Este volumen presenta diversas investigaciones centradas en la circulación artística entre las dos orillas del Adriático, desde la Alta Edad Media hasta el siglo XV
Immagini del paesaggio agrario del medioevo in rappresentazioni dell’epoca
The language of prophecy is frequently enigmatic, bewildering, and even disconcerting.
Most of the purchases were pretty standard fare for those who deal in antiquarian books and documents, but as he sorted through the manuscripts, Voynich noticed one particular book which was very unusual - very unusual indeed!
The baffling Voynich Manuscript, written in an apparently indecipherable script, has caused much head-scratching since its rediscovery in 1912. Thought to be of mediaeval origin, it contains quasi-astrological diagrams, depictions of strange devices, plants - unlike any earthly flora - alongside nude figures bathing in complex networks of 'pools' featuring recycled water (some mechanisms of which look decidedly unhygienic to modern eyes). Some reckon it to be an alchemical text, whilst others believe it a hoax or an artistic exercise in glyptolalia. Judge for yourself here. One intriguing set of theories proposed by H. Richard SantaColoma speculate upon its possible representation of Sir Francis Bacon's New Atlantis, specifically Solomon's House - its college. For this, it must be assumed that the manuscript was written in the early 17th century (or slightly earlier depending on the actual conception of the New Atlantis utopia) albeit on 15th century vellum (as carbon dating has proven). The optical activities of the 'Perspective Houses' along with the grafting of diverse plants are considered as being represented within the manuscript. However, if this theory is true, where are Solomon's House's famed 'Sound houses'? Could the 'sound' chapter have once comprised the now missing excised 32 pages? Sonic activities in Solomon's House, New Atlantis These theories are inspiring to contemplate. There are so many conflicting ideas vying for consideration surrounding the Voynich manuscript that it wouldn't do much harm to throw in my tuppence worth, as far fetched as my following speculation may *sound*... It seems that nobody has yet considered the Voynich Manuscript entirely in terms of acoustics. Does the whole manuscript in fact concern sonics? Admittedly, at first glance it would appear that sound or music is entirely absent, but to those acquainted with cymatics a possible avenue of investigation reveals itself. (This may be a cue for some people to stop reading any further, especially for those who stand by the old adage "all comparisons are odious"). In the tradition of Daphne Oram's bravura sonic speculations, tentative explorations can be made with this acoustic angle. In the 1880s, the singer Margaret Watts Hughes developed a technique of producing 2D organic forms on a flexible membrane strewn with a fine powder, a la Chladni's plate (but with the singing voice as the agitator). The membrane was stretched over a sounding chamber with a pipe connected to it, through which Hughes would sustain tones, varying in timbre. Upon the membrane, plant-like and fern-like forms were made by steadily moving the eidophone membrane over paste-covered glass, in effect creating a recording. This technique produced entire gardens of sorts. In 1891, Hughes wrote "(…) day by day I have gone on singing into shape these peculiar forms, and, stepping out of doors, have seen their parallels living in the flowers, ferns and trees around me; and, again, as I have watched the little heaps in the formation of the floral figures gather themselves up and then shoot out their petals, just as a flower springs from the swollen bud". Could the Voynich manuscript depict eidophonic activities? A Voynich 'rosette' In the 20th century, Hans Jenny coined the term 'cymatics' to refer to the basic visible-sound phenomena. Jenny used piezo-electric agitation, and also employed water-filled plates (although producing forms in liquids with only the voice would be very difficult - requiring acute volume and pinpoint pitch). However, many of Jenny's most iconic cymatic figures were produced by electronic oscillators operating in the kilohertz domain - above vocal range. Eidophones Throughout the Voynich manuscript, 'sprays' and 'streams' can be seen issuing from bizarre pipes. The wavy streams are evidently liquids of some sort, although the sprays are more incongruous. The technique of producing fine sprays from liquids was proposed by Bernoulli in his 1738 book 'Hydrodynamica' and was only perfected in the form of atomisers in the mid 19th century. Some of these spray emissions in the manuscript seem to defy gravity, ruling out powder sprays. Are these sprays early representations of sound? It's worth mentioning that the now-discredited corpuscular theory of sound was 'in the air' since the 1620s. On page 77 of the manuscript, five 'elements' are illustrated issuing from a pipe manned by figures at each end. The figure on the right has an apparent emission towards or from the mouth. Does it represent the formative powers of sound? There are other suggestions of this power, such as in the 'rosettes' fold-out where buildings are seen emerging from the primordial patterns. Also, the majority of the figures shown throughout have their mouths in an 'O' shape hinting at voice production. The images of 'bathers in pools' may actually depict naked choirs all sounding the same resonant note, crowded inside large resonant drums and cavities sending their voices through tubes to membranes, upon which large voice figures figures may be produced. Their nudity might be due to the fact that clothing absorbs sound, whereas skin (especially if wet) is more reflective of sound (performers today note that acoustics of rooms alter when an audience is present) thus preserving resonance. The manuscript's astrological charts show some similarities to cymatic figures. The charts showing improbable spiral forms may indicate motion, as the combined voices of the singers would be rife with rich phasings (chorusing) which would translate as an unstable, moving cymatic figure, with manifest rotary motions. The symbolic demarcations of some charts might be attempts at macro/microcosmic integration by corresponding the limbs of voice figures with astrological houses. The chorusing, that is, the cumulation of pitch and tone discrepancies in a choir voicing the same note, would create 'blurred' unstable voice figures. Maybe the vase-like devices shown in the final section of the manuscript are Helmholtz resonators, or Vitruvius' urns, tuned to enhance/amplify the purity of the tone? Furthermore, were membranes stretched over the mouth of these ornate resonator urns? (H. Richard SantaColoma suggests these devices shown were not resonator urns, but early microscopes). If an eidophonic system is depicted, the manuscript's exotic plant forms may derive from species of cymatic/eidophone voice figures. But this begs the question as to why the plants are coloured - as any particle-based eidophone figures would certainly not be colour specific. Of course this is all an extremely tenuous speculation. All natural forms have harmonic characteristics (most notable in phyllotactic patterns) and are thus potentially translatable into sound. Besides, there's scant historical record of any such vibratory practices occurring in antiquity, and certainly none this elaborate. However, it may be remembered that study of natural phenomena was strictly forbidden for centuries in Christendom, and beyond. Resonators? The likeliest theory is that the Voynich manuscript is a fantastical piece of systematised confusion: a dreamscape of pure flummox, maybe of hallucinatory origin. The style was even expertly pastiched by Luigi Serafini in his 1981 masterpiece 'Codex Seraphinianus' - a monumental oddity of glyptolalia. Imagine randomly finding a book so utterly odd it can only be assumed to originate from another planet. Incidentally, this is surely the touchstone of mediadropping! As a footnote, the woodcut a few paragraphs above showing a New Atlantis 'Sound House' appears quite a lot online, and is often said to originate from an old imprint of New Atlantis. It may go some way to show how easily we may be deceived by forgings of period styles, as, after some research, it transpired that it's in fact a pastiche of 17th century engraving created by 20th century U.S. artist Lowell Hess. It's from a 1970 book titled 'Graphic Design for the Computer Age'. UPDATE 22/10/11: H. Richard SantaColoma has pointed out that the 'rosettes' fold-out page of the Voynich Manuscript most likely depicts a map, perhaps detailing the various departments of the House of Solomon. Here, a candidate for the Sound House is identified in the top left hand corner. He draws attention to the pointed loudhaileresque tubes, seen both as an extended pentad on the Sound House, and in shorter clusters surrounding the central House of Solomon. It can be seen here.
Scorpions have inhabited the Earth for over 400 million years. They were one of the first seabed evolved creatures to climb out of oceans onto land. Although older than the dinosaurs and despite many species, there has been small change to their basic form over this vast time.
La storia dell’arte raccontata da una prospettiva del tutto originale, quella dei colori e dei pigmenti che hanno permesso di creare le più memorabili opere dell’uomo: dai dipinti sulle caverne, ai meravigliosi manufatti egizi, agli affreschi di Giotto, ai dipinti di Raffaello Sanzio, di Claude Monet e di Vincent Van Gogh, fino all’arte contemporanea. Sei puntate eccezionali attraverso il fil rouge di altrettanti colori: il rosso, il blu, il giallo, il verde e, infine, il bianco e il nero.
The Voynich Manuscript is a document that is notable for its strange text, that to date hasn't been decyphered. Theories range from a secret language or code...
Scivias is Hildegard of Bingen's first major work. The 35 images contained in the manuscript illustrate 26 of Hildegard's most vivid visions.
This bizarre medieval manuscript has never been deciphered
bibliodyssey.blogspot.com/2010/01/botanical-beasties.html
In a monastery in the mountains of northern Spain, 700 years after the Book of Revelations was written, a monk set down to illustrate a collection of writings he had compiled about this most vivid and apocalyptic of the New Testament books. Throughout the next few centuries his depictions of multi-headed beasts, decapitated sinners, and trumpet blowing angels, would be copied over and over again in various versions of the manuscript. John Williams, author of *The Illustrated Beatus*, introduces Beatus of Liébana and his Commentary on the Apocalypse.
Your virtual eye on illuminated manuscripts, rare books, and the stories behind them. By Franco Cosimo Panini Editore.
L'altare del duca Rachis è una delle più importanti opere scultoree della Rinascenza liutprandea ed è conservato nel Museo cristiano di Cividale del Friuli. È datato tra il 737 e il 744, periodo in cui il longobardo Rachis fu duca del Friuli. Le dimensioni complessive sono 1,44 x 0,90 x 0,88 m. L'altare è stato portato nel 1947 nei pressi del duomo dalla cividalese chiesa di San Martino, dove è attestato stesse già nel 1568.
We are studying Hildegard von Bingen this term. She lived 1098-1179. source Wikipedia "Hildegard von Bingen (Hildegard of Bingen) was a German nun who established her own convent, and was famous for her prophecies and miracles. In addition to writing poetry, she wrote books about religion and medicine – and she composed music. Only 77 songs of hers remain after all these years." ~Classics for Kids We are studying: Antiphon, O quam mirabilis est (how wondrous is the presence of the divine heart that foreknew every creature) O how marvelous is the foreknowing in the divinity’s heart, that foreknew every created thing. For when God looked upon the face of the human he had formed he saw the fullness of all his works in that same human form. O how marvelous is the breath that brought humankind to life! O ignis spiritus paracliti (O fire of the spirit, the comforter; a chant for pentecost) O spirit of fire, bringer of comfort, life of the life of every creature, you are holy, giving life to forms. You are holy, anointing those perilously broken; you are holy, cleansing festering wounds. O breath of holiness, o fire of love, o sweet savor in our breasts, infusing hearts with the scent of virtue. O clearest fountain, in which we see how God gathers the alienated and finds the lost. O breastplate of life and hope of the whole human body, o belt of honor: save the fortunate. Guard those imprisoned by the enemy and free those who are bound whom the divine power wishes to save. O mightiest course that has penetrated all things, in the heavens and on earth and in every abyss – you reconcile and draw all humanity together. From you clouds flow, wind flies, stones produce moisture, water flows in streams, and the earth exudes living greenness. You are always teaching the learned, who, through wisdom’s inspiration, are made joyful. Whence praise be to you, who are the sound of praise, the joy of life, the hope and greatest honor, granting the prize of light. Et imago (The fiery spirit) ~from the Grooveshark Playlist below And again I heard a voice from heaven instructing me thus. And it said: Write therefore what I tell you in this manner. And I saw as amid the airs of the South in the mystery of God a beautiful and marvelous image of a human figure; her face was of such beauty and brightness that I could more easily have stared at the sun. On her head she had a broad band of gold. The figure spoke: I am the supreme fire and energy. I have kindled all the sparks of the living, and I have breathed out no mortal things, for I judge them as they are. I have properly ordained the cosmos, flying about the circling circle with my upper wings, that is with wisdom. I am the fiery life of divine substance, I blaze above the beauty of the fields, I shine in the waters, I burn in the sun, moon and stars. Hymn O ignee spiritus (Hymn, for Holy spirit) O fiery spirit, praise be to you who play on the timbrel and lyre. The minds of men take fire from you, and the tabernacles of their souls restrain their powers, whence the will rises up and gives savor to the soul; and its lamp is desire. With sweetest sound the intellect calls upon you and makes a place for you with reason, which brings forth works of gold. But you always hold a sword to cut off what the poisoned apple produces through blackest murder. When clouds darken the will and its desires, then the soul flies about and circles everywhere. But the mind is the bond of the will and of desire. And when the soul rises up to look into the eye of evil and the jaws of wickedness, you quickly consume it with fire as you will. But when reason falls prostrate through evil, you restrain it through your power and strangle and smash it through a flood of experiences. And when evil draws its sword upon you, you shatter it in its own heart, as in the beginning you did to the lost angel, hurling the tower of his pride down into hell. And there you raised another tower in publicans and sinners who confess to you the sinfulness of their works. Whence all creatures who have life from you praise you, because you are the most precious ointment for broken and fetid wounds, which you change into most precious jewels. Now deign to gather us all to you and guide us on the right path. Amen. Vision 4 "Love": Et audivi vocem (Rev 14:13 and I heard a voice from heaven say write. . .) In a true vision of the spirit in a waking state, I saw the likeness of a beautiful girl shining with a splendour so bright that I could not look upon her properly. She had a cloak whiter than snow and brighter than a star. And she had in her right hand the sun and the moon, gently embracing them. And I heard a voice saying these things to me. The girl you see is Love, who has her dwelling in eternity. For when God wanted to create the world, he inclined himself in the sweetest affection, and foresaw all things necessary, just as a father provides an inheritance for his son; and in this way he ordered all his works in a great burning fire of love. Then every creature in every species and form acknowledged its creator, for in the beginning Love was the base matter from which all creatures came. And God said ‘Let it be done’, and it was done, for every creature was made through Love in the twinkling of an eye Antiphon Caritas habundant in omnia (Love abounds in all) Love flows down to all things, most exalted from the depths up to the stars, and most loving toward all, for she gave the highest king the kiss of peace. Our Resource List Lyrics Translated here Ambleside Online Composer Schedule Grooveshark List HILDEGARD OF BINGEN: SYMPHONY OF THE HARMONY OF HEAVEN Hildegard Von Bingen: A Life Wishing you homeschool blessings, Connect with us:
When Umberto Eco, the semiologist, medievalist, and author of the best-selling medieval puzzle-novel The Name of the Rose, lectured at Yale to celebrate the Beinecke Library’s fiftieth anniversary, the only one of its many treasures he asked to see was the Voynich manuscript.
Scivias is Hildegard of Bingen's first major work. The 35 images contained in the manuscript illustrate 26 of Hildegard's most vivid visions.
Page/Caption: 64r Author/Creator: Date: s. XIII/XIV Physical Description: 1 vol. 12 x 8.5 cm. Genre/Form: Illuminated manuscripts Miniatures (Illuminations) Historiated initials Illustrations Hand coloring Prayers Cite as: Beinecke Rare Book and Manuscript Library, Yale University Repository: Beinecke Rare Book & Manuscript Library, Yale University Bibliographic Record Number: 2002755 Call Number: MS 404 View our Record: Permalink
Au XIVe siècle, en l'émancipant de son statut décoratif, Giotto révolutionne la peinture. C'est pour qualifier son génie que le poète Dante invente le mot “artiste”.
Il mosaico della cattedrale di Otranto fotografato da un'insolita prospettiva: è lo scatto dall'alto pubblicato dalla pagina Due Sicilie nel mediterraneo. O nostos che immortala una parte ...
Prima di diventare l'animale simbolo della Pasqua, lepri e conigli hanno popolato le pagine dei codici medievali. Molto spesso con intenti bellicosi.
Master of the Female Half-Lengths - Three Musicians Alla musica – Rainer Maria Rilke Musica: respiro delle statue. Forse: silenzio delle immagini. Tu lingua ove le lingue cessano. Tempo a picco sul corso dei cuori che passano Sperimenti per chi? Tu metamorfosi dei sentimenti in che? -: in paesaggio udibile. Musica: tu straniera. Tu spazio del cuore cresciuto oltre di noi. Tu a noi il più intimo che, superandoci, di là da noi trabocca – sacro addio: poiché il nostro intimo ci sta intorno come la più frequenta lontananza, come altra faccia dell’aria: pura, immensa, non più abitabile. traduzione di Giacomo Cacciapaglia
Explore petrus.agricola's 26005 photos on Flickr!
The Four Horsemen of the Apocalypse are described by John of Patmos in his Book of Revelations, the last book of the New Testament. The chapter tells of a ''book', or 'scroll', in God's right hand that is sealed with seven seals'.
The Voynich manuscript is among the most perplexing texts ever discovered as it has never been decoded despite over 25 analyses conducted in an attempt to decipher its meaning. As a result, many have drawn into question whether the manuscript is authentic
Your virtual eye on illuminated manuscripts, rare books, and the stories behind them. By Franco Cosimo Panini Editore.
I wasn’t the only one who believed that he could crack the manuscript's secrets. The first person said to have owned the manuscript was the Holy Roman …
