Oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome Based on Museum label: This altarpiece of clearly votive inspiration avails itself of the legacy of medieval figurative convention, evidently on account of the function for which it was conceived. The figure of the martyr St. Sebastian, invoked in popular tradition against the plague and other epidemics, is shown here in the guise of a protector seemingly insensible to his own suffering, bound to a column which, though in variegated marble, nevertheless stands in a natural setting. There is a glaring difference in scale between the miracle-working saint and the two donors genuflecting at his feet, …tentatively identified as Onorato II Caetani d'Aragona, Count of Fondi, and his son Pietro Bernardino, devoutly portrayed using the time-honored formula of the perfect profile. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724626946956-ACFAYVPUEGOUTSYD4DB4/DSC02307_detail-_St+Sebastian_Romano_1480-1485_FINAL.jpg Palazzo Barberini_1 - St. Sebastian, the Protector, detail, St. Sebastian with Two Donors (1480-1485) by Antonio Aquili, detto Antoniazzo Romano (1435 ca - 1508), Oil on panel, Gallerie Nazionali di Arte Antica, Barberini According to tradition, St. Sebastian (AD 255 – c. AD 288) was ordered by Diocletian to be killed with arrows for converting fellow Roman soldiers and prisoners to Christianity. He was left for dead by the archers but when the widow, Irene of Rome, went to retrieve his body to bury it, she discovered he was still alive, and nursed him back to health. Afterwards, he confronted Diocletian to warn him about his sins and admonish him for his treatment of Christians. As a result, Diocletian ordered him clubbed to death and his body thrown in a common sewer. A holy lady named Lucina, privately removed the body and buried it in the catacombs where now stands the Basilica of St. Sebastian. In pagan belief, pestilence was delivered by arrows shot from above by the gods. When a virulent epidemic swept through Rome in A.D. 680 the populous prayed for Sebastian to intercede, as he had survived being skewered with arrows. In addition, he had become a Christological figure, his body having been bound, pierced, and rescued from death, experiencing a form of Resurrection. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724658983250-SFOH0CKW7SGGX4EEFYM4/DSC02309_Virgin-Child-St+Paul-St+Frances.jpg Palazzo Barberini_1 - Virgin and Child with St. Paul and St. Francis, 1487, oil on panel, Antonio Aquili, detto Antoniazzo Romano (Roma 1435 ca - 1508), Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Museum label: This altarpiece, signed and dated by Antoniazzo, was painted for the Franciscan church of Poggio Nativo near Rieti. It is typical of the work of this Roman painter who, possibly bowing to the demands and preferences of his patrons, showed no compunction in resorting to age old, traditional stylistic features and formulas, yet without foregoing the elements of a more modern style. Here, the gold ground against which the figures stand out and the overall composition of the Virgin and Child still echo the hieratic quality of icon painting, with which Antoniazzo was familiar, yet the saints fill the space with solidity while the Virgin's fanciful throne hints at a sophisticated contemporary taste for classical antiquity. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724668380053-RVSTZVB2IL0980M9FVVM/DSC02314_St+Jerome+in+Wilderness_Perugino_1490-1500_FINALE.jpg Palazzo Barberini_1 - St. Jerome in the Wilderness (1490-1500) by Pietro Yannucci, detto Il Perugino, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy St. Jerome in the Wilderness, attributed to Perugino, revisits an iconographical motif fairly frequent in 15th and 16th century Italian painting, depicting St. Jerome as a penitent hermit fleeing the insidious temptations of the world, embodied here in the walled city in the distant background. Also, St. Jerome is shown accompanied by a lion. According to legend, during a visit to the wilderness near Bethlehem, St. Jerome met a lion that had a thorn in its paw. Rather than fearing the animal, he took pity on the lion and removed the thorn, and the lion became his devoted companion. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724705561291-ICUVFY2TR766VVNXU7PE/DSC02314_Detail_St+Jerome+in+Wilderness_Perugino_1490-1500_FINE.jpg Palazzo Barberini_1 - St. Jerome in the Wilderness, detail (1490-1500), by Pietro Yannucci, detto Il Perugino, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Il Perugino’s image, St. Jerome in the Wilderness, offers visual support for ascetic meditation. During his time of religious contemplation, Jerome was tormented by vivid temptation-filled hallucinations; Perugino’s Jerome clasps a rock in his right hand with which he would beat his breast until the visions passed. The image also points up the exemplary value of imitation, because the aging Jerome is literally following in the footsteps of an …illustrious hermit, the precursor John the Baptist. The Baptist is seen here in the left background when, according to a popular if apocryphal legend, he withdrew into the desert while still a boy and there had the privilege of meeting the boy Jesus on his return from the flight into Egypt. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724740880895-RWG0Z942YIPYELXT10E8/DSC02319_Nativity+w+St+Lawrence-St+Andrew-1485-90_FINE_BR.jpg Palazzo Barberini_1 - The Nativity with St. Lawrence and St. Andrew (1485-1490) by Antonio Aquili, detto Antoniazzo Romano (Rome, act. 1461 – 1508), oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome One of the most interesting aspects of this painting is its artistic style. Antoniazzo Romano was one of the first Italian artists to adopt the Renaissance style and integrate the novelties in late 15th century northern European art which was characterized by realistic representation of the human figure and perspective. In this painting, we can see how the artist uses the technique of light and shadow to create depth and realism in the scene and presents symbolism focusing on Christ's Passion. Two angels at the top of the structure unfurl the banner “Gloria in excelsis deo et in terra pax hommine”, (Glory to God in the highest, and on earth peace to men), while a dark angel frightens the fieldworkers in the left background, reminding viewers of the eventual Passion of Christ. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724745882858-4UTJ7KRIMK8J5TQSYOI8/DSC02319-B_ddetail_Nativity-Lawrence-Andrew_Antoniazzo-1485_FINAL.jpg Palazzo Barberini_1 - The Nativity with St. Lawrence and St. Andrew (1485-1490), detail, by Antonio Aquili, detto Antoniazzo Romano, oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Antoniazzo Romano’s Nativity is full of iconographic images, e.g., the infant Christ lying on a bundle of grain - a reference to Eucharistic symbolism - also the anemone and cyclamen in the foreground, both flowers that symbolize the Passion of Christ. In concert with the Passion, Antoniazzo includes St. Lawrence kneeling on the right holding a palm branch, a symbol of martyrdom, and St. Andrew, also a martyr, kneeling on the left holding a long cross, a reference to his martyrdom. Christ is blessing Mary with his right hand, while Joseph’s gesture of his arms crossed over his chest symbolizes his offering himself in humility as a servant of the Lord. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724812174095-287MIS0PJ9MBFY7H2SIB/DSC02321_Virgin-Child+w+St+Michael-St+Peter-1472_RevW-G_sm_FINAL.jpg Palazzo Barberini_1 - Virgin and Child with St. Michael and St. Peter (1472) by Lorenzo Da Viterbo, oil on panel, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Iconography: The Christ child eats from a yellow pomegranate while holding it in his left hand, In Christian art the fruit was considered a symbol of resurrection, and a symbol of Christ's passion, whose red kernels symbolize the blood shed by Jesus Christ for the salvation of humanity. The color yellow symbolized the anointing of God, unending faith, holiness, joy, happiness, and optimism. On the left, the Archangel Michael wearing the armor of a 15th-century knight, is represented as defender of the Church against the devil, here symbolized by the dragon. On the right, St. Peter holds the Papal Cross Keys, the symbol of the Papacy, referring to the promise of Christ to Peter, “I will give you the keys to the Kingdom of Heaven. Whatever you bind on earth shall be bound in Heaven.” (Matthew 16:19). I think Lorenzo’s image informs that Christ brought a message of optimism to humanity by providing a path to eternal life through his own sacrifice and through the protection and teaching of his word on earth via the Christian Church. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724470321215-QDS323IQ0EF0RP7ID7CN/IMG_1275_Sts+Sebastian+and+Catherine_Francesco+Pagano_1471-92_FINE.jpg Palazzo Barberini_1 - St. Sebastian and St. Catherine (1480-90), Oil on canvas, 98 x 61.5 inches, by the Neapolitan Francesco Pagano, Room VIII, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Museum label: A setting of architectural ruins set in a sweeping, luminous landscape frames the three figures in this monumental, vertical canvas which probably began life as an organ door. The sacrifice is already taking place, as the battle scene in the imitation marble relief (above the arch) seems to suggest: in the center, a jailer binds St. Sebastian with ropes as the saint, his hands joined in prayer, lifts his gaze to heaven to invoke God the Father's succor. On the right, St. Catherine of Alexandria holds the palm branch and sword of her martyrdom, both symbolizing her militancy in the defeat of paganism. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724463099508-VL3MR4C7NS55XP6EAG5Q/IMG_1278__Vision+of+Blessed+Amedeo+Menez+de+Sylva+ca+1514+Pedro+Fernandez+de+Murcia_FIN.jpg Palazzo Barberini_1 - Vision of Blessed Amedeo Menez de Sylva, ca. 1514, by Pedro Fernandez de Murcia (active 1503-1523), Room VIII, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy The Archangel Gabriel indicates the heavenly court to Amadeo kneeling in prayer. Christ and the Virgin, framed by a seven-pointed diadem, sit on the highest podium surrounded by a group of angels, below whom are figures from the Old (right) and New (left) Testaments. In the center, St.Joseph and St.John the Baptist serve to link the two groups. The heavenly temple architecture is clearly inspired by Donato Bramante, author of the temple built on the Janiculum Hill, at the legendary site of the crucifixion of St. Peter. Leonardo's influence is evident in the study of the figures' features and in the sweeping, atmospheric landscape which may have been inspired by the hermitage of S. Michele Arcangelo area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1724464694702-J5EXQZXIJ29DCSZBRED0/IMG_1278_detail_Vision+of+Blessed+Amedeo+Menez+de+Sylva+ca+1514+Pedro+Fernandez+de+Murcia_GR.jpg Palazzo Barberini_1 - Vision of Blessed Amedeo Menez de Sylva, detail, ca. 1514, by Pedro Fernandez de Murcia (active 1503-1523), Room VIII, Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome This narrative of Amedeo’sVisionis derived from the Apocalypsis Nova, the report shown at his feet, in which he wrote about his ecstatic trances and his dialogues with the Archangel Gabriel. The panel is an accurate figurative transcription of the first of these visions in which Amadeo (c a. 1420-82) ascends to appear before Christ, who directs him towards the more obscure mysteries of the faith. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725602052573-6UJALNSRQ0SFA6DZKKL2/IMG_1280_Bellerophon+vs+Chimera_ceiling_FINE.jpg Palazzo Barberini_1 - Bellerophon fights the Chimera on Pegasus (1675-1678) by Giuseppe Passeri 1654-1714), Room VIII, ceiling fresco, Palazzo Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome In this image of a mythological figure embodying or foreshadowing a Christian cardinal virtue, Bellerophon represents Justice. In the Iliad, Homer depicted the Chimera with a lion's head, a goat's body, and a serpent's tail: "her breath came out in terrible blasts of burning flame;" it was terrorizing the areas of Caria and Lycia in southwestern Asia Minor. Bellerphon was sent on a mission to kill the Chimera and with the help of Athena, he flew Pegasus into battle. After Bellerophon felt the hot breath of the Chimera, he decided to attach a large block of lead to the tip of his spear and thrust it into the Chimera's throat. The Chimera's fire-breath melted the lead, which blocked its air passage and suffocated it. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1725606874995-OBLQ9RFPQEWH9063K7XD/DSC02345_Staircase+Lion+bas+relief_FIN.jpg Palazzo Barberini_1 - Lion, Grand Staircase, marble, Roman era, Palazzo Gallerie Nazionali di Arte Antica, Palazzo Barberini, Rome, Italy Museum label: The third flight of the grand staircase in the Palazzo Barberini ends before a relief of a lion, ideally ushering the visitor into the reception rooms. This Roman era sculpture came from a funerary monument discovered in the vicinity of Tivoli and was worked into the decoration of the staircase both for its imposing nature and for its emblematic and allegorical implications. This, because the lion was not merely a symbol of strength and fortitude, it was also the astrological ascendant of Pope Urban VIll Barberini who was particularly sensitive to astrology. http://www.sslanzilotti.com/kaenapoint daily 0.75 2024-11-19 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731980561434-WDWCCK3WIBAOIGIPT6CL/SSL_4214_Kaena-Point-SP_WaianeMts_beach_72dpi.jpg Kaena Point On a beautiful Saturday morning, I decided to go on a photography adventure to Kaʻena Point, the westernmost tip of land on the island of Oʻahu. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731980561434-WDWCCK3WIBAOIGIPT6CL/SSL_4214_Kaena-Point-SP_WaianeMts_beach_72dpi.jpg Kaena Point On a beautiful Saturday morning, I decided to go on a photography adventure to Kaʻena Point, the westernmost tip of land on the island of Oʻahu. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731985701590-13DSB19RBVPVJQ33LPIT/SSL_4226_KaenaBeach-StatePark_Argentinian-couple_72dpi.jpg Kaena Point After parking I began the 2.5 mile (one-way) hike to Ka’ena Point Nature Reserve. Initially, I passed this group of young people from Argentina. They were awe stricken by the beauty of the views. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731985678496-BI3VXJ86F7U3X0T4EQ1A/SSL_4224_Italian-Argentinian_sm_72dpi.jpg Kaena Point Two of the Argentinians were sitting on the roof of their enjoying the view. As we spoke and I told them my name, the woman on the right explained that she had a grandmother who was originally from Italy. They power of the waves had them mesmerized. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731980682849-KBYHG18PAQG5U8A5NIEP/SSL_4228_Kaena-coastline_colcor_lt-bl_72dpi.jpg Kaena Point In Hawaiian, kaʻena means 'the heat'. The State of Hawaiʻi has designated the point as a Natural Area Reserve to protect nesting Laysan Albatrosses and wedge-tailed Shearwaters, Hawaiian monk seals (Monachus schauislandi), and the fragile (to vehicular traffic) native strand vegetation that has been restored there. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731983466161-PD5U9P4R6VXR9FVSAD52/SSL_4240_surfer-KaenaPt_72dpi.jpg Kaena Point - Surfing Ka'ena Point Ka’ena Point is the westernmost tip of Oahu and, despite being a torrential convergence zone where South and North Pacific swell energy collides with spectacular force, the waves can get good on a big winter swell -- for experts only, that is. On these big N or NW swells, Ka’ena Point stacks giant righthanders around the west side of the island and careens them down along the southern edge of the headland. Down the point on the west side is Yokohama Bay where the waves are tamer. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731983236115-ZJU4JLJ58PJRFZKC8K35/SSL_4318_wave-spray-rocks_72dpi.jpg Kaena Point The coast at Ka’ena Point is fringed with black lava rocks and cliffs. Whales frequent this shoreline during the winter months. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731985072571-E49O8Y1D9KJW0NNJ70PU/SSL_4258_rut-road_72dpi.jpg Kaena Point The trail to Ka‘ena Point follows an old railroad bed and former dirt road that ran along the westernmost point of O‘ahu. The trail leads to Ka‘ena Point Natural Area Reserve, a remote and scenic protected area harboring some of the last vestiges of coastal sand dune habitat on the island, and home to native plants and seabirds, e.g., the Laysan Albatross. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731987935385-NDDGNJBVSL7HKBFZ2KNV/SSL_4263_Father-Son-Hike-Kaena_72dpi.jpg Kaena Point A wonderful way to spend a day with dad. The Ka’ena Point website warns: The weather is usually sunny and hot, and it can be windy – a hat, sunscreen, and plenty of water are recommended. Allow 1 to 3 hours depending on your pace. Stay away from the wave-exposed coast unless you are familiar with hazardous ocean conditions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731981918639-OJZHG9IYROSMG8D6VUEI/SSL_4396_albatross-glide-w-visitors_FINAL_72dpi.jpg Kaena Point Laysan albatross are very large birds, their wingspan can reach to 13 feet and they may weigh as much as 25 pounds. Its range extends to most of the north Pacific Ocean. You can find over 400 mōlī spending the nesting season at Ka’ena Point. Initially, the birds can be seen circling the nesting area. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731982420265-69L82ZZY1TUJU8RL61AN/SSL_4419_albatross-2beaks_mating-ritual_72dpi.jpg Kaena Point The albatross have elaborate courtship dances, and once mated they tend to remain faithful to their mate. In adulthood they rendezvous each year with their partner at the same nest site. Nesting time is the only time they spend on land and each year the pair stays just long enough to hatch and raise a single chick. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731980808862-JDTXJIKRNP82GYRV0GCF/SSL_4361_Albatross-chicks_crp_72DPI.jpg Kaena Point Albatross begin breeding and nesting in October, and leave in late spring. That is the only time the Laysan Albatross will be found on land, nesting and raising their young at Ka’ena Point Natural Area Reserve on O’ahu. The Laysan Albatross, mōlī, gets its name from its Laysan breeding colony in the Northwestern Hawaiian Islands. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731982396948-ZTQCGIHHCH1226TLUP11/SSL_4365_Albatross-0390_crp-shlt_cl_72dpi.jpg Kaena Point Walking on the path, although some of the albatross nests are only a couple of feet away, they albatross do not respond, as this is a safe place. Nearly all of the 400 or so Laysan albatrosses that spend the nesting season at Ka’ena have been fitted with leg rings (note the #0390 leg ring on this bird) and have had their DNA take; many have been given GPS tracking devices. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731981402287-61JLMDG8S3GD1T0Z1JRI/SSL_4464_soaring-albatross_Keana_crp_72dpi.jpg Kaena Point These albatross are white with a black tail and upper wings, dark patterns under the wings, and a black patch around the eye and pink bills, legs and feet. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731982404629-5Y7R6YTEY5GM18J1H9GE/SSL_4384_Preen_crp_b_72dpi.jpg Kaena Point This preening albatross is one of my favorite pictures. They live from forty to sixty years. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731981451690-FQXIBD8LOG4QQK9HRPK3/SSL_4456_albatross-soaring_Fin_dpi72.jpg Kaena Point What was especially rewarding was watching the albatross glide above. An albatross in flight can be so perfectly attuned to wind conditions that it may not flap its wings for hours, or even for days, as it can sleep while flying. It takes advantage of the air currents just above the ocean’s waves to soar in perpetual graceful motion. They can stay out at sea for as long as five years before returning to the same island on which they were born. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731984098216-0XJG8WJXB71KQUR24IKG/SSL_4513_waves-on-rocks_KaenaPt_72dpi.jpg Kaena Point In the Mokuleʻia Section of the Ke’ana Point State Park, there are several sandy or rocky coves, tide pools, sand dunes, https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731984849117-0JHSKFNXUMV2VADJK5Z4/SSL_4504_KaenaPt_wave-splash_72dpi.jpg Kaena Point Winter surf conditions at Ka’ena Point are characterized by big swells, strong winds, and clean blue water. The average swell height in winter is 12 ft, with peaks reaching 27 ft. Big swells can occur when a frontal system brings wind and rain for a day or two. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731981171808-JX1UZJWBN3SMQNWZFGH0/SSL_4550_monk-seal-sunning-Kaena_72.jpg Kaena Point - Hawaiian Monk Seal, Monachus schauislandi Brought back from the brink of extinction by the protected breeding grounds in the far Northwestern Hawaiian Islands, monk seal populations have risen high enough that some have been visiting even the crowded shores of O‘ahu. However, this seal is enjoying a quiet rest on one of the less traveled shores at Ka’ena point. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731987246396-DD8A3X3WJHET3A2WTZ0K/SSL_4562_child-tide-pool-KaenaPt_2017-2-4_mom_fin_72dpi.jpg Kaena Point Mom and son enjoying the tide pool area on the side to the left of the sleeping seal. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731986673402-REO6NHKEWNW5QWY46ZG4/SSL_4477_acetylene-light-pole_keana_blockhouse_72dpi.jpg Kaena Point A Japanese tourist stands on the bunker celebrating having arrived at the edge of the Point where there is a a navigational light (left). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731985331785-45RWUCI7ZSJ0FDPSM1CS/SSL_4261_couple-hand-hand-walk-waves_72dpi.jpg Kaena Point Couple returning from reserve Point. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731985421566-6W2VDRDCFX4MI08ZZ8WO/SSL_4691_two-fishermen_crpsat_72dpi.jpg Kaena Point Besides the surfing and the habitat reserve, Ka’ena point is a local fishing spot. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731985421232-QT61I1P208L34E74TOES/SSL_4666_cowfish_fishermen_72dpi.jpg Kaena Point I noticed this group of young men with their fishing gear, cooking steaks, not fish. When I asked, “Where’s the fish?”, they pointed to the grill and told me it was “cowfish.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731986916134-NS3TK7DTVNQM8VS3CPF0/SSL_4700_Kaena-Pt-zentgraf-kamp-Leaving_72dpi.jpg Kaena Point I met these three German teenagers who were attending school in Waianae and their sponsor (who lived in Manoa) at the Reserve Point where the monk seal was sleeping. They hadn’t noticed the seal so I pointed it out to them. When they thanked me I noticed the German accent and thus engaged them in conversation about their experience of Hawai’i and the program they were attending. On the way out of the Park I turned and saw them behind me, took this picture, and shared it with them. They reminded me of the good times I had in Germany back in the early 70s. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731988161047-WT7HC9ZJOXT0QAIBBW44/SSL_4286_mom-four-mo-old_crpcontr_72dpi.jpg Kaena Point The similarities between species - parents protecting their children. Humans experience love and joy in many different ways and for many different reasons. I wonder, not if, but how different animals, e.g., the albatross, experience the love and joy of parenting, as well as the anxiety and fear of protecting. Are they aware with forethought, as we are, that when children are out of sight, a parent cannot protect their offspring from the dangers of the world, or do they operate on instinct so that if there is no immediate danger then there is no anxiety?. “Wouldn’t it be loverly.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1731988205493-B5MCWCQ5R4VGIKFB88DH/SSL_4280_Father-daughter-hike2_72dpi.jpg Kaena Point This father-daughter walking hand-in-hand reminded me of walking with my daughters when they were young. The feel of a little hand in mine was always a special event. For the albatross family unit on Oahu, male Laysan albatrosses play an equal role in caring for their young during nesting, sharing the responsibility of incubating the egg and feeding the chick with their female partner, although typically the male takes the first incubation shift while the female recovers at sea after laying the egg; both parents contribute equally to raising the chick once it hatches. http://www.sslanzilotti.com/202551-workersmarch daily 0.75 2025-05-08 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351355726-HPK30YMFLP4GR7ETOFL8/DSC04879_Hotel+Workers.jpg 2025-5-1 International Workers Day March - The unions came out en masse in support of federal workers. The following pictures are presented, for the most part, in the order in which they were taken. From gathering at the State Capitol and holding signs and waving to the traffic on Beretania Street, to marching to the Federal Building down Punchbowl Street, to lining Ala Moana Boulevard, adjacent to the Prince Kuhio Federal Building, and hearing the sound of supportive horn blowing emanating from the passing drivers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351355726-HPK30YMFLP4GR7ETOFL8/DSC04879_Hotel+Workers.jpg 2025-5-1 International Workers Day March - The unions came out en masse in support of federal workers. The following pictures are presented, for the most part, in the order in which they were taken. From gathering at the State Capitol and holding signs and waving to the traffic on Beretania Street, to marching to the Federal Building down Punchbowl Street, to lining Ala Moana Boulevard, adjacent to the Prince Kuhio Federal Building, and hearing the sound of supportive horn blowing emanating from the passing drivers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351590296-FDHZYU57HT11EM0JZCRE/DSC04787_Refuse.jpg 2025-5-1 International Workers Day March - Refuse a fascist America https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351592125-ZG7PR71G2L29G8Q6H5T8/DSC04786_Trump+will+invade.jpg 2025-5-1 International Workers Day March - On arrival, as I approached the State Capitol, on Beretania Street I encounter a synopsis of Trump's foreign policy - Invade https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351645443-X5JF1EJV074NPKKKASGU/DSC04796_HI+Firefighters.jpg 2025-5-1 International Workers Day March - Hawaii Fire Fighters Association, marching in support of federal workers, set up to gather the fire fighters contingent https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351796931-QJWRD0D7CT5E8EHEKNX0/DSC04799_Arrest_sm.jpg 2025-5-1 International Workers Day March - Arrest the President https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351673489-PF6AM603SZDIFQAB1R3Y/DSC04797_Free+not+fascism.jpg 2025-5-1 International Workers Day March - Freedom not fascism The word “fascism” was one of the most used descriptors https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351815716-9EEPBWF60BYZRNY1E158/DSC04801_no+deportation_sm.jpg 2025-5-1 International Workers Day March - Due process Justice vs injustice, i.e., many marchers focused primarily on the due process issue, and secondarily on deportation https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351682219-G4EZTQEVS5IYHEFZ0XSN/DSC04800_Defend+Free+Speech.jpg 2025-5-1 International Workers Day March - A shout out for "Free speech, democracy, and justice" in front of the State Capitol https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351707403-V3YMCSJ5CPPWEGUDTNIM/DSC04802_We+the+people.jpg 2025-5-1 International Workers Day March - We the people.... https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746351709006-0PKKS9GBVBJG9V06JAHT/DSC04803_Injustice.jpg 2025-5-1 International Workers Day March - Injustice vs justice https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361056330-TNUPDGOE5L8STVS7VIWR/DSC04804_Arrest+Presiden.jpg 2025-5-1 International Workers Day March - A call for justice https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361034086-4FN5W9B8DSJM7YJ9PIEZ/DSC04805+No+Kings.jpg 2025-5-1 International Workers Day March - No Kings https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361085232-JPXY9VWLVFATHL3JDYHV/DSC04806_Public+Schools.jpg 2025-5-1 International Workers Day March - Support for Public Education https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361222837-WFPDPMNDL8W3O48UZ8XK/DSC04813_Fund+Public+Schools_sm.jpg 2025-5-1 International Workers Day March - Fund public schools https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361099818-7KE2L3T41A4M8Y25UZD5/DSC04807_DEI.jpg 2025-5-1 International Workers Day March - Support for Public Education and Diversity, Equity & Inclusion https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361154081-4KAP7WNR773ZC65GHXIM/DSC04809_Hands+Off.jpg 2025-5-1 International Workers Day March - Workers' rights and public education https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361187855-0IM61HY7KG7K558RIZ1E/DSC04812_Fund+Public+Schools.jpg 2025-5-1 International Workers Day March - Funding for public schools https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361229964-ZIL1CI7WGWLUXTNCNJWY/DSC04812_Rights.jpg 2025-5-1 International Workers Day March - A matter of rights https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746362577394-TA5LM73FGMFTIDG7MKZG/DSC04818_HI+State+Teachers+copy.jpg 2025-5-1 International Workers Day March - Hawai’i State Teachers Association https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746362609540-P1ZSC2HF653CLAS7XHIH/DSC04824_Fire+DOGE.jpg 2025-5-1 International Workers Day March - Fire DOGE https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746393317378-PRDEOYAQTVYULU1M7ZCT/DSC04822_UPW.jpg 2025-5-1 International Workers Day March - United Public Workers https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746362621166-GKGHJVYVMSAXTL9FCJVC/DSC04827_One+Job.jpg 2025-5-1 International Workers Day March - One job should be enough! UNITE https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746575785934-QQCLU51LQQLP28AOD1M2/DSC04829+Healthcare+Worker_V-2.jpg 2025-5-1 International Workers Day March - Retain, Recruit, Respect Healthcare Workers https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746361246006-5QUMV3U78EPQG765LBHE/DSC04814_Impeach.jpg 2025-5-1 International Workers Day March - Impeach to Imprison https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746362666232-S5N1VR7IYL48W75R7H5H/DSC04830_Need+Unions.jpg 2025-5-1 International Workers Day March - ALL Workers Need Unions https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746362692087-EQL5SYAA0MLL19AEX4YB/DSC04831_Need+Unions.jpg 2025-5-1 International Workers Day March - All Workers Need Unions - We are all federal workers https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746362720617-VU14O9PEXF0AX9VPIJDO/DSC04833+Dem+Socialists.jpg 2025-5-1 International Workers Day March - Democratic Socialists of O'ahu https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746362720457-BGF7S82Z362PXVJF80IL/DSC04834_Organize.jpg 2025-5-1 International Workers Day March - Democratic Socialists O'ahu: Don't Agonize, ORGANIZE! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746362739995-HZFWQVRSL9J8VEWODQWV/DSC04835_Deny+Defend+Depose.jpg 2025-5-1 International Workers Day March - Democratic Socialists O'ahu: DENY THE FASCISTS, DEFEND THE PEOPLE, DEPOSE THE OLIGHARCHS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395202415-O6FCH6DXO3XP1TY61E3R/DSC04836_Distress+HI+Flag.jpg 2025-5-1 International Workers Day March - HAWAIIAN FLAG - UNDER DISTRESS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394289345-SBTEJI58ZC56HODERJG4/DSC04837_Hands+off+science+funds.jpg 2025-5-1 International Workers Day March - PROTEST AGAINST CUTS TO FUNDING FOR SCIENCE RESEARCH https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394316001-NPVJCZ8FJAPUUW8CROPV/DSC04840_You+killing+me+brah.jpg 2025-5-1 International Workers Day March - ENOUGH ALREADY! message from an anonymous Federal Worker https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394319599-WN1MKM4HDBMXKJ75ZZYE/DSC04841_Trade+war.jpg 2025-5-1 International Workers Day March - Democratic Socialists O'ahu: US Trade War policy creates problems for Hawai'i https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394355425-3H798K4FCKWXCLJMQF5Q/DSC04842_Rule+of+Law-KCC.jpg 2025-5-1 International Workers Day March - PROTECT: Democracy, Rule of Law, Human Rights, Union Contracts, Science Education, Due Process, and the Constitution https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394370656-TKOBZSILJ45MUNZ196WO/DSC04846_Local+5_V-2.jpg 2025-5-1 International Workers Day March - Local 5 Hawai'i Local 5 represents 10,000 workers throughout Hawaii who work in the hospitality, health care and food service industries and is an affiliate of UNITE HERE, an international union that represents over 250,000 workers throughout the U.S. and Canada (i.e., the latter is an independent country and NOT, according to its recent national vote, a candidate for the (dis)United States of America’s 51st state). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394388115-5V9GNVCFFRQ9X8UKODIY/DSC04847_Thank+teacher.jpg 2025-5-1 International Workers Day March - Hawai'i State Teachers Association - Fund our schools and respect the job our teachers do https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394409783-MOFPX0QFTGDLD15S3QUB/DSC04852_Immigrants.jpg 2025-5-1 International Workers Day March - IMMIGRANTS MADE AMERICA GREAT! …and if you are really interested in the immigrant issue and want to better understand the rhetoric being recycled by the MAGA movement et al, may I suggest reading: “THE GUARDED GATE: Bigotry, Eugenics, and the Law that Kept Two Generations of Jews, Italians, and other European Immigrants out of America” by Daniel Okrent, published by Scribner, NY, copyright 2009 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394413960-ZSQ1D3J1OJ9OYXMKWOIC/DSC04855_Pearl+Harbor+Naval+Ship+Yard+RIF.jpg 2025-5-1 International Workers Day March - Employees protesting the RIF (reduction in force) at the Pearl Harbor Naval Ship Yard https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395284410-79N4VEMUVT0ZH5ISVA52/DSC04855_RIF+at+Pearl+Harbor+Naval+Ship+Yard.jpg 2025-5-1 International Workers Day March - Employee protesting the RIF (reduction in force) at the Pearl Harbor Naval Ship Yard https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746394428091-JRU4TBL0G5NCI5ZEXPKG/DSC04856_Pearl+Harbor+Naval+Shipyard+RIF+copy.jpg 2025-5-1 International Workers Day March - Protesting the driving out of employees at the Pearl Harbor Naval Ship Yard https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395421340-NESM7XI1DV0WBOK4BD82/DSC04858_Local+5.jpg 2025-5-1 International Workers Day March - UNITE HERE! Local 5 Hawai'i https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395418047-BH4G8F471P1Z3OWMMYKT/DSC04859_UFCW+480.jpg 2025-5-1 International Workers Day March - UFCW Local 480 According to UFCW website, The United Food and Commercial Workers International Union (UFCW) is a labor union made up of 1.2 million hard-working men and women in the U.S. and Canada. It is a 501(c)(5) nonprofit organization whose members work in grocery and retail stores, pharmacies, health care and manufacturing facilities, and in food processing and meat packing industries. For example, in Hawai’i, workers at Safeway are represented by UFCW, Local 480. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395453674-B0EW3EGC5Y3O15ZD4I0S/DSC04860+Need+Unions+metalworkers.jpg 2025-5-1 International Workers Day March - I'm not sure about who this group represented, but it may be Hawai'i Metal Trades, as that is the best guess I could make from their logo https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395532505-SE2Q3F2DQABPNWKYI1NX/DSC04863_IBEW.jpg 2025-5-1 International Workers Day March - International Brotherhood of Electrical Workers, Local Union 1260 According to its website, the International Brotherhood of Electrical Workers, Local Union 1260, is one of the most diversified local unions in all the IBEW, representing more than 3,500 members throughout the Pacific — from Hawaii to Guam. its members work in most IBEW jurisdictions, including: utility, outside construction, professional technical and clerical, broadcast television, cable television, maintenance and operation, electrical equipment service, sound and public address, warehouse service and supply, government. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395497546-DY7OENQJUOKJIDYUY6F2/DSC04866_Hotel+Workers.jpg 2025-5-1 International Workers Day March - Hawai'i's Hotel Workers What follows is a series of pictures of Hotel Workers marching on May 1. Though some may see this as being redundant conceptually, I wanted to honor the willingness of each person marching to show up and represent their solidarity with the federal employees who have been terrorized by the ideological and self-promoting, political firings. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395545904-1VHVKIUDALAS4XWKULBP/DSC04867_Comeback+Stronger.jpg 2025-5-1 International Workers Day March - UNITE HERE: COMEBACK STRONGER https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395591743-EEWUGQ1XHBNRWLBYMUH0/DSC04870_Hotel+Workers.jpg 2025-5-1 International Workers Day March - HOTEL WORKERS: ALL WORKERS NEED UNIONS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395589390-ZADTT9J81I7TQBHPM2WB/DSC04874_Hotel+Workers.jpg 2025-5-1 International Workers Day March - HOTEL WORKERS: ALL WORKERS NEED UNIONS: WE ARE ALL FEDERAL WORKERS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746400119732-8G0TOPULMJGN97S4NTEG/DSC04867+Do+what+is+good_V-2.jpg 2025-5-1 International Workers Day March - DO WHAT'S GOOD FOR THE PEOPLE! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746395611369-T3ZJ31OWEKIHX03KWRNE/DSC04876_Hotel+Workers.jpg 2025-5-1 International Workers Day March - UNITE HERE: and the Hotel Workers marched! A’ole Fascism - NO FASCISM https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746400828809-XPWN6W687UQJ13UUB1J1/DSC04878_No+Felon-in_Chief.jpg 2025-5-1 International Workers Day March - This sign provides me with some context for understanding why so many people throughout the USA would take to the streets to protest present government policy [Editor’s note: I typed the content of the original sign to make it legible.] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746400867590-1RQY89AYAXYHP4NLQDA7/DSC04880_Hotel+Workers.jpg 2025-5-1 International Workers Day March - Hotel Workers on the march! ALL WORKERS NEED UNIONS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746400869409-3BNR9YCBCDCAFZC53M8C/DSC04882_Hotel+Workers.jpg 2025-5-1 International Workers Day March - Hotel Workers on the march! ALL WORKERS NEED UNIONS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746400909442-17EMIXQOYC38TKKGS025/DSC04884_Hotel+Workers.jpg 2025-5-1 International Workers Day March - HOTEL WORKERS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746404656905-CMRY4SV863G1IRS7EBXY/DSC04888_workers+need+unions_sm.jpg 2025-5-1 International Workers Day March - Hotel Workers on the march! ALL WORKERS NEED UNIONS According to a quick internet inquiry, “There are approximately 36,000 hotel workers in Hawaii. This includes all employees, including management and non-bargaining staff. If you only consider "production" or bargaining unit workers, there may be around 28,000. “ https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746400942923-P5JRVRKNB9YNCPHM4W5T/DSC04889_Hotel+workers.jpg 2025-5-1 International Workers Day March - HOTEL WORKERS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746400949531-N4V6316FIEB2LOBFWA3L/DSC04890_Treason.JPG 2025-5-1 International Workers Day March - Individual signs calling Trump's acts treasonous and asking for union support of teachers' rights in the classroom [Editor’s note: As many are now protesting the deportation of immigrants without due process, and the threat of deportation of recent immigrants who are actually USA citizens, holding a sign demanding to “DEPORT MUSK, ACT NOW” would seem to be somewhat contradictory to the overall goal of equal treatment under the law and the value of a society ruled by law. Just sayin’] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746400981377-B6Q253TFJKMO8CDBUEXW/DSC04891_public+ed.JPG 2025-5-1 International Workers Day March - PUBLIC EDUCATION = PUBLIC GOOD https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746405511269-WRLKLZQG5X0TIKIUH55Y/DSC04893_NO+KING+marching+for+fed+workers_sm.jpg 2025-5-1 International Workers Day March - NO KING, as well as a comment on Trump's foreign policy This sign emphasizes the fact that Trump’s foreign policy seems to be bad business sense for USA Inc., as it is trying to make friends with our international competitors while it makes enemies out of our international partners. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406830232-X8CUR56FFITJXHPOK7PD/DSC04894_HI+Nurses+Assoc.jpg 2025-5-1 International Workers Day March - Hawaii Nurses Association The Hawai'i-American Nurses Association is the professional organization of registered nurses in Hawaii and a constituent member of the American Nurses Association. According to the Star Advertiser, 9/4/2020, At that time there were approximately 4,000 members in 30 bargaining units at 24 different facilities across the state. The Queen’s Medical Center is the largest HANA employer, followed by Hawaii Pacific Health, which owns Kapiolani, Straub and Wilcox medical centers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406835456-DX8Z9QTP92XYVBJRNHEG/DSC04897_UHPA.jpg 2025-5-1 International Workers Day March - UHPA - The University of Hawai'i Professional Assembly The University of Hawaii Professional Assembly ( UHPA ) is the exclusive bargaining agent for 3,300 faculty members at the University of Hawaiʻi system's 10 campuses statewide. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406869891-69DARDV68SF3NFXPDUHM/DSC04898_UHPA_Together.jpg 2025-5-1 International Workers Day March - UHPA marchers support Solidarity: Workers' Rights are Human Rights; IMUA - to move ahead/forward; Together We Fight https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406841584-M4LB5TH5HDVDM8V66AG1/DSC04899_Elder_Pearl+Harbor+Naval+SY_Just+Stop.jpg 2025-5-1 International Workers Day March - [This is one of my favorite images of the day.] Perhaps based on wisdom gathered and some knowledge of the pain being inflicted on so many, this gentleman simply states, "JUST STOP." A plea for the Pearl Harbor Naval Ship Yard workers. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406871736-ZAHKOALHM4GHKF0CAMYR/DSC04899_UHPA_Distress+Flag.jpg 2025-5-1 International Workers Day March - UHPA member: Flag citing DISTRESS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406917494-8IRWVUCRT7BZREAPS63O/DSC04902_UHPA_Protect.jpg 2025-5-1 International Workers Day March - UHPA members - Fight for the RULE OF LAW [Editor’s note: I was honored to work with some of UHPA’s members at Kapio’lani Community College and found the great majority of them to be passionate, innovative, and caring educators who took great pride in their work and the accomplishments of their students.] https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406899667-TJMQXKIPZ00EUGJZG40N/DSC04903_UHPA_Stop+real+steal.jpg 2025-5-1 International Workers Day March - UHPA: DOGE - STOP THE STEAL https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406948271-GZIXQLX5LYF9JSAORQ9V/DSC04904_UHPA_Justice+for+All.jpg 2025-5-1 International Workers Day March - UHPA: SUPPORTS FEDERAL WORKERS; JUSTICE FOR ALL; YOUR UNION NEEDS YOU https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406952584-R9XPXLGY6P5CA8BGU6OL/DSC04905_UHPA_Cory.jpg 2025-5-1 International Workers Day March - UHPA: Support for Federal workers https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406986535-Q48WI5UL0HQUI69864JG/DSC04906_United+Public+Workers.jpg 2025-5-1 International Workers Day March - UNITED PUBLIC WORKERS: AFSCME Llocal 646, AFL-CIO According to an internet search, “The United Public Workers (UPW), which is AFSCME Local 646, AFL-CIO in Hawai’i, represents over 13,000 members. Within the UPW, there are approximately 7,612 employees in Unit 1 and 1,587 in Unit 10. Of these, 6,361 in Unit 1 and 1,221 in Unit 10 are union members. Additionally, the UPW includes associate, retiree, and private sector members. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746406986897-3DCDGSRVQXS6P8UQVECF/DSC04908_HI+Firefighters+Assoc.jpg 2025-5-1 International Workers Day March - Hawaii Fire Fighters Association According to an internet search, “The Hawaii Fire Fighters Association (HFFA) represents nearly 3,000 active duty and retired firefighters in the state. HFFA is Local 1463 of the International Association of Fire Fighters (IAFF). HFFA is the exclusive bargaining representative for Hawaii's firefighters. “ https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746407005676-4DDYE4OFOJ0G4OKRS77W/DSC04911_HI+Fire+Assoc.jpg 2025-5-1 International Workers Day March - Hawai'i Fire Fighters Association members https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411409970-2LQVIXUZ7FM4862KXX02/DSC04912_Resist-Show-up.jpg 2025-5-1 International Workers Day March - The Brotherhood of the Sea: HANDS OFF UNIONS The Seafarers International Union AFL-CIO, represents professional United States merchant mariners sailing aboard U.S.-flag vessels in the three shipboard departments: deck, engine and steward. SIU members are represented aboard a variety of vessels, such as: military support, commercial trade, tugboats, passenger ships, barges, and gaming vessels. Military support vessels operated by the U.S. Department of Defense's Military Sealift Command (MSC) include some 110 noncombat ships that support U.S. forces around the world. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411405036-OR3C7ZNKCF3CAQZ6NGQE/DSC04914_Hands+Off+Worker+Rights.jpg 2025-5-1 International Workers Day March - HANDS OFF! UNION CONTRACTS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411448772-VNEXNY4P4YEKC32W2I6I/DSC04915_Hands+Off+Unions.jpg 2025-5-1 International Workers Day March - HGEA AFSCME Local 152, AFL CIO: HANDS OFF! UNION CONTRACTS The Hawaii Government Employees Association (HGEA), AFSCME Local 152, is Hawaii's largest union with approximately 37,000 members statewide. HGEA represents nine of the 14 collective bargaining units for public state and county employees. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411460620-2DSSQMOCOKIDNMN09DP8/DSC04916_Hands+Off+Unions.jpg 2025-5-1 International Workers Day March - The Hawaii Government Employees Association: HANDS OFF! UNIONS In addition to active members, HGEA also services a significant associate membership, including retirees, excluded employees, and other state/county and federal employees. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411505823-SUCJ75XUJ43MHCZW3F5D/DSC04917_Hands+Off+Unions.jpg 2025-5-1 International Workers Day March - The Hawaii Government Employees Association https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411516592-929HOON8XZRPB9W8GPPQ/DSC04919+Honk+for+Education.jpg 2025-5-1 International Workers Day March - HONK FOR EDUCATION https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411563887-2MSU92M8CKZXSS050CYV/DSC04921_Association+of+Flight+Attendance.jpg 2025-5-1 International Workers Day March - ASSOCIATION OF FLIGHT ATTENDANTS-CWA, AFL-CIO The Association of Flight Attendants-CWA (AFA-CWA), AFL-CIO, is a labor union representing flight attendants at various airlines, including Hawaiian Airlines, according to hawaiianafa.org. It's the world's largest union specifically for flight attendants, advocating for better pay, benefits, and working conditions. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411575829-6J577F4G5E1963NDKH02/DSC04922_Due+Process+For+All.jpg 2025-5-1 International Workers Day March - DUE PROCESS FOR ALL - RULE OF LAW - STOP KIDNAPPINGS - NO ICE https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411608888-OJVG715N6KJ7FE8GBQ6N/DSC04924_Workers+Unite_Dem+Socialist+Oahu.jpg 2025-5-1 International Workers Day March - DEMOCRATIC SOCIALISTS, O'AHU: WORKERS UNITE! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419098860-8P1MGBO2QX0IQUMGZPQT/DSC04927_Dem+Socialists_Class+War_State+III_V-2.jpg 2025-5-1 International Workers Day March - Democratic Socialists, O'ahu: WORKERS RUN THE WORLD; NAZIS, NOT THIS TIME!; NO WAR BUT CLASS WAR https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411657617-DUW0US8PQJ3B2IL4CTJ5/DSC04929_Resist+Persist+Repeat.jpg 2025-5-1 International Workers Day March - DEMOCRATIC SOCIALIST: HANDS OFF! OUR DEMOCRACY - SOLIDARITY FOREVER!; RESIST. PERSIST. REPEAT. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746411642130-7T60VBICBWM5WPK56WV1/DSC04935_Stop+the+Cruelty.jpg 2025-5-1 International Workers Day March - DEMOCRATIC SOCIALIST: STOP THE CRUELTY; WORKERS ARE UNDEFEATED https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419564839-ZHW9PHNPER4ESTN1J5HI/DSC04937_CDC+Workers+Protect.jpg 2025-5-1 International Workers Day March - CDC WORKERS PROTECT OUR HEALTH https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419540194-OLXRE92QL5IYBCFOG4KI/DSC04939_Agenda+for+Trump.jpg 2025-5-1 International Workers Day March - IMPEACH, PROSECUTE, CONVICT, INCARCERATE, EXECUTE https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419566520-C2LBR0BNYJCXH64Q69JZ/DSC04941_Narcissism+Trumps+Truth.jpg 2025-5-1 International Workers Day March - A lament: Narcissism trumps the TRUTH https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419587091-8QUCJPMYRSXBXZ5VZJOC/DSC04943_Enraged+not+destroyed.jpg 2025-5-1 International Workers Day March - Be enraged by INJUSTICE, but NOT DESTROYED by it https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419607418-5JZX9P7PWMVJPO5THQBY/DSC04945+Stop+War+on+Women+LGBQT.jpg 2025-5-1 International Workers Day March - Stop the war on women and LGBTQ people https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419631128-YTKX05FSHMK6MJ5GVGHQ/DSC04946_Enough+Tariff.jpg 2025-5-1 International Workers Day March - ENOUGH TARIFFS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419657341-DUCRF77WQM5UCW30TY7A/DSC04947_No+Turd+Reich.jpg 2025-5-1 International Workers Day March - RESCUE: WORKERS, JUDGES, SOC SECURITY, IMMIGRANTS, SCHOOLS/UNIVERSITY, SCIENTIFIC RESEARCH, PARKS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419673715-9Z6TSDGLA1ELST9OI0PE/DSC04949_Ever+Wonder+How+Bankrupt.jpg 2025-5-1 International Workers Day March - TRUMP'S BANKRUPTCIES https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419700095-C810KEDVBTO3T8SC2YWR/DSC04950_Impeach.jpg 2025-5-1 International Workers Day March - IMPEACH https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419715134-P4DGFL2TSXI50M3YC8N5/DSC04951_Fight+Regimes+Oligarchies.jpg 2025-5-1 International Workers Day March - FIGHT REGIMES AND OLIGARCHIES https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419743735-62A2YNG6P3GU59QKWFL6/DSC04952_BUMMER+100+DAYS.jpg 2025-5-1 International Workers Day March - 100 DAYS OF BUMMER: 59% DISAPPROVAL https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419764181-ZVWW7EL7E478ZIRWNNX9/DSC04953_Fcuk+Oligarchy.jpg 2025-5-1 International Workers Day March - FX*K OLIGARCHY https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419787347-3J7I7PTDBMY13XHFSGCJ/DSC04954_Kilmar+Abrego.jpg 2025-5-1 International Workers Day March - BRING HOME KILMAR, ABREGO, & GARCIA; DANGEROUSLY INCOMPETENT, DEMOCRACY https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419824884-8ZBWIHGLJKAH5LLYCZME/DSC04955+Tax+1+percent.jpg 2025-5-1 International Workers Day March - TAX THE 1% https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746419827104-MNHR2M2FD7YKYKIGL4TZ/DSC04956_Hands+off+CDC.jpg 2025-5-1 International Workers Day March - HANDS OFF THE CDC The U.S. Centers for Disease Control and Prevention (CDC) is the nation's leading science-based, data-driven, service organization that protects the public's health. CDC puts science into action to help children stay healthy so they can grow and learn; to help families, businesses, and communities fight disease and stay strong; and to protect the public's health. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423646448-N6UQO94Y97CMS1H4U61O/DSC04957_Trump+Fascist+Go+Now.jpg 2025-5-1 International Workers Day March - TRUMP FASCIST REGIME MUST GO NOW!!! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423645611-0XI82FK54A0OW5YXKMZH/DSC04962_Women+teachers_sm.jpg 2025-5-1 International Workers Day March - TEACHERS ARE UNDERPAID BECAUSE AMERICA DOES NOT VALUE THE WORK OF WOMEN https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423693149-SVMMYBDHRNISBG16XI4Z/DSC04964_No+Hate+etc.jpg 2025-5-1 International Workers Day March - WORKER POWER; NO TRUMP! NO HATE! NO U.S. FASCIST STATE https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423692858-AEM3EF38BBSW4B0O43W1/DSC04966_Of%2C+For%2C+By+the+People.jpg 2025-5-1 International Workers Day March - OF, BY, FOR WE the PEOPLE; RULE OF LAW https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423734565-I406FAQX92EAYK0GK0O5/DSC04968+Stand+with+Ukraine.jpg 2025-5-1 International Workers Day March - I Stand with UKRAINE https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423734684-CCHQ6CS1WPV2TKDMOW7Z/DSC04969_Save+Democracy.jpg 2025-5-1 International Workers Day March - SAVE DEMOCRACY https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423769681-159FNWWYKXQYLPT2H9ZZ/DSC04971_FDT+So+much+wrong.jpg 2025-5-1 International Workers Day March - FDT SO MUCH WRONG, SO LITTLE CARDBOARD https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423769443-86YFIZYXG7L8M6HILJJ6/DSC04973_No+Voter+Suppression.jpg 2025-5-1 International Workers Day March - NO VOTER SUPPRESSION https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423816906-MJNWGCEA8RO4QZIA9XD0/DSC04975_Internatl+Union+Painters-Allied+Trades.jpg 2025-5-1 International Workers Day March - INTERNATIONAL UNION OF PAINTERS AND ALLIED TRADES;; IT'S BETTER IN A UNION https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423788907-X2BW3Y4VIPAO11V0JQJT/DSC04977_BEWARE.jpg 2025-5-1 International Workers Day March - BEWARE! YOUR FREEDOM IS NEXT - STOP TRUMP, etc https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746427348891-BIWW46XCIBEO3LKH1XCA/DSC04978_No+more+fed+cuts_V-2.jpg 2025-5-1 International Workers Day March - NO MORE FEDERAL CUTS!!! POWER TO THE PEOPLE!!! Trump/Elon get your hands out of OUR pockets https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423869172-4DHGGEYFU104BFNW5C5K/DSC04980_No+Fascist.jpg 2025-5-1 International Workers Day March - DUMP TRUMP https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423863502-KH40MMEEBEPC5SWEHOM1/DSC04986_Stand+up_sm.jpg 2025-5-1 International Workers Day March - GET UP, STAND UP FOR YOUR RIGHTS (with attitude) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428388733-46ZLER22781ZCE5NLYIA/DSC05010_Terrorist+President_STATE+III_V-4_FINE.jpg 2025-5-1 International Workers Day March - March and Protest: International Workers Day, May 1, 2025, Honolulu, Hawai'i Marchers lined Ala Moana Boulevard in protest of President Trump’s policies, which, on one level, seem purposely created to intimidate and strike fear in a wide variety of communities and institutions. Due to the conditions of fear created and the experience of terror by so many, I characterize Mr. Trump’s role in his first 100 days as the Terrorist President. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423890771-PYF3YVEQ5YAE2O894OT8/DSC04992_Ala+Moana+Blvd-Uniions_sm2.jpg 2025-5-1 International Workers Day March - Holding signs and waving at Ala Moana Boulevard next to the Prince Kuhio Federal building https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746423876457-DOVL6YAJ31EI59BEVILR/DSC04994_HSTA_Hertin+Edukation.jpg 2025-5-1 International Workers Day March - Hawai'i State Teachers Association - Education https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428268132-4RWTXHS8NQ293UFMKUOG/DSC04995_Local+5_Tax+the+Rich_Impeach.jpg 2025-5-1 International Workers Day March - UNITE HERE! LOCAL 5 HAWAI'I: TAX THE RICH https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428258393-RERGHXX8UKS0IAY6BD9E/DSC04996_Honolulu+for+Workers%27+Rights+May+1_sm.jpg 2025-5-1 International Workers Day March - To reiterate: ALL WORKERS NEED UNIONS https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428304408-OZP5JCVKRDHUWCPFUUNK/DSC04998_Hotel+Worker+line_Cheerleader.jpg 2025-5-1 International Workers Day March - Cheerleader for UNITE HERE! - THEY SAY CUT BACK. WE SAY FIGHT BACK!! - SHOW ME WHAT DEMOCRACY LOOKS LIKE. THIS IS WHAT DEMOCRACY LOOKS LIKE!! https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428324941-FUKZFS02YY24H68D9ROJ/DSC05003_Internatl+Assoc+of+Machinists-Aerospace+Workers.jpg 2025-5-1 International Workers Day March - Federal Elector Employees: International Association of Machinists and Aerospace Workers - IAMAW Local Lodge 1998 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428341458-Y3BJX0I6QBJEW5S1GKCS/DSC05006_Project+2025+Killing+Democracy.jpg 2025-5-1 International Workers Day March - Project 2025 is Killing Democracy https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428352597-OB6IO13IIZDW4V19ROR1/DSC05007_Convicted.jpg 2025-5-1 International Workers Day March - Comment on the fact that Abrego Garcia, an innocent man, is in jail and a convicted felon, Donald Trump, is not https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428376134-4JM3XJZMJC1UJMFFVR2T/DSC05008_Junk+Drawer.jpg 2025-5-1 International Workers Day March - IT'S NOT A CABINET, IT'S A JUNK DRAWER A GAURDIAN article a few months ago was entitled,” Trump cabinet criticized as hodgepodge team unified only by ‘absolute fealty’ to him.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428404220-OTZWFO94L5B38DGXGS9A/DSC05011_1789+France.jpg 2025-5-1 International Workers Day March - THEY WANT 1939 GERMANY, THEY'RE GONNA GET 1789 FRANCE FYI: A quick internet inquiry resulted in the following summary: “In 1789, France experienced the outbreak of the French Revolution, a period of radical political and social change. This year marked the beginning of the end of the absolute monarchy in France and the establishment of a more democratic republic.” https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428416929-W9LZW7EVYYCM5XFQ5KBJ/DSC05012_Trump+Cruelty.jpg 2025-5-1 International Workers Day March - The objection noted here, and echoed by many in the March, is the CRUELTY. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428429043-2MTTEZ7LORIS3FPOCPHG/DSC05015_Stop+KIdnapping.jpg 2025-5-1 International Workers Day March - STOP KIDNAPPING PEOPLE! THE KING IS A CONVICTED FELON https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428451921-7QNSG43A43SOEBQCTMR9/DSC05019_Trans.jpg 2025-5-1 International Workers Day March - REFUSE FASCISM: TRANS LIVES MATTER! and HANDS OFF MY SOCIAL SECURITY https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1746428441664-NT5VZ74OUJNA10BJ4AQV/DSC05017_For+Democracy.jpg 2025-5-1 International Workers Day March - TAKE MY PHOTO. TAKE MY NAME. I'M FOR DEMOCRACY, JUST THE SAME!!!! * Editor’s Note: Thank you to all who organized and participated in the Worker’s March and who graciously allowed me to take their photographs. http://www.sslanzilotti.com/2025614_no-kings daily 0.75 2025-06-18 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062516578-LVMGKH1D6LIJOKTZMM0Z/DSC05095_Reign-Reign-Go-Away.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI As I arrived at the State Capitol, it started to drizzle. One of the first pictures I took was of this woman holding the Reign Reign Go Away sign. It wasn’t until I got home and started processing my photos that I realized I had caught the rain coming down on us. A couple of minutes earlier or later and there would have been no rain on the Reign. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062516578-LVMGKH1D6LIJOKTZMM0Z/DSC05095_Reign-Reign-Go-Away.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI As I arrived at the State Capitol, it started to drizzle. One of the first pictures I took was of this woman holding the Reign Reign Go Away sign. It wasn’t until I got home and started processing my photos that I realized I had caught the rain coming down on us. A couple of minutes earlier or later and there would have been no rain on the Reign. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062127294-ZR2DHD9H699F1B3UXWO7/DSC05137_No+Kings+Day_State+Capitol.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750061979150-ZB33E3OPG84F48GFQRR2/DSC05183+Flush+Monarchy.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062362404-UX4VNQ5P4HVA390ZT579/DSC05085_ICE+hands+Off.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062435863-Y6U3D9GUMOL0G8WO1DFU/DSC05088_USA-Distress.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062446285-ODMJPEGZEIBV9LT61T9C/DSC05091_Chosen+Psychopath.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062379191-9TWQR2K9EF0MX5EN03KM/DSC05087_No+Kings.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063297875-LYK5RV52CFL4JNHJ8IET/DSC05106_Due+Process.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062514143-5WM8F603A6IUIWPXP40H/DSC05099_NO+Ice+Raids_V-2.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063280626-YD39BJPQJAIENYG7MN56/DSC05107_Billionaires.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062609032-FBH5EPO8QLPY7LLXW2TS/DSC05101_Silence-Power.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063356636-98N1GZWCX44IXGFUDJ84/DSC05108_for+the+people.jpg 2025-6-14_No Kings - Para La Raza (For the Race), NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062606204-AC1E2OPKYKZP43URV829/DSC05103_No+NG_Morons.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063394680-4OW437NABRBLV6YH6NLL/DSC05110+No+Fascist_V-2.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062685544-B73JVQCZLH9ZUNWR779E/DSC05104_Turd+Reich.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064598639-A8NQ0SSNZF6VWVY6E6SW/DSC05115_Free+Palestine.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750062686159-4570FA69QTCZHYM579NK/DSC05105_Orange+lies+matter.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063483005-CUXN4AHM25CD2W7XZDZK/DSC05116_Brotherhood.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064353868-817MLAK4ZOD7QK8Z7P27/DSC05117_be+Aloha.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI PONO in Hawaiian means righteousness, goodness, uprightness, or well-being. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063561066-6SO62WUPJ6Q3EH5TGDVT/DSC05118_JD+Vance+Ate+MY+Cat.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064079863-Y70RJ560X9RYSGURYKCN/DSC05139_stop+craziness.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063569061-N5BM6OSF2UANMVFY77ZU/DSC05120_No+Kings+since+1776.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064060478-V2V0REXQRXMJDHX3YBQF/DSC05140_Unity+not+Division.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063642578-EUBYCPBHI9596XAY3VKT/DSC05129_Conscience+war+Society.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064153901-VFH1GZDSNDTRHRY507DM/DSC05141_NO-In+name+humanity.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750100538567-AL65Y9BERYZPWR4J7EJ2/DSC05130_We+the+People_V-3.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064181284-I98XI0R70VI11EADYH6G/DSC05142_Dump+Trump.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063711973-8XVPYEJ2MUA8G7F2W28X/DSC05132_Donald+Lies.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064254811-LQKZR7DBG14Y7WAEFF9F/DSC05143_Terrible+Prick.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750067427660-WSM56X543SA1V9X5M04S/DSC05134_Kaepernick+and+Trump_V-2.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064229570-3EP61BFIGYJQE8C1NAUT/DSC05146_USAID+forever.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063760233-WP8N659IH53PK8DQ5NO9/DSC05137_No+Kings+Day_State+Capitol.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750063763496-Y61185CXIUN6MOISYO90/DSC05138_Wizard+of+Oz+-no+help.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064320631-HBGWJPA7V986DRGGSKCR/DSC05153_No+Dictators.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065054839-5E02V31L0E21I171BICD/DSC05168_State+Cap-both+sides.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064382097-V4R3O5DKMI5WIF8SRFX8/DSC05154_No+Bullies+Barbie+Dolls.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065050322-R8528VZ1XOKRYOHJ1M1A/DSC05169_Melissa+Hortman+RiP.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064422811-S8Y2BGV88EDA0RSYJB7G/DSC05155_People+Drive+Fascism+Out.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065125734-FFRQJDEPEYP1VU03WLOP/DSC05170_Worst+President+Ever.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064464558-Q0DHO93DB0X2LO2FMJ9F/DSC05157_We+The+People.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065113836-GVJKFH1N5YQ2LRA3CPKU/DSC05171_Save+our+Constitution.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064549409-YZG715R7F7WBIKP2CENA/DSC05158_Orange+Lies+Matter.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750067854782-ZTJEMR83YCI69MG2PFDE/DSC05172_ICE+Trolls_V-3.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064560714-268VBBQQAIFZGPFLNH89/DSC05162_Ben+Franklin+Keep+it_V-2.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750101283972-6UE9ZV4EXUUZA3T6K8JY/DSC05173_No+Authoritarians_V-2.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064631136-34ETALIC98YJPELXHZYC/DSC05163_Honeymoon.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065269041-V42050G7MGFH8GRB3GJX/DSC05174_Queens.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065466114-WZOV100NJ8MOJ9CHBA2B/DSC05179_Nation+Immigrants_Gandhi.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750064691466-VW5ZXBG0S45Q1QKNY4BB/DSC05164_Anne+Frank.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065289159-BDEEY4PKYDCMO9V4XJ1B/DSC05176_Criminal.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065341257-6GV9Q2JJGHND0E0PW3SX/DSC05177_Outrage.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065544816-ECB9QIG50K9O6WQSKOKO/DSC05182_Fascism+strives+on+Quiet.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065379913-8KQOHJYZTZITPXI4LENS/DSC05178_More+Mahu.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065495985-DTNVBWR1ZTRMIFGV6FEH/DSC05180_No+More--Imbeciles.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750065565930-5SBWF7VKONH3WQBVB640/DSC05182_Stand+up-help+others.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750066329724-JPPTDDYY6O23W40ANWG2/DSC05147_State+Capitol+No+Kings.JPG 2025-6-14_No Kings - 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NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750148537980-YRCDAQ0YGISID9WF4KZD/DSC05288_Unity+not+division.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750148642711-MOH1PG74FXAUM4PFCNUR/DSC05296_End+the+occupation.JPG 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750148628306-Z2WMYANJIYJI8E617YVZ/DSC05297_Stronger+Together.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750148577957-BN8DX87STZ3DBJD1MM76/DSC05295_Union+for+all+immigrants.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750148665846-1SIX1264EY4DMB2FIVPC/DSC05298_Jutice+for+All.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750148996945-42H8QD912XABBX979F2O/DSC05299_Tyranny.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750148999270-H0LKQFJAFX96PMEV53WT/DSC05303_following+orders.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149044496-PRYBFWFKXL6G062VEUH4/DSC05306_Freedom+isnt+Free.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149170343-WD6KP3M8R5ONDR6P9M8A/DSC05309_Racism+not+Patriotism.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149044711-I2Q1OGCPCU4LS6R1O5ZU/DSC05307_Therapy.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750148681862-S8PIFVCHWLMH5WULD3AQ/DSC05299_Tyranny.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149171968-I3D9RCUWNVOV1KQI3XLK/DSC05310_no+justice+no+peace_ST-2.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149069230-HKHVNBSMNMJADRXGWNYS/DSC05308_For+All-Radical.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149218094-563YZOP71G0JBYRZL8QW/DSC05311_Stand+Together.jpg 2025-6-14_No Kings NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149183681-EN6IHWHA5JXEXOB1IXPH/DSC05311-ST2_NO+KINGS.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149242803-EBAW3J6NEYSCLDLUDBFG/DSC05312_Constitution+not+a+suggestion.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149273094-0CTZZDXD5W5W8DCPWHAZ/DSC05313_NOPE.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149295586-KF6OKAU33JYQL7HNSDMK/DSC05315_Diversity.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149303230-XSOMZ20K4LF74BDP3GMW/DSC05316_1st+Amend+FREEDOMS.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149332096-0VFVB2CYY6MGYQZ8LQGL/DSC05316-B_1st+Amend+FREEDOMS.jpg 2025-6-14_No Kings https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149312871-TSL5ZRTMZ29VYLZR5GOG/DSC05317_B_Protect+keiki-grown-ups.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750149728110-J884RG8QMNA0DJPTZH4Y/DSC05309_Racism+not+Patriotism.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750153323568-AIB29DACTACEOOG94WKG/DSC05319_Save+Brown+People.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750153292279-5U8KVHX5CSUR1TTQH9I1/DSC05321_America+Humane+Again.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750153346653-J60AOKJ8DPE4WS28LH76/DSC05322_Honor-Dump.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750153357996-D4KFYHXS7OY68VWJY7VI/DSC05323_No+crown+for+clown.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750153373767-97OQ74QSC91H3GU82EGU/DSC05324_Hands+off+my+vaccines.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750155323115-DQZG095OS2BLLY2LZTCO/DSC05325_RFK+Jr+swim+Ala+Wai.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750155309540-41NA52J0AH79RHW5R037/DSC05326_elect+felon+expect+crimes.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750155357388-MVR3B5GA0OD8T8SE36IC/DSC05329_Beretania+crowd.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750155363810-TGKLRFW8S43BD9YR05TF/DSC05332_King+Not-Idiot+Yes.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750155382365-M2TRVDX6SE0UAC3XS08V/DSC05334_defend+free+speech.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158102061-AUXYMMZJ5CVTRJBSRGF8/DSC05335_Morons+governing.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158107706-3OZY4A81O5T9I9CTIYB7/DSC05337_No+Faux+Kings.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158164187-PJWPVHHERQKCK531676T/DSC05338_Drag+Kings+only.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158165133-V1CQ1HLYYEF2S4NY26CT/DSC05339_NO.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158183414-TDMLI04KRPC6VXQ4LKDJ/DSC05340_Evil+prevails+when+good+do+nothing.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158406650-72CK5L1ITOAB3I3Q1B7V/DSC05353_Hope+a+discipline.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158413098-66570XDKI80H83G2QYF8/DSC05357_Vets+against+Trump.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158439206-RHZSFWNIHGTP6V0KR941/DSC05363_Freedoms+being+stolen.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158455955-CD6NG9APOALAOSCOT9UW/DSC05365_young+angry+women.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158473937-TLVT2UGVRKG6P932QBAU/DSC05366_Rich+dangerous+minority.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158813625-2P15QOCBIMSQQMRY76H4/DSC05371_Injustice+-+Resistance.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158813194-RBWL0PNDCITCJL9M0R13/DSC05374_Civics+Class.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158870454-Q1XQVFM4HB9MII2EX3RE/DSC05376._No+Kings+since+1776.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750158859034-122VWPMBNXIM8YSFGQR9/DSC05378_Manchild.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750159553780-5YBPKDCTA9KKLR59R8SP/DSC05379_Save+a+pig.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750159555589-9R6KMEEPEQYL3OZWNJY3/DSC05380_first+they+came+for-.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1750159576108-IZDFE7PJJ8THGYUXKGID/DSC05385_police+staging.jpg 2025-6-14_No Kings - NO KINGS protest, June 14, 2025, Hawai’i State Capitol, Honolulu, HI http://www.sslanzilotti.com/20259moma daily 0.75 2025-10-26 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759795028143-KQJYA10TEW1NKV68MKJA/IMG_0261_Pines+and+Rocks_Cezanne_1897.jpg 2025-9-10_MoMA - Pines and Rocks (Fontainebleau?) c. 1897, oil on canvas, Paul Cézanne, French 1839-1906 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759795028143-KQJYA10TEW1NKV68MKJA/IMG_0261_Pines+and+Rocks_Cezanne_1897.jpg 2025-9-10_MoMA - Pines and Rocks (Fontainebleau?) c. 1897, oil on canvas, Paul Cézanne, French 1839-1906 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760494612616-5JWADL9UNX2YM4WB81NV/IMG_0260_INFO_Pines+and+Rocks_Cezanne_1897_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760304813835-0NCFWQWP9JWVC751XHBZ/IMG_0262_The+Bather_Cezanne_1885.jpg 2025-9-10_MoMA - The Bather, c. 1885, oil on canvas, Paul Cézanne, French, 1839-1906 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760304648338-4GJX5IBBRASAD4T3AOET/IMG_0263_INFO+The+Bather_1885_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760057018448-KVBZ82ZD2US1UTUP437B/IMG_0265_Boy+in+a+Red+Vest_1888-90+Cezanne.jpg 2025-9-10_MoMA - Boy in a Red Vest, 1888-90, Oil on canvas, Paul Cézanne French, 1839-1906 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760305738781-6X9GB2BD7U6PCAVPZ920/IMG_0264_INFO_Boy+in+a+Red+Vest_1888-90+Cezanne_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759796266255-WNDZVD9C70TPQ9GLGRXZ/IMG_0269+_Van+Gogh_The+Olive+Trees_1889.jpg 2025-9-10_MoMA - The Olive Trees, 1889, Oil on canvas, Vincent van Gogh Dutch, 1853-1890 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760306432053-6S04BNH6RM13EEVEBQDO/IMG_0266_INFO_The+Olive+Trees_1889_vanGogh_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759796284513-212Q3ZRQ81TGY1LL34H4/IMG_0270_DETAIL_The+Olive+Trees_1889_vanGogh.jpg 2025-9-10_MoMA - DETAIL: The Olive Trees, 1889, Oil on canvas, Vincent van Gogh Dutch, 1853-1890 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760307169200-UKBUJ6O7KKLHEJHGTKWT/IMG_0266_INFO_DETAIL-The+Olive+Trees_1889_vanGogh_ST-3+copy.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760307927252-3NM71P6GA2OEABLYRBJR/IMG_0272_Port-en-Bessin-Entrance+to+the+Harbor_1888_Seurat.jpg 2025-9-10_MoMA - Port-en-Bessin, Entrance to the Harbor, 1888, Oil on canvas, Georges-Pierre Seurat, French, 1859-1891 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761371632361-A1SKS1FZH03S5WHEIUZJ/IMG_0271_INFO_Port-en-Bessin-Entrance+to+the+Harbor_1888_Seurat_V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760311051818-A6I0C3TCYTX7U0AEDJKH/IMG_0275_DETAIL_Port-en-Bessin-Entrance+to+the+Harbor_1888_Seurat.jpg 2025-9-10_MoMA - DETAIL: Port-en-Bessin, Entrance to the Harbor, 1888, Oil on canvas, Georges-Pierre Seurat, French, 1859-1891 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760310926247-QW51SEE2VOWY3RBB95AG/IMG_0271_INFO_DETAIL2_Port-en-Bessin-Entrance+to+the+Harbor_1888_Seurat_ST-4.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759796503298-PDEMJDKIJRIX65K9AM3R/IMG_0277_Portrait+of+M+Felix+Feneon+1890_Paul+Signac_sm.jpg 2025-9-10_MoMA - Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890, Oil on canvas, 1890, Paul Signac French, 1863-1935 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760311556816-FEYFDD6FTMEUKTIJKWRW/IMG_0276_INFO_Portrait+of+M+Felix+Feneon+1890_Paul+Signac_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759901655477-U3WXJ8SW9PJOFJRETVVM/IMG_0277_DETAIL_Portrait+of+M+Felix+Feneon+1890_Paul+Signac.jpg 2025-9-10_MoMA - DETAIL, Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890, Oil on canvas, 1890, Paul Signac French, 1863-1935 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760312149807-8OY01FAJ7ENIOSGGOM07/IMG_0276_INFO_DETAIL-Portrait+of+M+Felix+Feneon+1890_Paul+Signac_V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759826603098-CDZEQYQ6MCB0L4TIKBKX/IMG_0279_Woman+Reading_1907_Lucie+Cousturier.jpg 2025-9-10_MoMA - Woman Reading, 1907, Oil on canvas, Lucie Cousturier, French, 1870-1925 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760313268899-8LVW1BPUF4Z94C6VL9V6/IMG_0278_INFO_Woman+Reading_1907_Lucie+Cousturier_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759816862087-P8LWGU7RF45YIRMH8ACH/IMG_0281_The+Game+of+Checkers_1899_Edouard+Vuillard_lithograph_REV.jpg 2025-9-10_MoMA - The Game of Checkers, from the portfolio Landscapes and Interiors, 1899, Édouard Vuillard French, 1868-1940, Publisher - avant-garde dealer Ambroise Vollard; Printer - Auguste Clot, Paris; Edition 100 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760314267801-WHUEU8ILJVLCO43IVE8E/IMG_0280_INFO_The+Game+of+Checkers_1899_Edouard+Vuillard_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759975907594-AGH8ZA9SSKPEAAOW5VNV/IMG_0283_Interior+w-Ceiling+Lamp_Vuillard_lithogrpah.jpg 2025-9-10_MoMA - Interior with Ceiling Lamp from the portfolio Landscapes and Interiors, 1899, Édouard Vuillard, French, 1868-1940 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760315104313-1C4952RHUO7YYK4LFI6Y/IMG_0282_INFO_Interior+w-Ceiling+Lamp_Vuillard_lithogrpah+_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760033189971-KNN2WEOY8XMBNFGKGJSZ/Kinryu%CC%84san+Temple+at+Asakusa++from+series_100+Famous+Views+of+Edo_Utagawa+Hiroshige.jpg 2025-9-10_MoMA - Kinryūsan Temple at Asakusa, from a series "One Hundred Famous Views of Edo" Utagawa Hiroshige, Japanese, 1856, Woodblock print; ink and color on paper https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760316004255-W1SM2MK2YBRR5V4W2A5V/INFO_Kinryu%CC%84san+Temple+at+Asakusa.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759827331820-ZQAF43MIGXP9UAIIQQUI/IMG_0285_Embroidery_1895-96_Vullard_oil-canvas.jpg 2025-9-10_MoMA - Embroidery, 1895-96, Oil on canvas, Édouard Vuillard French, 1868-1940 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760317016843-WJ8Y6IHI87471OSFZ766/IMG_0284_INFO_Embroidery_1895-96_Vullard_oil-canvas_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759977337158-3QCD2RVQ7JFY9ZCE1C99/IMG_0285_Embroidery_1895-96_Vullard_oil-canvas_crp-V-2.jpg 2025-9-10_MoMA - DETAIL: Embroidery, 1895-96, Oil on canvas, Édouard Vuillard, French, 1868-1940 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760319627464-FDQ90FTITCBFTM9E9BOV/IMG_0284_INFO_Embroidery_1895-96_Vullard_oil-canvas_ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759980098899-RRMXDLO1CX8BVVP54P1L/IMG_1651_E%CC%81douard+Vuillard.+Interior%2C+Mother+and+Sister+of+the+Artist_1893.jpg 2025-9-10_MoMA - Interior, Mother and Sister of the Artist, 1893, oil on canvas, Édouard Vuillard, French, 1868-1940 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760323930141-T6BDM5B3EQ5FRD535RQK/INFO_Interior-Mother-and-Sister-of+the+Artist_Edouard+Vuillard+1893.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760056778387-9683KUH7VG962V0O4Z4P/IMG_1651_DETAIL_Mother_E%CC%81douard+Vuillard.+Interior%2C+Mother+and+Sister+of+the+Artist_1893.jpg 2025-9-10_MoMA - DETAIL: Interior, Mother and Sister of the Artist, Édouard Vuillard, 1893 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760324286298-RSBANBP9L3LRJ49N9LYS/INFO_Interior%2C+Mother+and+Sister+of+the+Artist-1893_Edouard+Vuillard_ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760054142428-L1F3AQLWYQ8HS2XOFO1Y/IMG_1651_DETAIL_Sister_E%CC%81d+Vuillard.+Interior-Mother+and+Sister+of+the+Artist_1893.jpg 2025-9-10_MoMA - DETAIL: Interior, Mother and Sister of the Artist, Édouard Vuillard, 1893 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760324611242-4QO0UNXVZXE91Y9FFEJY/INFO_Interior%2C+Mother+and+Sister+of+the+Artist%2C+1893-E%CC%81douard+Vuillard_ST-4.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759816976547-VRZ4M9FO1D3D82XOQSH0/IMG_0289_Evening_Honfleur-1886_Seurat_sm.jpg 2025-9-10_MoMA - Evening, Honfleur, 1886, Oil on canvas, with painted wood frame, Georges-Pierre Seurat, French, 1859-1891 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760334191475-8D74G3N6EU9OESV7XC45/IMG_0288_INFO_Evening_Honfleur-1886_Seurat_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760336302076-T73KPX79K4FCH0S2MW2J/IMG_0290_DETAIL_Evening_Honfleur-1886_Seurat.jpg 2025-9-10_MoMA - DETAIL: Evening, Honfleur, 1886, Oil on canvas, with painted wood frame, Georges-Pierre Seurat, French, 1859-1891 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760335700396-X2I1AN8QDR2EVLPKVRWV/INFO_DETAIL_Evening%2C+Honfleur_1886_Georges-Pierre+Seurat.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759817100981-9Y8K4Y2XJ23GXRK3W1P7/IMG_0296_The+Starry+Night_6-1889_V+vanGogh_sm.jpg 2025-9-10_MoMA - The Starry Night, June 1889, Oil on canvas, Saint-Rémy-de-Provence, Vincent van Gogh, 1853-1890, Periods: Post-Impressionism, Modern art https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760340318911-UZ9I2O27AIJM1GOIP446/IMG_0295-B_INFO_The+Starry+Night_vanGogh_1889+_V-2-REV.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759829590979-5M1T6FP927D747YB9T1V/IMG_0299_DETAIL_The+Starry+Night_6-1889_V+vanGogh.jpg 2025-9-10_MoMA - DETAIL, The Starry Night, June 1889, Oil on canvas, Saint-Rémy-de-Provence, Vincent van Gogh, 1853-1890, Periods: Post-Impressionism, Modern art https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760341345978-HJ8ZXEM3Y4RL82ZZ54GZ/IMG_0295-C_INFO_DETAIL-The+Starry+Night_V+vanGogh_1889+_V-3+REV.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760341977235-HYC5KWYOURYTOPFJ2V0U/IMG_0298_DETAIL_The+Starry+Night_6-1889_V+vanGogh.jpg 2025-9-10_MoMA - DETAIL, The Starry Night , June 1889, Oil on canvas, Saint-Rémy-de-Provence, Vincent van Gogh, 1853-1890, Periods: Post-Impressionism, Modern art https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760341827066-3QTHCOX8R6J19GTP2CH6/IMG_0295-C_INFO_DETAIL-The+Starry+Night_V+vanGogh_1889+_V-4+REV-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760302762838-EQAALOICSQI9CCLV83FC/IMG_0448_A+Cubist+Salon.jpg 2025-9-10_MoMA - A Cubist Salon, September 2025 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760343467099-5TGFWH70M3NIRCMHZ478/MoMA+%E2%80%93+A+Cubist+Salon_September+2025.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818520921-9H2DJJKF4GY3H53GJFDN/IMG_0309_The+Jester-1905_Pablo+Picasso_bronze.jpg 2025-9-10_MoMA - The Jester, 1905 (cast 1950s), Bronze, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760345616941-Q7YU5DNGPLJF73WNLSKF/IMG_0308_INFO_The+Jester-1905_Pablo+Picasso_bronze_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818466527-OA0DT7ZF5SB0R7JYWMZA/IMG_0307_Boy+Leading+a+Horse-1905-06_Picasso.jpg 2025-9-10_MoMA - Boy Leading a Horse, 1905-06, Oil on canvas, Pablo Picasso, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760399640235-FHV17KHGN1MHC819PQE5/IMG_0306_INFO_Boy+Leading+a+Horse-1905-06_Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818577968-QCHFLLSS09EXNV1N3KML/IMG_0311_Nude+with+Joined+Hands-1906_Pablo+Picasso.jpg 2025-9-10_MoMA - Nude with Joined Hands, 1906, Oil on canvas, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761439410697-LX3Q4EXTX19ABGL2OM9P/IMG_0310_INFO_Nude+with+Joined+Hands-1906_Pablo+Picasso_ST-4+copy.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818629771-HGXXZL80H07ID6FXBYBI/IMG_0313_Woman+Plaiting+Her+Hair+1906_Picasso.jpg 2025-9-10_MoMA - Woman Plaiting Her Hair, 1906, Oil on canvas, Pablo Picasso, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760400797923-WFQ4DY89XH2U3IPKHRPZ/IMG_0312_INFO_Woman+Plaiting+Her+Hair+1906_Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759819012814-06D0O7UNT7IP5C78A92J/IMG_0326_Two+Nudes-1906_Pablo+PIcasso.jpg 2025-9-10_MoMA - Two Nudes, 1906, Oil on canvas, Pablo Picasso Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760401557023-GYKGDZHT9E2ENQ952991/IMG_0325_INFO_Two+Nudes-1906_Pablo+PIcasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818345991-CT2PKWDUGLIYCMHVRYR3/IMG_0302_Les+Demoiselles+d-Avignon_Picasso_1907+sm.jpg 2025-9-10_MoMA - Les Demoiselles d'Avignon (The Ladies of Avignon), Proto-Cubism, Oil on canvas, 96 in x 92 in, 1907, Pablo Picasso https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760406655257-34UIXKPVCDL2MIPAQSAE/IMG_0302-A_INFO_Les+demoiselles+d-Avignon_1907_PIcasso_V-1.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818389958-AV0R091HKCN5FNQ58VQU/IMG_0303_DETAIL_Les+Demmoiselles+d-Avignon_Picasso_1907.jpg 2025-9-10_MoMA - DETAIL, Les Demoiselles d'Avignon (The Ladies of Avignon), Oil on canvas, 1907, Pablo Picasso, Proto-Cubism, 96 in x 92 in https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760408941369-MH9081L5DON1BH8LL227/IMG_0302-D_INFO_Les+demoiselles+d-Avignon_1907_PIcasso_V-5.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759829883847-W7JN5FMT0AJ9F95O1J3O/IMG_0304_DETAIL_Les+Demoiselles+d-Avignon_Picasso_1907.jpg 2025-9-10_MoMA - DETAIL, Les Demoiselles d'Avignon (The Ladies of Avignon), Oil on canvas, 1907, Pablo Picasso, Proto-Cubism, 96 in x 92 in https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760405470981-B8RH5QR3FETZ54KXMA25/IMG_0302-B_INFO_Les+demoiselles+d-Avignon_1907_PIcasso_V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818802175-HDCBDKYMRPGIBGHY0GLL/IMG_0322_Study+for+Les+Demoiselles+d-Avignon-1907_Picasso.jpg 2025-9-10_MoMA - Study for Les Demoiselles d'Avignon, 1907, Oil on canvas, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760409519236-3FXSM56ZAD09HW6TC2UW/IMG_0321_INFO_Study+for+Les+Demoiselles+d-Avignon-1907_Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818741964-IGB01IRQJOAJG4SOSHHH/IMG_0319_Head+of+a+Sleeping+Woman_1907.jpg 2025-9-10_MoMA - Head of a Sleeping Woman (study for Nude with Drapery), 1907, Oil on canvas, Pablo Picasso Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760410451253-31F6GNCULYY3HOC3BOVM/IMG_0318_INFO_Head+of+a+Sleeping+Woman_1907_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759818682159-GTY15IOFIGBHYI6DZ6UX/IMG_0317_Repose-1908_Pablo+Picasso.jpg 2025-9-10_MoMA - Repose, 1908, Oil on canvas, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760411439575-QGZHSYYWOM5CRD5KW7R1/IMG_0316_INFO_Repose-1908_Pablo+Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760059460162-AJY218YXDUHSELDP8ESZ/IMG_0324_Woman%27s+Head_early+1908_P+Picasso.jpg 2025-9-10_MoMA - Woman's Head, early 1908, Oil on canvas, Pablo Picasso Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760413011499-XOO7I71KD1HW43Y3VGXM/IMG_0323_INFO_Woman-s+Head_early+1908_Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759819178542-971VLCYOV5Y9ZXVRYLR6/IMG_0328_Bather-1908-09_P+Picasso+sm.jpg 2025-9-10_MoMA - Bather, 1908-09, Oil on canvas, Pablo Picasso , Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760414118776-OTP1DFZ33LF1JZT2QC1L/IMG_0327_INFO_Bather-1908-09_P+Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759819231738-QAO1LVJR21K8RZE35RI4/IMG_0331_Jar_Bottle-and+Glass_1911_Juan+Gris.jpg 2025-9-10_MoMA - Jar, Bottle, and Glass, 1911, Oil on canvas, Juan Gris, Spanish, 1887-1927 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760416250213-77O1FDUUI5VO1VX7A0SP/IMG_0329_INFO_Jar-Bottle-and+Glass_1911_Juan+Gris_V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759819257428-EQMBDHJ62U14EI1CAEHC/IMG_0330_The+Woman-Horse_c.1918_Marie+Laurencin.jpg 2025-9-10_MoMA - The Woman-Horse, c. 1918, Oil on paperboard on to canvas, Marie Laurencin, French, 1883-1956 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760419483031-XLK4X4F8027QCNCDARPT/IMG_0329_INFO_The+Woman-Horse_c.+1918_Marie+Laurencin_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760575570476-A3K0OELTXXXOQ7BQ1AJS/IMG_1846_Marie+Laurencin.+Diana+of+the+Hunt_Diane+a%CC%80+la+chasse_1907_MoMA.jpg 2025-9-10_MoMA - Diana of the Hunt (Diane à la chasse) 1907, Marie Laurencin French, 1883-1956 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760575265440-QQC6XF24WPO5SSDZLMD0/IMG_0329_INFO_Diana+of+the+Hunt+1907_Marie+Laurencin_V-2+copy.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760076623189-IT3XUQJ003QI1IRQQXPF/IMG_0333_Girl+at+the+Piano-c.+1912-14_Jacques+Villon+sm_ST-IV.jpg 2025-9-10_MoMA - Girl at the Piano, c. 1912-14, Oil on canvas, Jacques Villon, French, 1875-1963 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760420803185-9LUJYJTLAMJ7AUIOT87Z/IMG_0332_INFO_Girl+at+the+Piano-c.+1912-14_Jacques+Villon_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759819524827-A3JVL6UWZUQYACDE41HH/IMG_0336_Landscape_1912-14_Jean+Metzinger.jpg 2025-9-10_MoMA - Landscape, 1912-14?, Oil on canvas, Jean Metzinger French, 1883-1956 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760421759222-LY3854WPCCSJVID77THO/IMG_0335_INFO_Landscape_1912-14_Jean+Metzinger_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759819751136-ZEUFV4GUGKOZ7ICXH17G/IMG_0338_Propellers-1918_Fernand+Leger.jpg 2025-9-10_MoMA - Propellers, 1918, Oil on canvas, Fernand Leger French, 1881-1955 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760422755477-DA6132994N2W3UVNJ2V1/IMG_0337_INFO_Propellers-1918_Fernand+Leger_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760424249613-QRK07BDX7W549VVA46LY/IMG_0344__Bridge_1908_Fernand+Leger.jpg 2025-9-10_MoMA - Bridge 1908?, Oil on canvas, Fernand Leger French, 1881-1955 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760424731916-KVGY7IGRJQQ4WP39JOD6/IMG_0343_INFO_Bridge_1908_Fernand+Leger_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759819773866-XEWHD5YPBVMS6959KKR5/IMG_0341_Portrait+of+Igor+Stravinsky-1914_Albert+Gleizes.jpg 2025-9-10_MoMA - Portrait of Igor Stravinsky, 1914, Oil on canvas, Albert Gleizes, FR., 1881-1953 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760423618421-M3XUM732YHRXFO8RHIRK/IMG_0339_INFO_Portrait+of+Igor+Stravinsky-1914_Albert+Gleizes_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759819861294-H94TLRGCTIUB2V5KYQS5/IMG_0354_I+and+the+Village_1911_Marc+Chagall.jpg 2025-9-10_MoMA - I and the Village, 1911, Oil on canvas, Marc Chagall, French, born Belarus. 1887-1985 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760429786323-E2YTRWCC0II7VCAJSEWM/IMG_0345_INFO_I+and+the+Village_1911_Marc+Chagall_V-2B.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759870353472-E0C97EYNJLR0FWMXV8OW/IMG_0349_DETAIL_I+and+the+Village_1911_Marc+Chagall.jpg 2025-9-10_MoMA - DETAIL, I and the Village, 1911, Oil on canvas, Marc Chagall, 1887-1985 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760433756778-3S9GFPTWZNFCIOYHSTN5/IMG_0345_INFO_DETAIL_I+and+the+Village_1911_Marc+Chagall_D-2B.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759873052539-9JVCYL0T7ONDRKXT8KAP/IMG_0352_DETAIL_I+and+the+Village_1911_Marc+Chagall.jpg 2025-9-10_MoMA - DETAIL, I and the Village, 1911, Oil on canvas, Marc Chagall, 1887-1985 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760430862390-DT7NG4GABSF1U3JY72BK/IMG_0345_INFO_DETAIL_I+and+the+Village_1911_Marc+Chagall_D4.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760079989061-OAJCSOES5B0ZLFD7ZTEP/IMG_0359_Head+of+a+Woman-1915_Henri+Laurens+copy.jpg 2025-9-10_MoMA - Head of a Woman, 1915, Painted wood construction, Henri Laurens, French, 1885-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760490760835-WD3A47VYEU9HNZCKW8RX/IMG_0358_INFO_Head+of+a+Woman-1915_Henri+Laurens_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760495853552-9SN3FDHS5U2S1QLOG665/IMG_0368_Development+of+a+Bottle+in+Space-1912_Umberto+Boccioni.jpg 2025-9-10_MoMA - Development of a Bottle in Space, 1912 (cast 1931), Silvered bronze, Umberto Boccioni Italian, 1882-1916 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760494537889-TSY3LSEA2M1FVMWUZJH9/IMG_0360_INFO_Development+of+a+Bottle+in+Space-1912_Umberto+Boccioni_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760495559360-YO8JLK9WD8BWD1W28L1B/IMG_0363_DETAIL_Development+of+a+Bottle+in+Space-1912_Umberto+Boccioni.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760495463865-07I2STR3B32GFQKHF2Z2/IMG_0360-B_INFO_Development+of+a+Bottle+in+Space-1912_Umberto+Boccioni_ST-2+.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760145202669-491U0IWOW9O760D2IW4B/Development+of+a+Bottle+in+Space+%282%29+in+1912_Red+Boccioni.jpg 2025-9-10_MoMA - Development of a Bottle in Space through Colour, circa 1912, Umberto Boccioni Italian, 1882-1916 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760497629194-UTZ5J0UCEW9R9DGR1BO0/IMG_0360-C_INFO_Development+of+a+Bottle+in+Space-1912_Umberto+Boccioni_ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759820300997-XK3R1D87GN1CK9V4VOM8/IMG_0372_Man+with+a+Guitar-1915_Jacques+Lipchitz.jpg 2025-9-10_MoMA - Man with a Guitar, 1915, Limestone, Jacques Lipchitz, American, born Lithuania. 1891-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760499162632-263Q0C2CES19E6S5IN17/IMG_0370_INFO_Man+with+a+Guitar-1915_Jacques+Lipchitz+_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759820410755-HM8GJBMOJP5YPU36NJMO/IMG_0375_Three+Windows-Tower-Wheel_1912_Robert+Delaunay.jpg 2025-9-10_MoMA - The Three Windows, the Tower, and the Wheel, 1912, Oil on canvas, Robert Delaunay, French, 1885-1941 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760500266049-RA7WLUQTDWYLVI11JOWN/IMG_0374_INFO_Three+Windows-Tower-Wheel_1912_Robert+Delaunay_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760508764183-1SW6TQLTFY5WVZSZ8EHV/IMG_0380_Windows-1912_Robert+Delaunay.jpg 2025-9-10_MoMA - Windows, 1912, Oil and wax on canvas, Robert Delaunay, French, 1885-1941 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760509733816-11C1AIBGVUFJ6OQ4LKJR/IMG_0379_INFO_Windows-1912_Robert+Delaunay_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759820424071-THC0QVSFO0NH9PS9SN4M/IMG_0378_Portuguese+Market-1915_Sonia+Delaunay.jpg 2025-9-10_MoMA - Portuguese Market, 1915, Oil and wax on canvas, Sonia Delaunay, French, born Ukraine, 1885-1979 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760506392895-LI4DT9HI9IDI51OHRYD0/IMG_0376_INFO_Portuguese+Market-1915_Sonia+Delaunay_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760503095760-NDD2ZSPWTZWLAEGJW0WS/IMG_0378_DETAIL_Portuguese+Market-1915_Sonia+Delaunay_ST-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760507575965-8UKJJUCI3ZZ6NKESLNRZ/IMG_0376_INFO_DETAIL_Portuguese+Market-1915_Sonia+Delaunay_ST-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759820575333-M2SDQJ3C720WPJ33GL51/IMG_0382_Exit+the+Ballets+Russes-1914_Fernand+Leger.jpg 2025-9-10_MoMA - Exit the Ballets Russes, 1914, Oil on canvas, Fernand Leger, French, 1881-1955 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760512554973-HG1JK2TWSEUFCS1PCBJE/IMG_0381_INFO_Exit+the+Ballets+Russes-1914_Fernand+Leger_V-4.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759820868491-H7S81VUKM2MR4MKZRYLT/IMG_0385_Dynamism+of+a+Soccer+Player-1913_Umberto+Boccioni.jpg 2025-9-10_MoMA - Dynamism of a Soccer Player, a 1913 Futurist oil painting on canvas, Umberto Boccioni Italian, 1882-1916 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760511503542-17QQ4VFCDAJO06H6QAWE/IMG_0384_INFO_Dynamism+of+a+Soccer+Player-1913_Umberto+Boccioni_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760148234506-2T1H0FT119YCU4Q26R8I/IMG_0385_DETAIL-Dynamism+of+a+Soccer+Player-1913_Umberto+Boccioni+copy.jpg 2025-9-10_MoMA - DETAIL: Dynamism of a Soccer Player, 1913, Oil on canvas, Umberto Boccioni Italian, 1882-1916 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760514524698-KM9X2XYZ6R7S5SK9N98J/IMG_0384_INFO_DETAIL_Dynamism+of+a+Soccer+Player-1913_Umberto+Boccioni_V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759820895858-XC7MRACU33E1CW7S6I1V/IMG_0386_DETAIL_Dynamism+of+a+Soccer+Player-1913_Umberto+Boccioni.jpg 2025-9-10_MoMA - DETAIL: Dynamism of a Soccer Player, 1913, Oil on canvas, Umberto Boccioni Italian, 1882-1916 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760515004546-127XRH5TOY5FNKJF9ZBE/IMG_0384_INFO_DETAIL_Dynamism+of+a+Soccer+Player-1913_Umberto+Boccioni_ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759821000664-SP909TCZOEGHAQPQCSYM/IMG_0388_Mme+Kupka+among+Verticals+1910-11_Frantisek+Kupka.jpg 2025-9-10_MoMA - Mme Kupka among Verticals, 1910-11, Oil on canvas, Frantisek Kupka, Czech, 1871-1957 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760577916077-QMA5NRS7X543LJNVSA05/IMG_0387_INFO_Mme+Kupka+among+Verticals+1910-11_Frantisek+Kupka_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759821085974-9T9D62V01DNPWUZW685B/IMG_0390__oung+Man+in+a+Gray+Sweater_Lipchitz-1914_Diego+Rivera.jpg 2025-9-10_MoMA - Young Man in a Gray Sweater (Jacques Lipchitz), 1914, Oil on canvas, Diego Rivera Mexican, 1886-1957 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760578829228-7J4I6PGZ8K0JX5XCNO4R/IMG_0389_INFO_Young+Man+in+a+Gray+Sweater_Lipchitz-1914_Diego+Rivera._V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759821101894-UK5G1P4TQ7Z5F6J2HS3W/IMG_0392_Dynamic+Hieroglyphic+of+the+Bal+Tabarin-1912_Gino+Severini.jpg 2025-9-10_MoMA - Dynamic Hieroglyphic of the Bal Tabarin, 1912, Oil on canvas with sequins, Gino Severini IT., 1883-1966 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760588303230-RIYQE6KWNA11EJSC5FPX/IMG_0391_INFO_Dynamic+Hieroglyphic+of+the+Bal+Tabarin-1912_Gino+Severini_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759891600143-DMFU33DGLY6AA6MZFQAX/IMG_0392_Two+Women+Dancing_Dynamic+Hieroglyphic+of+the+Bal+Tabarin-1912_Gino+Severini.jpg 2025-9-10_MoMA - DETAIL: Dancing Women in Dynamic Hieroglyphic of the Bal Tabarin, 1912, Oil on canvas with sequins, Gino Severini Italian https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760592485698-KG0O5KIM9VKHRKO9O5A5/IMG_0391_INFO_DETAIL_Dynamic+Hieroglyphic+of+the+Bal+Tabarin-1912_Gino+Severini_ST-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759821292877-WADTQ4BLUJEXVGPL9414/IMG_0394_DETAIL_Dynamic+Hieroglyphic+of+the+Bal+Tabarin-1912_Gino+Severini.jpg 2025-9-10_MoMA - DETAIL: Dynamic Hieroglyphic of the Bal Tabarin, 1912, Oil on canvas with sequins, Gino Severini Italian, 1883-1966 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760593014955-ZQHK9EPVUMHRVXX38IYH/IMG_0391_INFO_DETAIL_Dynamic+Hieroglyphic+of+the+Bal+Tabarin-1912_Gino+Severini_ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822853943-W0U8GC42ZX4QBRGH85TM/IMG_0420_Visual+Synthesis+of+the+Idea+-+War_1914_Gino+Severini+sm.jpg 2025-9-10_MoMA - Visual Synthesis of the Idea: "War", 1914, Oil on canvas, Gino Severini, Italian, 1883-1966 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760748010691-NT7V2D9DCMCV8X4VKHZP/IMG_0419__Visual+Synthesis+of+Idea-War_1914_Gino+Severini_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822107998-2Y1NDR6BMJASS13VTP13/IMG_0398_Cubist+Landscape-1912_Diego+Rivera+sm.jpg 2025-9-10_MoMA - Cubist Landscape, 1912, Oil on canvas, Diego Rivera, Mexican, 1886-1957 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760595855301-140YPFVCHCB0U383NAPG/IMG_0397_INFO_Cubist+Landscape-1912_Diego+Rivera_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822141404-NHXOJE1U2XWD8IAHCB7D/IMG_0400_Tableau+no.2-Composition+no+V_1914_Piet+Mondrian.jpg 2025-9-10_MoMA - Tableau no. 2 / Composition no. V 1914, Oil on canvas, Piet Mondrian Dutch, 1872-1944 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760596909508-07O86B8MPIRVEKWJNS4E/IMG_0399_INFO_Tableau+no.2-Composition+no+V_1914_Piet+Mondrian_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822321397-C5BX09YGSJJP6JW6M10B/IMG_0412_The+Table+-Still+Life+with+Fan_1910_Georges+Braque+sm.jpg 2025-9-10_MoMA - The Table (Still Life with Fan), 1910, Oil on canvas, Georges Braque, French, 1882-1963 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760598526948-4SZS4BVBJAPZ8O9EGO7A/IMG_0411+_INFO_The+Table+-Still+Life+with+Fan_1910_Georges+Braque_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822162139-SPGUN3CTUNGJREVQZ8H0/IMG_0402_Homage+to+Bach_Georges+Braque_1911-12+sm.jpg 2025-9-10_MoMA - Homage to J. S. Bach, 1911-12, Oil on canvas, Georges Braque, French, 1882-1963 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760600750887-OC5MNRSEVWPOI62O3F60/IMG_0401_INFO_Homage+to+J.S.Bach_Georges+Braque_1911-12_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760152802826-P3K1EFK5RVPCDWHICINQ/IMG_0402_DETAIL_Homage%2Bto%2BBach_Georges%2BBraque_1911-12%2Bsm.jpg 2025-9-10_MoMA - DETAIL: Homage to J. S. Bach, 1911-12, Oil on canvas, Georges Braque, French, 1882-1963 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760601915076-JDO3M5L5GFFAYD7KSUXK/IMG_0401_INFO_DETAIL_Homage+to+J.S.Bach_Georges+Braque_1911-12_ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822595862-TC8Y259EP0U8R6KHXDE1/IMG_0416_Man+with+a+Guitar_Georges+Braque-1911-12..jpg 2025-9-10_MoMA - Man with a Guitar, 1911-12, Oil on canvas, Georges Braque, French, 1882-1963 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760666211153-HJEXINRH8YQ60P9LX68Q/IMG_0413_INFO_Man+with+a+Guitar_Georges+Braque-1911-12_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822754009-KS2EHWD3A1R1AR78AFHL/IMG_0418_Still+Life+with+Liqueur+Bottle-1909_Picasso.jpg 2025-9-10_MoMA - Still Life with Liqueur Bottle, 1909, Oil on canvas, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760678378554-TRZ2BPXCX8CEPQ3HT453/MG_0418_Still+Life+with+Liqueur+Bottle-1909_Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759820129292-DL0HHYTWLSMH6FVKJM5D/IMG_0356+Girl+with+a+Mandolin_1910_Pablo+Picasso.jpg 2025-9-10_MoMA - Girl with a Mandolin (Fanny Tellier), 1910, Oil on canvas, Pablo Picasso Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760679524261-YF17L1GCM5BWBD74CZL1/IMG_0355_INFO_Girl+with+a+Mandolin_1910_Pablo+Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822555945-V5RP50C1G7K9IAMEETGD/IMG_0410_The+Architect-s+Table_1912_Pablo+Picasso.jpg 2025-9-10_MoMA - The Architect's Table, 1912, charcoal, chalk, and gouache on paper, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760680561733-AO1QKUD620AMTF7124U1/IMG_0409_INFO_The+Architect-s+Table_1912_Pablo+Picasso_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822205300-9GVI4WMVT6KES0LQSF9U/IMG_0405_Guitar_1914_Pablo+Picasso_ferrous+sheet+metal-wire.jpg 2025-9-10_MoMA - Guitar, 1914, Ferrous sheet metal and wire, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760681770747-MF2RNESTOV7SAY93RML6/IMG_0404_INFO_Guitar_1914_Pablo+Picasso_ferrous+sheet+metal-wire_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822245356-RJLLKUDG7TCHDZDIY6NJ/IMG_0407_Still+Life+with+Flowers-1912_Juan+Gris.jpg 2025-9-10_MoMA - Still Life with Flowers, 1912, Oil on canvas, 112.1 by 70.2 cm, Juan Gris, Spanish, 1887-1927 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760682883740-ES0GDMESBULHJ4LZ5FH5/IMG_0406_INFO_Still+Life+with+Flowers-1912_Juan+Gris_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759882912243-7T3VCAQPD0H7LS5M61W3/IMG_0408_Still+Life+with+Flowers-1912_Juan+Gris+sm..jpg 2025-9-10_MoMA - DETAIL: Still Life with Flowers, 1912, Oil on canvas, Juan Gris, Spanish, 1887-1927 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760684587064-YAZYYRG6KSXY4FFC7BV9/IMG_0406_INFO_Still+Life+with+Flowers-1912_Juan+Gris_ST-4.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759822878754-GLIQGLKMX8QTEA8ZHLJK/IMG_0425_Grapes-1913_Juan+Gris.jpg 2025-9-10_MoMA - Grapes, 1913, Oil on canvas, Juan Gris, Spanish, 1887-1927 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760745617717-PR6YMAL88T9AHPORIIJM/IMG_0424_INFO_Grapes-1913_Juan+Gris_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823150149-ISJM3NA7X0HAYFPTPTV2/IMG_0432_Hope+II-1907-08_Gustav+Klimt.jpg 2025-9-10_MoMA - Hope, Il, 1907-08, Oil, gold, and platinum on canvas, Gustav Klimt, Austrian, 1862-1918 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760752249265-MJN9OBBGJ3MDUCAOCUEF/IMG_0429_INFO_Hope+II-1907-08_Gustav+Klimt_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823157885-9707DCMQJ7IE4CQ441K8/IMG_0431_DETAIL_Hope+II-1907-08_Gustav+Klimt+copy.jpg 2025-9-10_MoMA - DETAIL: Hope, Il, 1907-08, Oil, gold, and platinum on canvas, Gustav Klimt, Austrian, 1862-1918 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760752809916-FBBKM05M3X03C2734L0Z/IMG_0429_INFO_Hope+II-1907-08_Gustav+Klimt_ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823174436-9QTKVI02RMPAGGXLROXQ/IMG_0433_DETAIL_Hope+II-1907-08_Gustav+Klimt..jpg 2025-9-10_MoMA - DETAIL: Hope, Il, 1907-08, Oil, gold, and platinum on canvas, Gustav Klimt, Austrian, 1862-1918 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760753248237-RK50J4B6MH87RR65E2WY/IMG_0429_INFO_Hope+II-1907-08_Gustav+Klimt_ST-4.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823242373-8IZNIUMODAVJC3HEWWMU/IMG_0436_The+Park-circa-1910_Gustav+Klimt+sm.jpg 2025-9-10_MoMA - The Park, 1910 or earlier, Oil on canvas, Gustav Klimt, Austrian, 1862-1918 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760754693513-XRI6AFSJO0N1K5CI9DJD/IMG_0434_INFO_The+Park-circa-1910_Gustav+Klimt_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823304095-3R8JY200BIGE2J5QA0LA/IMG_0437_Self+Portrait-Two+Flowers+in+Raised+Lft+Hand_1907_Paula+Modersohn-Becker.jpg 2025-9-10_MoMA - Self-Portrait with Two Flowers in Her Raised Left Hand, 1907, Paula Modersohn-Becker https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760757123531-B8HJ20V9WSXKQGO495SA/IMG_0437+2_INFO_Self+Portrait-Two+Flowers+in+Raised+Lft+Hand_1907_Paula+Modersohn-Becker_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823328964-1862BMZ6V68TG6JEF2XW/IMG_0441_DETAIL_Self+Portrait-Two+Flowers+in+Raised+Lft+Hand_1907_Paula+Modersohn-Becke.jpg 2025-9-10_MoMA - DETAIL: Self-Portrait with Two Flowers in Her Raised Left Hand, 1907, Paula Modersohn-Becker https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760759814939-1XKVTNTAIOIA7297LYSO/IMG_0437+2_INFO_Self+Portrait-Two+Flowers+in+Raised+Lft+Hand_1907_Paula+Modersohn-Becker_ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760781149811-UCKE6WUMXNIVE8JTO2BT/IMG_0437_DETAIL_Self+Portrait-Two+Flowers+in+Raised+Lft+Hand_1907_Paula+Modersohn-Becker_ST-4.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760765382838-MLDUE1CTFBCQW8M3L5F6/IMG_0437+2C_INFO_DETAIL_Self+Portrait-Two+Flowers+in+Raised+Lft+Hand_1907_Paula+Modersohn-Becker_ST-5B.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760765517362-6A9LZ6YZI7GSJRGWR7GL/IMG_62416_Blind+Woman+in+the+Wood_Paula+Modersohn-Becker.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760766091387-5EAFB3PKL8AGKT7JT2UV/IMG_62416_INFO_Blind+Woman+in+the+Wood_Paula+Modersohn-Becker.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823388059-69CF5BAYA036LNF5K1F2/IMG_0443_Hans+Tietze+-+Erica+Tietze-Conrat_1909_Oskar+Kokoschka+sm.jpg 2025-9-10_MoMA - Hans Tietze and Erica Tietze-Conrat, 1909, Oil on canvas, Oskar Kokoschka, Austrian, 1886-1980 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760766988309-OKCAUM6AFOU4B5OEZCNT/IMG_0442_INFO_Hans+Tietze+-+Erica+Tietze-Conrat_1909_Oskar+Kokoschka_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823542286-4PE38DHFNTSWWOFRVKW0/IMG_0445_DETAILHans+Tietze+-+Erica+Tietze-Conrat_1909_Oskar+Kokoschka_sm.jpg 2025-9-10_MoMA - Hans Tietze and Erica Tietze-Conrat, 1909, Oil on canvas, Oskar Kokoschka, Austrian, 1886-1980 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760768285165-C0582R09X6KYE7OY663W/IMG_0442_INFO_DETAIL_Hans+Tietze+-+Erica+Tietze-Conrat_1909_Oskar+Kokoschka_V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823644429-GBQO2ZOTUGHHUPK39X0F/IMG_0447_Self-Portrait_1913_Oskar+Kokoschka+copy.jpg 2025-9-10_MoMA - Self-Portrait, 1913, Oil on canvas, Oskar Kokoschka, Austrian, 1886-1980 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760769083746-DDO8XPNEIYK452QNUT3E/IMG_0446_INFO_Self-Portrait_1913_Oskar+Kokoschka_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823714470-KNE9KEDOUDY4JH2L0XHA/IMG_0451_Still+LIfe+with+Three+Puppies_1888_Paul+Gauguin.jpg 2025-9-10_MoMA - Still Life with Three Puppies, 1888, Oil on wood, Paul Gauguin ,French, 1848-1903 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760778774364-7SCV2H285TSN2L463J05/IMG_0450_INFO_Still+LIfe+with+Three+Puppies_1888_Paul+Gauguin_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760776083002-DIX4FNJYBWCNK9UFWAZ4/IMG_0470_Henri+Matisse+images+of+dance+and+music+_V-2.jpg 2025-9-10_MoMA - Henri Matisse Images of Dance and Music (31 December 1869 – 3 November 1954) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760775934662-4CLPC91X8HDKYC0PG92A/G_0470_INFO_Henri+Matisse_Dancers+and+Music+Henri+Matisse_Intro.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824350538-XJ2Z8EQSFKAWHM4FDDRX/IMG_0482_Landscape+at+Collioure-1905_Henri+Matisse+sm.jpg 2025-9-10_MoMA - Landscape at Collioure, 1905, Oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761264042113-F9PLON27DOTBF0YZFEXD/IMG_0481_INFO_Landscape+at+Collioure-1905_Henri+Matiss_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823813282-I9DHYX07J1DWBG6CB26J/IMG_0453_Music+-+Sketch+-+1907_Henri+Matisse.jpg 2025-9-10_MoMA - Music (Sketch), 1907, Oil and charcoal on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761269603071-KEBV7SMTMBICXDNM0SMB/IMG_0452_INFO_Music+-+Sketch+-+1907_Henri+Matisse+V-3jpg.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760239718758-HVH8PB2SJTFNH6N398WR/Joy-of-Life-Henri+Matisse-1906_Barnes+Museumjpg.jpg 2025-9-10_MoMA - Le Bonheur de Vivre (The Joy of Life), 10/1905 to 3/1906, oil on canvas, Henri Matisse, The Barnes Foundation, Philadelphia, PA, USA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761267735968-8Z09F8A46XOIHXKJTOCH/Le+Bonheur+de+vivre-1906_Matisse.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824206620-TC3G5VMHTRU8FQZ6MMB5/IMG_0471_Dance+I_1909_Henri+Matisse.jpg 2025-9-10_MoMA - Dance (I), 1909, Oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761271779941-WSITPUEXZDM0FJKW0ZES/IMG_0475_INFO_Dance+I_1909_Henri+Matisse_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761274186827-CEDO2CWFLD2NPKKG3JT5/wailliam-blake-oberon-puck-titania+1786.jpg 2025-9-10_MoMA - Oberon, Titania and Puck with Fairies Dancing, 1786, William Blake, via Tate, London https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761274848581-MXPYKN2YH191R1W1T0UZ/INFO_William+Blake-Oberon-Titania-Puck-w-Fairies+Dancing_1786.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760237221757-25VJA97TYE115HAZ7O2Y/Dance-1910__Matisse_Hermatige.jpg 2025-9-10_MoMA - The Dance, 1910, Henri Matisse, in The State Hermitage, Saint Petersburg, Russia https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761277344557-R2IDY36F69I6UIAVCF44/IMG_0475_ST-III_INFO_Dance+II_1910_Henri+Matisse_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761278053423-4ABNT3Q5UI08861U9JGG/henri-matisse-music-1910.jpg 2025-9-10_MoMA - Music, 1910, oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761278916786-L1AJROE3RBEXHPKI1ODN/IMG_0475_ST-IIV_INFO_MUSiC_1910_Henri+Matisse.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760236350512-OY4MRUCLZQ17WINDNYWW/Music+and+Dance-henri-matisse-hermitage-museum-kopie+V-3.jpg 2025-9-10_MoMA - The Dance and Music, 1910, Henri Matisse, The State Hermitage, Saint Petersburg, Russia https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761283836080-K82D2KVZMH8T4RK8AIW8/IMG_0475_ST-V_INFO_DANCE+and+MUSiC_1910_Henri+Matisse.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823857730-PWRIY14FXM1A63C1EVCN/IMG_0455_The+Red+Studio-1911_Henri+Matisse.jpg 2025-9-10_MoMA - The Red Studio, 1911, Oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761288251596-9SK6NFCDV2MO69IFEFQV/IMG_0454_ST-II_INFO_The+Red+Studio-1911_Henri+Matisse+copy.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824292435-UUMYVSVMF0OHOLTES9OB/IMG_0480_Still+Life+with+Aubergines-1911_Henri+Matisse.jpg 2025-9-10_MoMA - Still Life with Aubergines, 1911, Oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761289219839-QO4I8ATMON3BDRM76ULX/IMG_0454_ST-III_INFO_Still+Life+with+Augergines_1911_Henri+Matisse+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761286890091-SPN9WQTP2KKCTEMBEUP7/IMG_0477_Periwinkles-Moroccan%2BGarden-1912_Henri%2BMatisse%2Bsm.jpg 2025-9-10_MoMA - Periwinkles / Moroccan Garden Tangier, winter-spring 1912, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761292437184-AW434NPD2XAENIMA8P2O/IMG_0454_ST-IV_INFO_Periwinkles-Moroccan+Garden-1912_Henri+Matisse_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823928106-A7YWY2ZNHY96V1GINR12/IMG_0458_The+Blue+Window-1913_Henri+Matisse.jpg 2025-9-10_MoMA - The Blue Window, 1913, Oil on canvas, Henri Matisse, French, 1869-1954 T https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761293066833-TQ99U0WKYZRJTC74GEOG/IMG_0454_ST-V_INFO_The+Blue+Window-913_Henri+Matisse+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759823955818-695011C4LLNWP3D8RWWH/IMG_0460_Composition-1915_Henri+Matisse.jpg 2025-9-10_MoMA - Composition, 1915, Oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761294752609-WOHUXUUAWOSFGATZOZWY/IMG_0454_ST-VI_INFO_Composition-Yellow+Curtain_Henri+Matisse+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824020264-0I12I5WI45ZISJSKJ05U/IMG_0464_The+Moroccans-1915-16_Henri+Matisse.jpg 2025-9-10_MoMA - The Moroccans, 1915-16, Oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761347821000-UWLO9AH4GL1QUAMV1301/IMG_0454_ST-VII_INFO_The+Moroccans_1915-16_Henri+Matisse+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824069271-NAW0ODHT52SYBT4XED5R/IMG_0466_The+Piano+Lesson-1916_Henri+Matisse.jpg 2025-9-10_MoMA - The Piano Lesson, 1916, Oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761349758228-FR9EIR9BN6R0OQUQ3CUN/IMG_0454_ST-VIII_INFO_The+Piano+Lesson-1916_Henri+Matisse+V-3+copy.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824087558-J16EKC0N649J4XWNNEOH/IMG_0469_DETAIL_The+Piano+Lesson-1916_Henri+Matisse.jpg 2025-9-10_MoMA - DETAIL: The Piano Lesson, 1916, Oil on canvas, Henri Matisse French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761350589425-JSAQ66SVGI8IA5SNW3BX/IMG_0454_ST-IX_INFO_DETAIL_The+Piano+Lesson-1916_Henri+Matisse+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760253116619-7ARS99L3XQRZQC5BN8J5/Woman+on+a+Stool_Henri+Matisse_V-2.jpg 2025-9-10_MoMA - Woman on a High Stool (Germaine Raynal) Paris, quai Saint-Michel, Henri Matisse,early 1914 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761353665933-TUM3CQZPFDWT03IVUOIA/IMG_0454_ST-X_INFO_Woman+on+a+High+Stool-Germaine+Raynal-1914_Henri+Matisse+V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761351948229-0Z7SND97XLE7PEX0DZJA/IMG_0468_The+Rose+Marble+Table-1917_Henri+Matisse.jpg 2025-9-10_MoMA - The Rose Marble Table, 1917, Oil on canvas, Henri Matisse, French, 1869-1954 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761354149616-27SQLUO0VXHCYTYHEIGV/IMG_0454_ST-XI_INFO_The+Rose+Marble+Table-1917_Henri+Matisse+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760255166849-FENWNDYDFDUNOW6NQV8L/IMG_0517_White+Light-1954_Jackson+Pollock+sm.jpg 2025-9-10_MoMA - White Light, 1954, Oil, enamel, and aluminum paint on canvas, Jackson Pollock American, 1912-1956 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761354661927-Y7M520X009WUVCMOX6JW/IMG_0516_INFO_White+Light-1954_Jackson+Pollock+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824498380-R4HWU54M2VIIPXKEXWRK/IMG_0520_The+Dream-1910_Henri+Rousseau+copy.jpg 2025-9-10_MoMA - The Dream, 1910, Oil on canvas, Henri Rousseau, French, 1844-1910 Though Rousseau visited natural history museums and botanical gardens to study tropical plants, much of this composition was of his own invention—such as the reclining nude woman and barely perceptible figure playing a horn behind her. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761360888536-GBQDTDUYDQF3AOSGXB8E/IMG_0518_INFO_The+Dream-1910_Henri+Rousseau+V-4_FIN.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760257451290-LGDTD25MP079NJA4JLW5/IMG_0520-b_DETAIL_The+Dream-1910_Henri+Rousseau_Woman.jpg 2025-9-10_MoMA - DETAIL: The Dream, 1910, Oil on canvas, Henri Rousseau, French, 1844-1910 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761357251010-LVSRJFXRVVJ9Q30CUPL4/IMG_0518_INFO_DETAIL+I_The+Dream-1910_Henri+Rousseau+V-1.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824449427-XB7RCMVGX89I65C6XFBY/IMG_0520_DETAIL_The+Dream-1910_Henri+Rousseau.jpg 2025-9-10_MoMA - DETAIL: The Dream, 1910, Oil on canvas, Henri Rousseau, French, 1844-1910 Set back between the lions, a dark, human figure stands, playing a straight golden horn. The figure holds the horn with both hands directly in front of its chest. It has dark gray-black skin and straight brown hair, and is camouflaged somewhat by the shadowy foliage that surrounds it. The figure wears a skirt with bands of blue, red, copper, ochre, and gray, and gaze directly at us. (https://www.moma.org/audio/playlist/3/188) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761361471388-Q9F88OV5V7IM9C4TXE26/IMG_0518_INFO_DETAIL+IV_The+Dream-1910_Henri+Rousseau+V-4.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824514738-QUSKVBFF8J943FKQFW8N/IMG_0522_DETAIL_The+Dream-1910_Henri+Rousseau.jpg 2025-9-10_MoMA - DETAIL: The Dream, 1910, Oil on canvas, Henri Rousseau, French, 1844-1910 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761359366688-PX3QW98K1RENADKAIOU5/IMG_0518_INFO_DETAIL+III_The+Dream-1910_Henri+Rousseau+V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824683279-N1RN2LWBLQZRM09YQL1W/IMG_0526_Moonmad-1944_cast+1973_Max+Ernst.jpg 2025-9-10_MoMA - Moonmad, 1944 (cast 1973), Bronze, Max Ernst ,French and American, born Germany, 1891-1976 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761368345090-GPDOCZ6YFN8BUKN26HFI/IMG_0523_INFO_Moonmad-1944_cast+1973_Max+Ernst++V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824757472-U432A3WH3LB9DN6HQE3I/IMG_0547__The+Charnel+House-1944-45_Pablo+Picasso.jpg 2025-9-10_MoMA - The Charnel House, 1944-45, Oil and charcoal on canvas, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761371944870-DDTEHCXYZKXVTXNO7CF9/IMG_0546_INFO_The+Charnel+House-1944-45_Pablo+Picasso+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824794383-NQI4N46A9TMZ2ZYUO6B7/IMG_0549_Girl+before+a+Mirror_1932_Pablo+Picasso.jpg 2025-9-10_MoMA - Girl before a Mirror, 1932, Oil on canvas, Pablo Picasso, Spanish, 1881-1973 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761374216984-KY6RZ8SMOLSBAV1M4QM5/IMG_0548_INFO_Girl+before+a+Mirror_1932_Pablo+Picasso+V-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759824847211-P1PEXWIVO8HPQ7JGO7AC/IMG_0552_Three+Women-1921-22_Fernand+Leger.jpg 2025-9-10_MoMA - Three Women, 1921-22, Oil on canvas, Fernand Leger, French, 1881-1955 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761377557263-CWX6R9MGKNSZUNZOA1BM/IMG_0551_INFO_Three+Women-1921-22_Fernand+Leger_V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761378107250-JCEQJAGZ1HUXAQ4XO39A/IMG_0554_Three%2BMusicians-1921_Pablo%2BPicasso.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761379688133-W9XNUZWD6SF0MN8UDA95/IMG_0553_INFO_Three+Musicians-1921_Pablo+Picasso+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759825231950-MJXBBQSFWXG131M5M3D7/IMG_0555_Water+Lilies_1914-26_Claude+Monet_V-2.jpg 2025-9-10_MoMA - Water Lilies, 1914-26, Oil on canvas, Claude Monet, French, 1840-1926 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761382247620-DED695TBNEX6OOZQUM55/IMG_0559_INFO_Water+Lilies_1914-26_Claude+Monet+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1760301568281-AQ85VZQS5U1JLKS1D7AW/IMG_0558_DETAIL_Water+Lilies_1914-26_Claude+Monet.jpg 2025-9-10_MoMA - DETAIL: Water Lilies, 1914-26, Oil on canvas, Claude Monet, French, 1840-1926 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761382765291-6Y485PDPJDOSV0D9B053/IMG_0569-B_INFO_Water+Lilies_1914-26_Claude+Monet+ST-3.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759825349808-0847T18S2D8C9SQFCKVB/IMG_0561_Agapanthus_1914-26_Claude+Monet.jpg 2025-9-10_MoMA - Agapanthus, 1914-26, Oil on canvas, Claude Monet, French, 1840-1926 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761435757186-LWRAOUG4LYMHDTF3BLML/IMG_0560_INfO_Agapanthus_1914-26_Claude+Monet+V-2.jpg 2025-9-10_MoMA https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1759825375144-1YEK8IZQGH500Q9KOX5C/IMG_0563_DETAIL_Agapanthus_1914-26_Claude+Monet+sm.jpg 2025-9-10_MoMA - DETAIL: Agapanthus, 1914-26, Oil on canvas, Claude Monet, French, 1840-1926 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1761436644284-W270VFGRTGN6V0ZUR4FD/IMG_0560_INfO_DETAIL_Agapanthus_1914-26_Claude+Monet+ST-2.jpg 2025-9-10_MoMA http://www.sslanzilotti.com/20251018no-kings daily 0.75 2025-10-23 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https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764836929480-LE9OLBZC9CF21N5ABQQI/12_IMG_1689_Holy+Family_c+1520_Albrect+Bouts_V-3.jpg Heavens-to-Earth https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764836026477-DHEHYB04CDBGRQ8IARKU/XII_IMG_1689_Holy+Family_c+1520_Albrect+Bouts+ST-2.jpg Heavens-to-Earth https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764836932053-6U0ZKLB2I14DSZ1G06MX/13_IMG_1711_The+Deposition+of+Christ%2C+c.+1577_Benedetto+Caliari++Italian%2C+1538-1598.jpg Heavens-to-Earth https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764836063827-03CBMGJZIY9DDINWPMRL/XIII_The+Deposition+of+Christ_c.+1577_Benedetto+Caliari.jpg Heavens-to-Earth https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764836945735-S9MGIDNG1YSR0LI0BY2K/14_IMG_1675_Mary-Child_Anne_c.1608_Saraceni_V-2.jpg Heavens-to-Earth https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764836057488-OK357HEWPD4NO1TO4CE5/XIV_The+Madonna+and+Child+with+Saint+Anne+and+an+Angel_c.+1608.jpg Heavens-to-Earth http://www.sslanzilotti.com/corsini-gallerie daily 0.75 2026-01-23 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1769072529687-OJ9S6O1QNZBGA3L81K2O/Palazzo+Corsini_History-NFO.jpg Corsini Gallerie https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1769072529687-OJ9S6O1QNZBGA3L81K2O/Palazzo+Corsini_History-NFO.jpg Corsini Gallerie https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913427911-YXDIK8TZS7P8DK3COB7O/01_DSC03039_Victory_Corsini+Corridor+1st+Fl_ST-4_sm+.jpg Corsini Gallerie - "Victory" and busts in the ground floor Corsini loggia https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765052819570-5DWPG3JF0DB9SURKIIFL/02-DSC03042_Corsini-stairway_ST-2-sm.jpg Corsini Gallerie - Staircase to Corsini galleries with a sarcophagus at the top. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913490286-RM3RZK44KTZ3GR71UHEN/03_DSC03043_sarcophagus+w-Neirids_V-2_sm.jpg Corsini Gallerie - Roman Sarcophagus with lid, decorated with Nereids (females) and Tritones (males) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913489333-4Y6G64DSTGV1NTPQWSQH/04_DSC03044+sacred+omen+of+punic+disarmament_V-3-sm.jpg Corsini Gallerie - Statue with latin inscription, "The sacred omen of Punic disarmament." Roman copy of a 4th-century BC Greek original, dating to the Antonine age (138-200 AD). https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913527611-MSWBK25R10T3ETGKVYWV/05_DSC03046_hallway-w-+busts+to+museum+entrance_V-4_sm.jpg Corsini Gallerie - Hall of Busts leads to the museums's entrance https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913516791-KHEQXBG3B2JT3UKWCK7L/06_DSC03047_Bust+of+woman_Hallway-Corsini+Gallery_V-2-sm.jpg Corsini Gallerie - Hall of Busts https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913596353-HLA6JAXC7X0R3S2CLSC6/07_DSC03049_Bust+of+Man_Hallway-Corsini_V-2-sm.jpg Corsini Gallerie - Hall of Busts https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913594498-PQJ3YV608G4AVT7XSDZ9/08_DSC03052_Bust-Woman_Hall+Corsini_colored+marble_V-3-sm.jpg Corsini Gallerie - Hall of Busts https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913626993-5H1AQ67ZC6HQBPWTET7P/09_DSC03058_Cleopatra_1574_PIetro+Paolo+Olivieri_V-3_sm.jpg Corsini Gallerie - Cleopatra (Cleopatre). Sculpture by Pietro Paolo Olivieri (1574) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913627420-V1XOF65BPP54MQMMQI5L/10_DSC03059_Muse_V-2-sm.jpg Corsini Gallerie - Muse https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913657118-A6JCUU0XQEIADWPQ42NA/11_DSC03060_Possibly+Apollo+Belvedere_V-3_sm.jpg Corsini Gallerie - Nude Ephebe (Greek term for adolescent youth in training (possibly Apollo Belvedere) Located in the Accademia Nazionale dei Lincei , First Floor Vestibule of the Palazzo Corsini, Marble sculpture, wooden pedestal. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913657519-H2Z0SIC19U6OUE01UUBO/12_DSC03061_Satire+with+Kroupeziou_V-3_sm.jpg Corsini Gallerie - Satyr with Kroupeziou by Pietro Paolo Olivieri, dating back to 150 BC found in the Villa of the Quintili The kroupeziou is a kind of castanet used to beat time while dancing, shown here being used by the satyr who dances in a frenzy while possibly celebrating Dionysius, capturing a dynamic, wild moment with characteristic goat legs and lustful energy. This satyr is one of the best existing copies in the world https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913725780-WYDIH54017XY577X20F6/13_IMG_2537_ANTECHAMBER_Gal+Corsini_V-2_ST-3.jpg Corsini Gallerie - Antechamber https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913691713-WXWYG37PT7JS8ZAU8IXH/14_IMG_2537-D_Holy+Family+and+St+John+Bap_Jacopino+del+Conte+1515-98+V-2.jpg Corsini Gallerie - Holy Family and St. John the Baptist by Jacopino del Conte (Firenze 1515 ca. - Roma 1598) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913726318-ZRIDGJ13DKNF85IZ0C1Q/15_IMG_2537-C_Christ+among+the+Doctors_Luca+Giordano-1634-1705+ST-2.jpg Corsini Gallerie - Christ among the Doctors by Luca Giordano (Napoli 1634 - 1705) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913774846-UDF1RVIYJK9JF3NX1LVV/16_DSC03064_Portrait+Neri+Corsini+sr_Giovan+B+Gaulli_aka_Baciccio_1639-1709_V-3_sms2.jpg Corsini Gallerie - Portrait of Neri Corsini senior by Giovan Battista Gaulli, called Baciccio (Genoa 1639 -Roma 1709) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913785969-OAWUE2AU6GT2Y2RF93OD/17_DSC03065_Angel+Rescues+St+Peter+from+Prison_Johann+H+Schoenfeld_1609-83_ST-3_sm.jpg Corsini Gallerie - Angel rescues St. Peter from Prison by Johann Heinrich Schoenfeld (Biberach an der Riss 1609 - Asburgo 1683) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913836308-IWEOIJ2IWWQAEQ32C6AO/18_DSC03131_Antechamber_Galleria+Corsini_ST-3-sm.jpg Corsini Gallerie - Antechamber egress/ingress wall https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913823601-OUI8P3EI295AQV6BWVJ0/19_IMG_2539_Judith+and+Holofernes_Giovanni+B+Piazzetta_1683-1754_IP_ST-3.jpg Corsini Gallerie - Judith and Holofernes by Giovanni Battista Piazzetta (Venezia 1683-1754) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913855054-XUJ31BZWAGJX3BUF3U29/20_DSC03066_Ploughman+w+Oxen_3rd-4th+c_Roman+Art_V-2-sm.jpg Corsini Gallerie - Ploughman with Oxen. Roman Art. sec 3rd-4th century A.D. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913843001-12DJI81XGZRCFMT59LQJ/21_DSC03131_DETAIL_Medici+Venus_Antonio+Montauti_1685-1740_V-2.jpg Corsini Gallerie - Medici Venus by Antonio Montauti (Firenze 1685 - Roma 1740) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913851385-XBWKYCEUXFUXMZ6MMN08/22_DSC03131_DETAIL_Dancing+Satyr_Antonio+Montauti_1685-1740.jpg Corsini Gallerie - Dancing Satyr by Antonio Montauti (Firenze 1685 - Roma 1740) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913909806-1KUMYGJL92CG6IMA2874/23_IMG_2547_FIRST+GALLERY_Corsini+Gallery_V-3_ST-2-sm.jpg Corsini Gallerie - First Gallery https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914109605-Z0KNT9IDWFIJMIRJ61WG/32_DSC03070_Pieta_Francesco+Cozza_1605-1685_V-2_sm.jpg Corsini Gallerie - Pietà (Italian for pity, mercy, compassion) by Francesco Cozza (Stilo 1605 - Rome 1685) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1768981985479-EKT1F78G3F836RY96HCH/24_IMG_2553_Views_David_after+Bernini_bronze_18th-c_ST-2_sm_V-2.jpg Corsini Gallerie - (Three views of ) David from Bernini. sec 18th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913940934-9D8HIE0WBOL98P9KF5TH/25_IMG_2563_Jacob-s+Dream_Donato+Creti_1671-1749_ST-3_sm.jpg Corsini Gallerie - Jacob's Dream by Donato Creti (Cremona 1671 - Bologna 1749) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913960134-LNSRBPINMQT2FSKOQXIX/26_IMG_2551_Views_Baptism+of+Jeusus_After+Alessandro+Algardi+1595-1654_ST-4_sm.jpg Corsini Gallerie - (Two views of) The Baptism of Jesus. After Alessandro Algardi (Bologna 1595 - Roma 1654) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913966198-1WH4NDV0NVK4MEM875L2/27_IMG_2548_Mystic+Marriage+of+St+Catherine_Carlo+Maratti_1625-1713+ST-2.jpg Corsini Gallerie - Mystic Marriage of St. Catherine by Carlo Maratti (Camerano 1625 - Roma 1713) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914035807-TJPFIZ03P7ZRKPOIMUEC/28_IMG_2550_Lion+Tearing+Apart+a+Horse_Antonio+Susini_1580-1624_ST-2_sm.jpg Corsini Gallerie - Lion and Horse by Antonio Susini (Firenze 1580 - 1624) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914036321-5AS0UST74EFC2HRZ9QAD/29_DSC03074_The+Denial+of+Peter_Jusepe+de+Ribera_Spagnoletto_1591-1652_V-4-sm.jpg Corsini Gallerie - Denial of St. Peter by Jusepe de Ribera called lo Spagnoletto (Jativa 1591 - Napoli 1652) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914077209-NJSP6XV7DN6KIEYCR4T7/30_DSC03072_The+Torture+of+Prometheus_Salvator+Rosa_1646%E2%80%931648_V-2_ST-3_sm2.jpg Corsini Gallerie - Torment of Prometheus by Salvator Rosa (Napoli 1615 - Roma 1673) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914086538-OVAJFNK4WBXV93Q17IE1/31_DSC03071_Laocoon_Alessandro+Algardi_1595-1654_V-2_sm_crp.jpg Corsini Gallerie - Laocoon. Anonymous. 18th century Laocoon was a Trojan priest who warned against bringing the Trojan Horse into the city and was punished by the gods by being strangled with his sons by sea serpents. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914239710-AMGVXMS9W71USEFMFYL4/33_DSC03069_Portrait+of+Pope+Julius+II_Workshp+of+Raphael-16th-c_V-2_sm+2.jpg Corsini Gallerie - Portrait of Pope Urbano VIII Barberini (b. 1568 - d. 1644) by Guido Ubaldo Abbatini (Citta di Castello 1600 - Roma 1656) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914237710-AHXBFGRC1SGJFHMKPORQ/34_DSC03069B_Mustical+Marriage+St+Catherine_V-2_sm.jpg Corsini Gallerie - Mystic Marriage of St. Catherine with St. Anthony of Padua by Ippolito Scarsella, called Scarsellino (Ferrara 1550 - 1620) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914269363-E143MTPLS12PXKDEIOYV/35_IMG_2549_Virgin-Child-St+Anne-Joseph_1713_Pietro+de-Pietri_ST-2_sm.jpg Corsini Gallerie - Holy Family with St. Anne by Pietro de'PIetri (Cadarese 1655 - Roma 1716) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914265917-B7EGF95F562HGN9MCN2Y/36_IMG_2566_GREEN+CHAMBER+Wall+w-1+to+19_ST-3_sm.jpg Corsini Gallerie - Green Chamber https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914281217-YIN05A8GE5L14MEUOXDN/37_DSC03088_Dancer+with+finger+on+her+chin_after+Antonio+Canova_1795-1878__ST-2-sm_GrCh.jpg Corsini Gallerie - Dancer with finger on her chin by Luigi Bienaimé, after Antonio Canova (Carrara 1795 - Roma 1878) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914421016-UBLNRP5NNVMIXZY5TGIE/38_DSC03076_Francesco+Trevisani_St+Mary+Magdalene-1656-1746_ST-2.jpg Corsini Gallerie - St. Mary Magdalene by Francesco Trevisani (Capodistria 1656 - Roma 1746) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914408261-E01W91NKDW96KFCCB25Q/39_DSC03076_St+Peter_Joost+Van+de+Hamme-ca-1630-57_sm.jpg Corsini Gallerie - St. Peter by Joost Van de Hamme (Brussels, ca. 1630 - ca. 1657) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914438770-9Q7F48MI3I4GVKLNWIXO/40_DSC03086_St+George+and+Dragon_V-2-sm.jpg Corsini Gallerie - St. George and the Dragon by Francesco Raibolini, called Francia (Bologna 1447 - 1517) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914442238-DD4X2KVU3NDZ04B4L4H6/41_IMG_2567_GREEN+CHAMBER+WALL2_13-19_V-2-ST-2-sm.jpg Corsini Gallerie - (Green Chamber continuted} https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914442708-PZTT2CJGP0ZFE88VVF0M/42_IMG_2567-B_Death+of+Adonis_Jusepe+de+Ribera+aka+Spagnoletto-1591-1652_V-2.jpg Corsini Gallerie - Death of Adonis by Jusepe de Ribera, called lo Spagnoletto (Jativa 1591 - Napoli 1652) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914555058-K043NAD4MECQ03ZS2JM5/43_DSC03078_Judith+and+Holophernes_Gerard+Seghers_1591-1651_V-2_sm2.jpg Corsini Gallerie - Judith and Holophernes by Gerard Seghers (Anversa 1591 - 1651) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914547339-7BIB48H6KC5O1OBGIWBA/44_IMG_2568_GREEN+CHAMBER+wall+20-25_V-2-ST-2-sm.jpg Corsini Gallerie - (Green Chamber continued) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914566941-5L6780TVCGOS483PGBSG/45_DSC03079_Sinite+Parvulos_Nicolas+Tournier_1590-1639_ST-2_sm2.jpg Corsini Gallerie - Sinite Parvulos by Nicolas Tournier (Montbéliard 1590 - Tolosa 1639) Sinite Parvulos is Latin for “Let the little children (come),” from the Christian Bible (Matthew 19:14), https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914583527-RTXBU2Q8COFZPIRET75V/46_DSC03080_The+Tribute+Money_Mattia+Preti_1613-1699_sm2.jpg Corsini Gallerie - The Tribute Money by Mattia Preti (Taverna 1613 - La Valletta 1699) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914587424-R7JE6U9EO2I1SYB4ZXEP/47_DSC03081_Deposition+from+the+Cross_Sisto+Badalocchio_1585-1647_V-2-sm.jpg Corsini Gallerie - Deposition from the cross by Sisto Badalocchio (Parma 1585 - Parma 1647 ca.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914687798-9P5X6EOKTQOA041NSKM8/48_DSC03084_DETAIL_Vision+of+St+Caterina+Fieschi_Marco+Benefial+1684-1764_ST-3.jpg Corsini Gallerie - Chamber of Canonization https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914717049-VACBI8AB81TYSB00UT6I/48-A_DSC03084_Vision+of+St+Caterina+Fieschi_Marco+Benefial+1684-1764_V-2_sm.jpg Corsini Gallerie - The Vision of St. Caterina Fieschi by Marco Benefial (Rome 1684-1764) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914723088-PSG9MDRRAZFPB2MCB6Y7/49_DSC03083_Ecstasy+of+St+Caterina+de+Ricci_Agostino+Masucci_1691-1768_V-2_sm2.jpg Corsini Gallerie - Ecstasy of St. Caterina de Ricci by Agostino Masucci (Roma 1691-1768) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914738963-172L28Q43ZOJE62M2DS8/50_DSC03085_Clemente+XII+Corsini_Card+Neri+Maria+Corsini_Pietro+Paolo+Cristofari_V-2_sm.jpg Corsini Gallerie - Portrait of Clemente XII Corsini and Cardinal Neri Maria Corsini by Pietro Paolo Cristofari (Roma 1685-1743) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764914734084-9DEU88R431NQEO22A4FA/51_GREEN+CABINET+Corsini+Gallery_ST-2.jpg Corsini Gallerie - Green Cabinet https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915065836-X7UC5DDHS77MRY7PWA40/52_DSC03091-B_Portrait+of++Cosimo+III+Medichi_Giusto+Sustermans-1597-1681_V-3.jpg Corsini Gallerie - Portrait of Cosimo III Medici by Giusto Sustermans (Anversa 1597 - Firenze 1681) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915077685-B7AF9A35BK2994SJT5IW/53_DSC03090_St+Andrea+corsini_Agostino+Masucci_1691-1758_V-2_sm.jpg Corsini Gallerie - St. Andrea Corsini by Agostino Masucci (Rome 1691 ca.-1758) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915100411-W1O2D0O0XFBICRMP3XSP/54_DSC03092_Virgin+and+Child_w-Angels_Giovanni+Battista+Salvi_Sassoferrato_V-2_sm2.jpg Corsini Gallerie - Virgin with Child and Angels by Giovanni Battista Salvi, called Sassoferrato (Sassoferrato 1609 - Roma 1685) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915103182-MPFCIUUY3VJMY7D1ZQ7W/55_DSC03093_Views_Clemente+XII+Corsini-1740_Carlo+Monaldi-1683-1760_ST-2-sm.jpg Corsini Gallerie - Portrait of Pope Clemente XII Corsini by Carlo Monaldi (Roma 1683 ca. - 1760 ca.) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915116591-EL3ZBRR668RKRLXH3EFV/56_IMG_2576_Portrait+of+a+Nun_Bolognese+School_17th-c_V-2.jpg Corsini Gallerie - Portrait of a Nun. Bolognese School, 17th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915340112-Y4FL2FSCF4CJZ9K2GEEA/57_IMG_2575_Portrait+of+a+Man_Franz+Pourbus+il+giovane_1569+-1622.jpg Corsini Gallerie - Portrait of a Man by Franz Pourbus the young (Anversa 1569 - Parigi 1622) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915359624-6PX8T65IMG5ITVCRDE5U/58_DSC03099_Portrait+of+an+Old+Woman_School+of+Carlo+Maratta-17th-c_V-2_sm.jpg Corsini Gallerie - Portrait of an Old Woman. School of Carlo Maratti (1625 - 1713) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1768974246548-AMJW4NTQ7NUNSMPDIZYC/59_IMG_2580_La+pieta_Ludovico+Carracci_Bologna+1555-1619_V-2.jpg Corsini Gallerie - La Pietà by Ludovicco Carracci (Bologna 1555 - 1619) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915378800-SG1KSEHIY3DXC2JBG196/60_CAMERA+DELL+ALCOVA_ST-2.jpg Corsini Gallerie https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915392414-25DJOFMAHDKVESQ7HPGQ/61_IMG_2598_St+Sebastian_after+Palma+il+Giovane_16th+c_V-2.Rome.jpg Corsini Gallerie - St. Sebastian. After Palma il giovane, XVII / 17th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915502238-RX848GFBWAIDNK0YR38O/62_IMG_2595_Ganymede+and+the+Eagle_Antonio+Montauti_1685-1740_V-2.jpg Corsini Gallerie - Ganymede and the Eagle by Antonio Montauti (Firenze 1685 - Roma 1740) Ganymede and the Eagle refers to the Greek myth where Zeus, in the form of an eagle, abducts the beautiful Trojan prince Ganymede to serve as the cupbearer on Mount Olympus. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915509548-IELY1Q5TB4USTSHSZY41/63_DSC03108_St+Jerome-17c_School+of+Ribera_V-2-sm2.jpg Corsini Gallerie - St. Jerome. School of Ribera, 17th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915538551-7ALUCOEV4ONOMDIS4BH3/64_IMG_2586_St+Sebastian+healed+by+angels+Pieter+Paul+Rubens_1577-1640+.jpg Corsini Gallerie - St. Sebastian healed by Angels by Pieter Paul Rubens (b. Siegen 1577 - d. Anversa 1640) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915535103-SJI4LW1U486U8EHKADWZ/65_DSC03103_St+Francis+in+Ectasy_Filippo+Lauri_1623-94_V-2-sm2.jpg Corsini Gallerie - St. Francis in Ecstasy by Filippo Lauri (Roma 1623 - 1694) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915543324-R7Y2CHDKN8SMGVZ559K1/66_Queen+Christina+of+Sweden+as+Diana_Justus+van+Egmonts_V-2.jpg Corsini Gallerie - The Queen Christina of Sweden as Diana by Justus van Egmonts (b. Leida 1601 - d. Anversa 1674) N.B. This room was the residence of Queen Christina of Sweden after she abdicated from the throne in Sweden (1654) and moved to Rome (1655). She lived there from 1659 until her death in 1689. https://newromantimes.substack.com/p/step-inside-galleria-corsini-a-palace https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915678093-DI91ZC8SUKB156SCG41L/67_DSC03105_Alessandro+VII+Chigi_Gian+Lorenzo+Bernini_1598-1680_V-4-sm.jpg Corsini Gallerie - Pope Alessandro VII Chigi by Gian Lorenzo Bernini (Napoli 1598 - Roma 1680) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915696656-W47B8YXE7517U7SL6GM2/68-A_IMG_2591_Zuccari+school_Stories+of+Moses_vault+of+Alcove+Room_sm.jpg Corsini Gallerie - The Bronze Serpent, story of Moses, Ceiling painting in the Alcove Room by Federico Zuccari (1560 ca.), commissioned for Queen Christina of Sweden https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915702167-FMUAEJ5JRIQ1YW62MP41/69_IMG_2590_Zuccari+school_Stories+of+Moses_vault+of+Alcove+Room_sm.jpg Corsini Gallerie - Water from the Rock, story of Moses by Federico Zuccari (1560 ca.), commissioned for Queen Christina of Sweden, Ceiling painting in the Alcove Room https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915806677-84NJYMGY5UT3MY3752CI/70-A_IMG_2592_Zuccari+school_Stories+of+King+Solomon%2C_vault+of+Alcove+Room.jpg Corsini Gallerie - King Solomon's Judgement, Ceiling painting in the Alcove Room, by Federico Zuccari (1560 ca.), commissioned for Queen Christina of Sweden https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915814832-MNTROY50FB4X0LFDK07F/71_DSC03109_St+Jerome_Simone+Cantarini+1612-48_V-2.jpg Corsini Gallerie - St. Jerome by Simone Cantarini (Pesaro 1612 - Verona 1648) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915828086-GNX67OBFHRR6CYUHLD9I/72_IMG_2587_Portrait+Doge+Giovanni+I+Corner_Domenico+Tintoretto_1560-1635_V-3-sm.jpg Corsini Gallerie - Portrait of Doge Giovanni | Corner by Domenico Tintoretto (Venezia 1560 - 1635) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915909299-5ISQMN9H4UC0WM4EHVWW/73_IMG_2588_Madonna+del+Latte_Bartolome+Esteban+MUrillo+1617-82_V-2.jpg Corsini Gallerie - The nursing Madonna by Bartolomé Esteban Murillo (Siviglia 1617 - 1682) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915905663-4HWRB9FPEYDF165BWO5Z/74_IMG_2593_Hercules+and+the+Bull_16th-c_V-2.jpg Corsini Gallerie - Hercules with the Bull. Anonymous, 16th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915985739-JWQNUL6TNASL5LC76DHK/75_FIREPLACE+CHAMBER_ST-2.jpg Corsini Gallerie - Fireplace Room (Camera del Camino) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916002451-X68TM8SQTLCSGLY5Z1L9/76_IMG_2606_Virgin-Child-St+John+Baptist_Carlo+Maratti_1625-1713+V-3_sm.jpg Corsini Gallerie - Virgin with Child and St. John the Baptist by Carlo Maratti (Camerano 1625 - Roma 1713) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764915996606-AEGEMAVL62H3MF2HAHGM/77_IMG_2609_Christ+at+the+Column_Anonymous_17th+c._ST-2-sm.jpg Corsini Gallerie - Christ at the column. Anonymous, 17th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916022332-1DCRYBHNYXHMY8QW6Y3Y/78_IMG_2611_Cain+Slaying+Able_Francesco+Trevisaini-1656-1746_V-3_sm.jpg Corsini Gallerie - Cain slaying Abel by Francesco Trevisani (Capodistria 1656 - Roma 1746) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916112741-KLE1S65D68X6QUV759LM/80_DSC03111_St+Francis+in+Wilderness_Annibale+Carracci_1560-1609_V-2.jpg Corsini Gallerie - St. Francis in the Wilderness by Annibale Carracci (Bologna 1560 - Roma 1609) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916143187-BZDOQQ1CNW1SQIA4IN57/82_DSC03115_Ecce+Homo_Orazio+de+Ferrari_1606-57_V-2_ST-4_sm.jpg Corsini Gallerie - Ecce Homo (Behold the Man) by Orazio De Ferrari (Voltri 1606 - Genova 1657) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916116716-TORL323140R22LU5SXYO/81_DSC03112_Adoration+of+Shepherds_Jacopo+da+Ponte_Bassano_1515-92_V-2.jpg Corsini Gallerie - Adoration of the Shepherds by Jacopo da Ponte, called Bassano (Bassano del Grappa 1515 - 1592) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916142339-B0H0O16O7ZTLS68C2OYI/83_DSC03113_Salome+w+Head+of+John+Baptist_Guido+Reni_1575-1642_V-3-sm2.jpg Corsini Gallerie - Salome with the Head of John The Baptist by Guido Reni (Bologna 1575 - 1642) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916026739-PEPM3B4FFQ6FZPTYWZQI/79_DSC03121_FIREPLACE+CHAMBER_ST-3_sm.jpg Corsini Gallerie - CAMERA DEL CAMINO / FIREPLACE CHAMBER (continued) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916154216-2LUC598QCT5BD192HCIG/84_DSC03121_B_St.+John+the+Baptist_Benedetto+Zalone-1575+-+1644+V-3-sm.jpg Corsini Gallerie - St. John the Baptist by Benedetto Zalone (Cento 1595 - 1644) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916665437-B58FYBS7XTJITUDU3KJO/87_DSC03116._Noli+me+Tangere_After+Barocci_16th-c_V-2_sm2.jpg Corsini Gallerie - Noli me tangere (Do not touch me). After Barocci, 16th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916687305-ILZOB27NP7KSHX63C8NW/88_DSC03118_St+Jerome_Venetian+School_1576_V-4-sm.jpg Corsini Gallerie - St. Jerome. Venetian School (1576) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916666221-RSWFFY63BKT34SMTMUDM/85_DSC03117_Martyrdom+St+Andrew_Carlo+Maratti+1625-1713_V-4_sm.jpg Corsini Gallerie - Martyrdom of St. Andrew by Carlo Maratti (Camerano 1625 - Roma 1713) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916640493-CY3FTPD4P9A1J905KZ7R/86_DSC03121_Christ+w-Crown+of+Thorns_after+Guido+Reni_V-4.jpg Corsini Gallerie - Christ with the Crown of Thorns. After Guido Reni, 17th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916681111-ANQPYDTPWBZRL9Q8J92T/89_DSC03120_Alessandro+Farnese_Piero+di+Gioanni+Bonaccorsi_aka_Perin+del+Vaga_1501-47.jpg Corsini Gallerie - Portrait of Alessandro Farnese by Piero di Giovanni Bonaccorsi, called Perin del Vaga (Firenze 1501 - Roma 1547) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916817187-5XH8EB7C9843UZGOIU49/90_NOBILE+GALLERY_ST-2.jpg Corsini Gallerie - THE NOBLE GALLERY, BARBERINI GALLERIE CORSINI NAZIONALI https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916835614-MWY8HX81DOAUK66175OF/91_DSC03129_St+Peter+Healing+St+Agatha_Giovanni+Lanfranco_1582-1647_V-4_sm.jpg Corsini Gallerie - St. Peter healing St. Agatha by Giovanni Lanfranco (Parma 1582 - Roma 1647) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916841073-BPW94WHIO2GC12UDDDDJ/92-IMG_2614_Vision+of+St+Jerome_Cesare+Gennari_1637-88_V-3_NOBLE.jpg Corsini Gallerie - The Vision of Saint Jerome by Cesare Gennari (Cento 1637 - Bologna 1688) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916871808-LU9MIDG876ZQKZ95QPU1/93_DSC03128_Virgin+of+the+Straw_Anton+van+Dyck_1599-1641_V-4-sm2.jpg Corsini Gallerie - Virgin of the Straw by Anton van Dyck (Anversa 1599 - Londra 1641) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764916879154-3X3CHYGDQWUGN0SMLHCD/94_DSC03123_Andromeda_Francesco+Furini-1603-46+V-4_sm2.jpg Corsini Gallerie - Andromeda by Francesco Furini (Firenze 1603 - 1646) In Greek mythology, Andromeda was the daughter of Cassiopeia, rescued by Perseus from a sea monster https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764918295950-K4CONXSFPVGZA99KL6HI/95_DSC03125_Martyrdom+of+St+Bartolomeo_Emilian+School_17th-c_V-3-sm.jpg Corsini Gallerie - Martyrdom of St. Bartholomew. Emilian School, 17th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1768981180998-9FW7S54TAATOUR6OXA6A/96_IMG_2615_The+Rape+of+Sabine+Women_17th-c_after+Giambologna_V-3-sm.jpg Corsini Gallerie - The Rape of the Sabine Women. After Giambologna, 17th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1764913364448-YR560WD0OO433755CUL1/00_Galleria+Corsini.jpg Corsini Gallerie http://www.sslanzilotti.com/munakata-shiko daily 0.75 2026-01-06 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765147892284-1KK9OQYJN0XP0V7MDEJ5/IMG_2120_INFO_Beyond+Onchi-+Creative+Prints_Munakata+Shiko_ST-2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765147892284-1KK9OQYJN0XP0V7MDEJ5/IMG_2120_INFO_Beyond+Onchi-+Creative+Prints_Munakata+Shiko_ST-2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765257853350-3AXKFDZYVK4LBV74MJOI/Cutting+the+block_Photo+courtesy+of+Yoriko+Ishii.jpg Munakata Shiko - Munakata Cutting the Block. Photo courtesy of his granddaughter, Yoriko Ishii https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767665578785-BZ5PWILZDTFDRT08ACZX/MUNAKATA_EYES+TO+THE+WOOD_INFO_WEB_ST-6_2026-1-5.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148359005-W3MURI10MUUOB2RR40KY/IMG_2122_SHARIHOTSU_Sariputra_1st+Wisdom-1939__Munakata+Shiko_V-3.jpg Munakata Shiko - SHARIHOTSU: "He Who Is First in Wisdom" (Sariputra) From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, Munakata Shiko (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767238615774-R7MHWHB9CU4JLW2IDWEX/SHARIHOTSU_INFO_WEB_ST4-V2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148415823-U788OU8C0P9OKLQABRKT/IMG_2128_MAKAYO_Mahakasyapa-1939_Munakata+Shiko_V-2.jpg Munakata Shiko - MAKAYO (Mahakasyapa) From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, 1939, Woodblock print; ink on paper, Munakata Shiko (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767255421044-A9SU0189S7LRAV3SSLQX/MAKAYO+INFO+WEB_ST-4_V-2_FINALE.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148402696-Q8Z500OBLR4Z0OVLV838/IMG_2126_RAGORA_1st+esoteric+practices_learn-1939_Munakata+Shiko_V-3.JPG Munakata Shiko - RAGORA: "He Who Is First in Esoteric Practices and in Desire for Instruction in the Law" (Rahula), From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, Woodblock print; ink on paper https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767253848168-D369ZQ8CMAKN018QRDYN/RAGORA_INFO_WEB_ST-2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765432488071-J70JKMGRMN91RQQGNZ8E/IMG_2124_ANANDA_1st+hearing+Buddha-1939_Munakata+Shiko_V-3.jpg Munakata Shiko - ANANDA "He Who Is First in Having Heard the Word of the Buddha" (Ananda) From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, Munakata Shiko (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767668473338-2BZCD1CIRJWV1HP5GHIK/ANANDA_INFO_WEB_V-3_2026-1-5..jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148290837-H3PUHR4Z1E9AVRT6MQTZ/IMG_2119_ANARITSU_Aniruddha-1939_Munakiata+Shiko+V-4.jpg Munakata Shiko - ANARITSU: (Aniruddha), From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, 1939, Munakata Shikö (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767669384053-1M0ENP329T2YX1PWK9EU/ANARITSU_INFO_WEB_ST-3.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148282708-14YG0B4LW7YKO8NENHV4/IMG_2117_KASEN-NEN_Katayana-1939_Debate_Munakata+Shiko_V-3.jpg Munakata Shiko - KASEN'NEN: (Katyayana), from the series “Two Bodhisattva and Ten Great Disciples of Buddha Sakyamuni (Nibosatsu Shaka judai deshi)”, 1939, Munakata Shikö (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767054265814-0Q4SXSE4BVQ6HIJVV2YC/KASENNEN_INFO_WEB_ST-2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148281526-4TR2FPN1M0VOQCC3SYNP/IMG_2115_FURUNA_Explain+good+law_Munakata+Shiko_V-3.jpg Munakata Shiko - FURUNA: "He Who Is First in Explaining the Good Law" (Purnamaitrayaniputra) From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, 1939, Munakata Shikö (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1766963617198-LU8MBK7PQMOUQMZF0OPP/FURUNA_INFO_WEB_V-2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148197913-2BLFRJG8RJXFSSPMCZH3/IMG_2113_SHUBODAI-1939_Munakata+Shiko_V-2.jpg Munakata Shiko - Shubodai: "He Who Is First in Expressing Emptiness" (Subhuti) From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, 1939, Munakata Shikö (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767657152057-7RZZELSVTD6E2EUVQHYM/SHUBODAI_INFO_WEB_ST-6_2026-1-5_V-2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148189519-8C92ZYY5H1YKVU2ZYZO8/IMG_2111_MOKUKENREN_1939+Munakata+Shiko_V-2.jpg Munakata Shiko - MOKUKENREN, "He Who Is First in Supernatural Powers" (Maudgalyayana) From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, 1939, Woodblock print; ink on paper https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1766970201662-47G0YXSLI4SUYNUATHFV/MOKUKENREN_INFO_WEB_ST-2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765258757444-5XDOF6UTPZQNU61J8PB9/IMG_2109_UBARI-1939_Munakata+Shiko_V-4.jpg Munakata Shiko - UBARI: Woodblock print, ink on paper, 1939, Ubari: "He Who Is First in Keeping Discipline" From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, Munakata Shikö (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1766970665547-UNRFDPB5IE7R79Z897BK/UBARI_INFO_WEB_ST-5.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148452189-9ZU8VZJYLG8CVRUMPN5A/IMG_2136_Fugen_Samantabhadra-1948_Munakata+Shiko_V-2.jpg Munakata Shiko - FUGEN (Samantabhadra): from the series “Two Bodhisattva and Ten Great Disciples of Buddha Sakyamuni (Nibosatsu Shaka judai deshi)”, 1948, by Munakata Shiko (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767257000908-6SVPAYD967O2WL1FI2YO/FUGEN_INFO_WEB_ST-4_V-3.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148439150-8R0KA47TEQP6NRB3TG9U/IMG_2135_Monju_Manjusri-1939_Munakata+Shiko_V-2.jpg Munakata Shiko - MONJU (Manjusri) From the series Two Bodhisattvas and Ten Great Disciples of Sakyamuni, Japan, 1939, Woodblock print; ink on paper, Munakata Shiko (1903-1975) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767678457546-42XQ73FQ3KGBHJY1QA8F/MONJU_INFO_WEB_ST-4_2026-1-3.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148175350-6Y5864W3I4W2GZRUH2GR/IMG_2104_KANNON_Munaiata+Shiko-1954_V-3.jpg Munakata Shiko - KANNON https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767317895646-BK6K4FXM55LOFKKGSV9J/KANNON_INFO_WEB_MERCY_ST-2.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765148174192-I2245D9O0YBEQ1BQW55E/IMG_2107_Self-Portrait-Munakato+Shiko-1960_V-2.jpg Munakata Shiko - Munakata Shikõ (1903-1975) Self-portrait Japan, 1960 Woodblock print; ink on paper https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1767321923648-M32Z7MJB5PZZT9F93QF0/MUNAKATA+SELF-PORTRAIT+BOAT+HUDSON+RIVER_ST-2_tan.jpg Munakata Shiko https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1765153105355-W1II95IFV0GQ4DVUM140/Munakata+teaching+a+class_+Photo+courtesy+of+Yoriko+Ishii_V-2.jpg Munakata Shiko - Munakata teaching a class . (Photo courtesy of his granddaughter, Yoriko Ishi) http://www.sslanzilotti.com/met-cloisters daily 0.75 2026-03-07 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770079632943-XP5SZ207E9P7VOT7RK8H/DSC05846_MET+Cloisters+external+wall+bldg_sm-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770079632943-XP5SZ207E9P7VOT7RK8H/DSC05846_MET+Cloisters+external+wall+bldg_sm-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770687885058-N2IFNO11M7X5Q8Q34ORI/DSC05620_INFO_Medieval+Art+in+Am.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770008469885-NI0PQJ414L9C6S76ZHDL/DSC05584_Cloister+entrance+steps_V-2.jpg MET Cloisters - MET Cloisters entry stairway https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772585218708-1H6QEYWLAXLXSAIP58BS/INFO+MET+Cloisters+overview.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770008328414-KXCHP05XXTIY0K4W8YSI/DSC05583_Cloisters+Entrance+BW.jpg MET Cloisters - MET Cloisters entrance to exhibits https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772608904463-RZS548DFXP9IV8Q058WS/DSC05623_INFO_Museum+Middle+Ages.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770008573905-OPPZRUZL86IK96HJQ75Q/DSC05585_Cloisters+interior+dome_sm.jpg MET Cloisters - Interior dome with oculus https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770010018183-G8MH0B71F6DNVAOI3S2Z/Romanesque+Hall+Gallery.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770356832411-1MPKOMFYZV7H0EBT49F3/IMG_2659_Cloisters_floor+plan.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770337300846-XA15P5Z3RYVS123MKEDB/DSC05591_Doorway_mid+12th+c_Touraine-Fr._V-2_ST-3.jpg MET Cloisters - Romanesque doorway looking back to Cloisters Galleries entrance area https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771706652015-0WJG0MLR0ME06MG9LHFE/INFO_Entrance+to+Romanesque+Hall_ST-4.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770350261760-FBCA82TI0XMKPS8GFVIV/Romanesque+Hall_ST-3.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770267975677-PRG1QH4Q0QK9GR1483NK/Romanesque+Hall_Cloisters_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770184784808-XUOHUH38W8J536KEUO47/DSC05615_Dragon_Spanish_ca-1200_ST-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770184287317-299I7YBBOPAURT7DG2LF/DSC05614_INFO_Dragon_Spanish_ca-1200.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770082949288-W3SH6CPRNOZCHR6W98TZ/DSC05594_Lion_Spanish+Castile-Leon_ca+1200_V-3_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770081564863-3NRS7NLF04S72RMID0AO/Lion_Castile-Leon_ca+1200.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770175288918-Y109KVKM7UYJWNET9LR4/DSC05609__Lion-Dragon-Falconer_ST-3_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770175313326-D1Z9JGII1TYCXI71TWO7/Lion-Dragon-Falconer-1200.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770176197621-4MMEU0UZFLH6G7PU4YPE/DSC05611_Lion_sm.jpg MET Cloisters - Lion, copper alloy, No. Germany, ca.1200, crafted water vessel, Aquamanilia https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770176699805-5D8K0YGGBXBMUUL2TCSS/DSC05610_DRAGON+w+man_sm2.jpg MET Cloisters - Dragon, copper alloy, No. Germany, ca.1200, crafted water vessel, Aquamanilia https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770177135943-U71U44OQZ3L7KP9MAWSJ/DSC05609_DETAIL_Falconer_V-2.jpg MET Cloisters - Falconer, copper alloy, German, Franconia, 13th century, 13th c., crafted water vessel, Aquamanilia https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770084623624-PWBDB26EXB6WCAXTRFTD/DSC05597__Capital+w-Lions+Mounted+by+Nude+Riders_12th-c_V-3_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770084590858-B6Z0ZDZ5FXQJKQSQLEVB/DSC05595_INFO_Capital+w-Lions+Mounted+by+Nude+Riders_12th-c.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770084712906-2XAR7G1F6G7W7P9DSG0K/DSC05599_Sculpture+of+Kneeling+King_12-c._V-3_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770084698560-ILRZ9RX13JAM050TJEP6/DSC05598_INFO_Sculpture+of+Kneeling+King_12-c.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770086250881-1IR7KF0IMEYIXAVQ7OVO/DSC05601_Box-Capture+of+William+Orange+ca-1200-25_ST-II_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770086162698-25GMNG0SF2V4UJPRGG1K/Wood+Box+Capture+of+Orange.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770098651472-M6RK4HZOP8KOOQZEWDFA/IMG_2645+Tents+of+Franks.jpg MET Cloisters - The tents of the Franks on the side of the wood box with the Legend of Guilhem of Orange, ca. 1200-1225 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770165034455-2EM20ZR80E69QK54SEUL/Pitched+Tents-Guilhem+history.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770861923333-AD9HP8KWXCULLY0I8F6T/DSC05606_TopSide+II_Box-Capture+of+William+Orange+ca-1200-25_V-2_ST-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770166832135-YPOSLG885BNEO2BOICFU/Saracen+Prince+Aragon-Count+Bertrand.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770091183167-WDJZFPFHAG1OBVMLJH8B/DSC05605_Side+II_Box-Capture+of+William+Orange+ca-1200-25_V-3-sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770166026059-QO2Z05S3V1Y2H6HNH3J5/Subterranean+passageways.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770863214663-65XAM2JUDIDW29BR5CT5/DSC05602_Top-Box-Fight+2-head+beast_Capture+of+William+Orange_V-2_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770163348846-XLZLQX5J4LX1XMQMX9GN/Guilhem+stabs+2-headed+beast_V-3.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770160852015-I89G95C12YUBHRQGKSQJ/DSC05600-B_Gate+of+Orange_wood+box_13c_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770159739064-XK0M2MBRSV74Z1TBXR77/BATTLE_Front+Panel+Wood+Box.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770168145615-Z5V0KO9PKC1QXB0U69AX/DSC05603-B_Side-Box-Capture+of+William+Orange+ca-1200-25_ST-3_sm.jpg MET Cloisters - Lid with beast and designed side of the wood box with the Legend of Guilhem of Orange, ca. 1200-1225 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770343220317-YTSKE87YFG6N4CKDOFPK/Legend+of+Guilhem_St+Guilhem+le+Desert_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770349597785-353WGHO8E86X8MOQTNGX/DSC05613_Doorway_Burgundy-FR-1250_ST-4_sm5.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771708756356-6ZUV9Z70K89XFEM8C8RX/Doorway+from+the+Monastery+of+Moutiers-Saint-Jean_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770187321971-DUD6YJDRVMJI4FAGG1KL/DSC05617_DETAIL-Christian+kings+of+France%2C+Clovis_Doorway_V-2.jpg MET Cloisters - Clovis, first Christian kings of France, Doorway, abbey of Moutiers-Saint Jean, near Dijon, ca. 1250 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770187119475-076NN61SGX8ZUBHXJ2E6/DSC05618_DETAIL_Doorway_Clothar_1250_sm.jpg MET Cloisters - Clothar, son of King Clovis, detail of Doorway, monastery of Moutiers-Saint-Jean, ca. 1250 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770192381081-R1ZF4I7TA8XH209BVF9F/DSC05661_Langon+Chapel_ST-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770191524397-UTDEVNQBWR9LU2VF5FJK/DSC05660_Langon+Chapel_after+1126.jpg MET Cloisters - Langon Chapel, one of three distinct chapels in the MET Cloisters along with the Fuentiduena (12th c.) and Gothic Chapels https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770275700877-2XLY8227TRJZODLNP9RS/Capital_Romanesque+architectural+sculpture_V-2.jpg MET Cloisters - Crowned heads, carved on right-hand capital at the juncture of the apse and nave, Langon Chapel https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770356096669-DEE57OVB71NZ9E56UXBK/Crown+Heads_La-Grande-Sauve.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770528378588-UP8L0J945IROLDEV4OYJ/DSC05631_Sedes+Sepientiae_1150-1200-FR.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770531621752-8D2Y3RXBIDDYT39HEEEN/INFO_enthroned+Virgin+and+Child_1150-1200.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770528400185-BS1B0OF4AATGMLBX4MKG/DSC05632_side+view+Sedes+Sepietiae_1150-1200-FR.jpg MET Cloisters - Enthroned Virgin and Child, Walnut with paint and tin leaf, French, Auvergne, ca. 1150-1200 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770633984638-UXQ7XAQ754BD9831BGPX/DSC05638._Architectural+Frieze_1125-1150_ST-5_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770633667321-45YZFUMW353YRNTOB1UP/DSC05636-B_INFO_Architectural+Frieze_1125-1150.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770530162911-ZA13O85R55O5AT3I7C6V/DSC05635_Enthroned+Virgin+and+Child_1130-1140-FR_ST-2_sm_V-3.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771710016548-WHDBQM2QNVPMCXEO3GP7/Entrhoned+Virgin+and+Child_French-Burgundy_1130-40.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770183634466-5FG2TDJ12A13YNR3Q5MT/DSC05642_Chapel_sm.jpg MET Cloisters - Langon Chapel Altar area https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770597493100-DYOUZAN83G458229R9XI/DSC05629-B_INFO_Langon+Chapel+Gallery.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770183671500-QWLKH8HISWPNOIVR7COW/DSC05643_Altar+Frontal_sm.jpg MET Cloisters - Langon Chapel altar antependium with Mary, Christ as an adult, and eight saints https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770628053636-RUAGTX3YGJBA3WPYSPKQ/DSC05639-B-3_INFO_DETAIL_Altar+Frontal.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770630451867-K2D6XFXDZU3033XNGORH/DSC05645_Islamic+animal+medallions_sm.jpg MET Cloisters - Animal Medallions on the border of the Langon Altar front-piece above https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770517503534-IMYQ320V7XGW01MUEYK3/DSC05644_Madonna+and+Child_Chapel+altar+front_sm_V-4.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770522705085-QU4QP90UT9TV5NF9M036/Mary+and+Christ+Paliotto+Langon+Altar.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770183639673-9X7PMQEEG6NEILBESAUQ/DSC05642-B_Chapel+Crucifix.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770626337981-7XF8K3YAABCGRMGH7EC7/DSC05639_A-2_INFO_Crucifix-Langon+Altar_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770183649965-OU9P098B3WYAZNZ6LYH4/DSC05642-C_Chapel+Candleabra.jpg MET Cloisters - Pair of Candelabra Wrought iron European, 15th-16th century and later https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770632371718-ORD3XB9WYOY4KK7D72QQ/DSC05651+and+3_Grisaille+Panels_left-right_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770633014336-P7CS5RR2SCX0QRDY005I/DSC05650_INFO_Grisaille+Panel+lft+and+right+windows_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770632450138-8H35HIZELUMLJHQD92PD/DSC05652_Grisaille+Panels_central_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770632690737-AWSMIVKEBS6AIYC28XD8/DSC05650_INFO_Grisaille+Panels_center_sm2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770634204431-GQE2UR9HVYRO2GA9LQQH/DSC05637_Spandrel+1120-1130_V-2_sm2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770634621051-EGBNHW55TK4MGXT8K96Y/DSC05636_INFO_Spandrel+1120-1130_V-2_sm2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770190653967-2I3XA2ZK5G9M72R634QQ/SAINT-GUILHEM+CLOISTER+GALLERY.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770771507870-AKZGK5WNWG1SXW53XIZ1/DSC05619-MET-pic_Saint-Guilhem+Cloister+courtyard.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770777339425-8M7EYHB74LT1YEIVO2WT/DSC05619-MET-pic_INFO_Recut+capital-font.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770774513842-JFWD9ZNE45DMAANU1ARU/DSC05622_Medieval+Courtyard-II_sm_V-2.jpg MET Cloisters - Courtyard East arcade: masklike head in delicate naturalistic grapevine on the abacus block, middle column. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770774981408-W6K4MQUEZ7IU9NZZNG7N/DSC05622-B_INFO_Capitals.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770689368195-SYCV8JW5XX2OBBYC0SQ4/DSC05624_Courtyard+col_floral+capitals.jpg MET Cloisters - Engaged Column Shaft, late 12th century., Made in Languedoc, France, Romanesque stone elements https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770776382293-LE0OC03LG35SQSG9J4HS/DSC05622-B_INFO_Lion-David+Capital.jpg MET Cloisters - Daniel in the Lion's den, capital, Saint-Guilhem Cloister, French late 12th–early 13th c. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770688314792-JXXAQHPC1D0E60YSAY6Y/DSC05621_Medieval+Gothic+Coutyard_sm_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770784447192-7ZOCPWO3IULQBLPOZ0VY/DSC05621_INFO_Columns+of+the+Abbaye+de+Saint.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770689375848-T42ZOS5YDN9WG30H7SUF/DSC05625_Courtyard+col-w-sculpted+leaves-faces-flowers.jpg MET Cloisters - Pilaster with naturalistic acanthus leaves and blossoms, the carving accented with drillwork. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770691318502-M2RRPG3RROYHK2WYFI8F/DSC05628_Leaves_Console+architectural+decoration_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772609159269-M32HO7YLHZOLGNR59YJA/DSC05627_INF%29_Console_13th-14th+c-FR.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770775348896-M9K42YX5KA93LLWBGAPH/DSC05626_cloister+courtyard+view+capitals_sm2.jpg MET Cloisters - Tourist views the capital with 'Mouth of Hell' in the Cloisters courtyard. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770783065860-LIOM8FNI2OW6UCBK6LMP/DSC05626_DETAIL_Decent+Into+Hell_cloister+courtyard+capital.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770788600108-QABAR44V0W37IQ49R0HM/DSC05626_INFO_DETAIL_Decent+Into+Hell_cloister+courtyard+capital..jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770799311347-OYIBYS16NC8QR4EBQLOD/DSC05677_Palmesel_Palm+Donkey_15th+c_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770799261046-XCMXQDLXJ3UK7J3CIWEI/DSC05677_INFO_Palmesel_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770872818643-TKLXSJ4G96XEN29IDOID/DSC05684_Altarpiece+with+Scenes+Life+Saint+Andrew_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770945264732-GUSIZTMSVPCX50AYH70Q/DSC05698_INFO_Altarpiece-St+Andrew_II_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770865043165-FEL4G73FSQXPB3GU0GZI/DSC05686_Calling+of+Saint+Andrew_V-2_sm.jpg MET Cloisters - Sec. 1: Calling of Saint Andrew, attributed to the Master of Roussillon, Catalon, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770869024610-K0GK1F6V2QT197CHZDRS/DSC05687_2-Wicked+Mother+Killed+by+Fire+from+Heaven.jpg MET Cloisters - Sec. 2: Wicked Mother Killed by Fire from Heaven, attributed to the Master of Roussillon, Catalon, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770889730277-BCL1G50UWS19QSG7P6UY/DSC05688_3-Virgin-Child+w+STs+Catherine-Mary+Magdalene_ST-2.jpg MET Cloisters - Sec. 3: Virgin and Child with Saints Catherine & Mary Maglalene, attributed to the Master of Roussillon, Catalon, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770890274758-BSQUH231DZY8MWGA4XPP/DSC05689_4-St.+Andrew_V-2_sm2.jpg MET Cloisters - Sec. 4: Saint Andrew, Altarpiece with Scenes from the Life of Saint Andrew, Attributed to the Master of Roussillon, Catalan, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770872396486-0I1YKGCLD7PU2JGF9512/DSC05690_5-Crucifixion+St+Andrew_V-2_sm.jpg MET Cloisters - Sec. 5: Crucifixion of Saint Andrew, attributed to the Master of Roussillon, Catalon, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770875515227-UG3W0STCN428UFAGZ96K/DSC05691_6_St+Andrew+save+bishop+disguised+woman-devil_V-2_sm.jpg MET Cloisters - Sec. 6: Saint Andrew saving a bishop from the devil, who is disguised as a woman, attributed to the Master of Roussillon, Catalon, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770887881899-S30JIB4G3GPTDL6TLUQK/DSC05692_7-St+Andrew+w+woman+who+pray+to+Diana_V-2_sm.jpg MET Cloisters - Sec. 7: Saint Andrew and the Woman Who Prayed to Diana on Behalf of Her Sister https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770887506907-ATKNEUR30C3WUVPFPDJJ/DSC05692_INFO__St+Andrew+w+woman+who+pray+to+Diana.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770878474848-EMATJ8VXGD1ZTY2DVW0R/DSC05693_Woman+take+St+Andrew+to+sister_V-2_sm.jpg MET Cloisters - Sec. 8: Woman taking Saint Andrew to her sister, Attributed to the Master of Roussillon,Catalan, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770880288720-3FH1YK0LH7YYGUM4SQKF/DSC05694_9-St+Andrew+drive+away+devils-dogs_V-2-sm.jpg MET Cloisters - Sec. 9: Saint Andrew driving away the demons in the form of dogs. Attributed to the Master of Roussillon, Catalan, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770889148577-UNDMH2L29KVJMZIQTAF5/DSC05695_10-Christ+Man+of+Sorrows_V-2_sm.jpg MET Cloisters - Sec. 10: Christ as the Man of Sorrows (The Dead Christ), Altarpiece with Scenes from the Life of Saint Andrew, Catalan, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770942817276-V7D11B5WOBXPNMXZLKHA/DSC05696_11-St+Andrew+raises+dead+youth_V-2_sm.jpg MET Cloisters - Sec. 11: Saint Andrew Raises the Dead Youth, Detail, Altarpiece with Scenes from the Life of Saint Andrew, Catalan, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770944087695-8FS3NVX9LW398ZVCZWN6/DSC05697_12-St+Andrew+brings+to+life+the+drowned+men+_V-2_sm.jpg MET Cloisters - Sec. 12: St Andrew Brings to Life the Drowned Men, Altarpiece with Scenes from the Life of Saint Andrew, Catalan, ca. 1420-30 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770947095288-H9622O8PKMUKH4FW7AZ4/DSC05701_Altarpiece+Christ+St+John+Bap_St+Margaret_1434-36_V-2_sm2..jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770946637868-D80IMI64QNHAXJ42DPQQ/DSC05699_INFO_Altarpiece+Christ+St+John+Bap_St+Margaret_1434-36_V-3.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770692582083-MO4ULGJ1PXUJIDYIAGST/DSC05663_St+Michael+1460-1490_sm_V-2.jpg MET Cloisters - THE BOPPARD ROOМ https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770692471569-G3J3JN561GTK3IW80QUC/DSC05662_INFO_St+Michael+1460-1490.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770693511585-Y2CX066UL88ORF1OV0NG/DSC05665_Altarpiece+%28retablo%29+w-Scenes+from+Passion_sm_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770700164150-NY9XHUY95TJ2S1Y6EO7E/DSC05664_Altarpiece-retablo-w-the+Passion-15th-c_Master+Morata_V-2_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770700592225-4M35RTXN6840SMN07LXH/DSC05666_DETAIL_Passion_Agony+in+the+Garden_Master+Morata_sm.jpg MET Cloisters - Agony in the Garden, Altarpiece, Scenes from the Passion, Attributed to Master Morata (active 1470-1505) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770700624771-BXFP2FU7P572XWO5U8TK/DSC05667_DETAIL_the+Betrayal_Master+Morata_V-3_sm.jpg MET Cloisters - The Betrayal, Altarpiece, Scenes from the Passion, Attributed to Master Morata (active 1470-1505) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770700639790-1MRT2YWE44J84KFDXETU/DSC05668_DETAIL_Christ+before+Caiaphas_V-2_sm.jpg MET Cloisters - Christ before Caiaphas, Altarpiece, Scenes from the Passion, Attributed to Master Morata (active 1470-1505) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770702138739-1NB8GP80GGFGHI7DFX4Q/DSC05669_Christ+Crowned+with+Thorns_V-2_sm.jpg MET Cloisters - Christ Crowned with Thorns, Altarpiece, Scenes from the Passion, Attributed to Master Morata (active 1470-1505) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770700676883-43P9PICI7RIYE1EGVPFG/DSC05670_the+Flagellation_V-2_sm.jpg MET Cloisters - The Flagellation, Altarpiece, Scenes from the Passion, Attributed to Master Morata (active 1470-1505) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770700695435-SKIX1I7BSSSU93WRCKU3/DSC05671_Christ+Before+Pilate_v-2_sm.jpg MET Cloisters - Christ before Pilate, Altarpiece, Scenes from the Passion Attributed to Master Morata (active 1470-1505) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771029108417-WAV6ZGKK9J44JKT3MKQ1/DSC05703_Dormition+of+Virgin_Heysacker-1487-1515_V-2_sm-III.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771028250191-F8Q7R6Y1IW29UKIM6KSP/DSC05702_INFO_Dormition+of+Virgin_Heysacker-1487-1515_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771029491596-T02HITIU6PW8UWIW9R34/DSC05707_DETAIL_Dormition+of+Virgin_sm_crp.jpg MET Cloisters - Saint Peter, Detail, The Dormition of the Virgin, workship of Timan Hesacker (active 1487-1515) https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770710609135-UO20DA27FM3UAXIRSBFB/IMG_0987_Christ+born+as+Redeemer_ST-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770702489906-Z1JIC65VLX4CDMI3GZHE/DSC05675_INFO_Christ+born+as+Redeemer_sm_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770722315520-ME1Y5PUZI8EXT7X78U9Q/DSC05673-C_Christ+enthroned+is+flanked+by+angels._REDEEMER.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770712638577-FUYDGZP1VASUA1FKQ0VJ/IMG_0987-C_INFO_Redeemer_DETAIL_Christ+enthroned+-flanked+by+angels.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770714926470-H2G179Q3KK65WOX6MI4Z/IMG_0992_DETAIL_REDEEMER_Joseph+and+Mary+pay+rent+for+the+stable.jpg MET Cloisters - Joseph and Mary pay rent for the stable, Christ Is Born as Man's Redeemer, ca. 1500-1520 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770718606659-DDPCB5NNEEJSD8AIIIF5/IMG_0994_DETAIL_Christ+enthroned+w-Mary_Redeemer_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770719137490-FCB4385PC96YDYWW78PM/DSC05675_INFO_Christ+Enthroned-Father-Spirit-Mary+etc.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770713553604-BMAQ06XOVJ81SCZ6K1KC/DSC05674_REDEEMER_DETAIL_Marriage+of+Joseph+and+Mary_V-3_sm.jpg MET Cloisters - The marriage of Joseph and Mary, Christ Is Born as Man's Redeemer, ca. 1500-1520 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770716623168-K3RIAT32SHP4QRO66ZNK/IMG_0995_DETAIL_The+Nativity_Prophet-Isaiah_Redeemer_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770717647233-7RNGEH8K7HZJTNBG1WT1/DSC05675_Nativity_Christ+as+Redeemer.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770719998912-AUMMU50ETFRE87GLOCY3/IMG_0996_DETAIL_Three+Prophets-Three+Kings_Redeemer_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770720509362-OZDMFF9YIJBG3QSH0EJX/DSC05675_INFO_Prophets+and+Kings.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770721861409-DBSHA2YTZB596LD9CHCV/IMG_0989_DETAIL_Man+in+wonderment_Redeemer_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1770721160470-WE30ZX9SM5YMJRZMBFDD/DSC05675_INFO_Man+in+Wonderment.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771563407859-OOHMX7JAKBC116OSJTFO/DSC05711_St+Anthony+Abbot_von+Hagenau+ca-1500_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771563420319-JDL25G92WETLKOKFA4XG/DSC05710_INFO_St+Anthony+Abbot_von+Hagenau+ca-1500.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771636088787-9ZOJDHW484Y524NIB1GL/DSC05741_St+Hubert+and+the+Stag-early+16th-c_sm+Christ_ST-5_FINE.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771638452654-HDMYV2L68CYSA51WEKUO/DSC05740_INFO_St+Hubert+and+the+Stag_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771655420509-KX7L7ZHMK904HLE3CLI7/St+Eustace+on+Via+Domenico+Ridola_Matera.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771922330594-DC215P5GLOADBBLMC42Q/DSC05740-C_INFO_St+Hubert+as+St+Eustace.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771668133842-27XCAN8X6G3BQZ35FAQM/SSL1174_Matera_Church+of+Santa+Maria+de-Idris_Eustice-12th-17th+c-V-3+.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771668723171-B7DC1E3YTU23SMATO8XE/INFO_How+Placidius+went+from+St+Eustace+to+St+Hubert_V-3_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771567696016-NKLSZ73YLKXIFW6QD6R3/DSC05743_St+Peter-1440_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771566810272-GTUXZ29RCHYT8KQ6KH3C/DSC05742_INFO_St+Peter-1440_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771569339506-63XX004N4HTN63V4S2H5/DSC05746_PIeta_ca+1400_V-2..jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771569325784-DOYP913N7J7D9V5SATN4/DSC05745_INFO_PIeta_ca+1400_V-2..jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771571303107-XTCB4X0225L65SL93QHI/DSC05751_Sts+Christopher-Eustace-Erasums_ca+1500-04_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771573322953-X9G849OXU5WN3YFRERJL/DSC05747_INFO_Sts+Christopher-Eustace-Erasums_ca+1500-04_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771575600853-VK7JQCII4SMSG2VSTOPZ/DSC05755_Virgin-Child_Adoration_1515-20_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771577619463-8FZJIY5YI9HMRG3OVLUH/DSC05753_INFO_Virgin%2C+Child+and+the+Three+Magi%2C.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771669111486-U8QFA1IDIPXVOAMOL9L6/DSC05784_Cuxa+Cloisters+interior+garden_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771720900648-4OG6O28X2UGCKUN9LRJ1/DSC05784-B_INFO_The+Cuxa+Cloister.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771639292901-4FS37KXKN69CY0GUT88P/DSC05761_Internal+Courtyard_purple+flower.jpg MET Cloisters - Cuxa Cloister garden flower https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771716246162-K8YCXDHX9UQYZZXY1JWS/DSC05787_Imaginative+Capitals+Cuxa+Cloisters_sm_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771716870756-VH0E0BTDJMYTW51VF6HQ/Cuxa+Cloister+Capitals.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1769926625575-DG8XWVREHD9MIQKU2B3Q/3-DSC05805_The+Hunters+Enter+the+Woods_1495-1505_V-2_sm.+copy.jpg MET Cloisters - I. The Hunters Enter the Woods, French (cartoon)/South Netherlandish (woven) 1495–1505 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772591927615-VYBQWTJPT584TW6PFJQN/INFO_Tapestry+I-Hunt+for+Unicorn+Begins_ST-3_FIN.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1769926612376-ZTLNBR22VDOTTHKDULI8/2-DSC05798_Unicorn+Purifies+Water_1495-1505_V-2_sm.jpg MET Cloisters - II. The Unicorn Dips His Horn into the Stream to Rid It of Poison, wool, silk, and silver and gilded-silver wrapped thread, French (cartoon)/South Netherlandish 1495–1505 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772592618788-6OP00I2DZNIJKN1JGQB8/INFO_Tapestry+II_Unicorn+Purifies+Water+Rid+Poison_ST-3.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772613580066-7I2M73GQI1MZ94BPKV9A/DSC05737_The+Unicorn+is+Attacked+V-2arw.jpg MET Cloisters - III. The Unicorn Leaps the Stream, French (cartoon)/South Netherlandish (woven) 1495–1505 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772595211887-TCC9M3BN5D6PXCLQ1DOX/INFO_Tapestry+III_The+Unicorn+Leaps+the+Stream.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772614124171-SUEWYS53H5J6M9C11QQB/DSC05735_Unicorn+Defends+Itself_V-2arw.jpg MET Cloisters - IV. The Unicorn Defends Himself, French (cartoon)/South Netherlandish (woven) 1495–1505 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772268002625-ZNQ4E1WN2XBV5QQU6QE9/Tapestry+IV-+The+Unicorn+Fights+Back%3B+The+Angel+Gabriel+and+the+Annunciation_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771560210740-R9OOM1TTLXVVERMUNXBL/1-Unicorn+surrenders+to+a+maiden_V-2.jpg MET Cloisters - V. The Unicorn Surrenders to a Maiden, French (cartoon)/South Netherlandish (woven) 1495–1505 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772598989913-VFTX7YGC4NVEN9AIE8YU/INFO_Tapestry+V-The+Unicorn+Surrenders+to+a+Maiden.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772612524457-L7JAXJXVO1QOCEWPP4PX/DSC05730_Unicorn+is+Killed-Brought+to+Castle_V-2arw.jpg MET Cloisters - VI. The Unicorn Is Killed and Brought to the Castle, wool, silk, and silver and gilded-silver wrapped thread, French (cartoon)/South Netherlandish (woven) 1495–1505 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772603952793-QCQDLQAE28MP29D34ZLU/Tapestry+VI_Unicorn+is+Killed-to+Castle.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1769926686914-SR35ETHELDHP66N6WOCW/7-DSC05792+Unicorn+Rests+in+a+Garden_sm+copy.jpg MET Cloisters - VII. The Unicorn Rests in a Garden), French (cartoon)/South Netherlandish (woven) 1495–1505 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772606508883-XNXTHFRDYAFY5QQRY15E/INFO_Tapestry+VII_Unicorn+Rests.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772608411033-USNH1OTTB4KFQTCRI4OC/DSC05807_DETAIL_The+Unicorn+Rests.jpg MET Cloisters - Detail: The Unicorn Rests, Tapestry, wool warp with wool, silk, silver, and gilt wefts, 1495-1505 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771994924916-WTXWE76I5OL7VYQNCI6W/The+Unicorn-Medieval+German+folk+song.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771558779347-OO7FAIPYR40VE6AC4BW9/DSC05799+Narwahl+Tusk_sm3.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772608831425-AWK09IZBSK06XDKMCGE1/DSC05794+INFO+Narwhal_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771726181066-908U1RTUD6XXX0694YC6/DSC05840_St+Augustine+City+of+God_15th-c_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771726185417-6J5FW9QDTINRLKS0UCLN/DSC05840-B_INFO_Spanish+Translatiion+of+St+Augustine+City+of+God.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771826685591-AA0U4H96CF7JN992UYSB/DSC05836_Paten_Abraham+and+Melchizedek-15th-c_ST-2_sm2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771995472570-N7H6RMZMWCVURCWLAZK6/DSC05834_INFO_Paten_Abraham+and+Melchizedek+15-c+ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771887578059-4F785YXVN0WZC1IRG7V2/DSC05836_DETAIL_Paten_Abraham+and+Melchizedek-15th-c_ST-2_crp.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771819318665-3C24OSAA9WIFNZNASUR8/DSC05836-B-INFO-II_Abraham-Melchizedek_Biblical.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771828828791-5BS3RA81XYQ845ZANHP3/DSC05832_Chandelier_V-2.jpg MET Cloisters - Chandelier, copper alloy, South Netherlandish, possibly Dinant, late 15th century https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771830195806-Z1HJ39W8LFKUFD3HS12F/DSC05830_ceiling+design_DSC05834_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771829588429-FHSU8V4QBIKRZ8F8MNU9/DSC05831-B_INFO_Ceiling+Chandelier+Bench_ST-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771836205832-503K7DZTFGFDOBIPTVCH/DSC05828_DETAIL_Ceiling+design_ST-2_sm3.jpg MET Cloisters - Ceiling (DETAIL), Spanish, Castile, ca. 1450-1500, Coat of Arms and hunter astride white horse pursuing possibly a tiger https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771893608349-HW42R00NB9F5Q0TPB3A4/DSC05789_The+Chapter+House+from+Pontaut_V-2_sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771896653283-40AYZ8X2388KNZ0H2W0G/INFO_The+Pontaut+Chapter+House_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771898523351-4PLMCL9DP6YADIIX2Z7M/DSC05811_Dish_Lion_Spain+1500+V-2_sm.jpg MET Cloisters - Dish with Lion, Tin-glazed and lustered earthenware, Spanish, Valencia, Manises, ca. 1500 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771898901249-RQ9CUYR4FUG1P6M3ZFGX/DSC05812_Dish+w+IHS_V-2.jpg MET Cloisters - Dish with IHS (Monogram of Jesus), Tin-glazed and lustered earthenware, Spanish, Valencia, Manises, ca. 1430-60 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771899745145-EHY41MEMIOGC8K8OB9YE/DSC05813_Dish+with+Coat+of+Arms.jpg MET Cloisters - Dish with Coat of Arms, Tin-glazed and lustered earthenware, Spanish, Valencia, Manises, ca. 1470-90 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771900218826-2OQ5CWEK58XA9882PL6C/DSC05814_Dish-Brasero-and+Eagle.jpg MET Cloisters - Deep Dish (Brasero) with Eagle, Tin-glazed and lustered earthenware, Spanish, Valencia, Manises, Ca. 1450-70 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771902504711-RH6CR56ICWZOF05C4X8W/DSC05816_Latte+Virgin+and+child_1490-95_Netherlands.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771902493431-Q9XH3GKK8Y9TABRTGZEA/DSC05815-C_INFO_Virgin+and+Child+w+Angel.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771903605233-JDT78ZL360FZSQ56J5PR/DSC05825_Adoration+of+Magi_Stain+Class_1507.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771903366790-MMHDL4E7ZMAHEJZ7WN1H/DSC05826_INFO_Adoration+of+Magi_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771904228674-BYX0RABPFZ5BXBSOMKNE/DSC05821_Man+of+Sorrows-Mourning+Virgin+1480_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771903080190-9IYNMXAM2KBFCT3GEVJX/DSC05820_INFO_Man+of+Sorrows-Mourning+Virgin+1480_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772682228498-QOA1JZI9BUD65OQZKFRX/DSC05726_Hebrew+Tap_Joshua-David_V-2-sm-II.jpg MET Cloisters - Hebrew Tapestry, Joshua and King David, Nine Heroes Tapestries, ca. 1400 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772780627142-HG4G8D1O0Z50D89FCAYW/DSC05726_INFO_Hebrew+Tapestry_Joshua-David_FIN.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772865612785-FJHKWZRX3JW68UNP5GXA/DSC05726-C_DETAIL_Hebrew+Tap_Joshua_ST-5.jpg MET Cloisters - Joshua, Nine Heroes Tapestries, Jewish Tradition, ca. 1400 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772792358314-E2RSI6OW36M1OV8BQCSF/DSC05726-C_INFO_Joshua_FIN.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772769583410-LG2JQXYX5IRDBY0LRS0Z/DSC05725_King+David_V-3_sm-ST-4.jpg MET Cloisters - King David, Nine Heroes Tapestry Room, Jewish Tradition, MET Cloisters, ca. 1400 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772856431541-KT58527VOKWM1Q6Z67U1/DSC05725_INFO_King+David_FIN.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772863961050-OGIQ3YKHSTLB0ZKGMEM1/DSC05728_Hector+of+Troy_V-2_sm._IV.jpg MET Cloisters - Hector of Troy, Nine Heroes Tapestries, Classical Tradition, ca.1400 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772860903127-942EZPHRFIGAF7J2EK87/DSC05728-B_INFO_Hector+of+Troy.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772691644911-JCHH2UCNAP02LR6VC1UM/Julius+Caesar_Nine+Heroes.jpg MET Cloisters - Julius Caesar, Nine Heroes Tapestries, Classical Tradition, ca. 1400 MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772870405724-8TNMLTZ4ICKOXPQK3CI5/DSC05721-ST-2_INFO_Julius+Caesar.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772676315241-WZQHYCR6QRPTMKTZSX53/DSC05723_King+Arthur_V-2-sm.jpg MET Cloisters - King Arthur, Nine Heroes Tapestry Room, Gallery 018, MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772872923452-ONKWGPWNGAUS40ICPO7V/DSC05723_INFO+King+Arthur_V-2.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771920274415-NNLGP1O2E9FJGXOL8DVO/DSC05788_Cloisters+tower_V-2-sm.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771920243466-8WAAGPTHLVB52QYSNDYA/DSC05788-B_INFO_Bell+Tower.jpg MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1771923561868-PW5LYA6ZEUB5BE203C9M/DSC05843_MET+Cloisters+exit+driveway_ST-2.jpg MET Cloisters - Path exiting the MET Cloisters https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1772769490452-USTGDNBAMLBBA1AOP6PK/DSC05726_Hebrew+Tap_Joshua-David_V-2-sm-II_top+right.jpg MET Cloisters http://www.sslanzilotti.com/home daily 1.0 2020-12-11 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1607678440027-K9V8BHVUWHRDDHETEMGB/2014-3-3_SSL_7417_beg-woman_D_300_FIN.jpg Home Beggar Woman, Amer Fort, Rajasthan, India, 2014 http://www.sslanzilotti.com/about-1 daily 0.75 2025-05-04 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1607679623442-10QTM516AH51YUGATU3F/1997_Clinton+Powell+shake+et+al_1997.jpg About 1996 Presidents Summit on Youth in Philadelphia, PA. https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1451280972033-ZPP3SCI9OB6IB51I7H9C/Slide027_Maria-etal.jpg About Women Power, China, 1975 https://images.squarespace-cdn.com/content/v1/567de29d841abaa3c9152fbd/1607678719527-OTV72S6B8S0BB7DP64KG/1975_46030004_acupuncture-in-ear_IV_300_20x10_FIN+copy.jpg About 1975 China: Acupuncture demonstration to treat a deaf child.