Posts filled under #arenadiverona

The classical design of t

The classical design of the arena. The spectator at any corner in the arena can get an amazing view even when sitting at the last. Beautiful design in that time when there was no engineering and no modern tools and technologies available. #photographer #photoshoots #photographylovers#verona #piazzabra #photographylife#vento #veronaarena #arenadiverona #italian #italyphotolovers #italytrip #italytravel#italyvacation #canon#italya#photograhy #italy#italia#great#canonrebelt6 #canon1300d#canoneos#dslr #dslrlove #dslrcamerapro #dslrphotographer #dslr_photography #instacool

throwback parte 3
nel nos

throwback parte 3 nel nostro primo disco "Per la mia strada" (2010) ho collaborato con molto grandi artisti.. tra qui uno dei miei rapper preferiti, un amico e un grande uomo TORMENTO.. @tormentovsyoshi che spacca da anni e continua a farlo!! Il pezzo "Tu cosa fai" link per ascoltare il pezzo #hollywood #milano #soulpoetry #rapitaliano #salmo #aforismi #frasitumblr #storiadiunragazzosenzacuore #citazioni #frasi #gemitaiz #sercho #honirolabel #honiro #backstage #windmusicawards #arenadiverona #veneto #verona #fabrifibra #premio #music #awards #tradimento #show #live #entertainment #tormento #promo #tour

An extract on #arenadiverona

Under the ancien regime, the most prominent magazines were Mercure de France, Journal des savans, founded in 1665 for scientists, and Gazette de France, founded in 1631. Jean Loret was one of France's first journalists. He disseminated the weekly news of music, dance and Parisian society from 1650 until 1665 in verse, in what he called a gazette burlesque, assembled in three volumes of La Muse historique (1650, 1660, 1665). The French press lagged a generation behind the British, for they catered to the needs the aristocracy, while the newer British counterparts were oriented toward the middle and working classes. Periodicals were censored by the central government in Paris. They were not totally quiescent politicallyoften they criticized Church abuses and bureaucratic ineptitude. They supported the monarchy and they played at most a small role in stimulating the revolution. During the Revolution, new periodicals played central roles as propaganda organs for various factions. Jean-Paul Marat (17431793) was the most prominent editor. His L'Ami du peuple advocated vigorously for the rights of the lower classes against the enemies of the people Marat hated; it closed when he was assassinated. After 1800 Napoleon reimposed strict censorship. Magazines flourished after Napoleon left in 1815. Most were based in Paris and most emphasized literature, poetry and stories. They served religious, cultural and political communities. In times of political crisis they expressed and helped shape the views of their readership and thereby were major elements in the changing political culture. For example, there were eight Catholic periodicals in 1830 in Paris. None were officially owned or sponsored by the Church and they reflected a range of opinion among educated Catholics about current issues, such as the 1830 July Revolution that overthrew the Bourbon monarchy. Several were strong supporters of the Bourbon kings, but all eight ultimately urged support for the new government, putting their appeals in terms of preserving civil order. They often discussed the relationship between church and state. Generally, they urged priests to focus on spiritual matters and not engage in politics. Historian M. Patricia Dougherty says this process created a distance between the Church and the new monarch and enabled Catholics to develop a new understanding of church-state relationships and the source of political authority.

Michelangelo returned to Florence in 1499. The republic was changing after the fall of its leader, anti-Renaissance priest Girolamo Savonarola, who was executed in 1498, and the rise of the gonfaloniere Piero Soderini. Michelangelo was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue of Carrara marble portraying David as a symbol of Florentine freedom to be placed on the gable of Florence Cathedral. Michelangelo responded by completing his most famous work, the statue of David, in 1504. The masterwork definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic imagination. A team of consultants, including Botticelli and Leonardo da Vinci, was called together to decide upon its placement, ultimately the Piazza della Signoria, in front of the Palazzo Vecchio. It now stands in the Academia while a replica occupies its place in the square. With the completion of the David came another commission. In early 1504 Leonardo da Vinci had been commissioned to paint The Battle of Anghiara in the council chamber of the Palazzo Vecchio, depicting the battle between Florence and Milan in 1440. Michelangelo was then commissioned to paint the Battle of Cascina. The two paintings are very different: Leonardo depicts soldiers fighting on horseback, while Michelangelo has soldiers being ambushed as they bathe in the river. Neither work was completed and both were lost forever when the chamber was refurbished. Both works were much admired, and copies remain of them, Leonardo's work having been copied by Rubens and Michelangelo's by Bastiano da Sangallo. Also during this period, Michelangelo was commissioned by Angelo Doni to paint a "Holy Family" as a present for his wife, Maddalena Strozzi. It is known as the Doni Tondo and hangs in the Uffizi Gallery in its original magnificent frame, which Michelangelo may have designed. He also may have painted the Madonna and Child with John the Baptist, known as the Manchester Madonna and now in the National Gallery, London.