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Published 07.03.2015 | Author : admin | Category : Very Irresistible For Men

It is near Abigail Adams Cairn, marking the site from which Adams witnessed the Battle of Bunker Hill at age seven.
A few phone calls, and a hurry up shift on the Limo companies part, and we were all in the stretch limo headed for Toronto.
We found the second-story, enclosed passageway, that leads from the three airport terminals to the Airport Hilton.We walked its length, passing the rail terminal, where we found an ATM and got some needed Euros. We arose early, the differences in time zones not yet acclimated into our circadian rhythms. We bought some cappuccino and croissants, in an airport restaurant, and watched the giant aerial behemoths land and take off in this busy airport. We climbed these ancient steps, enjoying the surreal experience of viewing the huge sculptures flanking the stairs headway and wondering at the many who had come this way throughout the ages.
Just up the rise, behind the triumphant arch of Constantine, we could see the now familiar broken circle of the remains of the coliseum.
Hunger was gnawing at us, so we stopped at a cute little trattoria labeled a€?planet pizza.a€? We ordered two slices of pizza and continued on, walking the narrow streets as we munched on our pizza. We sat for a time, watching the tourists, and enjoying the sunshine and 62 degree temperatures. After lunch, we walked about the piazza, enjoying the controlled tumult and browsing the artists with their easels and the colorful souvenir vendors.
We were becoming foot weary from the line of march, but headed southeast from the Piazza Navona, in search of the fabled Pantheon. Soon, we turned a corner and stood still for a moment, appreciating the classic lines of the Pantheon, a former pagan temple that had been constructed in 183 A.D. From the Pantheon, we followed our map to the Via Corso and headed back towards that huge monument dominating the skyline, the Vittorio Emmanuel II, in the Piazza Venezia.
We walked the small and narrow streets nearby, looking in on the small vegetable and food shops.
The ten oa€™clock bus into Rome looked like the Kowloon ferry at rush hour, so we opted to walk over to the train station to catch the express run into stazione terminal. At Stazione Terminal, we detrained and walked through the large terminal that connects the surface railways with the two principal subway lines which crisscross underneath Roma.
Next, we came upon one of the ancient Italian Monsignors celebrating mass at one of the side chapels. Even the sophisticated stand here quietly unsure of exactly what they are seeing, but respectful of the idea that the remains of so noteworthy a historical figure lay just a few yards away in plain sight. We walked up the nearest boulevard to the Tiber, in search of one of the more storied edifices in Rome, the Castle San Angelo.
We emerged into a small courtyard, at the top of the castle, where a statue of St., Michael the archangel, stands ready to protect all with his sword and shield.
On our way down, we espied several small exhibit rooms where huge a€?blunder bussesa€? and small cannon of many sorts lay on exhibit.Their fired lead must have cut down many attacking marauders in ages past. We crossed the Tiber at the Ponte Cavour and walked three blocks over to the Via Corso.We were headed for one of the more spacious and beautiful Piazzas in Rome, the Piazza Del Poppolo. The Parkland is well cared for and looks like a pleasant spot for Romans to gather on a spring or summera€™s day.
We stopped by a station restaurant and bought some wonderful vegetable paninis (sandwiches) for later.
We enjoyed another swim in the hotel pool and then stopped by the hotela€™s atm for another 100 euros. We retrieved our luggage from the bus and stood in line for a brief 20 minutes of check-in procedures. We walked the decks, exploring our ship and enjoyed the lounges, shop areas and the many other nooks and crannies of entertainment and activity spread around the decks.
Deck #11 aft holds a smaller restaurant called the a€?Trattoria,a€? and serves Italian food every night. We met in the Stardust lounge on deck #10 and got tickets for our 10-hour tour of the Tuscan Countryside and the fabled walled city of Siena. As the tour bus careened down the highway, we looked at the pastoral scenes, of groves of olive trees and vineyards, dotting the gently rolling landscape.
Marco walked us from the bus parking area to the Chiesa San Domingo where we met our local guide a€?Rita.a€? She launched into what was to be a colorful and informed narrative of the Sienaa€™s history and development. We walked through the narrow, cobbled streets and admired the well preserved walls and quaint shops that appeared around every turn.
We walked slowly along the medieval streets, admiring the ancient framing and well preserved architecture. Just next to the Duomo, Rita pointed out an entire area that had been laid out to expand the church. Marco led us to the ancient a€?Spade Fortea€? ristorante, on the periphery of the Piazza, for lunch.
We still had time left after lunch, so we walked back to the Duomo and, for 6 euros each, entered the Musee da€™Opera, next to the Duomo.
The bus drove by the walled city of San Gimiano and we caught a glimpse of the open gates of what marco called a a€?medieval disneyland.a€? It looked like a great place to wander when the crowds were less intense. We dressed for dinner this evening in a€?business attire.a€?It was one of the two a€?formal nightsa€? on the ship.
The seas were calm that night and we walked topside, enjoying the night air and each othera€™s company.We never lose sight of how fortunate we are to be with each other in these exotic and interesting locales. We passed through Recco, a Ligurian center for cooking, and then exited into the a sprawling town of Rappalo for the coastal ride into Santa Margarita, where we would take a small ferry to Porto Fino, the heart of the Italian Riveria.
The Castello Brown is everything your imagination could place it to be, sited on the high promontory over a picture book Mediterranean village. In the quaint village below, we browsed the pricey shops, like Gucci & Ferragamo, noting the breath-taking prices listed in euros. The Canne waterfront surrounds the marina, a central square, filled with Sycamore trees, and replete with several cafes and their ubiquitous outside tables and chairs. We entered the A-8 Autostrade and drove through Nice and on towards Monaco, some 90 kilometers miles further along the fabled Cotea€™ da€™azur. From quaint and medieval EZE, we descended to the Middle Corniche Road for the picturesque ride into nearby Nice. From the Palais, Patrick threaded the huge tour bus through the narrow streets, fighting the Easter-morning, Mass traffic. I thought that I had a pretty good command of French, but at moments like these, it seems to desert you. Pat and John were accompanied by friend Joanne, a retired teacher, Al and his mother Cora, also from celebration Florida and the Two Australians, Mike and Carmen Harchand. Revelry aside, the injury was throbbing insistently, so we returned to our cabin, with my hand elevated in the a€?French salute but with the wrong finger.a€? The seas were running rough this evening, with ten foot swells and 25 knot winds. We passed by the entrance to the Las Ramblas, the broad pedestrian promenade that extends into the city, and continued on. The first wonder that we passed is Antonio Gaudia€™s a€?Batlo House.a€? Built in 1906, it is several stories high and has a delightful facade of painted ceramic tiles. Next, we passed the Casa Mila, another Gaudi masterpiece, with its distinctive wavy and flowing, tiled facade. Then, we came to the sanctum sanctorum of architecture, the Cathedral of the Segrada Familia. The four seasons and many other symbols are represented in this flowing montage that is more enormous sculpture than architecture. Restless, we wandered the decks, met and talked with the Martins and then found a nice photo of ourselves, taken in Sienaa€™s main Piazza, in the photo gallery. We stopped for a time, in one of the deck ten lounges, and read our books, enjoying the quiet mode of the ship at sea.
We walked topside, enjoying as always the collage of sun, sea and sky, as we knifed through the rolling swells. The Devonshire spread ( as in butt the size of) still engulfed us, so we did another five laps around the deck # 7 promenade.
DESCRIPTION: This is the largest map of its kind to have survived in tact and in good condition from such an early period of cartography. These place names are in Lincolnshire (Holdingham and Sleaford are the modern forms), and this Richard has been identified as one Richard de Bello, prebend of Lafford in Lincoln Cathedral about the year 1283, who later became an official of the Bishop of Hereford, and in 1305 was appointed prebend of Norton in Hereford Cathedral. While the map was compiled in England, names and descriptions were written in Latin, with the Norman dialect of old French used for special entries. Here, my dear Son, my bosom is whence you took flesh Here are my breasts from which you sought a Virgina€™s milk. The other three figures consist of a woman placing a crown on the Virgin Mary and two angels on their knees in supplication. Still within this decorative border, in the left-hand bottom corner, the Roman Emperor Caesar Augustus is enthroned and crowned with a papal triple tiara and delivers a mandate with his seal attached, to three named commissioners. In the right-hand bottom corner an unidentified rider parades with a following forester holding a pair of greyhounds on a leash.
The geographical form and content of the Hereford map is derived from the writings of Pliny, Solinus, Augustine, Strabo, Jerome, the Antonine Itinerary, St. As is traditional with the T-O design, there is the tripartite division of the known world into three continents: Europe, Asia, and Africa. EUROPE: When we turn to this area of the Hereford map we would expect to find some evidence of more contemporary 13th century knowledge and geographic accuracy than was seen in Africa or Asia, and, to some limited extent, this theory is true. France, with the bordering regions of Holland and Belgium is called Gallia, and includes all of the land between the Rhine and the Pyrenees. Norway and Sweden are shown as a peninsula, divided by an arm of the sea, though their size and position are misrepresented. On the other side of Europe, Iceland, the Faeroes, and Ultima Tile are shown grouped together north of Norway, perhaps because the restricting circular limits of the map did not permit them to be shown at a more correct distance. The British Isles are drawn on a larger scale than the neighboring parts of the continent, and this representation is of special interest on account of its early date.
On the Hereford map, the areas retain their Latin names, Britannia insula and Hibernia, Scotia, Wallia, and Cornubia, and are neatly divided, usually by rivers, into compartments, North and South Ireland, Wales, Cornwall, England, and Scotland. THE MEDITERRANEAN: The Mediterranean, conveniently separating the three continents of Asia, Africa and Europe, teems with islands associated with legends of Greece and Rome. Mythical fire-breathing creature with wings, scales and claws; malevolent in west, benevolent in east. 4.A A  For bibliographical information on these and other (including lost) cartographical exemplars, see Westrem, The Hereford Map, p.
10.A A  For bibliographical information for editions and translations of the source texts, see Westrem, The Hereford Map, p. 11.A A  More detailed analysis of these data can be found in my a€?Lessons from Legends on the Hereford Mappa Mundi,a€? Hereford Mappa Mundi Conference proceedings volume being edited by Barber and Harvey (see n. 16.A A  Danubius oritur ab orientali parte Reni fluminis sub quadam ecclesia, et progressus ad orientem, .
23.A A  The a€?standarda€? Latin forms of these place-names and the modern English equivalents are those recorded in the Barrington Atlas of the Greek and Roman World, ed.
From the time when it was first mentioned as being in Hereford Cathedral in 1682, until a relatively short time ago, the Hereford Mappamundi was almost entirely the preserve of antiquaries, clergymen with an interest in the middle ages and some historians of cartography. FROM THE TIME when it was first mentioned as being in Hereford Cathedral in 1682, until a relatively short time ago, the Hereford Mappamundi was almost entirely the preserve of antiquaries, clergymen with an interest in the middle ages and some historians of cartography.
Details from the Hereford map of the Blemyae and the Psilli.a€? Typical of the strange creatures or 'Wonders of the East' derived by Richard of Haldingham from classical sources and placed in Ethiopia.
Equally important work was also being done on medieval and Renaissance world maps as a genre, particularly by medievalists such as Anna-Dorothee von den Brincken and Jorg-Geerd Arentzen in Germany and by Juergen Schulz, primarily an art historian, and David Woodward, a leading historian of cartography, in the United States. The Hereford World Map is the only complete surviving English example of a type of map which was primarily a visualization of all branches of knowledge in a Christian framework and only secondly a geographical object. After the fall of the Roman empire in the 5th century, monks and scholars struggled desperately to preserve from destruction by pagan barbarians the flotsam and jetsam of classical history and learning; to consolidate them and to reconcile them with Christian teaching and biblical history. There would have been several models to choose from, corresponding to the widely differing cartographic traditions inside the Roman Empire, but it seems that the commonest image descended from a large map of the known world that was created for a portico lining the Via Flaminia near the Capitol in Rome during Christ's lifetime. Recent writers such as Arentzen have suggested that, simply because of their sheer availability, from an early date different versions of this map may have been used to illustrate texts by scholars such as St. Eventually some of the information from the texts became incorporated into the maps themselves, though only sparingly at first. A broad similarity in coastlines with the Hereford map is clear in the Anglo-Saxon [Cottonian] World Map, c.1000 (#210), but there are no illustrations of animals other than the lion (top left).
The resulting maps ranged widely in shape and appearance, some being circular, others square. A few maps of the inhabited world were much more detailed, though keeping to the same broad structure and symbolism. Most of these earlier maps were book illustrations, none were particularly big and the maps were always considered to need textual amplification.
From about 1100, however, we know from contemporary descriptions in chronicles and from the few surviving inventories that larger world maps were produced on parchment, cloth and as wall paintings for the adornment of audience chambers in palaces and castles as well as, probably, of altars in the side chapels of religious buildings. A separate written text of an encyclopedic nature, probably written by the map's intellectual creator, however, was still intended to accompany many if not all these large maps and one may originally have accompanied the Hereford world map.
These maps seem largely to have been inspired by English scholars working at home or in Europe. The most striking novelty, however, was the vastly increased number of depictions of peoples, animals, and plants of the world copied from illustrations in contemporary handbooks on wildlife, commonly called bestiaries and herbals. Mentions in contemporary records and chronicles, such as those of Matthew Paris, make it plain that these large world maps were once relatively common. At about the same time that this map was being created, Henry III, perhaps after consultation with Gervase, who had visited him in 1229, commissioned wall maps to hang in the audience chambers of his palaces in Winchester and Westminster.
The Hereford Mappamundi is the only full size survivor of these magnificent, encyclopedic English-inspired maps. An inscription in Norman-French at the bottom left attributes the map to Richard of Haldingham and Sleaford. DESCRIPTION: While some earlier scholars would have labeled these maps as a€?the epitome of medieval European cartographya€?, due to the very ecclesiastical form and content, they were, indeed, an exception in this perioda€™s mapmaking. In his recent book, Body-Worlds, Opinicus de Canistris and the Medieval Cartographic Imagination, Karl Whittington writes that on the 31st of March, 1334, this Italian priest named Opinicus de Canistris fell sick. As mentioned above, Opicinusa€™ drawings survive in two manuscripts, both kept in the Vatican Library in Rome.
There is no way of knowing how many other drawings Opicinus completed, and certainly no reason to believe that all or even a majority of his works have survived. Victoria Morsea€™s 1996 doctoral dissertation for the first time performed a large-scale study in order to demonstrate the logic of Opicinusa€™ works.
It was not unusual during the later Middle Ages to bring together the body and the earth in pictorial representations. The relationship on the page between texts, diagrams, and pictures throughout Opicinusa€™ work is an especially important issue. According to Whittington the captions on most of the drawings seem to interact with them in the following way: Opicinus created the visual material first, usually to address a particular theological question or theme.
The elaborate, complex, and beautiful drawings that Opicinus created in the years following his illness and vision are the subject of this monograph. What we see, then, is an embodied map a€” a picture of the eartha€™s surface that is also a depiction of human bodies. Opicinusa€™ beliefs and hypotheses about the earthly, the heavenly, and the human are encoded in the very structures of his drawings.
Over half of Opicinusa€™ 80 drawings in the Vaticanus and Palatinus manuscripts include at least part of a portolan chart. Opicinusa€™ body-maps are far more complicated than any of the examples above, and the question of what they mean is more difficult to answer.
In a number of drawings, Opicinus used the most basic form of the body-worlds - presumably the one that he describes having received in his 1334 vision. As in all of Opicinusa€™ drawings of the body-worlds, each figure takes on a specific identity, though in this example these identities are complex.
It seems most likely that the figure depicts a sort of hybrid a€” a personification of Christianity, with Christ at its head and its heart, surrounded by elements of the cosmic order.
Its chest is bare (we can see the cloak falling away from the shoulder on the northern coast of France), but the lower roundel covers the place where a breast is often revealed in Opicinusa€™ female European figures. In three folios near the end of the Vaticanus manuscript, Opicinusa€™ cartographic drawings add one more layer of meaning on top of the basic arrangement outlined above: he superimposes a gridded local map of Pavia, his hometown, on top of a single portolan chart.
According to Whittington the precise placement and scale of the two maps is certainly not accidental; the maps have been placed in a precise relation to one another in order to create and explain correspondences between them. In contrast to this relatively simple correspondence, another caption shows how complicated his spatial interpretations could become.
As a final word on this drawing, I want to return to one more visual feature: the form of the local city grid.
In the two previous examples, Opicinus constructed a drawing using only one portolan chart; on fol.
This doubling and mirroring of the portolan chart served a specific purpose: as Victoria Morse has argued, it allowed Opicinus to contrast the world as it was seen and known with the possibility of an alternate world converted to a state of grace. Each of the four land-figures bears an emblem on its chest a€” these signify the intention or motivation of each character.
On the bottom half of the page, however, similar captions placed on the white chart actually point to cities on that chart, rather than on the one below. Even after all of the figures in the drawing have been identified, its meaning remains elusive. There is one caption on the page that offers a tantalizing comment on its form and content.
This quoted caption outlines the general principle that Opicinus follows in these drawings that employ mirroring or correspondence a€” that the multiplied forms are generators of multiple truths and realities.
Many Vaticanus drawings contain more explicit imagery of birth and reproduction; metaphors of birth and rebirth seem to have been one of Opicinusa€™ primary ways of expressing the spiritual transformation that he underwent following his illness of 1334.
The interest in the local ramifications of the pregnancy of the European figure is explored even more closely in two drawings in which Europe is actually pregnant with a tiny map a€” fols. DESCRIPTION: A good example of Protestant theologian Heinrich Buntinga€™s Europa, Europe as a Queen.
For nearly three years, at the age of 14, he accompanied Francis Dana as a secretary on a mission to St. All passengers casually look up at a large electronic tote board that lists gate assignments. I could see the white cliffs of Dover as we crossed over the English channel and flew across to France.
It seems that they had left an entire baggage cart, from our flight, at Heathrow during one of the a€?beat the clock a€? scenarios. Sounds of French, Italian, Spanish and several other languages swam around our ears as we sat musing about where we were. At the top of the steps, we crossed a small terrace and looked down into the elegant rubble that is the remains of the Roman Forum.
Its several tiers, all filled with open arches, even now reminds me of the many sports arenas we had visited.
Then, we set out over the very pricey Via Condotti, browsing the windows of Bvlgari, Gucci, Ferragamo and a score of other trendy shops. We were tempted to enter the a€?Tre Scalinia€? and order a€?Tartuffo,a€? that wonderful roman delight that is a€?fried ice cream,a€? but passed on the opportunity in the interests of fitting into our clothes.
We wandered the back alleys, consulting our trusty map and once asking a merchant for directions.The trouble with asking questions in passable Italian is that the hearer assumes you speak the language fluently and rattles off a response in rapid fashion. We showered and prepped for the day.NCL was putting on a buffet breakfast in the hotel for the early cruise ship passengers. Three hundred and fifty cruise passengers had booked a few days in Rome and were expected this morning. We sought out and found the a€?Aa€? line that would take us up to the Vatican and the Chiesa San Pietro (St.
We could see the walls of Vatican city up ahead of us and the huge dome of Saint Petera€™s against the skyline. Petera€™s held a long line of pilgrims, school children on holiday and other penitents from the four corners of the globe.
We were debating where we would head next, when we noticed that the line had lessened for St.
Petera€? stand in their wooded splendor, for all the world like an outsized throne for some race of giants.
We sat through the mass understanding much and received communion, saying a prayer for Brothera€™s Paddya€™s repose.
I said a brief prayer for all of those whom we had lost and moved on to the marbled hallway.
It is a circular and high walled fortress that has served in different eras as a castle for the Caesara€™s, a prison, a church and now a stone monument to antiquity.
A small pile of stone cannonballs lay next to what must have been the remains of a medieval catapult, used to bomb the attackers with. A few tug boats and a single scull, powered by a lone oarsman, were all that broke the surface of this venerable and storied river. We slowly climbed the winding steps, to its heights, noting the occasional bum sleeping in the park bushes. We walked along the parkway, dodging the odd service truck, and admired the imposing bulk of the Villa Borghese, sitting on a hill above us. A group of Spanish school kids were singing happy birthday to one of their group amidst much laughter.
I signed up for an hour with the hotels internet station ( 20 euros) and sent a number of messages to friends and relatives across the ether of cyberspace. Then, we settled in with paninis, chips,acqua minerale con gassata and a good bottle of Chianti, while we read our books and got ready to join The Norwegian Dream for an itinerary we had long anticipated. On deck #12, aft, we found the a€?Sports Bara€? a small buffet-style restaurant that served all three meals daily.
Like all liners, the boat is equipped with motorized, ocean-going tenders that are wholly enclosed and hold up to 128 passengers when full. It was followed with a nice spinach salad, a grilled tuna steak and a delightful cannolli and decaf cappuccino. Its most famous Saint, Catherine of Siena, had been a dominican nun who was a a€?close associatea€? of the reigning pope in Avignon. Then, we walked into the small piazza that holds the most prized treasure in Siena, the Duomo Santa Maria da€™ Assumption. We fell in with and enjoyed the company of two colorful residents of Celebration, Florida, Pat and John McGoldrick, former Beantown (Boston) residents and fellow Irish Americans. Ensconced within are all of the original statuary and murals from the exterior of the church.As the marble became worn, throughout the centuries, artisans had replicated the original statuary and remounted them on the facade.
We elected to choose again the Trattoria for dinner, where we were seated with Ray and Sarah from Atlanta. Geographically, the rocky headland of Porto Fino separates the gulfs of Tivuglio and Paradisio.
We enjoyed the colorful front street of nice hotels, shops and restaurants, as we exited the bus in the rain. The harbor area rings a small marina, with wonderful sailing yachts scattered amidst the smaller craft.
Christiana took us through the commercial center of Genoa , stopping at the central a€?Piazza venti septembre, 1870a€? which commemorates the date of the Italian unification.
A light rain and a 42 degree chill greeted us, as we stood topside to watch the Dream get underway.
The Mediterranean Sea sparkled a dazzling blue against the bright sun and lighter blue of the sheltering sky. Francois Grimaldi, the founder of the line, came to the area in 1297, with a small army of soldiers, all disguised as monks. We followed a nicely trimmed walkway to the a€?Rochea€? (rock) area, so named because it had literally been carved from the cliffside rock. The crenelated battlement of the original castle had been added to over the generations to produce an odd hybrid. Along the roadside, at several intersections, sit scale, bronzed models of Le Mans race cars, denoting the world famous auto race that roars through the streets of Monaco every May. We skipped breakfast and had coffee topside, admiring the Marseilles harbor and the surrounding mountains, in the bright, Easter-morning sun. It is now the second largest city and largest commercial port in France, with one million people living in the metropolitan area.
We set off from the port area, stopping first at the a€?Old Cathedrala€? in the a€?vieux port a€? area of the harbor. A score or so of fishermen were minding stalls that sold fresh fish, everything from whole squid and lobsters, to eels.
The kind and elderly woman, perhaps a nun in mufti, helped clean the wound, put antiseptic ointment on it and dressed it in gauze.
The city had erected three separate, exterior walls, for defensive purposes, as the city evolved over the centuries. Unfortunately , Antonio Gaudi was killed, in a traffic accident, at a young age and construction was interrupted. Built for a 1929 world exposition, this elegant structure and plaza is now an art museum.
The theme for the evening was a€?American Presidents and their favorite foods.a€? We chose a Gerald Ford, Norwegian, salmon appetizer. The circle of the world is set in a somewhat rectangular frame background with a pointed top, and an ornamented border of a zig-zag pattern often found in psalter-maps of the period (#223). Show pity, as you said you would, on all Who their devotion paid to me for you made me Savioress. Olympus and such cities as Athens and Corinth; the Delphic oracle, misnamed Delos, is represented by a hideous head. James (Roxburghe Club) 1929, with representations from manuscripts in the British Library and the Bodleian Library, and a€?Marvels of the Easta€?, by R. The upper-left corner of the Hereford Map, showing north and east Asia (compare to the contents on Chart 3). 1), however, call attention to a remarkable degree of accuracy in the relationship of toponymsa€”for cities, rivers, and mountainsa€”both in EMM and in Hereford Map legends.A  On the Asia Minor littoral, for example, one passage in EMM links 39 place-names in a running series, 23 of which are found in Chart 4 (and visible, in almost exactly parallel order, on Fig. 5, above).A  Treating islands separately from the eartha€™s three a€?partsa€? follows the organizational style adopted by Isidore of Seville, Honorius Augustodunensis, and other medieval geographical authorities. Note Lincoln on its hill and Snowdon ('Snawdon'), Caernarvon and Conway in Wales, referring to the castles Edward I was building there when the map was being created. In England, a detailed study of its less obvious features, such as the sequences of its place names and some of its coastal outlines by G. The Psilli reputedly tested the virtue of their wives by exposing their children to serpents. The cumulative effect has been to enable us at last to evaluate the map in terms of its actual (largely non-geographical and not exclusively religious) purpose, the age in which it was created and in the context of the general development of European cartography. The Old and New Testaments contained few doctrinal implications for geography, other than a bias in favor of an inhabited world consisting of three interlinked continents containing descendants of Noah's three sons. This now-lost map was referred to in some detail by a number of classical writers and it seems to have been created under the direction of Emperor Augustus's son-in-law, Vipsanius Agrippa (63-12 BC) for official purposes. As the centuries went by, more and more was included with references to places associated with events in classical history and legend (particularly fictionalized tales about Alexander the Great) and from biblical history with brief notes on and the very occasional illustration of natural history.
Note also the Roman provincial boundaries, the relative accuracy of the British coastlines (lower left) and the attention paid to the Balkans and Denmark, with which Saxon England had close contacts.
Some, often oriented to the north, attempted to show the whole world in zones, with the inhabited earth occupying the zone between the equator and the frozen north. They were never intended to convey purely geographical information or to stand alone without explanatory text.
Often a 'context' for them would have been provided by the other secular as well as religious surrounding decorations. For many maps continued to be used primarily for educational, including theological, purposes. They reached their fullest development in the thirteenth century when Englishmen like Roger Bacon, John of Holywood (Sacrobosco), Robert Grosseteste and Matthew Paris were playing an inordinately large part in creative geographical thinking in Europe. In most, if not all of these maps, the strange peoples or 'Marvels of the East' are shown occupying Ethiopia on the right (southern) edge, as on the Hereford map. Exposure to light, fire, water, and religious bigotry or indifference over the centuries has, however, led to the destruction of most of them.
Both are now lost but it seems quite likely that the so-called 'Psalter Map', produced in London in the early 1260s and now owned by the British Library, is a much reduced copy of the map that hung in Westminster Palace. Despite some broad similarities in arrangement and content, however, there are very considerable differences from the Ebstorf and the 'Westminster Palace' maps in details - like the precise location of wildlife, the portrayal of some coastlines and islands, or in the recent information incorporated. Opicinus was a minor functionary and scribe at the papal court, which had moved to Avignon some thirty years earlier, and luckily for us he kept a kind of day-book that still survives. Numerous scholars such as Camille, Kris and Salomon point to Opicinusa€™ a€?frequenta€? self-representation in the drawings. Medieval mappaemundi often organized the land-forms of the earth around the shape of a crucifix (sometimes even a cruciform body), medieval astrological drawings commonly showed human figures at the center of cosmic and planetary networks, and the concepts of macrocosm and microcosm had been fully developed for a millennium. It is possible, and productive, to partially separate Opicinusa€™ texts from his diagrams and pictures, especially those that represent his body-worlds vision. Opicinusa€™ works present a conundrum when it comes to audience and reception, since there is no textual or visual evidence that anyone ever actually saw the drawings. Their unusual forms complicate our most basic assumptions about what and how medieval artists could represent. These structures form the core of the drawingsa€™ disorientation and strangeness a€” maps are piled on top of other maps, sometimes transparent and sometimes opaque, in a seemingly endless play of permeability and superimposition. Some drawings contain one chart, others up to four; sometimes the continents and seas are embodied, while other times they are left plain.
His drawings are so diverse and disorienting that generalizations about their design or meaning are difficult and often misleading. These drawings depict a single Africa and a single Europe, separated by the Mediterranean Sea. The figure of Africa appears to be a woman; she is labeled Babilon maledicta [cursed Babylon] by the small caption above her forehead. Captions suggest various identities: Christ, Opicinus, and a female personification of prudence are all indicated. The face is smooth and beardless (many male figures in Opicinusa€™ work wear beards), and has long, flowing hair. According to Whittington it is mainly a confrontation between two figures: a figure of Babylon (probably representing Islam) and a figure of Christianity. This interplay between the local and the global is not unusual within Opicinusa€™ texts and captions on other drawings, which often comment on the everyday world of his youth and family (we must remember that he made these drawings in Avignon, not Pavia), but the specific visual alignment of parts of Pavia with parts of the Mediterranean region is unique in these three drawings. In the bottom right corner of the page is a caption that reads, a€?Just as the islands of purgatory pay a tax to the Roman Church, so too the Chapel of St. Opicinus seems to say that when any two maps are placed in relation to each other, if they are true empirical representations of Goda€™s created earth, one will find correspondences between them. One interprets the significance of the placement of Opicinusa€™ home parish district, around the Chapel of Saint Mary, delineated with a red outline near Tunisia and Sicily on the lower map.
84v each part of Opicinusa€™ hometown is given multiple interpretations, usually based on its placement on the portolan chart, but other times simply based on etymological connections, family stories, dreams, or coincidence. Certainly the drawing contains multiple levels of reality: it is an allegorical depiction of three body-world characters in contact and dialogue, a depiction of the structural connections between local and regional realities, and a series of interpretive musings about the significance of these connections for Opicinusa€™ own life and family. As the reader may already have noticed, this grid strongly evokes the rhumb-line grids that were placed over contemporary portolan charts.
61r he uses the skeletons of two portolan charts of the Mediterranean region, which have been rotated and overlapped to form one image. 61r, parts of each of the charts remain intact, while others are distorted or hidden by the overlapping forms.
In this particular example, the map shows the natural world at the bottom and the spiritual world at the top: labels on the drawing indicate that Affrica naturalis ypocrita and Europa naturalis occupy the continents of the smaller chart while Affrica spiritualis and Europa spiritualis talk to each other in the larger chart above.
Europa naturalis bears a tarasque (a river demon from the Rhone) and Europa spiritualis contains an image of Christ showing his wounds, his side-wound situated suggestively close to Avignon, where Opicinus was living when he made the drawing. The message itself is simple enough: one must abandon the external senses that lead to sin in order to follow the internal senses to redemption.
58r of the Vaticanus Opicinus combines four small embodied portolan charts to create juxtapositions between the four seasons, the four cardinal directions, and the four states of the soul. 82r, we see many of the principles and techniques of the other drawings pushed to the limits of recognition and interpretability. On its surface lie two complete portolan outlines that retain the white color of the paper. On the upper half of the page, the brown labels all point out the location of cities on the colored chart, even though all lie on the space of the white chart; they indicate the continued presence of the map below, even when it is obscured by the upper chart. At the precise center of the drawing, a cruciform shape is formed by the two mirrored shapes of Asia Minor and the Holy Land; Asia Minor forms the two arms, and the land below forms the body of a cruciform vestment. While other drawings seem designed to convey a single allegory or a primary confrontation between figures (which are often reinforced by the particular cartographic forms that Opicinus chose for the drawing), this drawing resists this type of analysis.
According to the letter, this is a heretical position, since one species cannot be transformed into another. 84v, there are several depictions (or suggestions) of male genitalia in the Vaticanus manuscript, each of which is unique. 1350), a Pavian who worked at the papal court in Avignon, drew a series of imaginative maps, while acknowledging in a text written between 1334 and 1338 his use of nautical charts.
Ambassador to Brazil Condy Raguet's "rashness and intemperance" nearly "brought this country and Brazil to the very verge of war"?
We had finished packing the evening before, so we had time to stop at a nearby restaurant and had bagels and coffee, while reading the paper. Traffic was light, at the peace bridge and on the Queen Elizabeth Expressway, so we breezed into Torontoa€™s Pearson airport in 90 minutes, well in time for all of us to relax and check in for our afternoon flights. The plane was a€?sro,a€? every seat was filled.A few of the piccolo mostro (little monsters) squawked a bit during the flight but it went quickly enough. The neatly outlined farms, of the French country side, flashed below us in a well ordered array. Once, this small area had been graced with rows of gleaming white marble structures, the business, commerce and affairs of much of the western world had been waged here daily. We dodged their insistent sales pitches and walked out onto the Via Imperiali, walking towards the Vittorio Emmanuel II monument. The fascination of Rome is that you stumble upon these grand and ancient monuments so casually when you turn a street corner.
We were headed in the distance towards the Fiume Tiber and the Piazza Navona, another famous gathering place and site of three majestic Bernini fountains.
We smiled, strained to understand and thanked the man for a€?su aiutoa€? (his help) As a parenthetical, I dona€™t know that we have ever found a people as gracious, patient and willing to help as we have the Italians. It has classic greek columns in the front and a large dome that has at its center and open a€?occulia€? that lets light enter the dimly lit church.
You got so your ear could hear them approach and you knew you had to run like hell to get out of their way.
We relaxed in the room, wrote up our notes and then went for an invigorating swim in the hotela€™s pool.
Four blocks over, we spilled into one of the most famous squares in the modern world.The Piazza San Pietro was already crowded with pilgrims by mid morning.
We walked about the piazza enjoying the semi-circle of the grand columns with their statues of popes and saints standing atop them. A line was gathered near a tombed figure with an open, glass side, so we stood patiently in line to see what drew the attention. The frescoes on the walls, the gilded and painted windows and the wealth of two thousand years held us in awe.
I figured a mass and a lighted candle at the Vatican might give him some juice in the far beyond. For 5 euros each, we entered and walked around the inside periphery of this two thousand year old castle. Off the courtyard lies a circular verandah that overlooks all of Rome.We sat for a bit and enjoyed the view, then found a tiny cafe where we had a cappuccino with other pilgrims who visiting the fortress.
We retraced our path, down the circular ramp, and exited onto the esplanade along the Tiber, replete with cadres of africans hawking all manner of souvenirs. It is a functioning museum, with a collection of intersting sculptures and art works, but we were tiring with the day and wanted to push on.
A swirl of languages provided an auditory bath for our ears, as we walked amid the crowds, enjoying the life and laughter of so many around us. We had to ask how the Italian key board works, to find the ampersand symbol that is used in e-mail addresses. The lobby was awash with businessmen, attending some conference or other, and hundreds of other cruise-ship passengers wandering about.
The surrounding countryside was devoted mainly to agriculture, with many vineyards running along the coast. The papal states took possession of the harbor in the 14th century and it had evolved into the chief commercial port of Rome during unification in 1870.
We stood in our orange life vests, with whistle and water activated light, and listened patiently to the crew member assigned to us. It is our custom, when cruising, to have a drink at the topside bar and watch the ship leave port. We were seated at a small table for two and ordered a bottle of Meridian Merlot from a Ukranian wine steward named a€?Igor.a€? We exchanged several comments in Russian and enjoyed the conversation with him. Siena is south and east of Florence, a beautiful city of art and culture that we had already visited and enjoyed on a previous trip. We stopped in the Piazza Tolomei, the home of the aforementioned banking syndicate, Monte Dei Pasche. Finished in the late 1300a€™s, this Romanesque, white and green striped, marble epiphany, with roseate trim, is impressive. A lively lunch, well seasoned with several flagons of the local Chianti, consisted of pasta and mushrooms in sauce, asparagus risotto, (no carne for four), cheese, green beans and salad,finished off with a ricotta cheese desert that was wonderful and accompanied throughout with aqua frizzante. Looking at these originals gives you an appreciation for the odd seven hundred years that the place had been around. A huge, victory-arch framed three floral gardens that are dedicated to Christobal Colon (Columbus) and his three ships on their voyage of discovery to the Americas in 1492. The lights, of the whole amphitheater of Genoa, were twinkling in the dark as we eased from the harbor and set off Westward along the Ligurian Coast. We drove down the grand boulevard, Avenue Crossette and viewed the huge hotels, the site of the international film festival and even a statuesque column to the emperor, Napoleon.


They attacked the surprised Genoese defenders and overwhelmed them, taking possession of the area and declaring it the Principality of Monaco. We walked along the Boulevard San Martin, passing two pricey homes that housed the royal daughters, and stopped to visit the Church of the Immaculate Conception.
Reluctantly, we left the a€?Rochea€? area, with its palace and fairy tales, and returned to the bus.
We parked at another huge garage and took the elevators and escalators up to a small plaza that houses the Monaco Opera house.
Parked out front today, were an Aston Martin, two lamberghinia€™s, several Jaguars, the odd couple of lesser Mercedes and a row of other luxury cars, with an attendant to watch over them.
Czar Nicholas of Russia, and Queen Victoria of England, and scores of lesser roalty, had been frequent visitors to the area. It is of green and white striped marble construction, like the church in Siena, but much less ornate. We watched as several fishermen worked around their small fishing dories, cleaning and mending nets.
By now, I was recovering a bit and managed to remember enough French to thank her and say that she was a€?very kind for helping me.a€? I kept my hand elevated, in a position of a€?The french salute, but with the wrong finger,a€? as we walked around the grounds of the cathedral. Was this not the land from whence the phrase had originated a€?waiting for Godot?a€? We stopped by the a€?slop chutea€? for a salad and then sat topside for a bit, admiring the harbor on such a bright and sunny day. Mary took over the job of transcribing my travel notes and agreed to take notes on the next few days tours, until I could manage to grip a pen well enough to write. Portions of all three still existed and had been added to architecturally over the years in something the guide called a€?architectural lasagna.a€? It is a nIce turn of phrase. The a€?newer sectionsa€? of Barcelona are laid out in a geometrical grid, with broad boulevards and more green spaces.
The streets in the area have ornamental wrought iron lamp posts and the buildings are adorned with ornate metal floral designs.
Originally planned as a 60 residence housing project for the wealthy, only two homes were ever built. It is flanked by a lovely parkland that stretches along the edge of this hillside and looks out over the city and harbor. We squeezed into a table with two charming Southern Belles from Kentucky, Sandy and JoQuetta. We were bouncing messages off satellites, all over the world, and in instant communication with friends five thousand miles away.
In Phrygia there is born an animal called bonnacon; it has a bulla€™s head, horsea€™s mane and curling horns, when chased it discharges dung over an extent of three acres which burns whatever it touches. India also has the largest elephants, whose teeth are supposed to be of ivory; the Indians use them in war with turrets (howdahs) set on them. The linx sees through walls and produces a black stonea€” a valuable carbuncle in its secret parts. A tiger when it sees its cub has been stolen chases the thief at full speed; the thief in full flight on a fast horse drops a mirror in the track of the tiger and so escapes unharmed. Agriophani Ethiopes eat only the flesh of panthers and lions they have a king with only one eye in his forehead. Men with doga€™s heads in Norway; perhaps heads protected with furs made them resemble dogs. Essendones live in Scythia it is their custom to carry out the funeral of their parents with singing and collecting a company of friends to devour the actual corpses with their teeth and make a banquet mingled with the flesh of animals counting it more glorious to be consumed by them than by worms. Solinus: they occupy the source of the Ganges and live only on the scent of apples of the forest if they should perceive any smell they die instantly.
Himantopodes; they creep with crawling legs rather than walk they try to proceed by sliding rather than by taking steps. The Monocoli in India are one-legged and swift when they want to be protected from the heat of the sun they are shaded by the size of their foot. Flint, a€?The Hereford Map:A  Its Author(s), Two Scenes and a Border,a€? Transactions of the Royal Historical Society, 6th ser. Nevertheless, it placed a somewhat misleading emphasis on the map's geographical 'inaccuracies', its depiction of fabulous creatures and supposedly religious purpose, all clothed in what for the layman must have seemed an air of wildly esoteric learning and near-impenetrable medieval mystery.
Recent research suggests this is a reference to African traders in medicinal drugs who visited ancient Rome. Today, with the map in the headlines of the popular press, it may be time to give a brief resume of what is currently known about it and to attempt to explain some of its more important features in the light of recent research. In the eyes of some (but by no means all) theologians, a fourth inhabited continent, the Antipodes, would implicitly have denied the descent of mankind from Noah, and the depiction of such a continent was deemed to be heretical by them. It was based on survey and on military itineraries and reflected the political and administrative realities of the time.
Where space allowed, reference was also made to important contemporary towns, regions, and geographical features such as freshly-opened mountain passes.
Most of the maps, however, like the Hereford Mappamundi, depicted only that part of the world that was known in classical times to be inhabited and they were oriented with east at the top.
Traces of the maps' classical origins could regularly be seen in, for instance, the continued depiction of the provincial boundaries of the Roman Empire (which are partly visible on the Hereford map) and for many centuries by the island of Delos which had been sacred to the early Greeks being the centre of the inhabited world. They and the texts that they adorned continued to be copied by hand until late in the 15th century and are to be found in early printed books. God dominates the world and the 'Marvels of the East' occupy the lower right edge of the map, as they do on the Hereford map. Together they would have provided a propaganda backdrop for the public appearances of the ruler, ruling body, noble or cleric who had commissioned them, and some may have been able to stand alone as visual histories. The Hereford map, as an inscription at the lower left corner tells us, was certainly intended for use as a visual encyclopedia, to be 'heard, read and seen' by onlookers. Because of the maps' size, they were able to include far more information and illustration than their predecessors. More space was also found for current political references and information derived from contemporary military, religious and commercial itineraries. Today, the earliest survivor, dating from the beginning of the thirteenth century, is a badly damaged example now in Vercelli Cathedral, probably having been brought to Italy in about 1219 by a papal legate returning from England. We know from Matthew Paris that the Westminster map was copied by others, and it is likely to have had a lasting influence even though the original was destroyed in 1265.
A Latin legend in the bottom right corner of the Hereford map refers to the 5th century Christian propagandist Orosius as the main source for the map, but as we have already seen, it incorporates information from numerous ancient and thirteenth century sources and adds its own interpretations of them. The map is an outstanding example of a map type that had evolved over the preceding eight centuries. In a passage that describes what sounds like a stroke, Opicinus details how his body slowly became paralyzed; he temporarily lost his ability to speak, and much of his memory. Opicinus almost always dated the Vaticanus drawings, which were composed between June and November of 1337.
The passage describes a visionary experience: through oculus meis interioribus, Opicinus is granted a new view of the earth, one in which the land and the sea take on human attributes.
Most examples, however, lie in the realm of the theoretical, the academic, or the theological. A significant problem with many previous studies of Opicinusa€™ drawings is that they take a few lines of text, from folios of the Palatinus, or from distant pages of text in the Vaticanus, and use them to a€?explaina€? the content of Opicinusa€™ strangest imagery.
The captions (and some of the texts), then, are often the evidence of Opicinusa€™ self-analysis a€” he uses himself as a case study, personalizing the drawings through the text. Simply put, we do not know if they were ever viewed as more than a curiosity by those who encountered them.
Visual parallels to these drawings certainly exist: body-maps have been produced in numerous periods, including such famous examples as the Ebstorf Map (#224, Book II, a medieval world map that placed Christa€™s body in the corners of the earth), the Leo Belgicus (a map of the Netherlands and Belgium formed into the shape of a lion, the earliest example of which dates from 1583), or the Europa Regina, a depiction of Europe as a royal female (see below). In these drawings, Opicinus was not trying to express a single concept or doctrine, but rather to visualize the possibilities raised by an entire new way of looking at the world, based on what he had seen during his visionary experience of 1334. The varied formats of these diagrams cannot be taken for granted a€” their arrangements form a crucial and underexplored aspect of their meaning. But looking at them as a group, perhaps the first thing one notices is that the map itself is incredibly accurate. The drawings in this first a€?categorya€? are not all alike, and there is no evidence that Opicinus thought of them as a group, but finding language to describe and categorize their forms is a critical first step in their interpretation. This folio includes a cartographic picture in the upper two-thirds of the page, and text at the bottom. She is a rare example of a figure with a distinct racial identity: Opicinus darkened her skin with a grey-brown wash, in a clear reference to an African or Middle-Eastern skin tone. One could even identify Europe in this drawing as a kind of conglomerate figure of Christianity. The strongest indicator that the figure is female is the small child lying over Lombardy a€” the area always associated with the womb of the European figure. The simplicity of this contrast stands out despite the extensive texts and interpretations written around it.
Binary themes in similar drawings include a contrast between the mouth of hell and the temple of the Lord (fol. Opicinus played with this arrangement differently in each of the three drawings, changing the scales and position of the two maps, presumably seeking different correspondences. On the page we see the body-worlds with which we are now familiar: here, a female Europe confronts a female Africa, and the Mediterranean devil lies between them, his head to the east. 84r, in which the scale of the portolan chart is completely different (much smaller in comparison to the grid of Pavia); here, Opicinus identifies different correspondences and comes to different conclusions as a result of the change in scale. Yet the drawing is all about experimentation, layering, and play; to claim that creating or interpreting a drawing like this is a burden or struggle may be a modern misperception. But Opicinus piles on meanings, multiplies forms, and plays with realities seemingly as a form of experimentation. The grid may offer a clue to Opicinusa€™ working process, or the way he was inspired to create these drawings. Each of the two charts is rendered in a different scale, with a larger one oriented toward the top of the page and a smaller one pointed toward the bottom.
On each map, the western Mediterranean retains its integrity a€” France, Spain, and the northwestern coast of Africa are clearly visible both at the top and the bottom of the page.
In the Italian peninsula of the upper map, for example, which is overlapped by the eastern Mediterranean of the lower map, we see the word Roma written over the sea (on the sea-mana€™s forehead), signaling where the city would have been on the map below. Both figures of the a€?natural worlda€? are male (a bearded, older figure in Europe and a tonsured monk in Africa), while both of the a€?spirituala€? figures are female (Africa is a robed nun and Europe is a younger woman with long, flowing hair).
The question, just as in the previous examples, is how its meaning is changed, activated, complicated, or simplified by its construction within the doubled and overlapped forms of the portolan charts. Within the drawing, small lines suggest points of correspondence between elements in each of the four quadrants. The three previous drawings were characteristic of a particular type; in contrast, this drawing is unique in Opicinusa€™ oeuvre. At the top of the page are two labels for Europe and Africa: Europe is the aduena rector novus, the strange new priest, and Africa is the parrochia aliena, the parish of another. This is labeled in a caption on the right side of the page, which reads a€?behold the vestment of the Church soaked in blood.a€? Opicinus accentuated the form of the vestment by adding a small cutout for the neck.
The longer captions on this folio do not always contain a single focus, and many make no comment at all on the drawing.
But spiritually there is truth in this mirror [i.e., in this drawing], since no heresy, fiction or allegory can be found that in this mirror does not give birth, at least in part, to a certain truth? Here, Opicinus seems to say that men do not transition literally into angels of light or darkness a€” the figures of the priest and parish at the top of the page do not actually become the figures at the bottom of the page. Even as Opicinusa€™ drawings make use of the natural world and empirical science, the arrangement of their forms expresses the detachment from reality that characterizes a dream.
At first, we would not identify these as genitalia a€” they are simply two small, robed bodies that stand within the genital region of the European body.
Four of these drawings depict the body-worlds, and the reproduction always takes place within the body of the European figure. In each of these drawings, Opicinus drew a small copy of the body-worlds over the area of Lombardy, even extending it slightly into the sea near Genoa. At that instant, the entire passenger compliment, for that flight, drops what they are doing and sprints for the assigned gate, some as far as a 15 minute walk away. Then, the Italian Alps crowded the skyline.They are hills of the craggy and black granite variety, much like our own Rocky Mountains. The line was long and passengers were annoyed,some engaging in delightful histrionics, replete with loud voices and wild gestures. My minds eye could picture the parade of legions and cornucopia of other traffic that had passed this way before us in the 2700 years of Romea€™s history.
Now, it took an active imagination to look into the dustbin of history and see what once was mighty Rome.
The Coliseum looked majestic, as we looked over our shoulders, like some ancient mirage that would vanish the moment we stopped looking. We were headed to the most famous meeting spot in all of Rome, The a€?Spanish Steps.a€? They are a series of broad stone stairways that lead from the Piazza Espanga to the five-star Hotel Hassler, once the site of the Villa Medici, with its distinctive twin towers. We sat in a small park on the Piazza Venezia and looked out over the monument with its huge Italian flags wafting in the afternoon breeze. It was busy with flight crews coming and going and scores of other travelers from everywhere.The airport location is ideal for weary passengers arriving from all points of the globe. We sat down with a couple from Toronto and had a pleasant conversation.He is a retired fire fighter and she works in food service.
Long lines waited to get into the Vatican museum and its moist desired visual prize, the Sistina Chapella (Sistine Chapel). The appeared for all the world like a semi circle of stone hawkers calling forth the faithful to come in and see what was cooking inside. We jumped into line and soon were admitted into the venerable wonder that is the church of St. We scurried over to the entrance to the underground crypt, thankful for the empty bellies of the many pilgrims who now donned the noon feedbag. A long marble hallway, opened every few yards into a grotto with a marble sarcoughogus that housed the remains of another Pope. The stone work had been mended throughout the years, but reflected differing styles of stones and means of repair from the many eras of its menders. The ornate facade of the Palace of Justice, just up ahead, looks like something from 19th century Paris, in its dirty-gray limestone majesty.
Part of the ancient wall of Rome, with its standing city gate, frames the North side of the piazza. At its peak, we looked out over the Piazza del Poppolo and enjoyed the view of much of Rome.
We found the subway entrance nearby and walked down into the bowels of Rome, to catch the a€?Aa€? train back to the terminal. At 9 A,M, we walked through the lobby and again dined at the buffet breakfast put on by NCL in the hotel.
The cabin was compact, but included a small sitting area, sliding doors onto a balcony and a small bathroom and shower.It was to be our home for the next twelve days. If you ever needed this sucker, in an emergency, it might well pay to know how to hell to get on board the craft.
The powerful tug a€?Eduardo Roacea€? helped nudge the dream in a 180 degree pivot, so she was bow first and able to steam more ably from the congested harbor area.
He was to be one of several of the mostly Phillipino and eastern European wait staff with whom we were to interact. After dinner, we strolled the decks and now open shops (they close when in port) and enjoyed the comings and goings of the passengers in the lounges.
The Pisamonte range hemmed the flat coastal plain into a narrow strip of tillable land, where farmers grew large commercial crops of grapes, sunflower seeds, olives and wheat.
She had been so venerated by the church, that when the Sienese wanted her body interred in the Chiesa San Domingo, Rome had only sent her head and a finger to be buried there, retaining the rest of her remains for veneration in Rome.
We enjoyed the McGoldricka€™s company and were half lit from the Chianti when we emerged into the central piazza some 90 minutes later. I am not much taken by religious art, but had to admire the pure artistry in stone so casually laid before us. We were high in the hills and caught pictorial visages of the valleys surrounding Siena, San Gimiano and the nearby towns. Topside, we looked out and viewed the amphitheater of Genoa, that surrounds the busy commercial port. A land road now reaches Porto Fino, but in the early part of the century, it had only been accessible by boat, increasing its attraction for those looking to a€?get awaya€? from it all.
We saw a sign with an arrow for a€?Castello Browna€? and walked the steep and terraced steps leading above the village.
It is impressive enough, but the real treasure, for Americans, is to walk by a simple grave stone, amidst ancient Monagasque royalty, embedded in the floor near the main altar. We were having lunch in a€?La Chaumiere,a€? a picturesque, mountainside restaurant with a killer view of all of Monaco and the mediteranean beyond.
Cap Da€™antibe, and the sparkling blue Mediterranean, are things you could look at all day. Along the waterfront, pricey hotels dominate the grand boulevard for a stretch of seven kilometers. We much enjoyed the Martina€™s company and talked long enough for us to be the last ones in the Trattoria. We had the option of a full day tour in Provence, but had decided that too many full day tours were wearing us a little thin.
Byzantine in style, like sacre Coeur in Paris, it sits on the site of a much older church first established there in 1100 A.D. Elaborate gates , with decorative iron works guarded the palais.Three marble lions strode atop the impressive gates. It stands high on the summit of a hill, and features a huge gold tinted statue of a€?Notre Dame,a€? Mary, the mother of Christ.
It was the McGoldricks 24th wedding anniversary and we had been looking forward to joining them.
My right hand was swollen, black and blue but felt well enough to get through the daya€™s tour.
It is apparently the local custom for Godfathers to purchase ornate cakes for their godchildren on this day. The impression we got was of a very clean and well ordered city, with little graffiti, litter or urban blight.
The three other facades of the church are radically different in design, all reflecting the dynamics of the Spanish church and government in different periods of the cathedrals construction.
The ship gathered speed and we reluctantly waived farewell to a beautiful and unique city in Catalonia.
Calamari, risotto with shrimp, penne pasta, cannoli and decaf cappuccino all accompanied a Mondavi Merlot. The stitches and wound looked icky, but the tissue was already showing signs it might grow back together.
I uncorked a bottle of champagne, that the cruise line had given us, and we toasted our good fortune at being here with each other.
From its literal meaning in Greek it also signifies the plant ox-tongue, so called from its shape and roughness of its leaves.
Conventionally holds a mirror in one hand, combing lovely hair with the other According to myth created by Ea, Babylonian water god. The large city at the top edge is Babylon (its description is the map's longest legend [A§181).
12-30.A  The conservator Christopher Clarkson drew my attention to the gouge in the Mapa€™s former frame.
Talbert (Princeton: Princeton University Press, 2000), which I employ throughout my book, but with the caution that in dealing with the manuscript culture of medieval Europe, it is misleading and anachronistic to speak of a€?standarda€? or a€?correcta€? spellings, especially of geographical words. Casual visitors to the dark aisle where it hung could see only a dark, dirty image which they were encouraged to view in a pious, but also rather condescending manner.
Crone of the Royal Geographical Society, revealed that despite the antiquity of many of the map's sources much was almost contemporary with the map's creation and was secular. Much of the text that follows is an amplification of information panels and leaflets prepared for the British Library's current display of the map. Most medieval mapmakers seem to have accepted this constraint, but world maps showing four continents are not uncommon: notably the world maps created by Beatus of Liebana (#207) in the late 8th century to illustrate his Commentary on the Apocalypse of St. It may have incorporated information from an earlier survey commissioned by Julius Caesar and, to judge from some early references, it may originally have shown four continents. These texts owed much to classical writers, particularly Pliny the Elder (23-79), who himself derived much of his information from still earlier writers such as the fifth century BC Greek historian Herodotus. As befitted the encyclopedic texts that they illustrated, the maps became visual encyclopedias of human and divine knowledge and not mere geographical maps. Many were purely schematic and symbolic, showing a T, representing the Mediterranean, the Don and the Nile, surrounded by an 0, for the great ocean encircling the world, sometimes with a fourth continent being added. It was only from about 1120 that Jerusalem took Oclos' place as the focal point of the map, as it does on the Hereford Mappamundi. They retained and expanded the geographical and historical elements of the older maps - coastlines, layout and place names on the maps frequently reveal their ancestry - but to them they added several novel features.
Inscriptions of varying lengths amplified the pictures and sometimes contained references to their sources. Much better preserved, until its destruction in 1943, was the famous Ebstorf world map of about 1235. It is difficult to account otherwise for the striking similarities in detailed arrangement and content between the Psalter world map, the recently discovered 'Duchy of Cornwall' fragment (probably commissioned in about 1285 by a cousin of Edward I for his foundation, Ashridge College in Hertfordshire) and the Aslake world map fragments of about 1360. In many of its details it particularly resembles the Anglo-Saxon World Map of about 1000 and the twelfth century Henry of Mainz world map in Corpus Christi College, Cambridge. He returned to these folios frequently in the years that followed a€” many include changes, graphic additions, or new captions, which he dated individually (we find dates from the years 1338-1341, especially).
Morsea€™s other crucial innovation, in addition to asserting the rational and intentional basis of Opicinusa€™ thought, was to place the Vaticanus manuscript at the heart of her research. Salomon and others characterize the themes of the Vaticanus manuscript as just an extension of those in the Palatinus. The shapes of Europe, Africa, and the Mediterranean Sea each contain (or form) a human figure; these are the forms that Whittington calls a€?body-worlds,a€? and they constitute Opicinusa€™ most original and perplexing contribution to 14th century visual culture.
One of the things that makes Opicinusa€™ drawings so unusual is that they also incorporate a visual tradition that was practical, empirical, and scientific a€” medieval sea charts, usually called portolan charts.
He often kept adding to the drawings over many years, including new details or textual explanations, and dating them to a specific day. As mentioned above, it seems possible that the Vaticanus was never meant to be viewed by others; much of it is arranged chronologically (like a diary), rather than thematically, and the subject matter of the texts and images suggests a private function.
The meaning of such imagery obviously depends on context, but these diverse examples demonstrate how a land, country, or region has often been embodied within a human figure, to show the potential power of that space, or even the dominion of a figure over it. The images of Africa and Europe as human figures were the core of this experience, but the interpretation of the vision was left up to him. According to Whittington the formats of Opicinusa€™ body-world drawings can be grouped into four categories: (1) single portolan charts, (2) portolan charts overlapping with local maps, (3) multiple portolan charts overlapping with each other, and (4) multiple, mirrored portolan charts. The coastlines of the Mediterranean and the relative scale and position of the landforms are almost exactly the same as we know them to be today. The figure appears to be bare-chested, although no breasts are visible (perhaps they are covered by her long hair). But the label above the head of the figure seems to identify it as Opicinus assuming the identity of a€?the house of God.a€? Another caption in the Mediterranean Sea off the southern coast of France labels the figure as an Ymago Prudentie. The fact that the face is labeled as Christa€™s would indicate on the surface that the figure is male.
Yet beyond the basic characters and the captions, the drawinga€™s meaning is clearly activated or shifted by the placement of the two personifications within the geographical forms of the portolan chart; after all, it is not difficult to imagine a much simpler way to express this confrontation, using only pictures and no maps.
The scene is full of interesting and surprisingly graphic details, many of them interpreted in the marginal texts. Such interpretations are, I think, meant as models; as Morse demonstrated, Opicinus hoped that the drawings could be used by others to probe their own consciences and personal histories. Many parts of it must have been intentionally humorous, such as the basket for collecting the sea-mana€™s excrement, the graphic sexual organs, the interpretation of the Europe womana€™s pearl earrings, or the depiction of the Africa womana€™s cloak as a green river.
Even when texts in the Vaticanus indicated the stressors in Opicinusa€™ life a€”spiritual, moral, legal a€” the drawings remain exploratory and even lighthearted. Without any words from him on the subject it is impossible to know where such an idea comes from, but perhaps the grids on the portolan chart(s) from which Opicinus was working reminded him of a gridded map of Pavia that he had seen, or perhaps even made. The mapsa€™ superimposition encourages the viewer to seek correlations between them, and Opicinus reinforces these correspondences by drawing actual lines and lines of text to connect various parts.
He grafts a spiritual system of correspondences and coordinations onto this new representation of the physical world, but specifically includes details that undermine both systems, seeking instead a negotiation between the two. The rota on the breast of Affrica naturalis shows the mental processes that lead to sin: thinking, imagining, deciding, and delighting in (cogitatio, ymaginatio, electio, delectatio) lead the sinner to consent to sin (consensus peccati). These can either connect the same geographical location between two separate maps (as in the line drawn between the two Carthages on the upper left map and the lower left map), or establish a point of contact between the same physiological parts of two body-worlds on the same map (as in the line drawn between the reproductive areas of the Europe-woman and the Africa-woman in the upper-right map). It contains four complete portolan charts, all the exact same size, placed in careful relation to one another through overlapping and mirroring. This is different from the numerous drawings in the previous category, in which the two charts overlapped one another; here, the two white charts on the surface of the page are both complete diagrams of the region, reflecting one another along an invisible horizontal line in the Holy Land and Asia Minor.
The figures seem to present the encounter between a new priest and his new parish (a situation that Opicinus underwent several times in his early career). The role of this form in the drawing is ambiguous a€” its cruciform shape and its a€?soaking in blooda€? certainly evoke Christa€™s sacrifice, and its position at the heart of the drawing, precisely where the two white maps are mirrored, suggests that it may be significant in the transition between the two. One caption on the left side of the page is a short rant about the mosquitoes that were bothering Opicinus while he made the drawing, while another, longer text at the lower left is an extended metaphorical description of the penis, describing how, like a heretic disobeying the Church, the penis disobeys the orders of the body. It is the caption that tells us something different; over their heads are written the words a€?matrixa€? and a€?virgaa€? a€” womb and penis. Representing pregnancy and birth inside of Europe was a way for Opicinus to convey how both good and evil tendencies enter the world. Some researchers have convincingly explained this positioning of the tiny body-world figures as indicating a Caesarian birth; as Opicinus explains, the two figures are born through Genoa, the a€?forced porta€? in the stomach of the European figure, rather than through Venice, the a€?natural porta€? of the figurea€™s vaginal canal (Opicinus makes the pun about Venetian a€?canalsa€? several times). The earliest depiction of Europe as a woman is believed to be by the 14th century Pavian cleric Opicinus de Canistris for the papal court, then at Avignon.
The Caribbean flights all fly out of Toronto in the early hours of the day and the European flights in the early evening hours. The hills were laden with snow beneath us as we soared over them.They looked cold, jagged and forbidding. We had decided to eat at the Hotela€™s a€?Taverna,a€? rather than risk ramming around the area when we were this tired.
We collapsed into a dreamless sleep of crowds, noisy children and the other bugaboos of travel crowding our heads.
We dressed for the day and walked the half mile over to the airport terminal.Throngs of people were scurrying about. The remaining spaces are crowded by large brick apartment complexes, stretching all along the train line that runs from the airport to Rome. The painted frescoes and saints statues had replaced the many ancient and pagan deities that had once adorned the niches in the walls. We sat in the Antico cafe and enjoyed a cappuccino, looking out over the ancient Theater Marcello, another gracious ruin where the Caesars had enjoyed theater productions. The train was just about to leave the station, so we sprinted down the track and jumped on board just as the conductor gave the engineer the wave off.
Complexes of brick condos and apartments signaled the arrival of the local stations, which we breezed through without stopping. We had already viewed this wonder on a previous visit and were not ungrateful that we didna€™t have to stand in the two-hour long line. He had loomed large in my child hood and now I was here staring at his elegantly clad remains, like some rural Russian first encountering Lenina€™s tomb in Red Square in Moscow.
A 60 foot high cliff, with grecian columned buildings, marks the eastern edge of the Villa Borghese and frame much of the remainder of the piazza. Then, we came upon the top of the Spanish steps and the storied Hotel Hassler and a few other four star and elegant small hotels.
The winds were freshening and the waves were splashing high above the seawall, as we glided from port, waving by to Roma until we could return once again.
It is from these small range of mountains that the world-famous Cararra marble is quarried. The olive trees took thirty years to mature enough to yield sufficient fruit for a pressing. Many were small walled villages from the middle ages, replete with castle walls, church and bell tower. Nearby Florence and the beautiful walled village of San Gimiano also sit on this road and prospered from the pilgrims and commercial traffic that flowed along its length. It all sounds a bit grisly to us now, but it was the time-honored custom of the medieval church in Italy. One large center and two smaller flanking triangles, of painted Murano glass, project colorful scenes of the Virgin Mary. The Piazza is cobbled, and slanted to funnel into a flat area just in front of the Siena City Hall.
Oysters Rockerfeller, salad, lobster tails and peach cobbler, with merlot and cappuccino, were wonderful. The Norwegian Dream would motor 118 miles North, to Genoa this evening, arriving by early morning. The city is shaped like an alluvial amphitheater and carved from the surrounding mountains, like Naples far to the South.
The bus traversed several large tunnels, through the surrounding mountains, in our passage south to the Ligurian coast.
The coastal hills rose steeply, behind the narrow strip of road, as we motored past the Porto Fino headland and coasted towards the small harbor area that is Porto Fino. Bougainvillea and other flowers were in bloom here and gave an aura of color and warmth even in the rain.
Flagons of Chianti and a soft, white wine accompanied fried mushrooms, pasta in pesto sauce, seafood lasagna, fried fish cakes (for the vegetarians.) Strawberries in lemon ice, with Decaf cappuccinos finished this tasty repast.
It is glass walled and occupies three terraces and the entire rear of the ship on deck # 9. It would be a long day for us, so we headed to the cabin to read and retire from another hard day of touristing. The wholea€? countrya€? is carved from the cliffa€™s side, with terraced sections up and down the mountain.
It reads a€?Gratia Patriciaa€? and houses the remains of Philadelphia-born film star, Grace Kelly. I smiled momentarily, remembering an episode from the Television series, a€?The Sopranos.a€? The main character had unknowingly parroted a remark he hard from his shrink, referring to a€?Captain Tebesa€? as an elegant place to visit. Across the roadway , from the hotel and along the seaside, run a similar lengthy of beaches. Mary and I reversed course and walked along the marina and haborside, into the main square of Canne.
The waiter was too polite to ask us to leave, but I had been thrown out of enough places already to recognize the imminent nature of the a€?buma€™s rush.a€? We made our goodnights and returned to the cabin, to read and relax. The guide wasna€™t doing any hand flips over the architectural style and there didna€™t appear to be any large crowds around on this, an Easter morning. Andre Dumas, a native of Marseilles, had written the a€?Man in the Iron maska€? using these prisons as his locale. Strollers, tourists and shoppers were already out and about the small a€?old harbor.a€? The restaurants were open, and the chairs put out, for the coffee drinkers. My hand was throbbing to beat the band, but hey, no one likes a whiner, so we went and were glad we did.
A former Roman outpost, from the first century, Barcelona is now the heart of the Catalonia region of Spain.
Gaudi offers a unique marriage of art and architecture that is elegant in composition and a delight to the eyes.
The front facade rises in four towering and conical spires of dark brown sandstone, that narrow into tapered and brown-stone, laced pillars. I could write several chapters on this elegant sandstone epiphany, but suffice it to say that it is a conceptual marriage of architect Antonio Gaudi, and painter Salvatore Dali. A large fountain, floral gardens and a well-ordered square complete and compliment this lovely square. I managed, in my best high school German, to tell the Germans that a set of my mothera€™s grand parents had come from Munich and that Buffalo has a sister-city relationship with Dortmund, a mid sized city near Dusseldorf. Crone points out that this reference has special significance because Augustus had also entrusted his son-in-law, M. Sometimes identified with Sirens, the mythical enchantresses along coasts of the Mediterranean, who lured sailors to destruction by their singing.
Amazon means a€?without a breast,a€? according to tradition these women removed the right breast to use the bow.
At the right edge, a looping line shows the route of the wandering Israelites in their Exodus from Egypt; it crosses the Jordan to the left of a naked woman who looks over her shoulder at the sinking cities of Sodom and Gomorrah in the Dead Sea (she is Lot's wife, turned into a pillar of salt [A§254]. 400), a text that was often attended during the Middle Ages by diagrammatic a€?mapsa€? illustrating the concept.A  See also David Woodward. Others delved into the question of its authorship, which had previously been assumed to be obvious from the wording on the map itself.
The medievalized depiction on the bottom left corner of the Hereford world map of 'Caesar Augustus' commissioning a survey of the world from three surveyors representing the three corners of the world may be based on a muddled - and religiously acceptable - memory of these classical events. Even though the inscriptions on the maps gradually became more and more garbled and the information more and more embellished, distorted, and misunderstood, they nevertheless retained their tenuous links with ancient learning. More than simple geographical shorthand, such maps were also meant to symbolize the crucifixion, the descent of man from Noah's three sons and the ultimate triumph of Christianity. Palestine itself was usually enlarged far beyond what, on a modern map, would have been its actual proportions. A note on one of the most famous of them, the Ebstorf, says that it could be used for route planning. Although the maps were still dominated by biblical and classical history and legend, most other information seems to have been acceptable and was accommodated within the traditional framework. Far larger than the Hereford Word Map and much more colorful, it was probably created under the guidance of the itinerant English lawyer, teacher and diplomat, Gervase of Tilbury.
In transmission some facts and text became garbled and some inscriptions are gobbled gook or wrong. The dating of the Palatinus is more complicated a€” the large autobiographical calendar on fol.
The Vaticanus was often mentioned by earlier authors, but had never been the object of extensive study, perhaps because its visual material is smaller and less elaborate than the large Palatinus folios. These and other claims are refuted by Whittington with a basic statistical analysis of the manuscriptsa€™ subject matter.
Their enigmatic forms, expressions, and arrangements have the power to arrest the attention of modern viewers, reversing expectations about what sorts of imagery were possible in the early 14th century. The a€?world,a€? in Opicinusa€™ drawings, is always represented using these charts; they form the drawingsa€™ structural basis and frame their meanings. Still, crucially, this does not make the drawings, in their inception, a€?abouta€? Opicinus.
The large size of the Palatinus folios suggests a more public function, given their physical similarity to large medieval wall maps and portolan charts. Here one sees before a map of the Mediterranean world a€” Europe, North Africa, Anatolia and part of the Near East are left the white color of the paper, and the seas around them are tinted with a reddish-brown wash. The incredibly diverse drawings that he created in the years that followed were his way of exploring the meaning of this vision and experimenting with different strategies for representing its shape and scope, searching for the arrangements and combinations that would lead him to the deepest meaning. Opicinusa€™ maps were based on the most modern and technically accomplished cartography of his day a€” marinersa€™ sea-charts, which we call portolan charts.
Several folios depict only the western portion of the standard Mediterranean portolan chart, limiting their view to the area between Gibraltar and the boot of Italy.
The geographic range of the depicted portolan outline is narrow - we see Gibraltar, Tunisia, France, Spain, and Italy, but none of the eastern Mediterranean, which is cut off by the drawinga€™s lower edge. Little is visible of her lower body, but she wears some kind of cloth wrapped around her waist. However, the most prominent indicator of the figurea€™s identity is the large rota around the face in the Iberian peninsula, which seems to label the figure as Christ. The drawing thus suggests a combination of male and female elements: a pregnant female personification of Christendom, with Christ at the head and heart. In this first example, where the contrast between the two figures is simple and direct, we can more easily explore two ways that the form of the drawing a€” its geographical frame a€”may change the meaning of these figures. For example, the Mediterranean figure appears to have two sexual organs a€” one massive penis that seems to be ejaculating onto the southern coast of Spain, and another that he clutches in his fist (presumably in an act of masturbation) near Venice. 84v, numerous captions explore the moral, theological, quotidian, and incidental correspondences created by the overlay of the city grid on the portolan chart. In addition, the monastery with which they were both associated fell near Rome on the portolan chart. The revelation and the experiment were meant to be used by anyone a€” Opicinus is using himself as a test case, taking examples from his own life, family history, and childhood, and using them to interpret the correspondence between the two charts.
These are all examples of Akbaria€™s horizontal allegory, or of allegory as a primarily interpretive act; Opicinus creates the structure (which may or may not have an intrinsic meaning a€” in this case, it seems not to), but the primary work is put into interpretation, play, and the creative exploration of his visual construction. Opicinus created, an over-determined world because of its opportunities and flexibility, not to build a burdensome system that would collapse on top of him.
This basic format is repeated on at least eight other pages in the Vaticanus; again, there are variations in the size and placement of the two maps, but all of these examples include two portolan charts that are laid on top of one another.
In the smaller, lower image, the negative space of the chart a€” the sea a€” is tinted with a light brown wash, delineating the body of the so-called a€?Mediterranean Man,a€? often labeled a€?Lucifera€? His head and beard occupy the eastern Mediterranean (his ear tucked against the Nile delta and curving beard shaping the coast of the Anatolian peninsula), his arms gesture near Italy (one fist plunging violently east of Italy, forming the Adriatic), and his feet poke out near Gibraltar, between the faces of Europe and Africa.
On this page he connects the two representations of the Adriatic with a diagonal line that slices through the center of the image, running from Venice on one chart to Venice on the other.
Morse also points out that different renderings of the sea in the two charts likely correspond to their content; the embodied a€?devil seaa€? lies between the natural worlds, while the a€?spiritual seaa€? is left empty, perhaps to indicate its purity. Small lines connect the first four concepts to the eyes, ears, nose, and mouth of the Africa-figure, indicating the complicity of the exterior senses in this pathway to sin.
74v how Opicinus, by framing his allegories within the portolan charts, solidified their meaning into measured form, aligning the worlda€™s shapes with the truths and figures they revealed. The meaning of such lines remains ambiguous, but they do suggest points of contact and interconnection between elements that are otherwise set in opposition to one another.
All four of these portolan charts are embodied, creating eight distinct characters: four male figures of Europe, and four figures of Africa (two angels and two male figures). Rather than containing the figure of the diabolical sea, the spaces of the Mediterranean and Black Seas on these two charts are left as windows through which the viewer can see the other maps in the drawing.


The colored worlds below are not labeled, but the figures seem to be a precise mirror of those on top, in both gender and physical appearance. Opicinusa€™ statement about the generation of meaning seems to apply both to this drawing and to many others that depict multiple levels of reality (usually through multiple iterations of the body-worlds). 82r becomes overwhelming, Opicinus provides the viewer with visual cues to make sense of the drawinga€™s disorienting forms. This drawing contrasts two complete sets of body-worlds, one overlapping and partially obscuring the other, and two very different depictions of genitalia are found in the area around Venice on both depictions of Europe. In a passage early in the Vaticanus, Opicinus describes how the a€?diabolical seaa€? inseminates an already-pregnant Europe, splitting the child unnaturally into two figures a€” Europe and Africa. Victoria Morse shows the way that Opicinus read meaning even into the precise position of these two tiny body-worlds over Lombardy below, determining which local cities fell under Africa and Europe.
It was here that we encountered the curious version of what we were to call a€?beat the clock.a€? Terminal # 1 is the jump site for many of the shorter European flights from London. How the heck the luggage guys can figure this out and bring the right baggage to the quickly assigned gate appeared to be problematic, as we were to find out.
We waited resignedly for our turn and then filled out the appropriate forms, with the besieged agent at the desk. We recognized the bleary look in some of their eyes and knew that they had just flown in from far away. Throngs of tourists, from all over the globe, swirled around us in a multi-cultural sea that was dizzying to the ear. The Romans had staged sea battles, gladiator contests and all manner of spectator sports in these halls. It was one of those magical moments when you are very glad to be alive and with a loved one.
After our swim, we read our books and soon fell into the arms of Morpheus, where we slept like dead alligators in a swamp, for a blissful eight hours. We crossed over the Tiber River and smaller streams, noting the unique triangular, truss-supports on some of the more rural bridges.
We hung on to over head straps and looked out into the gloomy subway, eyes unseeing like the most veteran romans. We had purchased rosaries on a previous trip and wondered again at the whole a€?blessed at the vaticana€? scam. I looked on amused and amazed at what i was seeing, as the temporal veil of two thousand years of recent history raced through my mind. Inside, we followed the circular walkway that rose gradually up the 90 some feet into the air, to the castles battlements high above us.The ramp was designed to carry popes and caesars in coaches ,high above us, where they could be walled in from besieging marauders.
Twin churches on antiquity, now banks, guard the entrance to the Via Corso to the South, and the rest of Rome. Further down the parkway we knew lay the hotel Hassler at the top of the imposing Spanish Steps.
We thought about stopping at the Hotel Hassler for coffee or a drink, but were convinced that they would recognize me for a scoundrel and give us the heave ho. We found a spot where we could hang from over head straps and enjoyed the ride back to the Airport. Nazaire France from 1991-1993 for $240 million dollars and originally named the MS Dreamward.
After dinner, the stewards would take whatever portion of the bottle of wine that you consumed and save it for you in a central repository where you could call for it from any of the several restaurants on board. Michaelangelo had been a frequent visitor in the quarries, to select blocks of marble for his sculptings. This treasured fruit would yield 19 kilograms of oil from every 100 kilograms of olives pressed. I dona€™t think we, as Americansa€™ have much of an appreciation for this a€?quiltwork of principalitiesa€? that made up a region, each warring with the other over the ages.
The Monte Dei Pasche, a commercial banking syndicate of Siena, had also become the bankers for the papal states and collected both interest on their loans and outstanding debts for the popes for centuries. Around its periphery are a series of hotels, trendy shops and restaurants with awnings and chairs for tourists and Sienans to enjoy the Tuscan sun. A series of large ravines, carved by glacial or ancient river action, were speckled with housing complexes and spanned by lengthy bridges, now loaded with morning traffic. We could see Castello Brown high above the village.It looks like a medieval fortress, but later proved to be but fhe fancy digs of a former 19th century British ambassador. Afterwards, we walked along the narrow harbor path, looking in the various shops and taverns facing the sea. Meridian Merlot accompanied a three-berry compote, a lemon fruit soup, salmon and risotto, with chocolate cake and decaf cappuccino. Several eighty and hundred-foot power yachts lay at anchor in the upscale marina, attesting to the citya€™s glamourous reputation.
The police were cordoning off a route from the Palace to the Church, for the royal family, and clearing traffic from the streets.
Several flagons, of a decent , house, red wine, accompanied salad, pasta, cheesecake and cappuccino.
We passed on the privilege and watched for a time the ebb and flow of tourists walking in and out. Above the beaches runs an elevated promenade upon which throngs of natives and tourists were walking. It had been a long and enjoyable day, in a fairy-tale setting, that evaporated from our consciousness with the setting sun. Some places were elaborately laid out, with formal tableware, perhaps in anticipation of Easter Brunches later in the morning.
The site had been built to commemorate the arrival of water, in underground pipes, to Marseilles. The sight lines, from the elevated promontory, were gorgeous, but our attention was a bit distracted.
The doctor was away from the ship, so she further cleaned and disinfected the wound and wrapped it in sterile gauge. He didna€™t think much of the tissue would survive, but put five stitches along the underside of my ring finger, disinfected the wound, wrapped it in sterile gauze. The entire front facade, beneath them, is engraved with images of the life of the Holy Family, the birth of Christ, the adoration of the Magi, the crucifiixtion and death of Christ and the last judgment.
After dinner, we walked the decks for a while enjoying the comings and goings of so diverse a population of passengers.
Her English was better than my German, so we talked for a bit about the usual pleasantries. The circle one-third of the way from the bottom is Jerusalem, the Map's central point, with a crucifixion scene above it ([A§387-89]).
Its images and decoration have been examined from a stylistic standpoint by Nigel Morgan and put into the context of their time, while the late Wilma George examined the animals in the light of her own zoological knowledge [2] The chance discoveries of fragments of other English medieval world maps in recent years [3] have expanded the context within which the Hereford World Map can be examined, and the Royal Academy exhibition, 'The Age of Chivalry' of 1987 enabled the map to be displayed in the company of other non-cartographic artifacts of its own time. Generally, though, it was not difficult to adapt surviving copies of existing, secular world maps to suit the purposes of Christian writers from the 5th century onwards. This was in order to match its historical importance and to accommodate all the information that had to be conveyed. Christ would, for instance, be shown dominating the world, or the world might even be depicted as the actual body of Christ. The world was shown as the body of Christ and much space was devoted to the political situation in northern Germany: an area of particular concern to the Duke who may have commissioned it.
The first 48 contain little visual material besides a few marginalia, while the second half of the book includes some text-only pages, some full-page drawings, and some smaller drawings with extensive text on or around them.
11r, which provides the most complete information about his life, ends with June 1336, suggesting that this drawing was finished by that date.
In contrast, Morse demonstrated that the Vaticanus holds the key to understanding Opicinusa€™ thought: its drawings are more intimate and revealing, and it contains over a hundred pages of text. Portolan charts were modern, cutting-edge diagrammatic maps of the Mediterranean region, and Opicinusa€™ use of them transforms what would otherwise have been old-fashioned, theoretical, and primarily textual drawings into a completely new type of representation. Interpreting the vision with relation to his own body and life was only one of the tactics that he used. The drawings in both manuscripts could have been preparatory studies for some larger-scale project or commission that was never carried out.
According to Whittington, to explain what the body-worlds a€?mean,a€? one must explore how and why Opicinus harnessed these maritime maps to a completely different purpose from that for which they were created.
Others include the entire range of the chart, from the Atlantic Ocean to the Black Sea and the Holy Land. Small captions and rotae are positioned at various points on the map; some of these are placed to comment specifically on a geographical feature, while others remark more generally on the drawing and its characters. A worm or snake emerges from an otherwise empty circle on her stomach, twisting along the North African coast, its mouth gnawing on the figurea€™s thumb near Carthage. Large red capital letters spell out C-R-I-S-T-U-S, with each letter also being the first letter of one of the seven gifts of the Holy Spirit.
Opicinus uses the portolan chart to construct a binary system in which values can be opposed, and also to place these allegories or personifications within a space that is, in the broadest sense, real. On the southern coast of France, a basket-woven pattern is explained in a caption as a basket to catch the excrement of the sea-figure. For example, in a short passage in the upper left corner of the page, Opicinus mentions that the body of the sea-devil extends beyond the inner city wall of the Pavian map, which he interprets as a sign that malice and mischief are spread out in the city; beyond the old city walls.
An over-determined world allowed him to make visible to himself and his potential readers the primary concerns, impulses, histories, and spaces of his world and his body in a way that led to potentially productive connections and revelations. In contrast, the sea of the larger top map is not embodied, and retains the color of the paper. This line could help the viewer perceive the imagea€™s orientation, by providing a reference point for the location of the same city on each map at this crucial juncture at the center.
The sea-figure takes control of the pagea€™s center, superimposing his twisting body over the eastern half of the upper, spiritual chart a€” his a€?negativea€? space dominates the positive space of the other chart.
In contrast, a caption on the rota for Affrica spiritualis points to the interior senses (sensus interiores) that indicate spiritual progress: meditation, contemplation, discernment, and rumination (meditatio, contemplatio, discretio, degustatio). They also establish that the body-worldsa€™ identities as both bodies and maps remain significant on their own; because connections rely on their status as both maps and bodies, one is not emphasized over the other. This window or outline a€” the negative space of the upper drawing a€” provides a view onto a world of color.
The mirror of any of his creations, which he acknowledges are fabrications (in the sense that they are imaginary and exploratory), will always contain some new level of meaning.
The two red lines indicate the precise point where worlds are mirrored, and the differentiation in color a€” white, brown, and red a€” brings the forms of the body-worlds into a near-sculptural relief.
In the overlapped body-worlds, which are tinted with red and brown wash, we see a small penis depicted inside the figure of Europe, just past the fist of the Mediterranean figure. It must be acknowledged that both figures are shaped like small penises, but it is also true that in medieval anatomical texts the female genitalia are often described as an interiorized mirror image of a male penis, so perhaps we should not be surprised that the two are a€?personified,a€? if we want to use that term, in similar ways. According to Victoria Morse, Europea€™s pregnancy was also related to local political situations, visualizing the (sexual) corruption of Lombardy within an otherwise holy European body. She then contrasts this a€?violenta€? delivery of the figures with the small baby depicted on fol.
In 1537 the Tirolese cartographer Johann Putsch celebrated the Hapsburg rule over Europe by presenting a placid a€?Europa Reginaa€? wearing Charles Va€™s Spain as a crown and Ferdinanda€™s Austria as a medal at her waist, representing the triumph of the Hapsburgs. The Apennines extend down the spine of Italy, appearing like some great skeleton on an exhibit, in a natural history museum. We had some decent Chianti, very tasty caesar salads and bread, with cappuccinos afterwards. We watched amused at the scores of a€?smart carsa€? and compacts scurried in and out of the congestion, jockeying for position in the moving metal stream. I could picture the Romans arriving late, complaining of the heavy chariot traffic, as the sat in their assigned seats, waving at acquaintances and craning their necks to see what dignitaries now sat on the elevated dais. The Spanish Ambassador to Italy had once lived in a villa, just off these steps, giving them their name. We admired the smooth marble and artistic workmanship and pondered for a time the march of civilizations that had come here to worship throughout the centuries, each praying to a a€?goda€? that they held dear. Then, we were standing in from of a glassed-in sepulcher that reputedly holds the remains of the founder of the catholic church, the rock upon which Christ had built his earthly church, Peter, the fisherman. A tunnel even supposedly exited underground.It ran from the vatican, some blocks over, to the fortress where popes could retreat in times of attack.
We sat by the fountain, listening to a musical group playing nearby, and enjoying the whole panoply of activities that swirled around us in this huge meeting place in Rome. We walked about, enjoying the many artists who were painting alfresco portraits of the tourists, much like the Place du Tetre, behind Sacre Cour, in Paris.
The first pressing is the most valued and usually labeled a€?extra virgin oil.a€? A killing frost had destroyed much of the local trees in the 1980a€™s. It gives rise to our fascination with castles, moats and the whole medieval mythology that surrounds such areas.
The syndicate was so successful that in later years the Siena City council had mandated that 50% of their annual profits were to be turned over to the city for a€?public improvements.a€? The annual rebate now runs to $150 million a year and funds much of the restoration of the medieval town. Each year, on July 12 and August 16th, a colorful horse race is run around the periphery of this wide Piazza, with ten especially trained horses and jockeys representing parts of the city. We laughed a lot, enjoyed the food and each othera€™a€™s company and made a nice day from a soggy one.
An interesting collection of brick-faced apartments, all shaped in the form of tan pyramids, caught our eye towards the shoreline. Directly in front of the casino, and rising upwards to a level of the city some 50 feet above, are a series of terraced fountains and floral gardens all bedecked in colorful flags and pendants. We noticed that many of the stately older villas,along the roadway, were in some state of decline. The beaches sported colorful names like a€?Miami,a€? and a€?Opera.a€? In the Summers, this place must really rock and roll! It was too chilly to sit in the outdoor cafes, so we walked the length of the area, drinking in the sights and sounds of a place that we would never perhaps return to.
A detachment of the French foreign legion had been stationed at this imposing stone edifice.
He told me to a€? take two aspirins and garglea€? and come back in a few days to see how it progressed. The statue was supposedly pointing towards the West and the new world, but somehow, the statues orientation had been turned so he was pointing South. They do things like that in Europe where centuries are relatively much shorter spans of time than in America. The homes, more Spanish style, Hansel and Gretel-type cottages, also feature elegantly tiled exteriors that are in the Dr. We sat for a time in the star dust lounge, but the entertainment was just as lame as our previous encounter.
Carte marine et portulan au XIIe siA?cle:A  Le Liber de existencia riveriarum et forma maris nostri Mediterranei. The amount of space dedicated to the other parts of the world varied according to their traditional historical or biblical importance and the preoccupations of the author of the text that the map illustrated. The representation and interpretation of this divine image of the earth would occupy much of the rest of his life. Other dates in the manuscript are scarce; most scholars agree that the bulk of the drawings were completed between February 1335 and June 1336, with later additions stretching all the way to 1350.
Opicinus was working during a crucial moment in the history of cartography, when numerous artists and mapmakers sought to combine old and new forms.
Most of the drawings suggest other interpretive avenues, through personifications, allegorical confrontations, or superimposition; one does not have to turn to Opicinusa€™ biography to explain them. It is also possible that these works were intended, like several of Opicinusa€™ earlier treatises, for the Pope. In this example, Europe is embodied as a man a€” his head occupies the Iberian Peninsula, his chest and stomach lie in France (where some kind of beast in the ocean tries to bite at his shoulder), his arm arches up through the lowlands and Germany, and his legs occupy the Italian peninsula and the Dalmatian coast. He used this technical, practical, scientific cartography to probe deeper into the nature of God and the created world. But all of the drawings in this category share a single feature: they include only one map, one level of cartographic reality on the page. The two figures that constitute, lie within, or coexist with Africa and Europe are classic examples of Opicinusa€™ body-worlds (the third figure that often appears in the Mediterranean is not included, in this particular drawing). In two outer concentric rings Opicinus places the names of the seven planets and the days of the week.
Yet their placement within a map, particularly an empirical one which was actually used for travelling, emphasizes the tenuousness of such binary oppositions. Despite these and other details on the figures, the actual bodies seem less important to Opicinus in these three drawings; the commentary focuses more on the physical interplay and connections between the two overlapping maps.
It is not that he thinks that this image of the two maps placed in this particular arrangement is necessarily a€?correcta€? or a€?truea€? a€” on fol. 84v offers further evidence that Opicinus viewed the portolan charts as empirical representations. At the centre of the page the embodied eastern Mediterranean of the lower map (including the Black Sea) overlaps both the land and the sea of the upper map, so that its eastern half (part of Italy and all of Greece, Egypt, and Turkey) is obscured.
Or, given the opposing genders of the two Europes in the maps, and the fact that the area at the top of the Adriatic was understood as the erogenous zone of the European body, the line could suggest a sexual point of contact a€” even intercourse a€” between the two figures. It is necessary first to describe and explain the drawinga€™s complex structure, before discussing its content in relation to several captions that surround it. In the space below, the continents are shaded a brick red, while the seas are painted a soft brown-grey. The interpretive paradigm for this drawing must be one of experimentation; it is the only image in the manuscript with this particular arrangement of forms, and through it Opicinus only seems to have arrived at fragments of meaning. The small caption nearby simply reads Venetie [Venice] and without further explanation it is unclear whether the penis belongs to the European body, depicted lying back against his stomach, or whether he is somehow being penetrated by a small penis belonging to the sea-figure. Here, reproductive sexuality is a sign of corruption; elsewhere, as we will see, it is a marker of generative spirituality. 74v, which is positioned for a normal delivery through Venice, with its head down and its arms folded peacefully in prayer.
The queena€™s crown (Spain), orb (Sicily), and heart (Bohemia) from a triangle that directs the viewera€™s eye away from Eastern Europe toward the West. We had had the foresight to pack some essential in our carry-ons and werena€™t too disturbed at the loss of our luggage. The bus let us off on the Piazza Campodoglio, just behind the Vittorio Emmanuel II monument, that enormous a€?wedding cakea€? that seems to dominate all of the Roman skyline. We wondered again at the many parades of conquering armies that had this way trod, dazed captives, strange animals and other trophies of victory shepherded before them, to the delight of the cheering throngs. The Romans had even engineered a means of stretching a huge canvass across the top of the structure, when the high sun of summer was beating down on the arena. They set out their chairs, under awnings, and wait for the tourists to come and sit in the Roman sun, dining and watching each other. I wonder if any of then considered the similarities of their exercise rather that the dissimilarities?
The street was awash with people going to work and throngs more, even at this early hour, headed to the Vatican. We had been here twice before, but stood silently in awe of Michaelangeloa€™s white-marble epiphany. As in most situations, when you find yourself overwhelmed by what you see, it soon becomes normal.
We always do a double blink when we find ourselves in places like this, to remind us that we are really here and not meandering in some day dream in a place far away. It was getting late in the afternoon and we were thinking about making our way back across the city to the stazione terminal and the train back to the airport Hilton.
The newer trees were only now approaching the proper maturity to deliver ripe olives for oil pressing. On one hilltop, we espied the village of Monteregione, with its village wall and twelve turrets rising above the skyline.It is an outline much known in Italy and used on their former currency.
A column stood in this piazza, atop which is the form of a she wolf, with two infants suckling her.
That was to be the last time we agreed to a€?share a tablea€? with strangers when asked by the various maitre-da€™s. Along the many coastal areas, we noticed the old fishermena€™s homes, that are painted in various bright Mediterranean pastels.
We boarded and I stopped by the deck # 9 internet cafe to send a few message into cyber space. We were now on the a€?middle corniche (cliff) road.a€? Most of the coast, in this area, is a very steep hillside that slopes precipitously towards the Mediterranean. The population of the Monaco is comprised of 10,000 French, 10,000 Italians, 5,000 Monagasque (natives) and a sprinkling of other nationalities. The sun was shining brightly overhead, the Mediterranean sparkled blue in the distance and a fairy tale changing of the guard was in progress for a fairy tale prince. We walked about the beautiful parkland, enjoying the flowers, the bright colors and the activity in and around the casino. We wandered its narrow alleys, dodging other tourist who had been game enough for the walk. It was getting late and cooling off, so we walked back to the dock and stood patiently in the long line for the tender ride back to the ship.
Looking out towards the fortress, on the very edge of the harbor, is a large stone arch built to commemorate French soldiers killed in the Orient. Across the small plaza, from the Cathedral, sits a more modern building with a huge painting by Picasso, on its facade. Reliefs of fruits and vegetables, animals and other symbols of nature display a pantheistic overview of God and creation. It is these chance encounters, with people from everywhere, that really make a cruise enjoyable. Behind the blue band of the river is a grim array of grotesque figures to indicate the existence of primitive peoples. There may be significance in the soulless mermaid placed in the map close to the unattainable Holy Land, or she may be a possible temptation to sea-faring pilgrims. Phillott, wrote that it shows a a€?rejection of all that savoured of scientific geography, . Because of this, space devoted to the author or patron's homeland was often much exaggerated when judged by modern standards, as in the case of England, Wales and Ireland on the Hereford Mappa Mundi.
Crone demonstrated, the Hereford also contains sequences of the more important place names along some major thirteenth century commercial and pilgrimage routes. In over eighty surviving drawings, now kept in the Vatican Library and referred to by scholars as the Vaticanus and Palatinus manuscripts, he experimented with how he could uncover the meaning that he was sure God had planted in the vision he saw, in the hope that his drawings would help to renew the faith of all Christians. Far more drawings in the Vaticanus portray body-worlds (23), while few in the Palatinus do so (6). This encounter between the scientific and the spiritual is best explored by looking at the structures that Opicinus used to create the drawings.
Another rota lies inside France, near the location that Opicinus usually associates with the a€?hearta€? of the Europe figure a€” Avignon.
On a map you can literally sail by sea from one a€?placea€? or a€?bodya€? to the other a€” each place is accessible to the other.
Here, the grid structures the space of the local map, but also shapes the way we view the portolan below. It looks like a kind of symbolic twin to the spatio-indexical rhumb lines of the original portolan charts.
61r demonstrates that Opicinus was also aware of the dangers of aligning appearance with truth; appearances could just as easily deceive as reveal. The arrangement of these colored maps beneath the surface of the white ones is the most complicated aspect of the drawing. The angels are labeled angelus lucis and angelus tenebrarum a€” an angel of light and an angel of darkness.
Given the penises in this region that we discussed above, this latter proposition is not without basis, but it seems more likely that it belongs to the European figure, since it is tinted the same color. It is one of the pitfalls of travel.The airlines are usually pretty good about getting your lost bags to you in the next 24 hours. Now, throngs of people from everywhere come by daily and sit on the stairs, admiring the view and enjoying the throngs that come to sit by them. We sat for a time near the a€?Four Riversa€? fountain and admired the artistry of the Master Bernini.
Sadly, I informed them that it existed now but in their memories from that classic chariot race scene in a€?Ben Hur.a€? What was left was now a large rectangular park area, overlooked by the ancient palaces on the Capitoline Hill. We walked the length of the funeral chamber to its end where thoughtful officials had provided restrooms for the throngs.
It is always unnerving to sleep the first night at sea when there are high waves, until you got used to the rhythms of the ship. We stopped at a road side rest station called a€?AGIPa€? where passengers used the facilities and sipped cappuccino for 3 euros each.
The entire effect of the cathedral is to catch your breath, at the artistic array of creations inside.Each had been created to show glory to god.
Custom had dictated this as a means for the fisherman to espy their dwellings as they approached safe harbor and home. By now, we were puffing with the exertion and wondering how the various workmen got up and down these paths every day. It is traversed, from East to West, by three roughly parallel roads called appropriately, the a€?Lower cornichea€? (closer to the sea) the middle corniche ( which we now traversed) and the a€?upper cornichea€?, higher above us. This was a Hans Christian Anderson day-dream flashing before us in the brilliant noon day sun. We found and entered an elegant hostelry called a€?Chateau de la Chevre da€™Or,a€? roughly, the a€?house of the golden goat.
Across the river, on the rise of a hill, stands an old stone palace used by the French Royalty at differing times.
A smaller green-bronzed statue, of a maiden with her arms raised was erected, in front of the arch, to commemorate the French soldiers killed in North Africa. The bus driver and a colleague did a credible imitation of the three monkeys, pointing to the church above and saying a€?medicine.a€? We staunched the blood flow with tissues and a few antiseptic hand wipes. My best guess if that the construction crew screwed up, at the installation, and it had been too costly to correct the error.
Gaudi intended his creation to have 18 spires, 12 for the apostles, 4 for the evangelists, one each for Mary and Jesus. This hombre had one fertile imagination, that he was able to sculpt into brick and mortar in structures. On a world map, though, as opposed to the strip itinerary maps produced by Matthew Paris in about 1250, the route planning could only have been very approximate and very much incidental to the main purposes.
Nearly all of the drawings in the Palatinus feature what Whittington calls an a€?overarching containing structurea€? a€” a geometrical framework that contains all of the drawinga€™s content.
Her face is to the west, shown in profile as she seems to whisper into the ear of the European figure across the Straits of Gibraltar.
She seems to speak directly into the ear of the European figure, depicted partly in profile and partly from the front. At the center of the roundel is a seated figure of Christ showing his wounds; around this are the names of seven episcopal seats, and the seven planets and their positions. In these simplest drawings, though, such a possibility is only hinted at; a much fuller manipulation of the metaphor of travel and movement between binaries, and indeed a subversion of the very concept of binary opposition, is found in Opicinusa€™ more complicated images, discussed below. This grid, eight squares by ten, is oriented in the same way as the map below, with east at the top of the page (the street grid of Pavia was, and still is, slightly off-axis from the cardinal points because of its alignment with the river, which is reflected in its positioning at a slight angle on the page).
Opicinus just seems to be testing each possible arrangement on either side of the folio, turning it back and forth to see which parts of it align with things he believes to be true. Any resident or visitor familiar with the city would recognize that the local map of Pavia was a measured, accurate representation, and the fundamental hypothesis of this image and its interpretation is that correspondences can be deduced through the alignment of one measured map with another. One complete map lies below the upper white map, and one complete map lies below the lower white map, but each is placed in a different relation to its chart above. The angel of light in the surface map whispers into the ear of the upper male Europe, labeled homo spiritualis, while the angel of darkness whispers to homo carnalis. 61v, where two tiny figures with the same labels hold between them a baby, its head positioned downward, pointing toward the area near Venice through which we presume it would be born. We had momentarily mistaken the Capitoline steps for the a€?Spanish Steps,a€? until corrected by a friendly tourist. We walked out into the Piazza San Pietro and immediately noted the colorful costumes of the Swiss Guard, with their razor sharp pikes, standing before the entrance to Vatican city. Supposedly Romulus and Remus, the founders of Rome who had been suckled by a she wolf, had fled Rome and sought sanctuary in Siena. It sure did keep your attention, as Rita commented quietly on the many artistic and cultural aspects of the works that we were observing. Residents pay no income taxes, thanks to casino revenues, and are generally well heeled, even by Monagasque standards. I had the presence of mind to think of the huge swelling of tissue to come, and managed to slip the large college ring, from my finger.
Unfortunately for us, both the Dali and the Picasso art museums were closed on that Easter Monday.
The danger of any study of Opicinus is that in seeking out the contexts in which one may understand Opicinusa€™ work as logical and coherent, one risks losing sight of what makes them so exceptional. But he also used this idea in order to create images unrivalled in their complexity and interpretive difficulty, multiplying maps and figures across the page in kaleidoscopic networks. The local grid is filled in with detail; the numerous small labels in brown indicate churches, city gates, bridges, and monasteries in Pavia, while the few red captions refer to cities or regions on the portolan below (here, like elsewhere, Opicinus uses color to clarify his content for the reader).
Once again, a grid serves two functions, measuring the space of one reality and indicating the measurability of another.
On the top half of the page, the tinted map below is a precise mirror image of the upper map, reflected from it along a red horizontal line that bisects the upper, white body-worlds. The arrangement recalls nothing so much as the angel and devil of the human conscience that perch on the shoulders of cartoon figures in modern movies and comics, offering advice and urging the character towards good or bad decisions; in the drawing, the heads of the angels seem to rest directly on the shoulders of the figures below them.
Here, the two a€?personificationsa€? of the penis and the womb have produced a tiny child and are preparing it for birth. Later editions of Europe as a queen were issued by Sebastian Munster, Heinrich Bunting and Matthias Quad. Now, it lay like an ancient and broken sign post pointing faintly to a grandeur that once was Rome. Throngs of other tourists from everywhere stood around us, as we too pitched coins backwards over our shoulders in hope of returning to Rome yet again.We had done this twice before and returned each time, so maybe the magic works. These hardy warriors are all trained infantrymen from the Swiss Army, who stand ready to rock and roll, with whatever comes their way, to protect the pope and Vatican City.
They no longer asked for tips in the loo, they had sliding doors that only opened to admit one, if you inserted .60 euros in a slot .
From this port, you can access Florence, Pisa and a bit further out, the medieval, walled city of Siena.
No one had really ever substantiated the claim, but it made for great symbolism and interest both to the natives and the tourists.
Christopher Columbus had been born and raised in these environs before he sailed to the new worlds for Espagna.
It was an elegantly manicured parkland from which to stare out over the sapphire blue Mediterranean. We repaired to our cabin to write up our notes, shower and prep for dinner with the Martins.
Perhaps this was because the allies had bombed the port area back to the middle ages during WW II?
I had visions of sitting in an emergency room, at some French hospital, with the boat sailing away for Barcelona without me. Barcelona had been an interesting melange of Moor, Jew and Spaniard until 1492, that pivotal discovery year. 14), which may have resulted from the survey of the provinces ascribed by tradition to Julius Caesar.
In the Hereford map they could revel in this pictorial description of the outside world, which taught natural history, classical legends, explained the winds and reinforced their religious beliefs. This a€?manuscripta€? is a collection of 27 huge unbound parchment sheets, averaging about two by three feet, although some are significantly larger.
This observation prompts the next a€” that the Palatinus drawings almost always include calendars (usually as part of the overarching containing structure), while few of the Vaticanus drawings do.
Looking at the drawings as a whole, there can be no doubt that there are distinct threads running through them a€” themes, problems, and possibilities that Opicinus set out to explore. And just as the drawingsa€™ forms combine simplicity and complexity, their content also veers from the straightforward to the impenetrable. The relationship between these human figures and the landforms is, as is always the case in Opicinusa€™ drawings, very difficult to describe. The huge green swath at the right of the page indicates the Ticino River, which is coextensive with the long veil or cloak worn by the Africa woman. The white body-worlds in the top layer always overlap the lower, colored ones, which are only visible in the negative space of the sea.
These personificationsa€™ sexuality is normative and non-transgressive a€” male and female members come together inside of the female body. We watched and enjoyed the tourists, from many countries, snapping pictures of the fountain and each other.
In past ages, their duty had not been ceremonial in the many times that both Rome and the Vatican had been under siege, from some particularly surly invader bent on plunder and mayhem.
Andrea Doria, a middle ages naval admiral, and figure of note in Italian history, had also lived here.
The ship had several of the motorized tenders shuttling passengers back and forth from the shore. As we sipped pricey cappuccino (18 euros),we gazed out over the sapphire blue of the Mediterranean far below. The doctor offered me pain pills, but i advised that I would probably be drinking several glasses of wine for dinner. Internal religious strife had generated the expulsion of the Moors and the jews from Spain that year. We had an opportunity to stay and visit the Las Ramblas esplanade, but were tiring from today's and the many previous tours we had taken. Depending on the individual viewera€™s perception, the figures can seem to be lying on top of the land, growing out of it, or somehow placed under it a€” as if the landforms are windows through which we are looking.
The green lines at the top and bottom of the page show the path of several Pavian canals, and the three concentric red boundaries drawn around the page indicate the city walls. The same system is repeated in the lower half of the drawing, except that the lower tinted map is reflected along a vertical line, also colored red. The buildings all around the piazza are replete with papal insignia and looked impossibly old to us, pilgrims from a land where three hundred years is a long time. We were seated by deferential waiters and ordered, in our best Italian, Minestrone zuppa, pizza, with aqua minerale and cappuccino. The guide mentioned something about him negotiating a treaty with Charles V of Spain, but it was getting a little too deep in Italian history for me to follow. We entered our boat and waited until the craft filled with passengers, then slowly motored into shore, where our bus was waiting. Someone with our surname (Martin) must have either been on the ground floor founding this place or donated half of the land for its creation.
Mary espied Phillip, our guide, and insisted that I needed some medical attention immediately.
We lunched at the four seasons, on deck #9 ,and then repaired to our cabin, for a well earned conversation with Mr. From these observations, Whittington generalizes some of the basic differences between the two manuscripts. Most of all, however, these enigmatic forms seem to depict the earth and the bodies as coextensive, and of the same material a€” bodies made out of the earth. The two maps on the bottom half of the page are also mirror images of one another, but along a different axis. We ate slowly and enjoyed our surroundings and each other, never forgetting who we are and how far we had come to be sitting here under the Roman sun.The tab was a reasonable 40 euros. He walked me into the offices of the cathedral, turned me over to an elderly woman and skittled away, the weasel. The two upright fingers branching up from the Mediterranean are the Aegean and the Black Sea with the Golden Fleece at its extremity. The Vaticanus seems to be more of a personal manuscript, perhaps never intended for a wider audience. The more one looks at these body-worlds, the more one sees the human figures as figures a€” the stranger parts of their bodies, where the landforms do not align so easily with a normative human shape, become less and less noticeable. The two red axes are thus crucial to understanding the drawing: they must have been used to construct it and also intended to aid in its decoding. Fortunately, we had a very brief time to spend and had to leave before we put the money back into the machines.
Far below in the village, a small shed houses two donkeys who used to ferry people and luggage to this pricey Inn, in the mountains above Monaco.
I guess it becomes more understandable, of their recent posture towards conflict, in the middle east. Its drawings are less structured and presentational, contain more sexual imagery, and include more personal themes, all of which we might associate with a private, rather than public function (although such distinctions were perhaps more fluid in 14th century Italy than they are today). Secondly, the drawings in the Vaticanus and Palatinus have very different structures; the Vaticanus uses the form of the portolan [nautical] chart to structure meaning and representations of bodies, while the Palatinus drawings use larger geometric, ecclesiastical, and temporal frames, which in turn often contain representations of the earth.
It is here, in the village below, that we met and talked to Peter and Julia Martin for the first time. Finally, the Palatinus drawings contain a temporal, cyclical element (numerous calendars and representations of the zodiac) that the Vaticanus drawings usually lack. We had noticed them on a few tours and decided to ask them to join us for dinner this evening. They agreed, perhaps wondering at the forwardness of yankees in soliciting social engagements. Manners got the better of them though and they agreed to meet us later in the evening for dinner.



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