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Signs and Shadows: The Jantar Mantar


Moved to India in recent weeks I have not updated the blog. Now that the first adjustment is over, I hope to resume a bit 'rhythm ...

One of the things I've done in the meantime, however, was to take the train (in Sleeper Class: those with bars on the windows) to go from Delhi to Jaipur , the "pink city" - as it seems to me painted in orange rather than pink. There, the first thing I saw was the Jantar Mantar - built by Jai Singh II, the early eighteenth century, to make astronomical observations, and been rebuilt and restored in the early twentieth century. From

Aesthetically, the Jantar Mantar is an amazing thing. Area quiet and well cared for in the chaos of Jaipur, has a fine bunch of marble and masonry astronomical instruments. I like a good skeptic, was interested to go and see for yourself something that I had read in a magazine extension, uh, I suspect around 1983 or so. That is, that many of the expensive tools of the Jantar Mantar are, for simple reasons of optics, much less useful than it could imagine.

Sundials huge as Samrat Yantra (the largest in the world, with a gnomon 23 meters high) were designed by Jai Singh to project a large shadow on the dial and then allow to better measure the position del sole nel cielo. Però, il sole non è una sorgente luminosa puntiforme: ha un diametro ben apprezzabile. E di conseguenza, mentre l'ombra di un oggetto è molto nitida a pochi centimetri di distanza, la distinzione tra luce e buio diventa molto meno chiara quando la distanza tra l'oggetto stesso e il piano di proiezione aumenta. Qui, l'ombra che cade sui segni tracciati per terra per le meridiane più grandi è troppo indistinta per misurazioni precise.

Vanno un po' meglio le cose con strumenti più piccoli e più raffinati, come la Laghu Samrat Yantra (fotografata qui accanto), che proietta l'ombra dello gnomone su lastre di marmo suddivise con estrema precisione. Anche in questo caso, However, the shadow is too indistinct to allow measurements with an accuracy greater than 20 seconds. It is a problem without solutions: shadows do not allow too short too precise measures, but increasing the size of the early sundial slams against the optical boundary.

I am inclined to draw a general lesson: do well and scrupulously signs is important, but it can help to a certain point. If you want to go further, in many situations to a certain point you stop doing things the old way and you must find an alternative solution ...

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The shoe Gothic

~ Rereading EDGAR ON THE WIND "HAZARDS OF CULTURE. ~ Second point: L'ART POUR L'ART ~

"Nothing brings more surely the most perfect barbarism
an exclusive attachment to the pure spirit ..."
............... .................................................. ....................... Paul Valery

the wake of Edgar Wind, said in the last episode that culture is a mat to get heavily into public coffers to get any freedom, but this source of privileges has lost its connection with the way the human life. More and more abstract, is deceptively like the epitome of good and good taste. The legend Culture Well go hand in hand and has received many blows in the twentieth century, especially when they are seen some of its best exponents end up in the districts such as the Nazi-fascist, perhaps to dazzle: from Benn to Heidegger, from Jung to Schmitt, by Marinetti Sironi, Pirandello to Pound, to name the first big names that come to mind, and to refute the formula it comforting that he is always in the 'right'. As for the elegance of which is cloaked, just walk into a bookstore and see its products in more light on the counters: trivial titles with double meanings, in English slang globalist: Divette every, every ghost television, every journalist publishes His successful book, we must faticare molto per rinvenire una copertina promettente, e maggiore fatica è necessaria per prendere in mano un bel libro. Nella percezione della maggioranza la cultura continua a essere considerata quanto mai oblativa benché non nasconda affatto i vili interessi che le si accumulano intorno, tra i pochi anzi che riescono ad animare sempre il mercato. Nessun disinganno può mandare in crisi quel belletto che serve a mascherare masse assai rozze e che è venduto loro come un deodorante dello spirito.

Senza ricette, Wind prova a spiegare l’inflazione spaventosa di questa parola, l’indebolimento culturale degli ultimi tempi, la insipienza dell’arte resa definitivamente «innocua». La «sublime indifferenza» for human passions and the cult of form have certainly contributed to refining the art history, have opened new frontiers in sensitivity, they have cleaned up the sentimentality, but by dint of purifying the art we get an activity that crosses with ' useless. Purism and destruction go hand in hand. Made light, spiritual, why art should involve someone seriously? Gide called it "une peinture décérebrée" brainless, dead, in advance on what is seen in the fairs of today. Wind is the primary cause for the search of 'art pour l'art .

of madness and death which leads to an art end in itself, beautifully told Balzac in his novel Le Chef-d'oeuvre inconnu (see this 'Almanac' Death and the devil hidden in the artist ) in which a painter annihilates his work to purify of each subject. More or less contemporaries of the French novelist, the German Romantics preached the dissolution of poetry and painting in music. Mallarme declared that "the Destruction fut but Beatrice 'is already an artist such as that shown in the tragic history of Balzac. Among the leading critics to this art stripped of every vital function, just remember Wölfflin and his observation on the essence evident in the Gothic style pointed like a shoe in a cathedral. So saying, he says Wind, "he had discovered that the more a person is charged with religious emotion, the greater are the obstacles that hinder the apprehension purely visual." It is therefore stripped of all emotion, to reduce it to sign a minimum of particles on which the sign will be built later semiotics. Proceeds from such theories, the shoe was placed on the pedestal of the cathedrals, the prevailing aesthetic fetishism.

Ortega y Gasset, tempted by the elegant paradoxes, did not notice what was growing in the garden of his "art dehumanized," she seemed merely a sophisticated buffoonery, remota dal pubblico popolare, un gioco aristocratico intraducibile, non riuscì a prevedere quell’«appetito di solennità» per cui vieppiù gli installatori e provocatori, i comici del contemporaneo, tengono tanto alla fatale parola: «arte». D’altronde è ormai soltanto una simile parola che permette la trasmutazione di una merce qualsiasi in un oggetto estetico di grande prezzo, per il godimento delle masse che si piegano devote di fronte a un misterioso feticcio che produce magicamente soldi dal nulla. E nella celebrazione enfatica della giovinezza il saggista spagnolo tralasciava l’affermazione della «emotività adolescenziale» che a lungo andare diventa cliché stucchevole e insopportabile (ragione in most of the ridiculous that arouse the people on these machines mature toys).

Fear of consonance in Schönberg, the iconoclastic taste in the arts, the obsession with detail: this is the show of art that has abandoned its "vital tasks." By dint of seeking absolute, at the expense of the sensuous vision that praises the empirical world, it happens, the manner of the man who wished to become an angel of Pascal, which we find ourselves in the most wretched prose. Instead, as noted by Paolucci in the catalog of the exhibition just opened at Forli on his master's Angels "beauty who embodies the idea has to be absolute and at the same time natural Melozzo so he thought. The beauty of the lives of the supreme empyrean True and yet it is rooted in history, is recognizable in women and men who live under heaven. " Baudelaire would have agreed, "beauty is made of an eternal, unchanging [...], and a related element, linked to the circumstances, and will be, if you will, from time to time or at the same time, the era, fashion, morality, passion. Without this second element that is like [...] the appetizer of sweet divine, the first element would be indigestible [...], inappropriate to human nature. " Precious balance between 'actual experience and vicarious experience "of art that mystics, priests aesthetics of the new religion (but also, on the other hand, the theorists of the engagement) were destroyed.

Another danger of the culture that his singers ignore or forget. But if evil is not an aesthetic present is the result of a plot of eccentrics and scoundrels, it is a matter of "deeper than any individual whim." Therefore it can not be made reversible with a simple decision. If we want the art back to a more central role in our lives - Wind claims - first, that we must change our lives. "

(2. - continues )

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Scissors Plato

~ RILEGGENDO EDGAR WIND SUI PERICOLI DELLA CULTURA. ~ PRIMA PUNTATA: L’ATROFIA CONTEMPORANEA ~

C’è un ministro della Repubblica che rischia d’essere cacciato dal governo con l’accusa di «aver speso poco» per la cultura. Un tanto al chilo: si è capito che le faccende sublimi, da Platone a Hofmannsthal, sarebbero per l’opinione pubblica corrente un fatto di soldi. Più si spende più cresce il livello culturale. Un assai volgare liberalismo si è impadronito anche dell’opposizione nominalmente di sinistra. Ma forse questa smania di investimenti muove soprattutto dalle preoccupazioni delle camorre che ruotano intorno al mercato dell’arte and entertainment, the cultural industry of the healed state, simply employed in that sector. Poverty of imagination is never mentioned in such discussions on the budgets of the spirit. Minister to kindly 'cuts' at this fabulous Scissorhands, certainly not suited to work in the quagmire of smart, we dedicate our modest reflections on the dangers of betting culture.

In 1963, BBC radio, six lectures transmitted by Edgar Wind, Berlin art historian who taught at Oxford. Twenty-eight minutes each, therefore, very short while addressing the great themes of Western thought had been working with scissors, too. Collected under the title of Arts and anarchy conversations became a book, translated into Italian by Adelphi, which sums up the tone of the lessons of British el'erudizione German professors more insistently returning to the issues in this "Almanac." Let's start with the first: the paradoxical weight loss of culture when it is most prevalent in the bread, so that is considered harmless, even beneficial, as any pasta dish, and relied on the barricades as a meal time. There has been forgotten in the meantime the sacred fear that enveloped this special human activity, we emptied of its dark nature, and even threatening, for simplicity the Enlightenment was spreading like a disinfectant. Plato understood all around us most of gazzettieri suspected of everything that comes from human imagination, driven by demons. The suspect and at the same time considered, to the point "to think that a man could be changed from what he imagined," Wind reminds us. And, as is well known to those who have not read Plato, believed that "the art of camouflage was a very dangerous practice, and suggested some curious laws, under which the imitation of gestures or extravagant evil characters were prohibited." So Wind evokes the Platonic scissors of censorship, a word which is unpronounceable in our time. But the exquisite professor Berlin likens the pruning to the complaint - again scissors, cut! - Highlighting the contradictory activities of the censor (and trimmer): revitalize what you cut, threatening to ruin everything if you also affect the root. However, no pruning, no revive, without any censorship - as if what he says art was harmless, useless, baby - it will atrophy contemporary art, where art is a huge playground that invades every where in vain . The U.S. courts, cited by Wind, evidently in the forties gave more weight to the art, ruled that "the more a book is tedious, the more its obscenity should be excused, "while" the greater the art, the greater its strength harmful. " Today, more than at the time of Wind - has already been half a century from the sixties - the art is a kind of label that allows complete freedom. But a world without limits, without censorship, it loses credibility, is condemned to an eternal marginalization. At center stage reigns in fact science. Wind

Before, it was clear already in Hegel. Art became the language of romantic experience "interesting", the new key word of the time. Now a subject "interesting" raises a fleeting attention, in short loses interest, is bound by the same law of fashion. Hegel realized then that art had lost "the close connection that had previously had with the central energies of man." The dialectical philosopher wrote: "For us, art is no longer the supreme way in which the truth you create a life ...." The truth, incomprehensible, but revered in our world, and science. The artists are the entertainment, maybe a bit 'shamans liturgy to replace the abandoned churches.

Yield eunuch, art has lost its power left, looks like a trinket. Confused with the "free time" of prisoners of work, Tourism, with the trip and pastarelle Sunday, it becomes a paste, an openness to all provocations saccharine, sorbitol with resignation, because you already know that the game is just to move the bar higher and higher, but without the risk of falling , art is now no risk. Act in place of free access, you can get, as in Gide's novel, the murder, but without fear or trembling: the veil also made ornamental aesthetic.

Plato would have agreed with the American court, "the still weak are hardly capable of very good and very bad." The great artist disrupts the social order and the human heart, is very dangerous as the great criminal, without overlapping the two figures. Instead he tried to approach Germany in the nineteenth century: the Renaissance artist and Cesare Borgia. Burckhardt spoke of the "rule as a work of art," Nietzsche at his school, excited by this overlap, came to be confused with Titian Borgia. But Burckhardt was less platonic than it seems and he happened to utter a sentence above the opposite of that nature weak. Or rather, Wind adjusts it to him so, and it seems an anticipation of what was said by Hannah Arendt about the Nazis: the mediocrity "as the true evil force in this world." There can be locked in the antithesis. Baudelaire, citatissimo in queste conferenze, sembra sciogliere il nodo: «la passione frenetica dell’arte è un cancro che divora il resto». Non si tratta cioè di una passione neutra, la frenesia artistica è già mossa dai dèmoni, i grandi artisti e i mediocri son guidati ugualmente da tale «divina pazzia». Non si scherza con la energia della immaginazione, non a caso le singole arti si chiamano discipline, serve una serie di tecniche e un addestramento onde tenere a bada la fiamma della fantasia. Ci si muove tra l’eccesso e l’atrofia, tra la possente forza barbarica e la forma civilizzatrice. Zolla, che Wind probabilmente non conosceva, compilerà in quegli stessi anni, una Storia del fantasticare in which - as written by Grace Marciano - "having thoroughly explored the fantasy of the psyche and shared experience in fashion history and literature in the West, with vibrant force denounced the false link between imaginatio real and fantasy ( day dreaming ) el'impostura their contamination perpetrated in modern times. Powered by advertising and the use of the media distorting the fancy galloping severed second Zolla the perception of difference, known to traditional societies, emerging from between the archetypical ' imaginatio true and delusions of reverie. " In this infernal uproar, the author of sentimental romance and the great surrealist author in the same way they cling to the fantasy undisciplined.

"But what precautions to take, in our modern, turbulent artistic life, not letting yourself be overcome by these forces, or to not suffocate? What should our economy to avoid both over artistic and atrophy ", he asks at one point Wind on tiptoe. Perhaps the first precaution would be to stop doubting the threshold of panculturalismo prevailing on the compulsive dissemination of art. The old suspicions about its commercialization at least avoided the ludicrous apologies market of former revolutionaries.

"The Director of Kussevitzky orchestra music used to say that there will not be enough: more music is performed, more music is played, the better for everyone. It is clear, it seems to me that things went just as he wanted. At no other time in history has been offered to the public, and the audience hears, as a lot of music today, and probably the same goes for literature, "the author admits. Adorno would say indignantly that the young lady of good family who played the piano with a few scores that were circulating in the homes of the middle class had a knowledge of music and aesthetic enjoyment of the infinitely superior stereo technology fetishist who collects availability of records. And just as one might said of the literature: the metropolitan passenger trains that read a novel a day are definitely less literary experience of the poet-farmer. He condemned the role of consumers. Exhibitions and concerts are often booked and paid for the books with the same card 'cultural'. But the consumer of culture does not react, did not react even in the days of Wind, "we are inundated with shows, we gorge on art books, and these vast pools of available images are taken up with avidity, and I may add, with a degree of intelligence that would surely have astounded generations, less adaptable than ours. It has become rare in the case of the person, Mass. front of a pictorial language for her unusual, makes light of derision, as if the joke of a buffoon who can not draw [...], but this performance art, almost without conditions, it is equally alarming. " There is neither fear nor sacred resistance of intelligence. They say yes to everything and it all does not say anything.

"We are inclined to art, but art does not affect us very deeply, and that is why we can absorb so much, and many, many different genres." Valéry was impossible for the museum where the eloquence of too many different scenes confused: how to read multiple books simultaneously. Eclecticism prevalent is a sign of indifference. The public has become immune to art, has a vaccine, contact with it should not fear anything, no longer runs any risk: it can absorb large quantities. The scandal then he should shake, remember the ancient holy fear that it raised, but reduced to a conditioned reflex has lost its role as dangerous. Now, a century and more, is funded by the state democratic, open to everyone, such as education.

The art has become a ubiquitous ornament of a very ugly world. Well, would the minister to use every day scissors platonic.

(1 .- continues )

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Al via il XV corso “Scuola di Fumetto” a Rimini dal 4 febbraio 2011

Unasp The ACLI di Rimini in collaboration con Cartoon Club, Festival Internazionale del Cinema d'Animazione e del Fumetto di Rimini e la rivista Fumo di China organizza il XV corso Scuola di fumetto. Il corso parte venerdì 4 febbraio 2011 ed è articolato in due livelli, per esordienti ed avanzato, quest'ultimo rivolto a chi ha già frequentato il corso esordienti o dimostra capacità adeguate. Il tutor del corso è a disposizione per una seduta gratuita di valutazione.
Le lezioni si svolgeranno presso la sede provinciale ACLI in via Circonvallazione Occidentale, 58 ogni venerdì dalle ore 16.30 alle ore 19 (corso esordienti) e dalle ore 20 alle ore 22.30 (corso avanzato) per un totale di 40 ore per ogni corso.
Le lezioni verteranno sull'apprendimento del "raccontare comic book "with concepts related to creating a character, creating a portfolio, the relationship with publishers, organization of material, construction of a complete table and coloring to computers.
Teachers of the course will be Stefano Babini (design and script) and Mauro Masi (coloring on the computer) as well as monographic lectures given by Riccardo Crosa , Mauro Masi and Alessandro Poli.
The cost for each course is 200 euro: the cost of registration includes comic magazines for free and discounts of 30% over the entire catalog of publications published by the China Smoking and Cartoon Club
addition, members will have right of first refusal for the course of color to your computer kept free from Larry Orton, the color of Rat Man, to be held in Rimini July 21 to 23 during the days of the Exhibition Riminicomix.
For information and registration: Unasp-ACLI, tel. 0541-784193, segreteria@aclirimini.it, Monday to Friday from 9.30 am to 12.30 pm and from 16 to 19 hours.

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LETTER TO AN OLD ~ ~ Annibale Carracci

An email in 2007, report to a friend in Andalusia of a show without glory for a glorious artist, Annibale Carracci, remained in the computer memory, is picked out To console the unfortunate who went to a show far worse, "Palazzo Farnese" (sic , with the surname Frenchified nell'alma city of Rome), the related invention of Nicolas Sarkozy in his embassy to celebrate the 'douce France' well with Pope Paul III and his grandchildren. It is not in fact a normal visit to the Palace - except on weekends remain closed to the public even Fasti Farnese 'rooms - but rather, using the emphasis of the event, for a job in some areas of the cardinal's residence with huge and clumsy containers where blacks set up the usual cabinets of coins, copies of paintings, plaster casts of statues and pictures. Nothing worth a special trip, apart from the opportunity to see the Galleria Carracci (with the windows locked in broad daylight with artificial lighting) and a few other (unfortunately) works spread of Hannibal. The old letter can then be more appropriate for a review: the direct language of correspondence we speak of a family of artists such light and color to the Catholic Reformation.

25 gennaio 2007 -. Stasera son stato all’inaugurazione di una mostra onesta di Annibale Carracci in tournée a Roma proveniente da Bologna. Nel Chiostro del Bramante, disinfettato del sentore di plastica del polacco-americano pop precedente, ma con una diffusa puzza comunque nelle cellette che mal si prestano a spazio per esposizioni, dunque benché il naso offeso, l’occhio una volta tanto viene accarezzato. Nella prima sala, una sfilata di autoritratti. Quando la si fa lunga sull’introspezione dei protestanti nordici in generale e di Rembrandt in particolare, si dovrebbe esser subito smentiti da simili pregevoli opere. Ma certo, qui non si prova l’imbarazzo del racconto intimo, non si sentono i miasmi dell’interiorità, do not see the face of someone who wants to stage the soul. Just a fine young man trying Bologna reflects a seductive pose, basic psychology, the elaborate surface. Carracci was presented with a bold accent in Emilia confusing s and c why some transcribed Carrazzi Hannibal.

Up to premature death, even in his fifties, caused by a large depression, he painted, even tapping the natural forms of decomposition. In the following rooms, even greater care in taking over the bodies in the countryside, the masterful sense of balance that is found for example in Drinker thrown back. in Italian Despite all the mannerisms of his contemporaries and of course the realism 'fifteenth' of that Merisi much excited today. I make a parenthesis. With grim metaphors feeds on journalism, all the advisers to explain the repeated exposure, "the other half of the seventeenth century Roman sky," or using the phrase "ready made" not only Caravaggio was the seventeenth century ', in short to speak of Hannibal at the gates of our scordarella Rome, mentioning the name of fashion, the exciter coupling picturesque romantic art & crime, one who is dear to the public of the Third Millennium coward for a friend and have probably coupled ascended so the empyrean of 'offenders'. In this way, the purest heir of Raphael must receive light reflected by the painter specializing in the cliché of the shadows, who "never did go out of the sun some of his characters," as noted Giovan Pietro Bellori. Is invented to facilitate the reception, all dominated by a Seicento Lombardo, thinking as it pleased in the middle of last century to a handful of historians and critics. A similar reconstruction becomes so commonplace in his followers that the legendary designer has to be recalled to Bologna mirror Merisi, since the perfection of the compositions, the invention developed in the lofty halls triumphant Farnese, available to the educated and articulate, and the subsidiary from classical mythology in the tale wisdom seems to hold nothing more eye cataracts of my contemporaries.

Back to our history, our exhibition. The maximum of the Carracci arrived in Rome, Raphael was discovered, and began experimenting with his glory. He had seen the Venetians, was familiar with its neighbors, starting with the exquisite Correggio, he devoted himself to sum up the great art of the peninsula. Summarize Raphael Michelangelo and Titian, and re-launch: August draft. That is, the Italian school. Today, we have a united Italy from a little state but not a school of painting, maybe even music, while at the dawn of the seventeenth century the extraordinary excellence of Italian painting, well articulated in many sub- schole , was clear in the eyes of Hannibal and the world. Catholic

of Bologna, the Counter-Reformation, was faithful to the idea of \u200b\u200bBeauty. Few people at the show and distracted them under any particularly striking or picaresque anecdotes. The author was not a superman, just an artist in the service of a gentleman, an artist in livery as it was JS Bach and Hölderlin (genes that did not need freedom of small and licenses in which the half-drowned marks) was not even suspected of homosexuality.

Who goes looking for excitement, as if the cinema or stadium, Cesare Garboli docet "depose il fatto d’arte di qualsiasi referente psicologico e esistenziale». Oggi invece ci si sguazza in quest’aria calda emotiva. C’è una ragione precisa e importante nell’esaltazione moderna dell’emotività. Nella scomoda mostra si afferra comunque bene la nobile impresa di Annibale nel formare un linguaggio aulico che oltrepassasse soggettività ed emozioni, anche dipingendo ritratti e autoritratti. Pose eroiche, paesaggi eroici. In quelle sue lunette Aldobrandini (celeberrima la Fuga in Egitto della Galleria Doria Pamphili) mise a punto il paesaggio romano del Seicento, fu maestro diretto di Domenichino e indiretto di Poussin e Lorrain. Ovvero aprì la via del ritorno al classico come quella del barocco per which the students are also Pietro da Cortona, Rubens, Bernini and Borromini. For the feast that takes the landscape, Cesare Brandi talked about "eclogue that most epic of painting." So we can say that we were admiring paintings the Counter ...

The 'classics' had never been allowed too many excesses of experimentalism, southern art is not conceived as compositions of flowers and fruits which then took the name of fun little 'Still Life', daring invention of the Nordic countries, and we Caravaggio's note. But in the web dedicated to wonderful Venus and Satyr - Titian the grass and the burlesque of the small detail that pushes the language of Eros fuori per la libido di cotanto corpo che lo sovrasta – il semianimalesco personaggio agita una coppa con uva che, opportunamente isolata, sarebbe una perfetta ‘natura morta’, epperò il Bolognese non se la sente di liberarsi dal racconto, ne fa un elemento prezioso della fiaba. Così come mi capitò di vedere in una mostra viennese di Dürer delle tavolette del maestro tedesco nel cui retro erano dipinte delle vere e proprie composizioni astratte, più geniali di quelle dei seguaci del Blaue Reiter, che restavano tuttavia fatto privatissimo, esperimento da tenere nascosto, essendo la missione del pittore quella di narrare storie attraverso le immagini, anzi secondo i precetti della Riforma tridentina per il nostro Carracci, ‘letteratura for illiterate '. The Protestant party in that rappel à l'ordre century seemed to disappear in our country. But today we luteranizzati so as to be incapable of appreciating such a joyful art.

The Germans insist that Protestantism "killed the legend and the miracle involved in medieval Catholic," and really tried to take away the best aura, but then the witty naturalism is still not our business, just in Hannibal in the Palazzo Farnese freedom from a century of mannerisms, even those in adjoining rooms. And if you want to summarize in schematic game: Caravaggio tried to represent with a singular loyalty to the pain and the ugliness of men, but Hannibal He went on to a more difficult task: to make exactly on canvas on the walls and especially the joy and beauty, a foretaste of Paradise, a direct instruction, to be tested physically, according to the precepts of Trent. And without too much gossip and theories, such as that awarded to states that "the painters had to talk with your hands." Art is not a cryptogram, a puzzle that needs butts words. Began in the late eighteenth century, the first pages of 'Emilia Galotti when Lessing comes to support, even if in the forcing of a bar (and perhaps along the lines of a controversy by Michelangelo): "How is lost on the way that goes from' eye to the arm and then the brush of a painter! [...] Or do not you think, perhaps, Prince, that Raphael was the greatest living genius of painting if unfortunately he was born without hands? Do not believe me? ". The aesthetology Enlightenment merges with the successors in the romantic cult of interiority Alemannic. Now, all the artists with no hands. The dream is made of the Germans. Rare artisan work of the hands and even more rare to get that beauty that we sometimes get tired in the studio for re-enactment of the manual labor but without aiming at the result of aesthetic perfection, painstaking preparation unnecessary in the end in itself, narcissistic celebration Labour anachronistic.

With the Protestant Reformation gradually disappeared and ontological objective level, everything is a moral, emotional and sentimental (I was a sinner, now I'm saved), the reason and will remain outside the converted. Salvation was reduced to essentially an individual and emotional.

Around the process salvation as reasonable, supported by examples of the old, borrowed from the myths out of time, and made vivid that descended from painting by Raphael and other great, tried to set up an architecture Annibale Carracci painted with his chums in Farnese Gallery. Catholic Salvation summarizing the Platonic discourse on love, integrates with the Latin poetry of Ovid and then tradurvi the announcement of the resurrection of the body, the gospel of redemption of the physical world. Ceiling as a sky, which in turn opens up in the guise of rideau theater, where love sublime crosses the ground and saves it. Carnality of the Roman religion, carnality of Italian painting, against the eeriness of the wandering souls of Nordic flavor. Despite the presence platonic, they dare not give too much weight to those concerns of the greek philosopher camouflage art that pushes the sinful human imitation. It seems that expire in the hall of severe building a breeze to involve these erotic, seduced by those figures. It may be true, in quale altro luogo le visioni degli dèi e delle dee trascinano così direttamente lo spettatore in una corrente impetuosa che conduce a un trionfo d’Amore? Immagini dell’amore tridentino che la pubblicistica post-risorgimentale osò ridurre a una fosca caricatura: epoca funerea e puritana, sostenevano, ascetica e inquisitoria. L’epoca di Annibale Carracci e di Pierluigi da Palestrina.

Se mai ti capitasse di visitarla, nei prossimi giorni, al tuo ritorno, tieni in mente anche un incipit di rara bravura dell’Italo Calvino spesso celebrato a sproposito; sembra alludere a quei paesaggi barocchi, a quelle città celesti che incombono nei saloni romani sulle nostre teste: «Se allora mi avessero requested that the form has the world I would have said that is sloped, hilly irregular, with protrusions and indentations, so I'm always in some way as on a balcony overlooking a balustrade, I see what the world has the right and disporsi to the left at different distances, on balconies or other stages of the above or sottotanti theater, in a theater whose proscenium opening on empty ... "( OPAC).

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burned alive

~ marginal notes in a book on Vedic thought ~

The man on the altar is a term that evokes the Enlightenment dream of replacing God by offering worship the mortal creature, about the five hundred pages that make up the ardor Roberto Calasso a glimpse of the man instead of the sacrificial altar, killed as a sacrifice to the gods. Religious knowledge in this book which talks about Vedic India and the 'unspeakable current "is now presented in the form of literature, it also includes a well-known story in exergue jiddish:" When the Baal Shem was faced with a difficult task was in a certain place of the wood, lit a fire and meditate in prayer, and it was always done what he had decided. A generation later, when the Maggid of Meseritz faced the same task, he went to the same place of the woods, and said "Light the fire we can no longer, but we can still say your prayers," and that he wanted became a reality. Yet a generation later, Rabbi Moshe Leib of Sassovivo, faced with a similar commitment, he went into the woods, and said: "We are no longer able to light the fire and no longer know the secret meditations which form part of the prayer, but the place of the forest where all this happened we know it, and this should be enough. " And it was enough. But when another generation later, Rabbi Israel of Richino faced the same duty, he sat on his golden chair in his castle and said: “Il fuoco non siamo più in grado di accenderlo, le preghiere non sappiamo più dire e neppure conosciamo più il posto preciso, ma possiamo tuttavia raccontare il fatto come in realtà è avvenuto”…». Così, spenti da tempo immemorabile i fuochi vedici, un letterato del terzo millennio d. C. prova a raccontarli. Non a caso, facendosi cronista di riti impossibili incrocia più volte Kafka.

Pierre Klossowski preferì tradurre un libro cinese, il Jeou-P’ou-T’ouan, ou La Chair comme tapis de prière di Li-Yu, scrittore oscuro del XVIII secolo, forse lavorando su un testo tedesco, congetturando assai, alla maniera di Ezra Pound che ridava vita ai classici confuciani, per offrire una versione personale del buddhismo, virato – viene da sospettare – nella teologia perversa delle Lois de l’hospitalité . Ben più neutro sembra essere il punto di vista dell’ Ardore , il suo autore ha già sciolto diverse rigidezze filologiche per narrare in modo piano degli dèi greci come degli idoli moderni. Non è comunque lecito relegare il suo palinsesto in sette tomi, ruotanti tutti intorno al tema del sacrificio, sotto la categoria del «sincretismo», ché la fede qui non è in causa.

Alla maniera di una novella, l’ incipit rimanda a popoli antichissimi, assai più antichi dei nostri antichi, nella cui civiltà prevailed over the invisible visible, while their life was surrounded by a dense network of rites, formulas, prescriptions. Each householder was required to celebrate countless private functions every day, to sanctify - even if the time is approximate in this case - every atom of space and time. "Their mind was full of images," but not carved or cut out pictures of their Olympus. Do not let the memory of conquest and empire, only liturgical writings, hymns, stories of the gods. We refer to the Vedas but it looks like a watermark displayed Kabbalists in Eastern Europe, the archipelago of their community frantic cult maniacs label religiosa; senza storia né politica. (Quando più avanti ci viene offerta un’altra immagine, quella della comunità ebbra con al centro l’animale legato al palo e forse un uomo, una vittima comunque pronta per il sacrificio, non c’è bisogno di scivolare nella Storia e magari pensare ai notturni tedeschi illuminati dai bagliori preordinati da Leni Rifenstahl, spunta piuttosto un ricordo letterario, il Bergroman di Hermann Broch, «romanzo religioso», secondo il suo autore: in un villaggio tirolese, un medico si astrologa per fermare l’epidemia pagana, per trovare un vaccino amuletico, ma non riesce a interrompere un sacrificio umano che ricompone la comunità; Girard lo chioserebbe facilmente.)

The last chapter of the book is a sermon on the 'unmentionable current "appointing too many things even today, almost in the cadences of fashion, compared with the thought Veda. Christianity in the exposition ends up being an echo of the remote Arya dissonant or arrogance of the modern. You might mention to 'rid the world' that sounds obsessive in Indian thought and approaches to the plea of \u200b\u200b Christian salvation, leaving the bottom of the radical difference between the release from world evangelist release the world. The Stoics wanted to get rid of the body, the followers of Jesus claimed to leave il corpo dalla morte.

Colui che officia il sacrificio vedico identifica morte e tempo, ignora l’eternità come tempo che non distrugge, non brucia. La liturgia cui ci ha abituati e legati il cattolicesimo – quella che incantava Cristina Campo – consacra il tempo, lo sottrae alla corsa furiosa, rispecchia l’eterno presente del Cielo.

Ricorrendo a Guénon, si parla dell’«odio del segreto» su cui si sarebbe fondato l’Occidente. E gli Arcana imperii ? Fuori del cerchio magico del mentale, dello spazio gnostico, esiste il cerchio mondano con i nodi gordiani politici dove si andò a incarnare il Dio biblico.

Talvolta si mostra qualche assonanza con il cristianesimo, la «kenosis» paolina per esempio a proposito dello «svuotamento» di Prajapati; stranamente non c’è menzione esplicita delle tante figure kabbaliste che meglio risponderebbero alla cosmologia gnostica. Ed ecco la creazione come artigianato come processo che si fa e si disfa, senza gesto fatale e sovrano, opere demiurgiche dunque, al punto che non ci stonerebbero la rottura dei vasi, i mondi malriusciti e la fuoriuscita del Male.

Come si concilia l’estrema interiorità e la ritualità esasperata che caratterizza i Veda? Il rito, il gesto, la parola sacramentale sono per eccellenza atti esteriori, cui si addice il «mistero palese», una formula goethiana citata nel libro, una figure of the West (which could again deny Guénon). The answer given to us is shaped like an hourglass, the top and bottom are therefore equivalent, inner and outer, visible and invisible fill in the restriction passes "the mustard seed unpanişadico (and evangelical). Choke on that stared the romantic German, completing the Protestant era, drowned in the inner and permanently delete rituals thousands of years, even the few who survived the Reformation, degenerate in private ceremonies, the tea in the sitting Biedermeier Pietism. But then Novalis could say exquisitely nostalgic universe in liturgical Catholica. The

rilkiana "Verschwendung Herzens', the dissipation of the heart, was the elegant process of internalization that it was the poet and his friends. Today, such an exercise has spread to such an extent as to be ordinary. You try to embarrass any external signs, for their physical appearance, for the bodies. These have no longer any hope of redemption, there is anxious to erase them. Wisdom's dell'Adelphiano avoids certain pitfalls and the ignorance of the followers of a running East on the outskirts of the world leads them to console themselves easily with yoga promoted to metro stations.

So a page is accepted, telling a myth, that all spiritualists who hide in vogue: "The men would become immortal, yes, but without the body. Those were the remains forever abandoned to death. And this is the point that has always made every dubious promise of immortality. For men prefer that their frail body to the splendors of the spirit. They were suspicious of disembodied souls, tedious and vaguely sinister entities. So the compromise between the gods and death was perceived as a deception "( Ardor , Adelphi, p. 114). Such a deception in the last century, cerebral, witty and spiritualist, was again in shadow, but an exegete of Rosa Tiepolo know the hope of bodies which painting Italian ensured a glorious incarnation.

"Death does not die," "Death is in the immortal," Vedic formulas that bear witness to the difficult comparison with the supreme theme, they think of Hegel's dialectic pirouettes. One of the many intrusions of our time, the 'unspeakable current "reading a book on the religious thought of three thousand years ago. Happen to the author, in another part of the story, dealing with the rites of bramhana, writing about the "sorry state" of the Catholic liturgy, following the Second Vatican Council. Inserts, however, that port in a "progressive reduction of the cruel actions and words and gestures intertwined" that contrassegnerebbe la storia bimillenaria della Chiesa di Roma. La meticolosa codificazione gregoriana – della liturgia e della musica – o quella tridentina sarebbero passaggi-chiave di una spoliazione del rito? Se i Brahmana sono «uno degli esempi più antichi di prosa indoeuropea», i loro eredi moderni sono allora i sacerdoti universali di luterana ascendenza, gli uomini della strada, i padri di famiglia, i pompieri dell’arte che compiono riti minuziosi per riprodurre la più piatta quotidianità, inconsapevoli di celebrare riti ma fieri di maneggiare la prosa.

L’art pour l’art sarebbe quel che resta del rito, si farebbe forte nel suo campo della formula sacramentale «ex opere function. But the combination is daring: just in the recent claim of art to be the religion of our time - and the consequent self-proclamation of artists - perhaps some efficacy of such rites. Maybe not warned about this point, the Kafka's Penal Colony , while a follower of Flaubert, explaining the decline of the liturgy, aesthetics?

Certainly, similar to the secret rites of art for art's sake, it's all the modern religion, that general feeling that rejects the revelation and its dogmas to favor a confused ritual, ceremony unmarried, devoted to a "no recipient" . Now that is down from operating vedico tradotto dai nostri contemporanei.

Il moderno disprezzo per gli antichi riti sembra produrre il declino estetico: «il gesto libero era sempre più goffo, più impreciso, rispetto al gesto canonico». Ci si riferisce all’ ‘espressionismo’ che ha travolto l’’Occidente da più di un secolo?

La conoscenza di sé degli umani non può essere mai del tutto esaltante: si giubila guardandosi, ma spingendo lo sguardo più a fondo si resta atterriti quando ci si accorge che il sé non è appunto immortale come la 'sostanza degli dèi'. Il culto gnostico della conoscenza dice soltanto la prima parte, contempla la superficie divina degli umani. Incarnare tale superficie divine, that divine form: that is the question of Christianity.

At another point in the story time, more akin to eternity, seems to refer to a continuous ward off death. The personification of the great adversary can only squeeze in time slots, only where there is less continuity. At the root of the consecration of the world there is an attempt to ensure the continuum . And the buzz surrounding the mysteries of the liturgy would demonstrate a preference for the ' indistinct.

"What man wants is mainly imitate the process by which you conquer the gods. And is highly significant, that to do effectively, the man wanted to imitate the 'form' of the gestures made by the gods. This will become one day the foundation of that activity which is the supreme art "(p. 292). In that day, the liturgy became art? It is suspected that it is so close to the time when the tailors began to call 'creators' and untalented 'creative'?

The ritual act of imitation is certainly divine, repetition of what he made God the author of Genesis.

Victim and nudity. Meditating on this report is not only touches the foundation of many vicious hidden lines, it turns out the fear that accompanies the naked vainly covered libertine ideology, or worse than the naïveté healthy, we find the essence of Christian art. The animal with clothes is funny, the human being without clothes is dramatic. Eloquent that nakedness which marks the victim. If anything there is to question the mighty reassuring and often naked, which seems to betray no references to the victim, of Renaissance painting.

regularly occur in several steps, although less conspicuously, the question of art, as if this volume have recourse to the Vedic pretext to deal with the huge turning point in human history 's art pour l'art. Enough to remember now that this shift has also produced the metaphysical, the dazzling aesthetic purity, paradoxically, non-art, remains bleak with a sacrifice.

The Bible often intervenes in the reconstruction of the Vedas to know that the author provides the foundation of our world. "Noah had celebrated a burnt offering, where the animal was totally burned. Rather than lose his life, disappeared from the scene Earth "(p. 328). Will be anxious for this to disappear for a little hope in the resurrection of the flesh, and in the West advancing the practice of burning the corpses. As for the word choice to describe a religious carnage lay, we can not agree with what is written in the final chapter sull'inquietante Current time: "... that company in which the Jews were the victims, was designated by the word [holocaust] that the Jews themselves, as officiating, were used for certain ceremonies like to Yahweh. The immensity of that misunderstanding was the sign that history had entered a phase where the admixture el'equivocazione between the archaic and the current would have pushed very far, more than ever before "(p. 437). (In this 'Almanac' not once mention the word Bible to depict a modern murder and thus confuse things.)

rites are the so-called secular substitute for religious ones. The sacrifices for their country, for the ideologies revolutionary and reactionary, to science and progress will take the place of those offered to the gods. Missing because the pact with the gods, the smoke rises to an empty sky. Unknown Soldier and unknown god.

If the divine, "was the existing" - asks the reporter bureaucratic tone that while he spent his life near the realm of the superhuman, to follow tracks and epiphanies - as you explain the agreement to continue his bloody acts? Girard argued that only the Bible offers an answer, that there is written that God does not like roast ardor that sometimes humans, that an angel came down from heaven to stop the action with an emphasis of Abraham. But Girard is in this book damn one of those who show the "arrogance of the debunker," the fruit of the secularization of Western Europe. The theory that widespread violence breaks out on the scapegoat, the innocence of the victim from the myths and hidden by the gods, would be a rejection of metaphysics, the result of secular society. Yet the scandal of all the biblical religions, already noted by Nietzsche, is not contained in recent times through the centuries, warring gods and myths for thousands of years. It is the party of the victim well before Girard. Try to overturn the view of the Brahmanas that "the world is based on the sacrifice that takes place when the surplus of available energy is burned" (p. 434). Entropy come metafisica?

Léon Bloy proponeva altre soluzioni del mistero della sostituzione o, meglio, lo inseriva in un diverso contesto. Il romanziere francese scorgeva spesso nei necrologi e nel giro delle amicizie parigine delle figure di mediatori , di intercessori, che offrivano la loro vita affinché qualcun altro restasse ancora su questa terra a redimersi. Ma in tale fede nella sostituzione lo scrittore cattolico seguiva l’insegnamento della Chiesa per cui ogni fedele che sale al cielo diviene avvocato per coloro che stanno quaggiù, e soprattutto i meriti dei singoli sono patrimonio della Chiesa tutta, dei morti e dei vivi, che essa ridistribuisce secondo i bisogni. Per Bloy dunque non solo il sacrificio della vita permetteva other lives, but all the small daily sacrifices to save souls and perhaps distant future. Desecrated in modernity, superstition imagines humans at the mercy of a greedy Moloch who must appease with human lives. You must maintain a balance between the two worlds as there was a metaphysical Malthusianism (the anthropologists of the next millennia interpreted in this way the mountains of aborted fetuses?).

course, only nell'accezione redistribution of Bloy, within a single church that embraces the earth el'aldilà, the theory of compensation exception to the universal magic. In the Gospels, Jesus warns not to establish a cause-effect relation between the faults and physical ailments, among the faults and death (and apparently also among the merits and Health): "At the same time, some present a report to him about the Galileans whose blood Pilate had mingled with their sacrifices. Taking the floor, Jesus replied: "Do you think that these Galileans were worse sinners than all other Galileans because they suffered such things? No, I tell you, but unless you repent you will all perish in the same way. Or those eighteen on whom the ruined tower of Siloam and killed them, believe that they were worse offenders than all the inhabitants of Jerusalem? No, I tell you, but unless you repent you will all perish in the same way '"(Lk 13: 1-5) The same teaching is derived from John 9.3. Moreover, such evidence evangeliche sembrano dissolvere il metodo calvinista di ricavare i segni della benevolenza divina dal buon raccolto ottenuto nella vita. Prima dei Vangeli, il grido di Giobbe esprime lo sdegno per la vita beata concessa su questa terra ai malvagi e le sofferenze imposte a non pochi giusti: non c’è alcun rapporto tra virtù e vantaggio mondano, alcun legame magico.

Perfino l’Islam, che talvolta assume ancora maschere sanguinarie, nasconde sul modello kosher il sangue dell’animale macellato. Incruento appare il mondo post-cristiano che ha bandito il sacrificio pur moltiplicando le vittime. Il Glossatore di riti e miti Veda, arrivato alle ultime pagine del libro, non può non denunciare l’occultamento the supreme sacrifice: "It was the moment when Luther could not restrain himself and with his innate vehemence, declared that to understand the Mass as sacrifice was" the most wicked abuse (illegal impiissimus abusus ) "and each course in this effect produced "monsters of impiety ( monster impietatis ). That moment marked a watershed in the history of Western sacrifice. [...] But just as adamant was the Roman Church. This was not to deprecate or claim indulgences, these defects due to human, too human. Here the entire liturgy was in play, then the frame of the religious life. Thus, forty- years after Luther had pronounced his awful words, on 17 September 1562 the Council of Trent promulgated nine canons, the first of which was playing well, "Anatematizando who will say that in making no real sacrifice shall offer to God," while Strongly condemning the third meticulous "who will say that the Mass is the sacrifice of praise and thanksgiving only, or bare commemoration of the sacrifice of the cross, and no mercy seat, over only benefit those who receive it shall offer and we should not live for them, for the dead for the sins, sorrows, et satisfazzioni other needs. " So it was not only the denial of the sacrifice to be rejected but also the form of which was to transform Euphemize mass in commemoration of a sacrifice. Why do not commemorate, no longer belongs to the sphere of gestures that act. Here resurfaced after many disputes in vain, the arcane and archaic wisdom of the Roman Church, its ability to recognize what was at stake in a cornerstone of its existence "(pp. 446-447). It's up to a writer captivated by the gestures essential to remember what the bishops have forgotten, and Stefan Orth mention that a recent survey concluded with these words: "many Catholics are [now] agree with the verdict and findings of the reformer Martin Luther, according to which talk about the sacrifice of the Mass would be "the greatest and terrible horror "and a" cursed idolatry "." The then Cardinal Joseph Ratzinger reports the same quote from Stefan Orth and warned: "I certainly did not need to add that I do not belong to these" many Catholics "who agree with Luther in the rejection of sacrifice. The rapporteur of Vedic rites gloss in turn Orth theologian: it is "as if the pressure in the world obliges the Church to withdraw even from this doctrine. However, without which the whole edifice of St. Peter could only give "(p. 448). As it happens, but now also the reigning pope think so. And unlike what is said in the following pages of ' Ardore and sacrifice shown by the Gospel can not be relegated to a "death sentence confirmed by a plebiscite." After extending the boundaries of the extreme form of sacrifice, the right to deny to the death of the victim's agonizing talks, reiterated his innocence in the name of God and offering to the Father for all humanity?

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Kingdom Hearts 2 Getting The 4 Medalians

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Quartet Bloy

~ BRILLIANT IMAGES OF THE TWENTIETH CENTURY IN FRONT OF ADMIRATION

apocalyptic CATHOLIC WRITER ~

Four extraordinary figures of the last century: Franz Kafka, Walter Benjamin Carl Schmitt, Ernst Jünger. There was some connection among them: the veneration of Benjamin Schmitt, testimoniatagli then complained in a letter to Adorno and Scholem (the interest in Kafka and his singular interpretation of things are too well known to mention again), and the praise of Prague by Jünger, maybe mentioned in a footnote in his diaries while he was Paris in the uniform of the Wehrmacht and soul of the plot; friendship, with small cracks in the postwar period, between Jünger and Schmitt, the clear opinion of the German jurist Process of Kafka: "one of the most brilliant novels that there is the whole story." But what distinguishes this dissonant quartet is the name of the Catholic writer apocalyptic Léon Bloy.

Two Jews and two Catholics (Jünger converted to the Roman religion in recent years over one hundred years of his life) united by the author of salvation through the Jews .

Benjamin paid tribute to ' Exégèse des lieux communs speaking of "a great work." In that book, the writer had completed the fiercely anti-modernist stupidario of Flaubert, The Dictionary of Received Ideas that put in alphabetical order the Betis . But Bloy nonsense aimed at the heart of bourgeois, liberal, positivist and anti-Christian, the militant and fought so fiercely. And the scholar who loved to get lost nella Parigi capitale del XIX secolo, ammaliato dai fantasmi delle sue merci, fu scosso da questo scrittore che agitava i pugni.

Sembra sia stato Schmitt a iniziare Jünger al culto di Bloy. Padroneggiava il francese, per via di parentele materne che risalivano all’Alsazia, e deve avere scoperto anzitutto la potenza linguistica del violento cristiano ottocentesco. Poi si sarà accorto rapidamente dello sguardo apocalittico con cui Bloy leggeva la storia, soprattutto quella dei secoli moderni. E simili discorsi sulla fine del tempo mostravano misteriose consonanze con la sua meditazione sul «katechon» – la forza frenante di fronte all’apparizione dell’Anticristo – nascosto nei veli della storia, meditazione that was measured recklessly with St. Paul when, in the Second Letter to the Thessalonians, he pointed to such a power without providing much explanation. The political philosopher was trying to solve the riddle theological-political: it was the rule, the Roman Empire and his heirs who were holding the dissolution of the world, apocalyptic time. Bloy relied on the other hand, perhaps he felt that there was no longer any political order can stop the end of the world, in every case that the last days, the modern ones, are the long agony of this world, the most terrible of all, that no medical doctor and politician can soothe. Perhaps the matter was more complicated than a simple opposition, fatto sta che più volte il giurista ricorse alle parole del romanziere francese e stabilì con lui, anche nella cella della prigionia, un dialogo serrato.

A Parigi, Jünger scrisse numerosi volumi di diari, proprio sul modello di Bloy. Lo citava spessissimo, tornava più volte su quei «geroglifici», come li chiamava, che «soltanto oggi» hanno dei «lettori maturi». Le circostanze che maturavano il lettore erano dettate dalla seconda guerra mondiale, dalle sue stragi, dalla sua violenza pre-apocalittica. Jünger costellava i diari del periodo bellico con le citazioni della Bibbia - che rilesse integralmente nei giorni dell’occupazione - e con le citazioni di Bloy. Lo collocava tra i «sismografi» the descent into the maelstrom, including Nietzsche and Dostoyevsky, paid tribute to the realism Catholic who represented "the human being in its infamy as in his glory."

A conversation with the young Gustav Janouch, Kafka took a particular size of Bloy, speaking with his usual simplicity: "From an antiquarian bookseller, I found the writing of the book czech The blood of the poor of Léon Bloy, Kafka learned the news of that discovery with great interest and said, "by Leon Bloy know a book against anti-Semitism: Le salut par les Juifs . Here take a Christian defense of the Jews as if they were poor relations. It is a very interesting book. And then ... Bloy sa curse, something quite unusual. Bloy has a focus that recalls the passion of the prophets. But I say: Bloy swears a lot better. And he says, because its fire is fed by all the muck of modern times' "(Conversations with Kafka ). So when the modern garbage reached dizzying heights, as in our time post, and the nihilistic confusion pervaded everything, even the salvation through the Jews appeared anti-Semitic text.

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Ap Dna Fingerprinting Lab

Year of simplicity

a wish ~ ~ WITH OPTIMUS PICTOR

In the window of a junk shop, made more attractive for the holidays, is proudly displayed on the cover of a magazine, "Time" weekly, a vintage of Fifty, the date is not read well, but it reads very well, because in large letters, one written announcing: "The Betrothed illustrated by De Chirico." The characters in the novel's most popular literature portrayed by the great Italian painter of the twentieth century in the pages of a magazine . One who did move the avant-garde with the strength of his paintings (surrealism, for example) and who defeated the vanguard with the return to traditional painting, Rubens even then had the humility to be an illustrator and the greatness of being also recognized and loved by the popular audience. Like Picasso, for that matter. An installer will not comment because it has a literary page layout to drawing and painting, perhaps even to the intelligent reading. The habentes minus the "conceptual" confuse the latinorum difficult to impress farmers relatives. Missing them all the grace of Giorgio de Chirico, who also illustrated manuals not only Manzoni, or that of Raphael who painted the banners for the processions. The history of art (but also the music) is full of genes that is working to translate the meaning of the faithful the mysteries of Christianity. Without the obsession upstart of originality, simply with the talent of the artist, who has a hand that is suitable for making the figures. That 2011 will start to free ourselves from traffickers bloated pomposity of contemporary culture. One year of simplicity, that shines in an age of simple-minded.

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