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matter of 'what books seems of little moment because all of the words, but those words are the views of the world that cause the bias, the sedition and eventually wars. They are words, yes, but that because they pull armed armies.

Paolo Sarpi, Above the office of the Inquisition

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GOOD IN WHITE THE NEW ORGAN FESTIVALS

publications will resume regularly from 8 January 2011

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A man taboo

I started preparing this post with the intention to vent a bit 'angry mockery of the well-known advertising in which Alfonso Luigi Marra and her daughter Catherine to present the story of John and Margaret. The mode of formation of thought , (1986, republished several times, most recently in 2009) and Manuela Arcuri women's Labyrinth (2010). Small beads of graphics, acting, diction, text, script, communication. And look at IBS has only exacerbate mood and repugnance. The only comment to the first? " A beautiful book. The history of each of us to disclose a discovery. Heartbreakingly beautiful. A book of a man taboo taboo. All this against the backdrop of a psychosis remarkably told. Change is difficult even when convenient. He did not even need a synopsis to understand who is the author of the comment. The description of the second? " A collection of letters of love sms unpredictable, poignant, including Luisa, a young lawyer, and Paul, the owner of the large law firm where she works, who is twice his age but he is a genius forbidden to consider any limit. 272 pages of letters followed by an extraordinary 78 analysis to help rid the couple and society from conception strategicoprevaricatoria universal drama of love and human relationships in general. And imagine when, for history, I found, in his personal file on Macrolibrarsi, an assertion as " A theory that does not need checks written for style" autodimostrativo ", that is demonstrated by the very words by which you carried out, or worded in a very obvious and very shiny ". Delusional arrogance? Absolutely not, as evidenced by this excerpt from another: "Books and reading documents which, among other surprises, we realize at some point that the art of which pages are filled in a variety of styles for their beauty and drug content was never his goal, but only the instrument used to conduct the reader victorious through more complex issues of knowledge almost without realizing it. "

Some doubts have begun to have him reading his apology all'Arcuri that few have probably read in full. A text that is really hard to understand something (the silence is finally broken, is the infamous boycott after his first book, or the sacred, which the European Parliament, welcomed him, only him and not even allowed to Christ down from the cross, and then it dawns of the lyrics the same hunting in the mountains of Sila?, and what the hell has happened to Rome year zero?; those who are afraid of being deciphered ?). In reality it was hard not to feel some discomfort, reading a sentence like " But you're quiet, from my seat, when - now in short - come back from hunting in the 'wilderness' horrible this time of confusion and discomfort in which has plunged the company will hang their heads hung by the hair, not the stupid and crazy, but the stupidity and insanity that trouble them. " And you pass the desire to laugh when you read this recommendation all'Arcuri: "Neither I would recommend you to try to deal with them, convince them or change them because is too difficult, as well as dangerous, because if it is not enough to change convenience that they would become better, you sign it takes an effort to which anyone can contribute, but only because I am obliged to do - it's not arrogance but as a bitter - are unfortunately the only man who has thus far known to have a vision authentically political and public of his being. "

So, I conclude with a quote from The story of John and Margaret , extrapolated from the site staff. And, with much sadness, I rely on it as a reflection on the loneliness and literature as the stage of the illness.

The inability to modulate the selfishness which is not conducive to selfishness, and therefore takes the form of works of impotence is caused by an accident of development. This incident of the development can be understood and resolved if studied in the light of the rules of the context. The helpless in the works, due to its inability to contribute to the lives of others are denied, and then, following the denial of the other, it falls prey to the disease of madness. If discomfort is modest insanity is partial. If discomfort is rather large-scale madness is more serious to be total. The concepts of selfishness and insanity overlap completely, in fact: = selfish desire to assert themselves without works = troubling = the negation of the other madness. Crazy man become, in essence, that because of his inability to work (selfishness), it tries to impose on others its there and be recognized and, seeing his frustrated attempts to try to continue to exercise its claimed right through behaviors that for the increase of its malaise, will be less suitable for him to get what he wants. Until, as a result of the negation of the other, that will not cease until it ceases its selfishness, will forms of behavior in which the contribution is absent in the lives of others, so, denied by all, and harder, it will fall into madness.

NB: I want to clarify that in the lyrics of AL Marra, or otherwise relevant to him, I have not touched a comma.

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dark times of German children surnamed

Alfred Andersch, The father of a murderess [1980] , Parma, Bloomsbury Publishing, 1990

Ernst Jünger, Three roads to the school . Vendetta late [2003] Parma, Bloomsbury Publishing, 2007, € 10

Ödön von Horváth, godless Youth [1938], Milan, Bompiani, 2005, 7:50 €

Monaco of Bavaria. Gymnasium Wittelsbach. 1928. When the boys talk about the Fourth B prof. Kandlbinder, professor of greek, a thin man, pale and insignificant That means only comment was keeping out of everything . Lessons trivial, boring, clean, and very careful not to have wards or targets. Germany, indefinite city, ten years later. The professor of German, who already see dark clouds gathering for un'improvvida correction to the subject of one of his students, takes refuge in his cold and distant strangeness, turning his thoughts in contempt for his students: not want to undergo disciplinary punishment for your beautiful eyes, let alone lose the bread ... From now on I will tell you that there are no men other than you, I will repeat it ad nauseum , and discovers that his nickname among the students is the "Fish" because his face is always so still, and not never know what you think and if you think. When the gymnasium Wittelsbach, after a humiliating interrogation in greek led by Rex, the Rektor of the Gymnasium, Franz Kien, bad student in any discipline, always disoriented, always abstract, claims that its going to be a writer one day, indicating that, what kind, it will be great, he, like most loved author, he, who also devoured Henry IV and Richard III , cites Karl May (the Salgari German traveler who never traveled) between scorn and wonder of the Rex, the admirer of Socrates, who has to reveal to the whole class that Kien is welcomed to school for free for compassion. Hanover, high school, a few years before the First World War, during the preparation of the vote in the conduct report, Wolfran student kidnapped by Absence, mild forms of epilepsy, stuttering, oddly, gets up in front of the prof. Corax, philologist, Last nemesis of his conflict with school and tells his talks with Socrates night and his questions about what to read. I answer: 'I read Karl May'. And Socrates: "Excellent. ... At one time it was the turn of Siegfried, now it's up to Old Shatterhand ". Wolfram and collects books, and leaves the classroom and school, and the novel. Franz Kien Wittelsbach was expelled from grammar school and let the story fall asleep on Through the desert of Karl May. The professor of German cities indefinite suspension from teaching, he went to teach at a mission in Africa: Take it all away, do not forget anything! Do not leave anything behind you! The Negro should be From the black.

Three short stories, set in German schools during the years when it settles, the words and the souls of the young, the disease that will lead to World War II. Three very different stories, a short novel of fiction, Youth godless, yellow, murder-investigation-falsisospetti-revelation (even if, as yellow, rather percolation) and extended over a few days, built on a strong domestic focus in the anonymous professor of German, his thoughts, short fragments bitter, his observation of a world increasingly fierce in obedience and adolescence; and two autobiographical novels, Three roads to the school - Wolfram which is reflected in the infancy of Ernst Jünger - expanded in the three years needed to change schools, and three different paths to get there, and along each lost to explore that world within himself so different from the shadows of the school, and The father of a murderess , which covers just one hour, the time in which greek Franz Kien everything possible wrong in the spelling and translation into German It is praise worthy home and end up being expelled. One Youth godless , nearest to the explosion ferocity, written almost in direct, set in the era of National Socialism triumphant now, a world without names and identity, the anonymous professor, and mere initial students, and one name, Eve, the thief heels on the edge, eslege, refuge in the woods, free from sexuality, and only thought the ruling, radio, radio, radio, and every truth in the slogan becomes joyful pride and arrogance of the issues his students. The other two, those autobiographical, lying on the twentieth century advanced, both last year in the life of the author, but which have their roots farther: the origin of the century Three roads to the school , to draw that ' humus in which grew an intellectual who was long accused contiguity with the Nazis, somewhere between the other two texts The father of a murderess over the years which preceded the Nazi conquest of power, and real link between the before and after, because the dreaded Rex, "the father of the Assassin", is none other than Himmler's father. All three, however, have something in common reading. Children who escape from the world, and seek a just, their own freedom, in the books: Franz Kien, who is a writer, escaping from the world "through the desert" Wolfram, that divides the road to the third school in three parts, the first to recite Schiller, the second, the 'heroic', to Old Shatterhand or observed or Stanley Robinson or an Argonaut in Colchis, before the third, the anguish, door to school, that lesson to finally condemn Socrates prof. Corax: from the pedagogical point of view considers it a nullity , and even including the Youth godless "devastated by the conformism of the blindness and pride, student B, in secret, law, law, law, and a day talks.

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consequentia sunt rerum. Some, best avoided.

I say that there you can live! And perhaps Ch'e books are the right and comfortable to handle, with that tie et Sciorra and is attributed et unclasp or just giving a tip to a code, when you opened it or sbattitura you fills the nose et la gorge powder ?

And I fell once one of these LIBRACCIO instep, which I did do a couple of tanie [litany] around 'Bartoli, Ruini et Baldi!

AF Doni, Humor [1550]

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Charles Fermalvento

E 'was inaugurated Thursday, December 17 2010, the new pipe organ, entirely mechanical, the Church of the Transfiguration of the Lord of San Miniato Basso. Dozens of people attended the ceremony attended by the Bishop of San Miniato Bishop Fausto Tardelli. Also present were the Bishop Emeritus of Volterra, and Chairman Emeritus of the National Association Santa Cecilia, Vasco Giuseppe Bertelli and the Mayor of San Miniato Vittorio Gabbanini.

Father Theo Flury, monaco Benedictine Abbey of Einsiedeln and professor at the Pontifical Institute of Sacred Music in Rome and the Choir of St. Genesius, directed by Charles Fermalvento have entertained the audience with a beautiful liturgy is the experience of concert- San Filippo Blacks.

The Body of the Church of the Transfiguration by Nicola Puccini

Father Theo Flury during the concert

The Chorale San Genesio during the concert

Built with passion and skill by the artisan builder Migliarino Nicola Puccini (Pisa), the massive instrument, with its 1500 pipes, is placed to the left of the altar, to the right as you enter. Is added, thus, a fundamental element for the new church designed by the architect. Silvia Lensi and opened in April 2009.

This body is not a normal instrument of its kind. It is indeed a Anticum Organum, ie a front body, kind, patent-pending, designed by Nicola Puccini own. This revolutionary model pipe, and second only to Tuscany in Italy, provides the position of organist facing the altar and the assembly, so as to follow the liturgy without giving away the celebrant and, if necessary, direct the choir.

The peculiarities of the new body of San Miniato Basso does not end there. They have been included, in addition to the traditional sound system, as well as some special effects accessories such as nightingales, timpani, tremolo, music boxes and bagpipes, making possible the carrying out of the repertoire of nineteenth-century Italian and read in the church musical fable.

Nicola Puccini, a master builder, along with his work

Voice Liturgical Organ

History teaches us that the participation of the instruments for the performance of religious rites is a phenomenon found, without limitation of geographical areas or types of cultural and religious needs, at times well prior to the advent of Christianity.

writes in his study Mgr Giuseppe Liberto, around the Catholic liturgy, as well as in the rites of other faiths, to speak of sound event, be it vocal or instrumental, can not be separated from an awareness of this psychological bond that leads us, through music, to a better perception of the moods we are subjects.

The term "instrument" means "half" in this case "medium", in our case "appropriate means" to express the liturgical event.

The body of the Church of the Transfiguration, detail

From an early period, which is known to all the distrust of some of the Fathers of the Church against any musical instrument in the celebrations liturgical, it has gradually come to accept the organ inside the church. He lost the connotations that tied him to the debauchery of Roman society, were tangible benefits inherent in supporting the body of the entries. The use or reuse of the body can not lose, however, its initial purpose.

The church organ was created with a destination in mind: that of the worship service and not the other concert purposes, although these will then be charged with a fascinating creative explosion.

from the ninth century., The court consolidated its presence in the Catholic rites. Little by little, then were joined by other instruments, wind instruments from the Renaissance to the great orchestras and baroque romantic. The Popes had to call for greater simplicity in music the liturgy because the music always took up more space or sound unduly obscuring the natural course of the rites.

The body of the Church of the Transfiguration, detail

E 'known action of Benedict XIV Annus here with his encyclical of 1749 in which the Pope gives the necessary general warnings about the true style of music from the church. The concert and then the opera house had taken the field in the liturgy and style. Pius X had the same purpose in 1903 with his well-known Motu Proprio. The organ, meanwhile, remains the newspaper of liturgical celebrations. The its practical value and artistic remains strong today.

The turning point of the conciliar liturgical reform will make it clear that use of the organ in the liturgy documents with precise and clear rules. Obviously no longer acceptable that the organist domains arbitrarily celebration, as is often made before the Council, but will be equally unacceptable that the body is considered to be the stopgap of the situation. The challenge is to coordinate the tasks of the various liturgical ministries and diversified, while respecting the roles and norms operate the celebratory ritual spaces with specific skills. The exercise of a ministry always involves carrying out a service.

The primary target organ is the worship, the only one that justifies the existence of the instrument within the churches. The department is primarily to service the assembly in prayer. The music that accompanies the songs should be perfectly suited to its function and expression of worship, is therefore not an end in itself, but is intended to serve as the celebration of the mystery revealed by God and implemented by the Church.

The body of the Church of the Transfiguration, detail

not enough to know the music to interpret the prayer must be known inside and experience the nature of this liturgical prayer. The house-church is not a concert hall or art gallery, but a sacred place where the praying community gathers to worship God, sanctifying them. The organ is the instrument which, in its own way, helps to achieve these primary purposes.

The second is the cultural destination. Over the centuries, the body has undergone changes and mutations aimed at the natural evolution of the same instrument, with particular attention given to technical and audio, more in keeping with his role in the liturgical service.

Without these changes with the different types that exist in every age and every place with precious and polyphonic epoch-making and environmental adaptation, now playing more of the hydraulic organ Ctesibus.

The body of the Church of the Transfiguration, detail

So we have a story that shows us how almost a thousand years have always been fruitful for the evolution of the variegated interplay between organ techniques and aesthetics from different eras and different places. This meant that each type of organ literature and historical stylistic tool had to be able to reproduce it aesthetically suitable. So

instructed the Congregation for Divine Worship, "in churches Creino environment beauty and meditation to support and encourage, even in those who are far from the church a provision to incorporate spiritual values. "

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Sull'anagramma Boss Virile One of these days

And back to our dear women. Elle saw him as the bearer of the verb besides the whip, the bearer of the formal model of the herd or species, the standard-bearer of the co spaghettifera home to 'pummarola in the cup, only the keep, the rush of the race spermatophores become glorious person.


Pirgopolinice the glory was not capable of sublimation of the impulse of love that is parallel to love but just as deadly priapesca vantardigia: this was his asthenia atony or ethics, and his guilt before, equal with atony of the intellect.


CE Gadda, Eros and Priapus


(credits to LcGllrdn)

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One of the biggest fortunes have possino that men have occasion to be able to show that, in those things they do for their own interest, have been moved for reasons of public good.


Francesco Guicciardini, Ricordi 142

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INTERPRETATIONS

Francesco Fiumalbi

The facade of the Cathedral of San Miniato has always suggested specific inputs. Its size, its charm. In all this the presence of so-called "basins" ceramic plays a very prominent role.

These are artifacts produced by baking clay with various additives, such as feldspar, alumina, iron oxide, silica, (1) the typical form a receptacle for liquids and to take this characteristic as "reservoirs" (2). In support, the color "leather" is not uniform, the conditions do not constant in the oven and covered with a layer of glaze in different colors (3). We can see several pigments, such as white, brown, blue and green, the result of the use of minerals such as cobalt and manganese. The topcoat does not have a high quality, as laid out in a partial or irregular (4).

Facade of the Cathedral of San Miniato

Photo by Francesco

Fiumalbi

These elements form the support for eye-catching figures: in the river "higher" animals are housed, architectural details, decorative motifs of various shapes and have a larger than "lower" which, however, contain racks filled with oval shapes, vaguely reminiscent of certain types of shells. Originally they were in number 32, today only 28 remain.

According to studies by Berti and Tongiorgi (5), during restoration work took place between 1979 and 1980, these artifacts could be ceramic manufacturing Maghreb, although there can be some different backgrounds. That conclusion is reached through the analysis of raw materials, the invoice of the work and the study of representations. Probably, these elements were transported by ships of Pisa, in order to increase their carrying capacity, and therefore the earnings, the space between the jars filled with such pottery.

The layout of the ponds on the religious buildings is a very ancient practice and, in some ways, still unclear. This decorative use, at least in the central part of Tuscany, is characterized by two phases. In a Initially, there was a placement of reservoirs in close relationship with the architectural elements present in the facade, for example within the hanging arches crowning, as in the churches of San Zeno, San Piero a Grado, San Martino in Pisa. Subsequently, water assume a different connotation in the orchestration of the façade: the oldest forgiveness schemes, becoming a very independent, as in the church of Santo Stefano extra Moenia (Pisa), the Pieve di San Giovanni Evangelista in Monterappoli, in the Parish of Santi Ippolito e Biagio Castelfiorentino in the church of San Pietro a Marcignana and, indeed, in the Cathedral of San Miniato (6). For the first has been named a date between 1000 and the first half of the eleventh century, while the second between the second half of the eleventh century and the middle of the '200.

To see the buildings to which reference is made, click on the link below:

Church of San Zeno, Pisa

Basilica of San Piero a Grado, Pisa

Church of San Martino, Pisa

Church of Santo Stefano extra Moenia, Pisa

Pieve di San Giovanni Evangelista, Monterappoli, Empoli

church of Santi Ippolito e Biagio, Castelfiorentino

Church of San Pietro, Marcignana, Empoli

Pictures Francesco Fiumalbi

The example set by the facade of the Cathedral of San Miniato, among those listed, is perhaps one of the latest, in which the basins are to establish a precise plan. As noted Berti and Tongiorgi, San Miniato ceramic elements have been incorporated during the construction of front (7). This particular, already suggested by the Christian-Texts (8), it became evident in 1979 when the basins were removed from their position in order to undergo restoration operations.

We've seen what these basins are, how they are made, such as architectural models inspired the facade of the Cathedral of San Miniato. We came to the fateful question: what is the meaning of these ceramic elements?

It is absolutely not easy to answer. First, it should be noted that there are two very different interpretations: one binds to the Christian symbolism ceramic basins, while the other is restricted to a purely aesthetic and decorative. We will analyze both and try to draw a conclusion.

1. THEOLOGICAL SYMBOLS:

"The white and green star at the top of the pediment stands for the North Star, a reference and guide to mariners, the faithful, and the basins of the two areas are grouped according to the constellations, wagons of the Bears, so if the facade, beaten by the sun, would reverberate for the crystalline river, the splendors of the heavens. The Church on earth, as the eternal Kingdom, the North Star and the Bears, placed transfiguring similarity and concept .

Canon Lorenzo Cavina, 1969 (9).

2. BEAUTY DECORATION:

"The water divided architectural lines of divergent views and new convergent with the axis of the façade (...) according to a seemingly total freedom inventive composition in which instead of opening the playful fancy multi-directional chromaticism and do not go beyond ever more refined and monitored by a rigorous formal intent. (...) It therefore satisfies the dual purpose of putting the sloping side of the arches as a necessary step understanding of this highly original architectural design, and provide an additional set of convergence towards the gable top. "

Maria Laura Christian Books, 1967 (10).

ceramic basins of the facade of the Duomo, detail

Photo by Francesco Fiumalbi

These are two interpretations concerning the provision of ceramic bowls on the facade of the Cathedral of San Miniato. As you can see, the two theses were developed in the mid-60s of 900. Who wrote the Cathedral, in later years, as he behaved?

Dilva Lotti in 1981 states that the Canon Cavini hypothesis is correct, arguing that the patterns of Christian texts are far too fanciful and devoid of formal coherence with the actual equipment walls (11).

Berti and Tongiorgi, again in 1981, say the exact opposite: the assumption of Christian texts it is plausible, his analysis by defining the "brilliant" (12).

In 2004, Onnis the treatment of ceramic basins based on what had previously stated the Christian texts, calling his work "important" (13).

To date, the website of the City of San Miniato, it is stated that the catchment can even be found on the facade of the Tower of Matilde, then reset the hypothesis Cavini on Ursa Minor Ursa Major.

http://www.comune.san-miniato.pi.it/index.php/galleria-fotografica/view/13

same interpretation also appear on other websites:

http://www.sanminiato-online.it/I% 20monumenti.htm

http://www.stilepisano.it/immagini2/index10.htm

In these others, however, is silent on the topic carefully:

http://www.prolocosanminiato.it/smp06.htm

http://it.wikipedia. org / wiki / Cattedrale_di_Santa_Maria_Assunta_e_San_Genesio

But how things really are? What is the meaning attributed to the ceramic basins of the facade of the Cathedral of San Miniato? Theology or aesthetic formalism?

start with the arguments put forward by Christian Texts. The student of Ragghianti, proposes a compositional scheme the facade, inside of which should be to integrate the ceramic basins.

The facade of the Cathedral of San Miniato

composition according to the scheme proposed by the Christian Texts

Reconstruction by Francis Fiumalbi

should be noted that in 1967, at the time of this writing, the Christian texts will not have the resources to advanced straightening pictures that we have today. So, a little 'for imprecision and a bit' to support his thesis, says that the ceramic bowls are arranged according to very precise axes converging at the top, and divergent in the lower. As is evident from our image, that does not happen, at least not in terms put forward by Christian Texts. Even the grid suggests that, while holding the upper nodes, it coincides exactly with the base. It is evident, forcing a graphic.

Detail of the compositional scheme proposed by the Christian Texts for the facade of the Cathedral of San Miniato

As we can see in particular proposed, none of the basins fits perfectly within the grid. There is not even the refined geometry alluded to the Christian texts, except in a completely partial, only pits in the "inferior".

In the 60s of last century, was very common finding distribution grids, for both new development projects, both for the study of the oldest monuments. This is mostly unnecessary and misleading graphic constraints. With the emergence of a technologically advanced photographic control methods, many of the cases based on alleged scheme came to fall. In a sense, is not entirely out of place the statement on the poor reliability of the scheme, proposed by Dilva Lots (14). Also because such a composition scheme does not take into account the least of what happens to the crown, ie in that part of the facade near the roof, both centrally and laterally, and it is unthinkable that, assuming the geometric rigor of the unknown designer, these parts are not consistently orchestrated with the rest of the facade.

We will now assess the claim "theological" made by Canon Lorenzo Cavina, whereby, in the basins of "superior" should be to arrange the drawing forming a part of Ursa Major and the Minor on the other.

Schematic representation of the thesis of Canon Lorenzo Cavini

Polaris, NASA , ESA , N. Evans (Harvard-Smithsonian CfA), and H. Bond ( STScI), Hubble, 2006

Image in the public domain, in accordance with the license NASA

http://www.jsc.nasa.gov/policies.html # Guidelines

As we see, comparing the scheme proposed by Cavini with the actual shape celestial called "Polaris" or the system of the Polar Star, the two models are not even distant relatives. We skip the discussion on the rotation of the star system, as those who would design the layout of the ceramic basins may have adopted a different frame of reference. However, the discrepancies are manifold. The ceramic bowls are 8 on each side, plus the Polar Star, for A total of 17. The two Bears, the lowest and highest, have only seven, including the North Star: 14 in all.

Assuming that Ursa Minor is to the left and right Maggiore, one of the ways to recognize the North Star is to extend the line identified by two specific elements of the Chariot Maggiore, which are called for this "Pointers" (15). As is evident in the diagram on the facade of the Duomo, prolonging the axis of the two pointers, one arrives at a point without any meaning. The same condition is also considering the two systems roles reversed.

Some might advance the critical this occurs at the bottom stating that the composition of the ceramic bowls is a symbolic representation, and that certainly did not claim to have some scientific precision. But no. If the anonymous designer of the distribution pattern of the ceramics had made a theological argument for such a high level, according to you, then it has fallen into a poor performance, inconsistent and completely rough? Not to mention that the representations in the river denote images that have nothing to do with astronomy or theology. Furthermore, this thesis does not propose any explanation for the provision of river "inferior." So how is it that the upper mean something so elegant and complex, while the lower ones do not have any?

E 'was assumed by Christian texts, with good reason, that the construction of this facade is to be attributed to workers Frederick (16). And how is it that Frederick II, so attentive to astronomy (17) (18), was then left to work so clumsily orchestrated?

This too does not hold water.

ceramic basins of the facade of the Duomo, detail

Photo by Francesco Fiumalbi

The two interpretations are fascinating, but not equally correct. In light of these considerations have, in fact, questioned more than 40 years of research, which really is the meaning of the ceramic bowls?

Probably none. Or rather, do not have a specific theological meaning, nor so strongly in composition. The riddle is probably easier than you think.

basins are likely to "mitigate" what would otherwise be perceived as imposing a curtain wall. Too powerful for a church. This would involve the works of "relief" formal and enriched material. Can not be explained otherwise. Both the docks that would be marble elements, according to this hypothesis, set to give elegance, enthusiasm and harmony. It is no coincidence that the bright color contrasts with the bright red brick, that the provision is, in fact, free from constraints geometric distribution of the facade. Mere decoration.
is a different story about the marble all'intarsio Canon Lorenzo Cavini recognized as the North Star. Probably indicates another celestial body: the Sun It is no coincidence that the North Star is more common in the symbolism represented by eight points (19) while this element has no "points" but rather "rays". And it's not 8 but 14.

The composition of marble that would indicate the "Polar Star" in the view of the Canon Lorenzo Cavini. Perhaps it is a symbol linked to the Sun

Photos of Francis Fiumalbi

biblical references to the symbol of the sun linked to God or Jesus they there are dozens. Below are two of the most significant.

"L to my righteousness will rise like the sun and its rays bring healing ... the day when I show my power, you crush the wicked ... "

Book of Malachi, 3, 20-21

" G hank the tender mercy of our God, who visits from a rising sun for those who sit in darkness and the shadow of death, to guide our steps along the path of peace "

Luke 1: 78-79

The "sun" and the "cross through"

Photo by Francesco Fiumalbi

The words of the Gospel of Luke " a rising sun "are very significant. As you can see from the photo, above inlay which is listed as the Sun is a cross "through", that is a real hole in the wall. Considering that the orientation of the church is placed almost along the east-west axis is easy to see how the Sun's light passes directly through the hole in the moments following the dawn. Sunlight filtering through the cross. Unfortunately, during the day the facade, following the motion of the Earth, turns and has a different location relative to the Sun, destroying the symbol that is created instead dawn. And here is positioned just below Just a Sun indicating that sun, as we have seen, the Passion and Resurrection, and the life of Jesus, the true sun never sets.


"Again Jesus spoke to them and said:" I am the light of the world whoever follows me will never walk in darkness but will have the light of life. " John 8:12

It is no coincidence either that the holiday is devoted to religious ceremonies on Sunday, the day originally dedicated to the Sun's own culture that remains in the Anglo-Saxon tradition of Sunday, the day of the Sun In the Christian tradition but Easter Sunday is a weekly fact Jesus was resurrected on the day of the week.

The date of the birth of Jesus, the feast in which Christians celebrate the mystery of the Incarnation was, in pagan times, the feast of Sol Invictus, the invincible sun, with clear reference to the winter solstice. In fact, after that date the Sun, although a few minutes and took over the field over the darkness. In the fourth century, had not yet set a precise date for the feast of Christmas, the Emperor Constantine officially this symbolic date, reinforcing the image of Christ as the true Sun, that brings true life.

As explained in many other articles too work can not be defined exactly, nor complete. There may be approximations, errors of assessment, as only those who attempt to respond to the continuous questions can commit. I therefore urge anyone who has something to say to come forward. The beauty of this blog is that you can also criticize the writer. I wish every one of you would put the same questions that are proposed here. Interpret the environment around us is never easy and the possibility of a peaceful debate can only grow each of us.

If you have an apple and I have an apple and we exchange them, then you and I always have an apple one. But if you have an idea, and I I have an idea and we exchange them, then we both have two ideas.

( George Bernard Shaw )

(It was initially supposed to link up with the symbol of the sun with 14 rays with the number of traditional stations of the Cross , where the 15-th, the central circle, would sit and indicate the Resurrection. Passion and Resurrection of Christ, who became a real man to save the world. This argument is erroneous because the rite of the Via Crucis began at the end of '200 and spread in Europe only since 1342. This dating contrasts with the completion of the inlay (20))

References:

(1) http://it.wikipedia.org/wiki/Ceramica

(2) http://dizionari.corriere.it/dizionario_italiano/B/bacino.shtml

(3) Berti, Tongiorgi, ceramic basins of the Cathedral of San Miniato , Sagep Publishing , Genova, 1981, p.. 13

(4) Ibid, p.. 15.

(5) Ibid, p.. 16.

(6) Ibid, p.. 14.

(7) Ibid, p.. 16.

(8)-Christian Texts Maria Laura, San Miniato al German, and Bertolli brands, Florence, 1967, p.. 43.

(9) Lots Dilva, Time in San Miniato, Pacini Editore, Pisa, 1981, pp. 84-85.

(10) Christian Texts Maria-Laura, Op Cit. , p.. 44-45.

(11) Lots Dilva, Op Cit. , pp. 84.

(12) Berti, Tongiorgi, Op Cit. page. 7.

(13) Onnis Francis Biography of an architecture, in AAVV The Cathedral of San Miniato, Pisa, 2004, p.

(14) Lots Dilva, Op Cit. , p.. 84.

(15) http://it.wikipedia.org/wiki/Stella_Polare

(16) Christian Texts Maria-Laura, Op Cit. , p.. 41

(17) http://it.wikipedia.org/wiki/Federico_II_del_Sacro_Romano_Impero

(18) http://www.stupormundi.it /

(19) http://www.angolohermes.com/simboli/ottagono/stella_polare.html

(20) # http://it.wikipedia.org/wiki/Via_Crucis Stazioni_tradizionali

Milena Velba Yahoo Bilder

CERAMICS FOR GARDENS MONUMENT

d the Francis Fiumalbi

Public Gardens in front of Piazza Dante Alighieri is a small, curious as a monument. To be precise, is located near the so-called "chalet." Many of you will have noticed, and who knows, one of the youngest in those who are focused on trying to unravel the meaning.

The monument to the Public Gardens of Piazza Dante Alighieri

First, the first thing to ask is why is was created and by whom. Walking around on the north side, the one that looks towards the chalet can be traced an inscription. Although a bit 'worn by time and partially covered with a small colony of moss, it is still legible, though no longer so clear.

Memorial Gardens, particularly the epigraph

this writing, is curious, you do not notice at first sight. You need to "make us" the eye. That is, if someone passes in front of the escape did not notice anything, do you want for the small incision, either because it is very close to a hedge.

" Ing Arch Mario Salvadori, an ancient family of San Miniato, created the gardens of this historic hill descending towards the plain hard work. In the centenary citizens recall grateful. "

Well, now you explain a lot. E 'then the monument celebrating the centenary of the construction of the gardens. In fact, in the vicinity of the epigraph are also two dates from 1883 to 1983.

Memorial Gardens, particularly

The designer, therefore, was Mario Salvadori, Mario Salvadori namesake of the structural engineer at Columbia University in the United States, a few decades younger. This is a strange case of homonymy.

who want information on the homonymous Mario Salvadori:

http://en.wikipedia.org/wiki/Mario_Salvadori

But "our" man is another: is the artist of this composition. Do not really want to be called an artist, but simply "Master Chief". He is Silvano Bini.

It 's really amazing as well stubby hands and worn from years of hard work in the yard can get out of small to large works of sculpture. Like this.

The monument to the Gardens Piazza Dante Alighieri public

Dilva Lotti was that contacted him to do so. Silvano Bini accept and realize for the City of San Miniato this work, as mentioned, in 1983.

This commemorative monument has certainly achieved the objective of curiosity, to bring, to ask questions. What does it mean? What does it mean?

And the brilliant mix of elements that attract the attention of the passerby. One can not help but soffermarcisi front, if only for a moment. The answer to everything is in the rear, near the hedge. The centenary gardens.

The monument to the Public Gardens of Piazza Dante Alighieri

In this work we found many aspects of games. First, the puzzle: the art of small different pieces fit to form a complex that goes beyond the meaning of each element. This happens with both elements of the brick base, but also between different parts of the material: brick, stone and iron. Building materials. Rough, sometimes poor. But carefully orchestrated to create new forms, new meanings. One can not but notice the irony in being so seemingly random environment within a highly designed, calibrated, which is the Public Gardens. A kind of "cowlick", which does not bend, which wants to make life itself, but that depends on the context, without which his position will no longer revolutionary. There is also a theatrical aspect in the figures carved in stone. They are like masks.

Memorial Gardens, particularly

It is no coincidence that Silvano Bini, is pleased with the fact that children are the biggest beneficiaries of his work. It 's very happy with this. And has the only regret that hedge behind: it prevents the children running around.

Fun is also something that happened a few days prior to placement of our products. Silvano Bini tells it like it happened yesterday. He arrived in his laboratory "Piampiani the architect of the City" and demanded an explanation about the curved rods. Evidently they were not to his liking and would have preferred them to be removed immediately. Silvano Bini, meanwhile, justified himself by saying that the two needles were used to load and set his work. On the day of the metallic elements were still there. And they still are today, with great satisfaction by Silvano Bini.

The monument to the gardens, particularly

This, like all other readers of the blog, can never be considered finished work. If anyone has any other information, anecdotes, details, etc. that make this monument is invited to share them with others. You can do this commenting below, email us on Facebook, or by e-mail address smartarc.blogspot @ gmail.com

Each significant contribution will be added to the article.