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I’ve been residing and instructing in Florence on and off over the previous 4 years, negotiating journey (and instructing) in the course of the pandemic. After I flew to Rome in August 2020, clutching a folder of paperwork to point out I used to be not a vacationer, I discovered the flight scary, however I used to be overjoyed to see that the world was nonetheless there. Now, with vaccines and boosters, journey seems like an opportunity to attach, to listen to artwork and historical past whisper to you instantly as you expertise locations in individual, or as Italians say, “in presenza.”

Attuned to artwork and historical past, McCarthy writes in “The Stones of Florence” that “beneath the floor of Florence lies a sunken Rome,” so to look previous the Renaissance recreations of antiquity and again to the classical origins of town, I went along with her to San Miniato al Monte, a medieval basilica constructed within the eleventh century on the best level of a hill overlooking town. The views over Florence and the Duomo are much more splendid than these from the close by Piazzale Michelangelo, and within the crypt of the church, as McCarthy promised, was a “petrified forest” of the numerous Roman columns and capitals that had been included into the church.

I let her take me to the church of Santa Maria Novella, to admire the facade, declaring the scientific devices embedded on both aspect, a gnomon and an astrolabe, and in addition one other crucial Masaccio fresco. Within the association of the figures and the cross on this Trinity fresco, McCarthy finds “the good ordered plan of Nature embraced in a single design,” evaluating the fresco to a proof in philosophy or arithmetic: “an equilateral triangle is inscribed inside an arched determine which is inscribed inside a rectangle; and the centre, the apex of the triangle, and the summit of all issues is the top of God the Father.”

McCarthy’s challenge earlier than Florence was the incisive “Reminiscences of a Catholic Girlhood,” during which she stakes her declare as a commentator on Catholicism, discussing how faith had provided thriller and sweetness throughout a posh and infrequently harsh childhood. I want she may climb up the scaffolding within the Brancacci chapel, the place she was significantly moved by “the stumpy physique and gaping mouth of Eve as she is pushed, howling, from the Backyard,” which made McCarthy mirror on “all of the horror and deformity of the human situation.”

Masaccio once more makes you consider the relations between Renaissance artwork and sculpture; his nice improvements included the heavy sculptural presence of the our bodies he painted, and in addition the primary use of vanishing level perspective; the literary historian Stephen Greenblatt in “The Rise and Fall of Adam and Eve,” writes: “Masaccio’s unforgettable figures rely … on their overwhelming sense of embodiment, an phantasm of actuality conjured up by perspective and heightened by the shadows … ”

McCarthy discovered redemption within the equally practical particulars that Masaccio painted into different figures within the chapel, the cripple being healed, or the outdated girl receiving alms, a “common truthfulness that exhibits the entire expanse of the world, honest and foul alike.”



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