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Recently widowed, unhappily stuck on a pricey whiplash tour of Italy, Elizabeth Berman comes face to face with the first documented painting of a teardrop in human history, and in the presence of that tearful mother, and the arresting company of the renowned and anonymous women painted by Giotto in the Arena Chapel, she wakes up to the possibility that she is not lost. Mitchell left me everything, just as he promised. "Everything," he liked to say during his last month on the sofa, "everything will be yours," as if it wasn't yet. I was left with that and two adult children who could not tolerate my sitting in my home by myself—admittedly, rather too often in a capacious pink flannel nightgown and the green cardigan Mitchell was wearing on the afternoon he died. That's how Elizabeth winds up on a tour better suited to her late–husband, a Dante scholar. Mitchell masterminded the itinerary as a surprise for their thirty–fifth wedding anniversary. Itching to leave as soon as she arrives in Padua, Elizabeth's efforts to book a ticket home are stymied by her aggressively supportive children, the ministrations of an incomprehensibly Italian hotel staff, and the prospect of forfeiting the sizable
The year is 2054 and humanity's genetic health is in the hands of the giant de Margham Corporation. Established by Maelgwen de Margham and her late husband, Saul, the Corporation supplies a universal gene therapy that avoids violation of the Marshall Dictat: the absolute prohibition on making inheritable changes in a person's genetic structure.
This tomb chapel can be seen as a miniature mortuary temple, in which Khnumhotep II was cared for as an effective deceased being, capable of interceding for his descendants and dependents in the realm of the gods. This tomb thus echoes, on a local level, the function of state temples dedicated to gods or to the mortuary cults of kings.
Le Corbusier: the Chapel at Ronchamp by Danièle Pauly Pdf
The pilgrimage church Notre-Dame-du-Haut in Ronchamp (1950–54), an icon of modern architecture, represents one of the central buildings of Le Corbusier’s late period. Like all the guides in this series, this book is indispensable both for a specialist audience and for tourists interested in architecture and modern art.
Rosslyn Chapel Decoded by Alan Butler,John Ritchie Pdf
Rosslyn Chapel is a deeply enigmatic 15th-century Gothic masterpiece, situated near Edinburgh. Although generally referred to as a 'chapel' and acting as a local parish church these days, Rosslyn is actually much more than either - and in fact most people who have studied the site in detail come to the conclusion that those who created the structure in the 15th century were not, in reality, intent on building a Christian church at all. In fact, nothing at Rosslyn is what it seems. With its overpowering air of mystery, its superlative stone carvings and its strong Templar and Freemasonic connections, Rosslyn represents one of the most absorbing historical puzzles in Britain. The discovery of new evidence by the authors puts a new slant on the motivations of those who decided to create a New Jerusalem in the Scottish Lowlands. The signs pointed the authors to a lost holy relic - the skull of St Matthew the Evangelist, in whose name the chapel is dedicated. There is startling evidence that this skull came to Rosslyn in the early 15th century, brought there by polymath, librarian and all-round genius Sir Gilbert Hay, who also put together a substantial library. What follows is no less than an adventure, using the clues from the lost books to locate St Matthew's skull - now in Washington, DC. The authors also embark on a thorough examination of Rosslyn Chapel's credentials, both a Christian church and as an icon of the impending Renaissance, a reconstruction of King Solomon's Temple and an astronomical observatory - all suffused with ancient beliefs that would have had the chapel's builders burned at the stake if their true motivations had been discovered.
Maleficent: Mistress of Evil Novelization by Disney Book Group Pdf
A deluxe novelization of the Walt Disney Pictures film Maleficent: Mistress of Evil, starring Angelina Jolie. This visually stunning live action film continues the fantasy adventure started in the "origin" story of Maleficent. This sequel explores the complex relationship between the horned fairy and Princess Aurora, as they face new threats to the magical land of the Fair Folk. The movie stars Academy Award-winning actress Angelina Jolie in the titular role, and is directed by Oscar-nominated Joachim Rø nning ( Kon-Tiki, Pirates of the Caribbean: Dead Men Tell No Tales). The film co-stars Elle Fanning ( Super 8) as Princess Aurora and Golden Globe-recipient Michelle Pfeiffer ( The Fabulous Baker Boys, The Wizard of Lies) as Queen Ingrith . Maleficent: Mistress of Evil also features Chiwetel Ejiofor ( 12 Years A Slave, Doctor Strange), Imelda Staunton ( Harry Potter and the Deathly Hallows: Part 1), and Lesley Manville ( Phantom Thread).
There are no surviving documents that explain Michelangelo's complex sculptural program for the Medici Chapel. The work as we have it is no more than an unfinished, fragmentary realization of the artist's original conception. Speculation about its meaning began quite early, for Michelangelo's contemporaries were apparently no better informed than we. An interpretation made by Benedetto Varchi in 1549 & since universally accepted, was by his own admission a personal opinion, not confirmed by the artist. In the 16th century, interpretations quite at variance with modern scholarly assumptions were made. Here, Dr. Edith Balas contends that the artist deliberately veiled his meaning in obscurity, making his images, like the language of Neoplatonic philosophers, intelligible only to an intellectual elite. Assuming the role of the Magus, Michelangelo conceived a cryptic, magical world of potent allegorical images designed not simply or primarily to commemorate the departed Medici but to help achieve elevation for their souls. Illus.
Religion and Art in the Heart of Modern Manhattan by Aaron Rosen Pdf
"When you're in New York" the sculptor Louise Nevelson once said, "you're in perpetual resurrection." She might have said the same thing about St. Peter's Lutheran Church, set in the heart of midtown Manhattan. In the 1970s the church made a radical move, scrapping its neo-gothic building for a sleek modern structure in the shadow of a skyscraper. The transformation was not just architectural. Inside, Nevelson created a shimmering chapel, while over the years artists and designers such as Willem de Kooning, Kiki Smith, and Massimo and Lella Vignelli produced works for the sanctuary. This fusion of modern art, architecture, and design was complemented by an innovative jazz ministry, including funerals for Billy Strayhorn and John Coltrane, and performances by Duke Ellington and other jazz legends. For the first time, this volume examines the astounding cultural output of this single church. Just as importantly, the story of St. Peter's serves as a springboard for wider reflections on the challenges and possibilities which arise when religion and art intersect in the modern city. Working from a wide range of disciplines, including art history, theology, musicology, and cultural studies, a distinguished group of scholars demonstrate that this church at the center of New York City deserves an equally central place in contemporary scholarship.