Monday, November 29, 2010
Thursday, November 25, 2010
Tuesday, November 23, 2010
Saturday, November 20, 2010
Christmas in Italy
While most tourists dream of visiting Italy during the summer, there are some who would visit at no other time than in December. Some undoubtedly come for the Christmas festivities (this being the home of Catholic HQ), but for some people it’s just a delightful time to visit, when you can see the country put on its holiday finery. Italy in December is cold, to be sure, but you’ll be able to warm up with frequent stops at Italian bars for a little espresso or Vin Santo pick-me-up (you may also find Vin Brule, or hot mulled wine, on a menu here or there – give it a try if it’s really cold out!). And if you’re spending time in the south, especially as far south as Sicily, the air won’t be as chilly. Consult the Italy weather page for some temperature and rainfall averages.
Most tourist sites are open in December, save for the 25th and 26th, so that shouldn’t be an issue with your visit. You are likely to find shorter opening hours, however, so be sure to check the sights you want to take in to make sure you don’t miss it by an hour.
Italy in December isn’t all about Christmas, but this holiday certainly is in evidence in nearly every Italian city and town. You won’t see giant fake reindeer or a Santa Claus on every corner, but you are very likely to see a nativity scene (called a presepio in Italian) in many a piazza. Some towns decorate the streets with garlands and lights strung between the buildings, and you’ll even see heavily decorated Christmas trees in some cities. There are countless markets which spring up around Italy in December, too, which are fantastic if you’re doing any holiday shopping (or just want to bring home a little treat for yourself!).
In addition to Christmas celebrations, there are other Italian festivals in December which may interest you. For a list of the festivals which will be going on in when you’re there, go to this fabulous festival finder, choose “December” from the menu and then choose the region (or regions) you’ll be visiting. You’ll get a nice long list for each region, and can pick and choose the ones that sound most interesting to you.
Some areas of Italy get very crowded right around the Christmas holiday, especially Rome and Vatican City, so if you’re planning to head to the Vatican over Christmas you’ll want to book your room in advance (and don’t be surprised if the prices are higher – Christmas is one of the mini “high seasons” within the winter low season). Should you want to hear the Pope speak during the holiday, plan on a noon address on Christmas Day in St. Peter’s Square.
A few things to know about Christmas in Italy:
Most tourist sites are open in December, save for the 25th and 26th, so that shouldn’t be an issue with your visit. You are likely to find shorter opening hours, however, so be sure to check the sights you want to take in to make sure you don’t miss it by an hour.
Italy in December isn’t all about Christmas, but this holiday certainly is in evidence in nearly every Italian city and town. You won’t see giant fake reindeer or a Santa Claus on every corner, but you are very likely to see a nativity scene (called a presepio in Italian) in many a piazza. Some towns decorate the streets with garlands and lights strung between the buildings, and you’ll even see heavily decorated Christmas trees in some cities. There are countless markets which spring up around Italy in December, too, which are fantastic if you’re doing any holiday shopping (or just want to bring home a little treat for yourself!).
In addition to Christmas celebrations, there are other Italian festivals in December which may interest you. For a list of the festivals which will be going on in when you’re there, go to this fabulous festival finder, choose “December” from the menu and then choose the region (or regions) you’ll be visiting. You’ll get a nice long list for each region, and can pick and choose the ones that sound most interesting to you.
Some areas of Italy get very crowded right around the Christmas holiday, especially Rome and Vatican City, so if you’re planning to head to the Vatican over Christmas you’ll want to book your room in advance (and don’t be surprised if the prices are higher – Christmas is one of the mini “high seasons” within the winter low season). Should you want to hear the Pope speak during the holiday, plan on a noon address on Christmas Day in St. Peter’s Square.
A few things to know about Christmas in Italy:
- Santa Claus is known as “Babbo Natale,” or Father Christmas, in Italy.
- To most Italians, Epiphany (celebrated on January 6) is a more important holiday than Christmas, and Epiphany – not Christmas – is in fact when most people exchange gifts.
- Instead of Santa bringing presents to Italy’s children, it’s La Befana who brings gifts on Epiphany. She’s an old woman who flies around the country on a broom delivering her presents.
- If you’re in Rome, you may hear bagpipes being played by zampognari – shepherds from the nearby Abruzzo region who wear traditional dress and play throughout the piazzas in the city.
- There are some foods and treats which only come out during December, including the famous panettone (a sweet bread from Milan) and roasted chestnuts (which are usually available during most of the autumn and winter).
- Almost every church in Italy will have a midnight mass on Christmas eve, which can be a lovely way to start the holiday.
Rome's Catacombs
In ancient Roman times, no one was allowed to be buried within the walls of the city. While pagan Romans were into cremation, Christians preferred to be buried (so they could be resurrected when the time came). But land was expensive, and most Christians were poor. A few wealthy, landowning Christians allowed their land to be used as burial places.
The 40 or so known catacombs are scattered outside the ancient walls of Rome. From the first through the fifth centuries, Christians dug an estimated 375 miles of tomb-lined tunnels, with networks of galleries as many as five layers deep. The volcanic tuff that Rome sits atop — soft and easy to cut, but hardens when exposed to air — was perfect for the job. The Christians burrowed many layers deep for two reasons: to get more mileage out of the donated land, and to be near martyrs and saints already buried there. Bodies were wrapped in linen (like Christ's). Since they figured the Second Coming was imminent, there was no interest in embalming the body.
When Emperor Constantine legalized Christianity in A.D. 313, Christians had a new, interesting problem: There would be no more recently persecuted martyrs to bind them together and inspire them. Instead, the early martyrs and popes assumed more importance, and Christians began making pilgrimages to their burial places in the catacombs.
In the 800s, when barbarian invaders started ransacking the tombs, Christians moved the relics of saints and martyrs to the safety of churches in the city center. For a thousand years, the catacombs were forgotten. In early modern times, they were excavated and became part of the Romantic Age's Grand Tour of Europe.
When abandoned plates and utensils from ritual meals were found, 18th- and 19th-century Romantics guessed that persecuted Christians hid out in these candlelit galleries. The popularity of this legend grew — even though it was untrue. By the second century, more than a million people lived in Rome, and the 10,000 early Christians didn't need to camp out in the catacombs. They hid in plain view, melting into obscurity within the city itself.
The underground tunnels, while empty of bones, are rich in early Christian symbolism, which functioned as a secret language. The dove represented the soul. You'll see it quenching its thirst (worshipping), with an olive branch (at rest), or happily perched (in paradise). Peacocks, known for their purportedly "incorruptible flesh," embodied immortality. The shepherd with a lamb on his shoulders was the "good shepherd," the first portrayal of Christ as a kindly leader of his flock. The fish was used because the first letters of these words — "Jesus Christ, Son of God, Savior" — spelled "fish" in Greek. And the anchor is a cross in disguise. A second-century bishop had written on his tomb, "All who understand these things, pray for me." You'll see pictures of people praying with their hands raised up — the custom at the time.
All catacomb tours are essentially the same. Which one you visit is not important. The Catacombs of San Callisto, a.k.a. Callixtus), the official cemetery for the Christians of Rome and burial place of third-century popes, are my favorite. This was the official cemetery for Rome's early Christians and the burial place of nine third-century popes, other bishops of Rome, and various martyrs. Buy your €6 ticket and wait for your language to be called. They move lots of people quickly. If one group seems ridiculously large (over 50 people), wait for the next tour in English (€6, includes tour, Thu–Tue 9:00–12:00 & 14:00–17:00, closed Wed and Feb, Via Appia Antica 110, tel. 06-5130-1580 or 06-5130-151). Dig this: The catacombs have a Web site — http://www.catacombe.roma.it/ — that focuses mainly on San Callisto, featuring photos, site info, and a history.
The Catacombs of San Sebastian (Sebastiano) are 300 yards farther south down the road (€6, includes 25-min tour, 2/hr, Mon–Sat 9:00–12:00 & 14:00–17:30, last tour at 17:00, closed Sun and mid- Nov–mid-Dec, closes at 17:00 in winter, Via Appia Antica 136, tel. 06-785-0350, http://www.catacombe.org/).
The 40 or so known catacombs are scattered outside the ancient walls of Rome. From the first through the fifth centuries, Christians dug an estimated 375 miles of tomb-lined tunnels, with networks of galleries as many as five layers deep. The volcanic tuff that Rome sits atop — soft and easy to cut, but hardens when exposed to air — was perfect for the job. The Christians burrowed many layers deep for two reasons: to get more mileage out of the donated land, and to be near martyrs and saints already buried there. Bodies were wrapped in linen (like Christ's). Since they figured the Second Coming was imminent, there was no interest in embalming the body.
When Emperor Constantine legalized Christianity in A.D. 313, Christians had a new, interesting problem: There would be no more recently persecuted martyrs to bind them together and inspire them. Instead, the early martyrs and popes assumed more importance, and Christians began making pilgrimages to their burial places in the catacombs.
In the 800s, when barbarian invaders started ransacking the tombs, Christians moved the relics of saints and martyrs to the safety of churches in the city center. For a thousand years, the catacombs were forgotten. In early modern times, they were excavated and became part of the Romantic Age's Grand Tour of Europe.
When abandoned plates and utensils from ritual meals were found, 18th- and 19th-century Romantics guessed that persecuted Christians hid out in these candlelit galleries. The popularity of this legend grew — even though it was untrue. By the second century, more than a million people lived in Rome, and the 10,000 early Christians didn't need to camp out in the catacombs. They hid in plain view, melting into obscurity within the city itself.
The underground tunnels, while empty of bones, are rich in early Christian symbolism, which functioned as a secret language. The dove represented the soul. You'll see it quenching its thirst (worshipping), with an olive branch (at rest), or happily perched (in paradise). Peacocks, known for their purportedly "incorruptible flesh," embodied immortality. The shepherd with a lamb on his shoulders was the "good shepherd," the first portrayal of Christ as a kindly leader of his flock. The fish was used because the first letters of these words — "Jesus Christ, Son of God, Savior" — spelled "fish" in Greek. And the anchor is a cross in disguise. A second-century bishop had written on his tomb, "All who understand these things, pray for me." You'll see pictures of people praying with their hands raised up — the custom at the time.
All catacomb tours are essentially the same. Which one you visit is not important. The Catacombs of San Callisto, a.k.a. Callixtus), the official cemetery for the Christians of Rome and burial place of third-century popes, are my favorite. This was the official cemetery for Rome's early Christians and the burial place of nine third-century popes, other bishops of Rome, and various martyrs. Buy your €6 ticket and wait for your language to be called. They move lots of people quickly. If one group seems ridiculously large (over 50 people), wait for the next tour in English (€6, includes tour, Thu–Tue 9:00–12:00 & 14:00–17:00, closed Wed and Feb, Via Appia Antica 110, tel. 06-5130-1580 or 06-5130-151). Dig this: The catacombs have a Web site — http://www.catacombe.roma.it/ — that focuses mainly on San Callisto, featuring photos, site info, and a history.
The Catacombs of San Sebastian (Sebastiano) are 300 yards farther south down the road (€6, includes 25-min tour, 2/hr, Mon–Sat 9:00–12:00 & 14:00–17:30, last tour at 17:00, closed Sun and mid- Nov–mid-Dec, closes at 17:00 in winter, Via Appia Antica 136, tel. 06-785-0350, http://www.catacombe.org/).
Italy's Agriturismos ( Gori Farmhouse (the Belsedere) where we will stay))
By Rick Steves
For a relaxing break from the intensity, traffic, and obligatory museums of mainstream Italy, head for the rugged hills and settle down in an agriturismo. Agriturismo (agricultural tourism) began in the 1980s as a way to encourage small farmers to survive in a modern economy. By renting rooms to travelers, farmers can make ends meet, remain on their land, and continue to produce food. A peaceful home base for exploring the region, these rural Italian B&Bs are ideal for those traveling by car — especially families.As the name implies, agriturismi are in the countryside, although some are located within a mile of town. Most are family-run, and vary wildly in quality. Some properties are simple and rustic, while others are downright luxurious, offering amenities such as swimming pools and riding stables. The rooms are usually clean and comfortable. Breakfast is often included, and mezza pensione (half-pension, which in this case means a home-cooked dinner) may be built into the price. Kitchenettes are often available to cook up your own feast. Make sure you know how to operate the appliances. To maximize your time, ask the owner for suggestions on local restaurants, sights, and activities.
To qualify officially as an agriturismo, the farm must generate more money from its farm activities than from tourism, thereby insuring that the land is worked and preserved. Some farmhouse B&Bs are simply that, and are not really working farms, though are still fine places to stay. But if you want the real thing, make sure the owners call their place an agriturismo.
The Tuscan landscape is dotted with agriturismi that were once fortified farms, reminders of battles between Florence and Siena centuries ago. Many of these once-elegant old manor houses are still inhabited by aristocratic families, and are now run as B&Bs. To experience the texture of Tuscany, I book into a noble old farm estate run by the Gori family. It's a working farm: no TV, no swimming pool, and lots of Tuscany.
Signora Gori takes me on a welcome stroll. Our first stop is a sty dominated by a giant pig. "We call him Pastenetto, the little pastry." She takes me into the barn, where fluffy white lambs jump to attention in their hay, raising a sweet-smelling, golden mist. Backlit by stray sunbeams, it's a dreamy, almost Biblical scene. Picking up a baby lamb and giving it a nuzzle, she explains, "We use unpasteurized milk in making the pecorino cheese. This is allowed but with strict health safeguards. I must really know my sheep."
That night at Signori Gori's dinner table, we're joined by the rest of her family. The two sons dress and act like princes, home on break from some Italian Oxford. We sit down to a classic Tuscan table — simplicity, a sense of harmony, and no hurry... with a glass of good red wine. I nod to my hosts, knowing I've found the art of Tuscany.
If agriturismo appeals to you, just pick your spot and let the traffic noise fade as you melt into the hills
Thursday, November 18, 2010
About Sister Wendy
David's Notes:
I've got several of her books and was pleasantly surprised to see her famous BBC documentary preserved online. She is a very accessible writer and going to Italy with all it's religious monuments a nun actually a suitable guide. Sister Wendy in her youth had a First in Oxford in Literature but having chosen a life as a nun, had a largely secluded life in her convent, and had to pursue her love of art though books and correspondence rather than seeing them in galleries like other people. At the age of 60 she came out to visit on a Grand Tour of Europe her beloved paintings and is a unique television presenter. Her knowledge (which surpasses many other bombastic and dry art historians), her humility and gentleness and her true love of art is borne out when you watch this series or read her books.
This video gives a good background to several of the artists we will be seeing. Try to watch this when you have a half an hour of a contemplative time with the kids. There are other good videos on the website link.
Below is Sister Wendy's Biography
Born in South Africa in 1930, Wendy Beckett received her dual vocations -- God and art -- early in life. The eldest of three children, Wendy had her childhood divided between Colinton, Scotland -- where the family relocated for several years while her father studied medicine -- and her native South Africa. It was there that Wendy's appreciation for art and religious devotion was nurtured by her school-teachers, the Sisters of Notre Dame.
Wendy would join this order herself in 1946, traveling to England to begin her novitiate. The order then sent Wendy to St. Anne's College in Oxford, where she studied English and graduated with highest honors. During this time, Wendy continued to live in the convent instead of the college, maintaining a strict rule of silence.
In 1954 Sister Wendy completed her teaching diploma in Liverpool and returned to South Africa to teach. She was eventually appointed a Reverend Mother, a position she held while also lecturing at the University of Witwatersrand.
After recurrent bouts of illness, Sister Wendy returned to England in 1970 to live a fully contemplative life. Obtaining papal permission for Sister Wendy to become a Consecrated Virgin, Sister Wendy's order arranged for her to live under the protection of the Carmelite nuns at their monastery at Quidenham, Norfolk.
Sister Wendy's contemplative vocation means a life of solitude and prayer, but allows for two hours of work each day. After spending many years translating medieval Latin manuscripts, Sister Wendy decided in 1980 to pursue the subject that had fascinated her since childhood: art. Making this part of her vocation, she began working from reproductions and postcards, corresponding by letter with art galleries and museums around the world.
In 1991 Sister Wendy made her first appearance on the BBC in a documentary on the National Gallery. This was followed by Sister Wendy's Odyssey, six ten-minute films in which she discovered hidden art treasures around Britain. Her next series, Sister Wendy's Grand Tour, took her throughout Europe; along the way, Sister Wendy developed a loyal and enthusiastic following among British and European art lovers. That popularity soared to new heights in 1997 when Sister Wendy's Story of Painting introduced the engaging art historian to a whole new audience of American art enthusiasts and won praise from both television viewers and critics alike. Sister Wendy's art appreciation is not limited, however, to television. The author of more than fifteen books -- including Contemporary Women Artists and Art and the Sacred -- Sister Wendy continues to write for several art magazines.
While not a member of the Carmelite order, Sister Wendy continues to live in seclusion in a trailer on the grounds of the Carmelite monastery at Quindenham. She speaks only to the monastery prioress and the nun who brings her provisions each morning and spends the rest of each day in prayer and complete silence and solitude.
"My real world is a world away from bustle," Sister Wendy notes. "Coming out into a world of travel and television is the unreal part, where sometimes I get glimpses of what I've left behind.
I've got several of her books and was pleasantly surprised to see her famous BBC documentary preserved online. She is a very accessible writer and going to Italy with all it's religious monuments a nun actually a suitable guide. Sister Wendy in her youth had a First in Oxford in Literature but having chosen a life as a nun, had a largely secluded life in her convent, and had to pursue her love of art though books and correspondence rather than seeing them in galleries like other people. At the age of 60 she came out to visit on a Grand Tour of Europe her beloved paintings and is a unique television presenter. Her knowledge (which surpasses many other bombastic and dry art historians), her humility and gentleness and her true love of art is borne out when you watch this series or read her books.
This video gives a good background to several of the artists we will be seeing. Try to watch this when you have a half an hour of a contemplative time with the kids. There are other good videos on the website link.
Below is Sister Wendy's Biography
Born in South Africa in 1930, Wendy Beckett received her dual vocations -- God and art -- early in life. The eldest of three children, Wendy had her childhood divided between Colinton, Scotland -- where the family relocated for several years while her father studied medicine -- and her native South Africa. It was there that Wendy's appreciation for art and religious devotion was nurtured by her school-teachers, the Sisters of Notre Dame.
Wendy would join this order herself in 1946, traveling to England to begin her novitiate. The order then sent Wendy to St. Anne's College in Oxford, where she studied English and graduated with highest honors. During this time, Wendy continued to live in the convent instead of the college, maintaining a strict rule of silence.
In 1954 Sister Wendy completed her teaching diploma in Liverpool and returned to South Africa to teach. She was eventually appointed a Reverend Mother, a position she held while also lecturing at the University of Witwatersrand.
After recurrent bouts of illness, Sister Wendy returned to England in 1970 to live a fully contemplative life. Obtaining papal permission for Sister Wendy to become a Consecrated Virgin, Sister Wendy's order arranged for her to live under the protection of the Carmelite nuns at their monastery at Quidenham, Norfolk.
Sister Wendy's contemplative vocation means a life of solitude and prayer, but allows for two hours of work each day. After spending many years translating medieval Latin manuscripts, Sister Wendy decided in 1980 to pursue the subject that had fascinated her since childhood: art. Making this part of her vocation, she began working from reproductions and postcards, corresponding by letter with art galleries and museums around the world.
In 1991 Sister Wendy made her first appearance on the BBC in a documentary on the National Gallery. This was followed by Sister Wendy's Odyssey, six ten-minute films in which she discovered hidden art treasures around Britain. Her next series, Sister Wendy's Grand Tour, took her throughout Europe; along the way, Sister Wendy developed a loyal and enthusiastic following among British and European art lovers. That popularity soared to new heights in 1997 when Sister Wendy's Story of Painting introduced the engaging art historian to a whole new audience of American art enthusiasts and won praise from both television viewers and critics alike. Sister Wendy's art appreciation is not limited, however, to television. The author of more than fifteen books -- including Contemporary Women Artists and Art and the Sacred -- Sister Wendy continues to write for several art magazines.
While not a member of the Carmelite order, Sister Wendy continues to live in seclusion in a trailer on the grounds of the Carmelite monastery at Quindenham. She speaks only to the monastery prioress and the nun who brings her provisions each morning and spends the rest of each day in prayer and complete silence and solitude.
"My real world is a world away from bustle," Sister Wendy notes. "Coming out into a world of travel and television is the unreal part, where sometimes I get glimpses of what I've left behind.
 | Selected Works | Meet Sister Wendy | About the Series | The Museums | Site Map WGBH | PBS | © |
Wednesday, November 17, 2010
Tuesday, November 16, 2010
High resolution pic of the last supper; virtual tour of Sta Maria delle Grazie
http://milan.arounder.com/en/churches/santa-maria-delle-grazie-church/the-last-supper-leonardo-da-vinci.html
The Last Supper
Leonardo da Vinci, Mary Magdalene, The Hand and Knife
Leonardo da Vinci was already a well known artist when he created his masterpiece The Last Supper. He painted it on the back wall of the dining hall at the Dominican convent of Sta Maria delle Grazie in Italy. The reason the painting is laid out the way it is is that Leonardo was trying to "extend the room", to make it look like Jesus and his apostles were sitting at the end of the dining hall. This painting became an instant famous work, for many reasons.
The painting depicts the very moment that Jesus has said to his disciples:
Now when the even was come, he sat down with the twelve.
And as they did eat, he said, Verily I say unto you, that one of you shall betray me.
And they were exceeding sorrowful, and began every one of them to say unto him, Lord, is it I?
And he answered and said, He that dippeth his hand with me in the dish, the same shall betray me.
--Matthew 26
The disciples are all reacting in horror to the thought that someone at that table would betray their master.
Fresco vs Tempera
Dan Brown's error in The Da Vinci Code is that he calls the Last Supper a FRESCO. This painting is not a fresco. This is a critical mistake because if the painting had been a fresco, we would still have a superb image to view and examine. It is *because* it is not a fresco that we have all these questions now about what the painting is showing us. In fact, a main reason why the Last Supper painting is so famous is because it is not a fresco - and therefore that it was in essence destroyed immediately after being painted. It's important therefore to understand this issue.
Normally, the way a painting like this would have been done would be a "fresco". That means that the plaster is made wet, and then the painting is done on the wet plaster. When the plaster dries, the paint is sort of intermingled with the plaster and it's nice and permanent. However, that type of painting is limited in its colors and can't be retouched. When the plaster dries, you're stuck.
Leonardo wanted to experiment with a new style he had invented - tempera (egg yolk and vinegar) plus oil painting ON dry plaster. That way he could use more colors and redo portions if necessary. The painting took him four years to complete - 1495 to 1498. His patrons were furious at the delay but Leonardo refused to go any more quickly.
Unfortunately, Leonardo's style experiment was a disaster. The paint almost immediately began falling off the plaster. The humidity was causing the paint to separate from the plaster on which it had been painted. Whole pieces of paint fell off the wall. Over the years, the piece has been vandalized and nearly fell apart completely.
A recent 20-year effort tried to stabilize the piece for future viewing. Art experts tried to re-create what they thought the painting must have looked like originally. There is a lot of debate about whether those experts really did "fix" the painting, or if they changed its meaning by making changes in color and detail. There's no way to know, really, since the painting had fallen apart so much over the years. Much of what we know about the way this painting was done and the fact that it was NOT a fresco was learned during that repair process. I agree that some websites still claim the painting is a fresco. They are mistaken. You can't trust everything you read on the web :)
The Scene and Design
Leonardo da Vinci was working based on the few known documents which describe this meal. As all artists do, he was trying to convey an impression and message, and took "artistic license" with his source material. Just as artists will often rearrange a scene in order to better convey what they are trying to have the viewer feel and think about, so did Leonardo da Vinci rearrange what was *said* about this important event, in order to convey his own thoughts and feelings on the subject. I list a lot of his changes below.
Part of why Leonardo's version was so famous immediately was that he had chosen a very unusual way to portray the scene. Pretty much every painting of the Last Supper up until now had involved Jesus blessing the bread and wine - a nice, serene scene. Judas was always shown off in a corner, sulking, away from the rest of the disciples. This is what the Dominicans thought they were getting. When they instead got this "violent" version with the disciples all screaming and yelling, the monks were not exactly pleased. It created a lot of publicity.
Some people are intrigued by the three "lunettes" over the painting, not seen in most copies of the painting's image. These are tributes to Leonardo's patron duke. They are in fact the Sforza coat of arms. Leonardo's patron duke was Duke Lodovico Sforza
So the center spot is the arms of the Duke plus his wife Beatrice d'Este. To the left is that of Massimiliano, the first born son. On the right side is Francesco, the second son.
Latin Saying
Some versions of the painting have Latin words beneath it -
Latin Vulgate
26:21 et edentibus illis dixit amen dico vobis quia unus vestrum me traditurus est
King James Version
26:21 And as they did eat, he said, Verily I say unto you, that one of you shall betray me.
So it is simply quoting the passage of the Bible that Leonardo was depicting.
If you're curious, the top version of the Last Supper shown on this page was the pre-restoration version, while the second version is the one after restoration.
I have found a site with a High Resolution Image of the Last Supper - take a look!
The Last Supper
Leonardo da Vinci, Mary Magdalene, The Hand and Knife
Leonardo da Vinci was already a well known artist when he created his masterpiece The Last Supper. He painted it on the back wall of the dining hall at the Dominican convent of Sta Maria delle Grazie in Italy. The reason the painting is laid out the way it is is that Leonardo was trying to "extend the room", to make it look like Jesus and his apostles were sitting at the end of the dining hall. This painting became an instant famous work, for many reasons.
The painting depicts the very moment that Jesus has said to his disciples:
Now when the even was come, he sat down with the twelve.
And as they did eat, he said, Verily I say unto you, that one of you shall betray me.
And they were exceeding sorrowful, and began every one of them to say unto him, Lord, is it I?
And he answered and said, He that dippeth his hand with me in the dish, the same shall betray me.
--Matthew 26
The disciples are all reacting in horror to the thought that someone at that table would betray their master.
Fresco vs Tempera
Dan Brown's error in The Da Vinci Code is that he calls the Last Supper a FRESCO. This painting is not a fresco. This is a critical mistake because if the painting had been a fresco, we would still have a superb image to view and examine. It is *because* it is not a fresco that we have all these questions now about what the painting is showing us. In fact, a main reason why the Last Supper painting is so famous is because it is not a fresco - and therefore that it was in essence destroyed immediately after being painted. It's important therefore to understand this issue.
Normally, the way a painting like this would have been done would be a "fresco". That means that the plaster is made wet, and then the painting is done on the wet plaster. When the plaster dries, the paint is sort of intermingled with the plaster and it's nice and permanent. However, that type of painting is limited in its colors and can't be retouched. When the plaster dries, you're stuck.
Leonardo wanted to experiment with a new style he had invented - tempera (egg yolk and vinegar) plus oil painting ON dry plaster. That way he could use more colors and redo portions if necessary. The painting took him four years to complete - 1495 to 1498. His patrons were furious at the delay but Leonardo refused to go any more quickly.
Unfortunately, Leonardo's style experiment was a disaster. The paint almost immediately began falling off the plaster. The humidity was causing the paint to separate from the plaster on which it had been painted. Whole pieces of paint fell off the wall. Over the years, the piece has been vandalized and nearly fell apart completely.
A recent 20-year effort tried to stabilize the piece for future viewing. Art experts tried to re-create what they thought the painting must have looked like originally. There is a lot of debate about whether those experts really did "fix" the painting, or if they changed its meaning by making changes in color and detail. There's no way to know, really, since the painting had fallen apart so much over the years. Much of what we know about the way this painting was done and the fact that it was NOT a fresco was learned during that repair process. I agree that some websites still claim the painting is a fresco. They are mistaken. You can't trust everything you read on the web :)
The Scene and Design
Leonardo da Vinci was working based on the few known documents which describe this meal. As all artists do, he was trying to convey an impression and message, and took "artistic license" with his source material. Just as artists will often rearrange a scene in order to better convey what they are trying to have the viewer feel and think about, so did Leonardo da Vinci rearrange what was *said* about this important event, in order to convey his own thoughts and feelings on the subject. I list a lot of his changes below.
Part of why Leonardo's version was so famous immediately was that he had chosen a very unusual way to portray the scene. Pretty much every painting of the Last Supper up until now had involved Jesus blessing the bread and wine - a nice, serene scene. Judas was always shown off in a corner, sulking, away from the rest of the disciples. This is what the Dominicans thought they were getting. When they instead got this "violent" version with the disciples all screaming and yelling, the monks were not exactly pleased. It created a lot of publicity.
Some people are intrigued by the three "lunettes" over the painting, not seen in most copies of the painting's image. These are tributes to Leonardo's patron duke. They are in fact the Sforza coat of arms. Leonardo's patron duke was Duke Lodovico Sforza
So the center spot is the arms of the Duke plus his wife Beatrice d'Este. To the left is that of Massimiliano, the first born son. On the right side is Francesco, the second son.
Latin Saying
Some versions of the painting have Latin words beneath it -
Latin Vulgate
26:21 et edentibus illis dixit amen dico vobis quia unus vestrum me traditurus est
King James Version
26:21 And as they did eat, he said, Verily I say unto you, that one of you shall betray me.
So it is simply quoting the passage of the Bible that Leonardo was depicting.
If you're curious, the top version of the Last Supper shown on this page was the pre-restoration version, while the second version is the one after restoration.
I have found a site with a High Resolution Image of the Last Supper - take a look!
Brera's Dead Christ by Mantegna
The Lamentation over the Dead Christ is a c. 1480 painting by the Italian Renaissance artist Andrea Mantegna. While the dating of the piece is debated, is generally believed to have been completed between 1457 and 1501.[1] It portrays the body Christ supine on a marble slab. He is watched over by the Virgin Mary and St. John, who are weeping for his death.
The theme of the Lamentation is common in medieval and Renaissance art, although this treatment, dating back to a subject known as the Anointing of Christ is unusual for the period. Most Lamentations show much more contact between the mourners and the body. Rich contrasts of light and shadow abound, infused by a profound sense of pathos. The realism and tragedy of the scene are enhanced by the violent perspective, which foreshortens and dramatizes the recumbent figure, stressing the anatomical details: in particular, Christ's thorax. The holes in Christ's hands and feet, as well as the faces of the two mourners, are portrayed without any concession to idealism or rhetoric. The sharply drawn drapery which covers the corpse contributes to the dramatic effect. Unique to this painting is a design that places the central focus of the image on Christ's genitals - an artistic choice that is open to a multitude of interpretations. Mantegna managed instead to paint a very specific representation of physical and emotional trauma.
Mantegna presented both a harrowing study of a strongly foreshortened cadaver and an intensely poignant depiction of a biblical tragedy. This painting is one of many examples of the artist's mastery of perspective. At first glance, the painting seems to be a strikingly realistic study in foreshortening . However, careful scrutiny reveals that Mantegna reduced the size of the figure's feet, which, as he must have known, would cover much of the body if properly represented.[2]
Mantegna probably made this painting for his personal funerary chapel. It was found by his sons in his studio after his death and sold off to pay debts. The painting is in the Pinacoteca di Brera of Milan, Italy.
Rick Steves' Milan
Milan, lakes, or mountains part 1: Urban Milan
By Rick Steves
Italy intensifies as you plunge deeper. If you like it as far south as Rome, go farther — it gets better. But, if Italy's wearing you down, you'll enjoy a milder Italy in the North, complete with the same great cappuccino, gelato, and people-watching you need.North Italy's charms come in three packages: urban Milan, romantic lakes, and alpine Dolomites. All are within three hours of Venice, Florence, and each other.
Milan
For every church in Rome, there's a bank in Milan. Italy's second city and the capital of Lombardy, Milan is a hardworking, fashion-conscious, time-is-money city of 1.3 million. Milan is Italy's fashion, industrial, banking, TV, publishing, and convention capital. The economic success of modern Italy can be blamed on this city of publicists and pasta power lunches.As if to make up for its shaggy parks, blocky fascist architecture, and bombed-out post-WWII feeling, its people are works of art. Milan is an international fashion capital with a refined taste. Window displays are gorgeous, cigarettes are chic, and even the cheese comes gift-wrapped. Yet, thankfully, Milan is no more expensive for tourists than other Italian cities.
Milan's cathedral, the city's centerpiece, is the third-largest church in Europe. At 480 feet long and 280 feet wide, forested with 52 sequoia-sized pillars and more than 2,000 statues, the place can seat 10,000 worshipers. Hike up to the rooftop — a fancy crown of spires — for great views of the city, the square, and, on clear days, the Italian Alps.
The cathedral square, Piazza Duomo, is a classic European scene. Professionals scurry, label-conscious kids loiter, and young thieves peruse. Facing the square, the Galleria Vittorio Emanuele, Milan's great four-story-high, glass-domed arcade, invites you in to shop or just sip a slow latte. Some of Europe's hottest people-watching turns that pricey cup into a good value (or get the same view for peanuts from McDonald's). Enjoy the parade. For good luck, locals step on the testicles of the little mosaic bull (torino, symbol of the city of Turin) in the floor. Two local girls explained that it's even better luck if you spin.
The immense Sforza Castle, Milan's much-bombed and rebuilt brick fortress, is overwhelming at first sight. But its courtyard has a great lawn for picnics and siestas. Its free museum features interesting medieval armor, furniture, Lombard art, and a Michelangelo statue with no crowds: his unfinished Rondanini Pietà . The Brera Art Gallery, Milan's top collection of paintings, is world-class (although you'll see better in Rome and Florence).
La Scala is possibly the world's most prestigious opera house. Opera buffs will love the museum's extensive collection of things that would mean absolutely nothing to the MTV crowd: Verdi's top hat, Rossini's eyeglasses, Toscanini's baton, Fettucini's pesto, and the original scores, busts, portraits, and death masks of great composers and musicians.
Leonardo's ill-fated The Last Supper (known by its location as Cenacolo to the Italians, say "cheh-NAH-koh-lo") is flecking off the refectory wall of the Church of Santa Maria delle Grazie. The fresco suffers from Leonardo's experimental use of oil and deterioration began within six years of its completion. The church was bombed in World War II, but — miraculously, it seems — the wall holding The Last Supper remained standing. It's undergone more restoration work than Cher and is now viewable only with a reservation. Most of the original paint is gone, but tourists still enjoy paying to see what's left.
More of Leonardo's spirit survives in Italy's answer to the Smithsonian, the Leonardo da Vinci National Science and Technology Museum. While most tourists visit for the hall of Leonardo's designs illustrated in wooden models, the rest of this vast collection of industrial cleverness is just as fascinating. Plenty of push-button action displays the development of planes, trains, and automobiles, ships, radios, old musical instruments, computers, batteries, telephones, chunks of the first transatlantic cable, interactive science workshops, and on and on. Some of the best exhibits (such as the Marconi radios) branch off the Leonardo hall.
Monday, November 15, 2010
Italy for the Kids
ITALY
Official name: Italian Republic
Population: 58,126,212 as of July 2009
Capital: Rome
Official Language: Italian
Size: 116,306 square miles (301,230 square kilometers; slightly larger than Arizona)
Climate: Cooler in far north; hot, dry in south
Products: Grapes, potatoes, grain, olives; machinery; iron and steel; textiles, ceramics
Timeline
800-600 B.C.:
Greeks, Etruscans and others settle in Italy.
753 B.C.:
Rome is founded. This marks the beginning of the Roman Kingdom.
Official name: Italian Republic
Population: 58,126,212 as of July 2009
Capital: Rome
Official Language: Italian
Size: 116,306 square miles (301,230 square kilometers; slightly larger than Arizona)
Climate: Cooler in far north; hot, dry in south
Products: Grapes, potatoes, grain, olives; machinery; iron and steel; textiles, ceramics
Timeline
800-600 B.C.:
Greeks, Etruscans and others settle in Italy.
753 B.C.:
Rome is founded. This marks the beginning of the Roman Kingdom.
Sat 18 Dec 2010 We'll be first arriving at Milan in the North of Italy at about 1 pm.
Milan
Visitors can get down to business in Milan, Italy's economic and fashion center. Its shops feature some of the world's most magnificent clothes. Not far from world's top design houses lies the city's business and financial center. The Duomo, or cathedral, in Milan is not to be missed — it's one of the largest in the world. The late-Gothic style cathedral boasts marble pillars and a nail said to come from Christ's cross
We will perhaps check in at the Hotel Berna in the Railway area.
Then after freshening up we will head to the entre of the city.
The prominent feature there is the Duomo
After the Romanesque period in architecture, around 1200 AD, most people in western Europe began to build Christian churches and palaces in the Gothic style. The easiest difference to see between the two styles is that while Romanesque churches have round arches, Gothic churches have pointed arches.
A Romanesque arch and a Gothic arch
But there are a lot of other differences as well. Gothic cathedrals have many more windows, and much bigger windows, and so they are not dark like Romanesque churches. This is because the architects have learned some new ways of making roofs and of supporting walls, especially the groin vault and the flying buttress.
Gothic churches are also usually bigger than Romanesque churches. By 1200 AD, people had more money available, and they could afford to spend more on building great churches. And, where many Romanesque churches had wooden roofs (which were always catching fire), Gothic churches had safer stone roofs
.
Subscribe to:
Posts (Atom)
