INSERT INTO `wp_posts` VALUES (2550,69,'2012-09-24 19:32:33','2012-09-25 01:32:33','http://reinep.wordpress.com/2010/08/04/deliberate-sealed-tunnel-under-sun-pyramid-on-teotihuacan-found/\n\nThe  pyramids  of  Teotihuacan  are  one  of  the  oldest  pyramids  in are  history. They  are  located  in  Mexico  about  30miles  from  one  of  the  biggest  city’s  in  the  world  known  as  Mexico  City.  The  original  date  of  theses  pyramids  are  unknown  but  should  be  older then 200  a.d.  Also  for  a  time  period  the  Aztec  had  wondered  off  from  what  they  have  been told  by  their  gods, and  had  stumbled  upon  the  pyramids  of  Teotihuacan  to  have  as  there own  land. These  magnificent  pyramids  are  a  big  part  of  history  and  should  be  conserved for  future  generations  to  be  able  to  learn  from  them. If  these  Pyramids  would  be  destroyed  there  would  be  allot  off  useful   information gone. We  are  still  to  this  day  still  learning  and gaining knowledge  from studying  them.\n\nThere  are  many  important  historical  impacts   that  have  shaped  the  pyramids.  From  the  Mayans  having  it  has  there  kingdom. To  the  Aztec’s  defeat  of  Cortez  and his Spanish  armed  forces.Sciences  all  off  this  they  are  just used  for  a tourist  site. For  use  to  ask  who  had built these Pyramids we have  to  know  that  the  builders  are  still  to  this  day unknown. Some  general  knowledge  is  That  the  two  biggest  of the  pyramids  are  the  sun  and  the  moon  pyramids. They  are  a representation  of  a  strong  connection  that  the  people  had  both  with  their  gods  and  with  the  universe.\n\nTo  actually  say  what  era  the  pyramids  purpose  was  or  what  they  worked for  is  asking  what  many  of  the  different  tribal  backgrounds  have  used  them  for. You called point  out  what  the  Aztec  people  used them  for. It  was  there  place  of  worship, and gathering were all put to use during there time period. For the actually archectual structure of the pyramids was magnificiant and way ahead of its structurally era. You could compare it to the Great Pyramids of Egypt. Saying that they are both very important structures. just as the Egyptian pyramids they are Humunguess in size and have barrel grounds in them for there kings in queens just as Teotihuacan do for there speretual leaders. They are simular in ways like the way they align up with each other. Even if they are so far apart from each other there functions are about the same throughout history. having different rulers over them and gods coming down are just some of the similarities they have. Also having  1used as dramatic stage for religious rituals and civic ceremonies.\n\n3Which making them very unusual are exedingly ahead of its structurally time period. A fact about the Sun and the Moon pyramid is that they are actually aligned up with the sun and the moon. The main street that connects them is called “Street of Dead” which in many cases could be interesting for why they called it that. Known for sightings of there gods for sacrifices or tolls they would receive from them, also giving the people a greater knowledge of the world. I think of the gods they said they would come down from the sky “other worldly biegns”. Which has made a very huge impact on what is being discovered. A cool thing about the name is that it means 1The Place Where Men Become Gods. Which was very interesting men becoming gods does that mean that they were given powers are just tools that made them like the gods.\n\nThought time they have been worked on and built on from different cultural groups forming there own certain structural features. For each time they were controlled by a group of people they had vast land to live off of. from the tools that were given to them had made there lives allot easier and made them able to think for them selves. There is contriverse on how they received these gifts and how they were used in different eras.\n\nFor most part people just know that these pyramids of Teotihuacan are located in Mexico, and probably that the Aztec had apart to do with them. They are a significant part of Mexican history to show How we had started off. Their concerns for this place is some were to go on a family vacation or road trip. Some 2Archologists today are still stunned to how anyone would be able to pick up those thousand pound bricks. How they would be able to carried them or even move them from one spot to the next. Which i would think is mind boggling.\n\nMy thought how the Teotihuacan Pyramids is that we need to look deeper then what facts are given to use to really be able to learn and define what your thoughts are own the pyramids. I am also think that it is a very good thing to be able to know about what has gone down in history and in the very magnificent Structural grounds. For that i conclude that i am glad that i as able to go in depth about Teotihuacan.\n\n\n\n\n\n\n\n\n\n\nWork cited List\n1. www.ancient-wisdom.co.oh/mexicoteotihuacan.htm\nLewis Spence, Mexico and Peru, 1994, Senate press. Renato Vesco, David Hatcher Childress. Man Made UFO\'s. 2007. Adventures Unlimited Press.Fagan, Garrett G. (2006). Archaeological Fantasies: How Pseudoarchaeology Misrepresents the Past and Misleads the Public. New York: Routledge. pp. 102The atlas of mysterious places. Guild publishing. 1987. G. Hancock. Fingerprints of the gods. Mandarin. 1996.\n\n2.http://www.mexconnect.com/articles/823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods\nBy: Allen Cogan\n\n','Pyramids of Teotihuacan ','','inherit','open','open','','2549-revision','','','2012-09-24 19:32:33','2012-09-25 01:32:33','',2549,'http://jeanatacc.com/2011/?p=2550',0,'revision','',0),(2566,60,'2012-09-24 19:41:39','2012-09-25 01:41:39','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"331\" height=\"475\" /></p>\r\n<p align=\"center\"></p>\r\n&nbsp;\r\n\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\nThe early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-3','','','2012-09-24 19:41:39','2012-09-25 01:41:39','',2560,'http://jeanatacc.com/2011/?p=2566',0,'revision','',0),(2551,69,'2012-09-24 19:32:53','2012-09-25 01:32:53','http://reinep.wordpress.com/2010/08/04/deliberate-sealed-tunnel-under-sun-pyramid-on-teotihuacan-found/\r\n\r\nThe  pyramids  of  Teotihuacan  are  one  of  the  oldest  pyramids  in are  history. They  are  located  in  Mexico  about  30miles  from  one  of  the  biggest  city’s  in  the  world  known  as  Mexico  City.  The  original  date  of  theses  pyramids  are  unknown  but  should  be  older then 200  a.d.  Also  for  a  time  period  the  Aztec  had  wondered  off  from  what  they  have  been told  by  their  gods, and  had  stumbled  upon  the  pyramids  of  Teotihuacan  to  have  as  there own  land. These  magnificent  pyramids  are  a  big  part  of  history  and  should  be  conserved for  future  generations  to  be  able  to  learn  from  them. If  these  Pyramids  would  be  destroyed  there  would  be  allot  off  useful   information gone. We  are  still  to  this  day  still  learning  and gaining knowledge  from studying  them.\r\n\r\nThere  are  many  important  historical  impacts   that  have  shaped  the  pyramids.  From  the  Mayans  having  it  has  there  kingdom. To  the  Aztec’s  defeat  of  Cortez  and his Spanish  armed  forces.Sciences  all  off  this  they  are  just used  for  a tourist  site. For  use  to  ask  who  had built these Pyramids we have  to  know  that  the  builders  are  still  to  this  day unknown. Some  general  knowledge  is  That  the  two  biggest  of the  pyramids  are  the  sun  and  the  moon  pyramids. They  are  a representation  of  a  strong  connection  that  the  people  had  both  with  their  gods  and  with  the  universe.\r\n\r\nTo  actually  say  what  era  the  pyramids  purpose  was  or  what  they  worked for  is  asking  what  many  of  the  different  tribal  backgrounds  have  used  them  for. You called point  out  what  the  Aztec  people  used them  for. It  was  there  place  of  worship, and gathering were all put to use during there time period. For the actually archectual structure of the pyramids was magnificiant and way ahead of its structurally era. You could compare it to the Great Pyramids of Egypt. Saying that they are both very important structures. just as the Egyptian pyramids they are Humunguess in size and have barrel grounds in them for there kings in queens just as Teotihuacan do for there speretual leaders. They are simular in ways like the way they align up with each other. Even if they are so far apart from each other there functions are about the same throughout history. having different rulers over them and gods coming down are just some of the similarities they have. Also having  1used as dramatic stage for religious rituals and civic ceremonies.\r\n\r\n3Which making them very unusual are exedingly ahead of its structurally time period. A fact about the Sun and the Moon pyramid is that they are actually aligned up with the sun and the moon. The main street that connects them is called “Street of Dead” which in many cases could be interesting for why they called it that. Known for sightings of there gods for sacrifices or tolls they would receive from them, also giving the people a greater knowledge of the world. I think of the gods they said they would come down from the sky “other worldly biegns”. Which has made a very huge impact on what is being discovered. A cool thing about the name is that it means 1The Place Where Men Become Gods. Which was very interesting men becoming gods does that mean that they were given powers are just tools that made them like the gods.\r\n\r\nThought time they have been worked on and built on from different cultural groups forming there own certain structural features. For each time they were controlled by a group of people they had vast land to live off of. from the tools that were given to them had made there lives allot easier and made them able to think for them selves. There is contriverse on how they received these gifts and how they were used in different eras.\r\n\r\nFor most part people just know that these pyramids of Teotihuacan are located in Mexico, and probably that the Aztec had apart to do with them. They are a significant part of Mexican history to show How we had started off. Their concerns for this place is some were to go on a family vacation or road trip. Some 2Archologists today are still stunned to how anyone would be able to pick up those thousand pound bricks. How they would be able to carried them or even move them from one spot to the next. Which i would think is mind boggling.\r\n\r\nMy thought how the Teotihuacan Pyramids is that we need to look deeper then what facts are given to use to really be able to learn and define what your thoughts are own the pyramids. I am also think that it is a very good thing to be able to know about what has gone down in history and in the very magnificent Structural grounds. For that i conclude that i am glad that i as able to go in depth about Teotihuacan.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\nWork cited List\r\n1. www.ancient-wisdom.co.oh/mexicoteotihuacan.htm\r\nLewis Spence, Mexico and Peru, 1994, Senate press. Renato Vesco, David Hatcher Childress. Man Made UFO\'s. 2007. Adventures Unlimited Press.Fagan, Garrett G. (2006). Archaeological Fantasies: How Pseudoarchaeology Misrepresents the Past and Misleads the Public. New York: Routledge. pp. 102The atlas of mysterious places. Guild publishing. 1987. G. Hancock. Fingerprints of the gods. Mandarin. 1996.\r\n\r\n2.http://www.mexconnect.com/articles/823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods\r\nBy: Allen Cogan\r\n3. http://www.aztec-history.com/\r\nThe Aztecs by Michael E. Smith (2003); Aztec Imperial Strategies by Frances F. Berdan, et al. (1996); Imperial Ends: The Decay, Collapse, and Revival of Empires by Alexander K. Motyl (2001); The Tenochca Empire of Ancient Mexico: The Triple Alliance of Tenochtitlan, Tetzcoco, and Tlacopan by Pedro Carrasco (1999)\r\n\r\n','Pyramids of Teotihuacan ','','inherit','open','open','','2549-revision-2','','','2012-09-24 19:32:53','2012-09-25 01:32:53','',2549,'http://jeanatacc.com/2011/?p=2551',0,'revision','',0),(2552,62,'2012-09-24 05:03:41','2012-09-24 11:03:41','<strong>  Andrea Palladio (1508 – 1580), this Italian born architect penned what is considered by many to be one of the greatest books published on the subject of architecture.  I quattro libri dell\'architettura (The Four Books of Architecture)(1570) has become the standard repository and reference for classic renaissance design, influencing artists, architects and designers from the 16th century to the present day. The Four Books of Architecture consists of four separately published editions each describing a complete set of rules that define the conception, design and aesthetics of a structure. Along with highly detailed woodcuts emblazoning the cover. This incredibly illustrated tome is further divided into rules and sub-rule sets, governing everything from the placement and shape of walls, roofs, arches, details, site, etc. Once referred to by Thomas Jefferson as “the Bible” this book has had more influence on design and architecture than possibly any other book of its period or since, the fact that it is still applicable to the present day is in itself a feat very few printed works of the time can muster, as well as the spawning of a movement entirely based off the published work, Palladianism, the style of Architecture based completely off the rules and illustrations from the The Four Books on Architecture. Preservation of this work is of the utmost importance if anything from this iconic era is to persevere into the twenty-second century. </strong>','The Four Books of Architecture','','inherit','open','open','','2395-revision-5','','','2012-09-24 05:03:41','2012-09-24 11:03:41','',2395,'http://jeanatacc.com/2011/?p=2552',0,'revision','',0),(2558,63,'2012-09-24 20:01:48','2012-09-25 02:01:48','[caption id=\"attachment_2574\" align=\"aligncenter\" width=\"300\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/google-image.jpg\"><img class=\"size-medium wp-image-2574\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/google-image-300x105.jpg\" alt=\"\" width=\"300\" height=\"105\" /></a> Michelangelo commissioned by Pope Julius II della Rovere in 1508-1512 to repaint the ceiling of the Sistine Chapel.<a href=\"http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html\" target=\"_blank\">http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html</a>[/caption]\r\n\r\n&nbsp;\r\n\r\nThe Sistine Chapel ceilings should be preserved because it is a reminder and visual of the Creation of man. The Sistine Chapel Ceiling  (Creation of Adam and Last Judgment), was created by Michelangelo Buonarroti when Pope Julius II commissioned him to repaint the ceiling in 1508.The works of art located on The Sistine Chapel Ceiling tells nine stories from the first book of the bible, Genesis. The Creation of Adam, the most famous, has been replicated and mass produced in almost every culture. The Sistine Chapel Ceiling remains a masterpiece and has inspired many of its visitors throughout history.  <em>Prof. Boerner’s</em> states the pictures fall into three groups of three alternating large and small panels (<a href=\"http://www.boerner.net/jboerner/?p=20068\" target=\"new\">boerner.net</a> )<!--more-->\r\n\r\nWikipedia describes the first group shows God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden where they have lived and where they walked with God The third group of three pictures shows the plight of Humanity, and in particular the family of Noah. Visually the pictures are not in strictly chronological order (<a href=\"http://en.wikipedia.org/wiki/Ignudo\" target=\"new\">wikipedia.org</a>).\r\n\r\n<em>Prof. Boerner </em>says,\" If they are perceived as three groups, then the pictures in each of the three units inform upon each other, in the same way as was usual in Medieval paintings and stained glass. The three sections of Creation, Downfall and Fate of Humanity appear in reverse order, when read from the entrance of the chapel \"(<a href=\"http://www.boerner.net/jboerner/?p=20068\" target=\"new\">boerner.net</a>). However, each individual scene is painted to be viewed when looking towards the altar (<a href=\"http://maps.thefullwiki.org/Sistine_Chapel_ceiling\" target=\"new\">maps.thefullwiki.org/Sistine_Chapel_ceiling</a>). This is not easily apparent when viewing a reproduced image of the ceiling, but becomes clear when the viewer looks upward at the vault. Paoletti and Radke suggest that this reversed progression symbolizes a return to a state of grace (qtd. in Wallace 30). Wallace says the three sections are generally described in the order of Biblical chronology:\r\n\r\n<em>Prof. Boerner’s  </em>says the scenes, from the altar towards the main door, are ordered as follows: The Separation of Light and Darkness, The Creation of the Sun, Moon and Earth, The Separation of Land and Water, The Creation of Adam, The Creation of Eve, The Temptation and Expulsion, The Sacrifice of Noah, The Great Flood, and The Drunkenness of Noah. This monumental fresco covers the entire end wall of the chapel which led the obliteration of the frescoes painted at the time of Sixtus IV: the first figures of the popes, the first two scenes of the life of Christ and life of Moses, the image of the Virgin of Assumption (by Perugino), together with the first two lunettes, representing the Ancestors of Christ were frescoed earlier by Michelangelo himself. The two large windows set into the altar wall were closed up (<a title=\"http://www.boerner.net/jboerner/?p=10355\" href=\"http://www.boerner.net/jboerner/?p=10355\" target=\"_blank\">www.boerner.net</a>).\r\n\r\nA historical time line taken from Heilbrunn Timeline of Art History  states:\r\n\r\nDuring the early years before the creation of the Sistine chapel in 1494 Charles VIII of France (r. 1483–98) invaded Italy and seized Naples, launching the “Italian Wars”. This war involved a series of military conflicts between rival European powers—particularly France and Spain—for the takeover of several Italian city-states. In 1497 Michelangelo perhaps the outstanding painter, sculptor, architect, and draftsman of his time was active in Rome, having left Florence after the expulsion of the Medici in 1494. He receives a commission for the tomb of a French cardinal at Saint Peter\'s Basilica, for which he executes the Pietà, a life size sculpture depicting the dead Christ in his mother\'s arms. The masterful rendering of the human form and the flowing drapery of the Virgin\'s garment, as well as the combined dignity and emotional intensity of this work earn much praise from the artist\'s contemporaries. After completing the Pietà, Michelangelo returns to Florence, where he produces the colossal David which is completed 1504 (metmuseum.org).\r\n\r\nIn 1503 Giuliano della Rovere is elected Pope Julius II (r. 1503–13). An outstanding patron, Julius commissions some of the finest landmarks of Renaissance art. Shortly after his election, he plans to replace the extant Saint Peter\'s Basilica with a new structure. A central-plan church of potential magnificence, designed by Bramante, is begun in 1506; construction is barely underway when the architect dies in 1514. In 1505, Michelangelo returns to Rome and undertakes a monumental tomb design for Pope Julius II. Due to various complications, the scale of the project is dramatically reduced over time, and of the forty over-life size figures planned by Michelangelo for the tomb, only the statue of Moses (1513–15; now Church of San Pietro in Vincoli) is fully realized. Also originally intended for the tomb are several figures of slaves, some half-finished. The tomb would remain incomplete until 1547 (metmuseum.org) .\r\n\r\nIn 1508, Luca Signorelli (1441–1523) completes the fresco cycle on the walls of the Sistine Chapel. In the same year, Julius II summons Michelangelo from a sojourn in Florence to paint ceiling frescoes for the chapel. The complex program, painted over the next four years, includes scenes from the Book of Genesis—notably, the creation of man and the expulsion of Adam and Eve from the Garden of Eden—as well as figures of apostles, prophets, and sibyls. More than twenty years later, Michelangelo returns to the chapel and paints the Last Judgment (1536–41) for the apse wall. The Sistine Chapel ceilings, enormous fresco, presents a vivid, turbulent vision of the ecstasy of the saved and the torments of the damned was painted over the altar, at the commission of Pope Paul III Farnese (metmuseum.org).\r\n\r\nAccording to Gloria Fiero:\r\n\r\nA significant archeological event influenced Michelangelo\'s treatment of the figure after 1506: in that year, diggers working in Rome uncovered the Laocoön, the celebrated Hellenistic sculpture that had been known to Western scholars only by way of the Roman writer, Pliny. The sculpture with its bold contortions and its powerfully rendered anatomy had as great an impact on Michelangelo and the course of High Renaissance art as Cicero\'s prose had exercised on Petrarch and Early Renaissance literature. Michelangelo’s work, completed between 1508 and 1512, was cohesive with the times; indeed, the twisted torsos, taut muscles, and stretched physiques of the Sistine Chapel figures (ch.17).\r\n\r\nJulie L. Carnagie, Peggy Saari, and Aaron Saari state, the work of the Sistine Chapel ceilings suffered numerous setbacks, such as mold and miserable, damp weather that disallowed plaster curing. The ceiling project, and any hope Michelangelo had of being paid, were both frequently in jeopardy while Julius was absent or near death (234).\r\n\r\n\"While much of the symbolism of the ceiling dates from the early church, the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance Humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Socrates and other Classical writers. Michelangelo, as a young man, had spent time at the Humanist academy established by the Medici family in Florence\" (<a href=\"http://maps.thefullwiki.org/Sistine_Chapel_ceiling\" target=\"new\">maps.thefullwiki.org/Sistine_Chapel_ceiling</a>).\r\n\r\n\"The rediscovery of Greco-Roman culture in the Renaissance restored the nude to the heart of creative endeavor. Nude figures based on antique models appear in Italy as early as the mid-thirteenth century, and by the mid-fifteenth century, nudes had become symbols of antiquity and its reincarnation\" (<a href=\"http://www.metmuseum.org/toah/hd/numr/hd_numr.htm\" target=\"new\">metmuseum.org</a>).\r\n\r\nAccording to Carnagie, P. Saari, and A. Saari:\r\n\r\nThis work of art being massively large in statue was very unusual, but for Michelangelo this combination of throbbing life with colossal grandeur became the special quality of Michelangelo\'s art. From then on his work consisted mainly of very large innovative projects. Because he preferred to work on a grand scale, however, he could not turn down commissions from great clients (235).\r\n\r\nAt all times in human history, the human body has been one of the principal subjects for artists. It has been represented on prehistoric paintings and statutes and in all eras since(<a href=\"http://pediaview.com/openpedia/Depictions_of_nudity\" target=\"new\">pediaview.com</a>). The male nude was more common in antiquity, especially in ancient Greece, but today the tendency is for the female nude body to be more highly regarded and represented (Carnagie, P. Saari, and A. Saari 235). Since the first days of photography, the nude was a source of inspiration for those that adopted the new medium. Most of the early images have been closely guarded or surreptitiously circulated, on account of social norms of the time. At that time, prostitutes tended to model for these photographs. Today, the images of the human body are often, especially in advertising for the wide variety of products and services, those of the female body (<a href=\"http://pediaview.com/openpedia/Depictions_of_nudity\" target=\"new\">pediaview.com)</a>.\r\n\r\nThe Sistine Chapel ceilings are thought of as a thing of beauty. Many Christian believers that journey to the Vatican Chapel are inspired by its magnificent creativity and magnitude. The reception of today verses that of yester year varies little some individuals feel that nudity has no place in the church but others feel that this is where it all began with the Creation of Man. The Chapel is seen as the sacred vessel in which it is and proper attire is required to gain admission. Various websites urge tourists and visitors to arrive early to avoid the long lines that tend to occur due to many the marvel at the work of art. There are hundreds of tourists visiting the Chapel and other Vatican Museums at any given time, so one could easily see overcrowding while visiting.\r\n\r\nMy personal reaction to this work is that it is a masterpiece. In a world where nudity is seen as a form of taboo in Michelangelo’s era the human anatomy was beautiful. Every line of the human anatomy in his art told a story whether it was stress or joy it stood for something. According to Fiero:\r\n\r\nIn the Creation of Adam, God and Man equal in size and muscular grace confront each other like partners in the divine plan. Adam reaches longingly toward God, seeking the moment of fulfillment, when God will charge his languid body with celestial energy. If the image depicts Creation, it is also a metaphor for the Renaissance belief in the potential divinity of humankind—the visual analogue of Pico\'s Oration on the Dignity of Man (ch.17).\r\n\r\nI believe, nothing in this work is taken out of context or taken to the extreme the visual focus is on the entire work not the nudity. In The Bible nudity in the beginning was norm until the “Fall of Man”, it was then that we as humans began to desire the need for coverings or clothes.\r\n\r\nMichelangelo, who is known for his creativity like the paintings on the ceiling of the Sistine Chapel, has other works that are comparable or that supersede others. One that he is best known for is the sculpture of David. This tall towering marble sculpture also embodies the sheer inspiration the Michelangelo felt for the human body as does the fresco ceiling paintings. Michelangelo was a master sculptor and painter. Biography taken from a How stuff works.com article states that:\r\n\r\nMichelangelo was inspired by the works of antiquity and his own religious faith, Michelangelo created some of the most remarkable sculptures in history. His obsession with physical beauty and the nude male form influenced much of his work, and his sculptures, paintings, and buildings continue to inspire and awe art-lovers today (1).\r\n\r\nThe statue of David is typical of Michelangelo\'s work large and grand in statue. Like the Sistine Chapel ceilings the statue has been reproduced many times. Michelangelo’s David has become one of the most recognized works. The statue has become a symbol of both strength and youthful human beauty.\r\n\r\nThe Sistine Chapel ceiling artistry remains most significant for future generations, because it shows how the world was formed, how we came in to existence, and the downfall and final judgment of man. The preservation of the Sistine Chapel ceilings masterpiece will also give future generations hope and provide a guide to understand that God is all-knowing and omnipresent. Though you may not be able to see Him, God is there and the church will remain the structural center for all Christian believers.\r\n<p align=\"center\">Works Cited</p>\r\n\"Michelangelo.\" Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2012. Web. 04 Sep. 2012.\r\n\r\n<span style=\"text-decoration: underline;\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/379957/Michelangelo</span>\r\n\r\n\"Michelangelo\"  21 August 2007.  HowStuffWorks.com. &lt;http://entertainment.howstuffworks.com/arts/artwork/michelangelo.htm&gt;  22 September 2012.\r\n\r\n\"Michelangelo Buonarroti.\" Renaissance and Reformation Reference Library. Ed. Julie L. Carnagie, Peggy Saari, and Aaron Saari. Vol. 4: Vol. 2: Biographies. Detroit: UXL, 2002. 232-241. Gale Virtual Reference Library. Web. 30 Aug. 2012.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\nWallace, William E.. Michelangelo : The Artist, the Man and his Times. Cambridge: Cambridge University Press, 2011. Ebook Library. Web. 30 Aug. 2012.\r\n\r\n<a href=\"http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215\">http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215</a>\r\n\r\n<span style=\"text-decoration: underline;\">http://www.metmuseum.org/toah/ht/?period=08®ion=eusts</span>\r\n\r\n<a href=\"http://www.myspace.com/michelangelo_buonarroti\">http://www.myspace.com/michelangelo_buonarroti#</a>!\r\n\r\n<a href=\"http://maps.thefullwiki.org/Sistine_Chapel_ceiling\">http://maps.thefullwiki.org/Sistine_Chapel_ceiling</a>\r\n\r\n<a href=\"http://pediaview.com/openpedia/Depictions_of_nudity\">http://pediaview.com/openpedia/Depictions_of_nudity</a>\r\n\r\n<a href=\"http://en.wikipedia.org/wiki/Ignudo\">http://en.wikipedia.org/wiki/Ignudo</a>\r\n\r\n<a href=\"http://www.boerner.net/jboerner/?p=20068\">http://www.boerner.net/jboerner/?p=20068</a>\r\n\r\n<a href=\"http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html\">http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html</a>','The Sistine Chapel Ceilings','','publish','open','open','','the-sistine-chapel-ceilings','','','2012-10-08 08:53:03','2012-10-08 14:53:03','',0,'http://jeanatacc.com/2011/?p=2558',0,'post','',15),(2553,62,'2012-09-24 19:35:25','2012-09-25 01:35:25','<strong>  </strong>\r\n<p dir=\"ltr\">I quattro libri dell\'architettura</p>\r\n<strong><strong><strong>Michael Brandon Seals\r\nJ. Lauer, Huma 1302 12:00 p.m.- 1:20 p.m.\r\n<img src=\"https://lh4.googleusercontent.com/WhiBS9oONAMEFS5dtI9oyKp0Rj9l5pwy-dMxD_ZlNuQwY5JrYeNn9v7r3LqLs8QiT4NABhsgAPOhDyg7dLumtmSE6YGMfxWKSE4Akyp90ldooiP470g\" alt=\"\" width=\"435px;\" height=\"580px;\" />\r\n</strong></strong></strong>\r\n<p dir=\"ltr\"> English architect Inigo Jones annotations in</p>\r\n<p dir=\"ltr\">Palladio’s Four Books on Architecture</p>\r\n<p dir=\"ltr\"><a href=\"http://inha.revues.org/3396\">http://inha.revues.org/3396</a></p>\r\n<strong><strong>\r\n\r\n\r\nAndrea Palladio (1508 – 1580), this Italian born architect penned what is considered by many to be one of the greatest volumes ever published on the subject of architecture.  I quattro libri dell\'architettura  (The Four Books of Architecture)(1570) has become the standard repository and reference for classic renaissance design, influencing artists, architects and designers from the 16th century to the present day. The Four Books of Architecture consists of four separately published editions each describing a complete set of rules that define the conception, design and aesthetics of a structure. Along with highly detailed woodcuts emblazoning the cover. This incredibly illustrated tome is further divided into rules and sub-rule sets, governing everything from the placement and shape of walls, roofs, arches, details, site, etc. Once referred to by Thomas Jefferson as “the Bible” (Center for Palladian Studies in America) this book has had more influence on design and architecture than possibly any other book of its period or since, the fact that it is still applicable to the present day is in itself a feat very few printed works of the time can muster, as well as the spawning of a movement entirely based off the published work, Palladianism, the style of Architecture based completely off the rules and illustrations from the The Four Books on Architecture. Preservation of this work is of the utmost importance due to its unique composition and clarity of information that transcends languages timelines and generations.\r\n\r\nTypical of this period architects often would take their direction from the study of buildings of their antiquity especially those built by the Greco/Romans and many architects would often simply duplicate their forms as best they could adapting the overall composition to better suit their needs or discarding features they had no use for, such as a Roman bath house or social toilet. There were also surviving texts from the Roman empire including one from first century architect, Marcus Vitruvius Pollio, whose work  <a href=\"http://en.wikipedia.org/wiki/De_Architectura\">De Architectura</a> (\"On Architecture\") was thought of and is still known as one of the best preserved examples of Roman building and this would also go on to greatly influence palladio\'s work on the Four Books. (CPSA) However whereas most of his fellows looked to the surviving monumental roman structures such as the coliseum, or triumphal arch for the rhetoric to supply their language of construction. Palladio was able to distill his modus operandi from the form and structure of the classic Roman temple. He would go on to outline and define a more methodical approach to the design of a structure, where a large majority of the variables involved had sets of rules and sub rules,  in order to not only provide a functional and uniform scale but also to be aesthetically pleasing in the classical sense, and whereas the majority of his peers merely emulated the classic’s, refashioning and modifying them to fit their needs, Palladio created an innovative and unique style using the classic school as his metric all the while still satisfying patrons concerns regarding the local social and economic criteria of the time. With the formula for the systems and rules all clearly outlined, this was a book made not just for the architect but for patrons and builders as well as anyone interested in pursuing knowledge in the fields of architecture or construction. Highly praised at the time amongst peers and critics, however it was not until the widespread european distribution in the 1700’s that the Four Books really started to gain popularity and momentum, not only as a publication but as a distinct architectural style as well.\r\n\r\nThe Four Books of Architecture is thought of by many to this day to be a compendium of the thought process of renaissance builders of the period. In no other classic publication will you be able to find so clearly laid out formula and examples illustrating the classic sense of building design and construction, and in fact many modern books referring to the Greco/Roman or Renaissance period in architectural design end up citing The Four Books on Architecture extensively. Furthermore in the present day there are many organizations and societies dedicated solely to the further spread and understanding of the rules transcribed within the Four Books on Architecture, one very prominent organization The Center for Palladian Studies in America(CPSA) is dedicated to educating and furthering the works of Palladio and his influence in America, in addition to quantifying the effects the Four Books have had influencing further architectural styles of the past, however many CPSA volunteers are also dedicated to the preservation of palladian inspired structures of the American Renaissance.\r\n\r\nNow I am by no means a as informed on the subject of architecture as I feel I should be however as a practicing designer and draftsman for a number of years now. I can fully appreciate the monumental undertaking this book was for the author as well as the publisher(s), the tooling alone required to print this weighty and illustrated volume must have been absolutely a very work of art in itself. In addition very rarely have I encountered a book with such depth of knowledge and any one of a thousand questions regarding the subject of scale to city planning can easily be answered due to the rule and sub rules such as helping to define the best orientation of a site or building pad in relation to the sun or the classical art of placing a structure so that prevailing winds naturally and efficiently provide natural climate control. This is a book I can easily see myself reading and studying again and again, each time finding some hidden gem of design left to me by my peers and counterparts from an era long passed.\r\n\r\nA work such as this has the ability to provide future generations with a reference to the classical orders and design intent of the time in addition to being one of the only period written pieces on the subject that still survives. However The Four Books on Architecture is a rare work that has the ability to allow us not only to see the structures built by architects of antiquity but shines light on the standards and practices involved to create works of that caliber. By providing insight into how the men and women of our past came up with innovative solutions to their various dilemma, we too should be able to use this work to further understand the mindset of past cultures creators and creations, and nowhere else in print will you find a more complete treatise on the creation of buildings of classic design, a resource I feel would not exist if this publication were not to persevere into the twenty-second century. If this meaty tome full of renaissance knowledge was ever lost to us, would we ever be able to find a more pure example of the style form and function of the renaissance that is Palladio\'s The Four Books on Architecture.\r\n\r\n\r\nPalladio, Andrea. I quattro libri dell\'architettura (The Four Books on Architecture)\r\nCambridge: MIT Press, 1997. Print.\r\n\r\nVitruvius , Marcus. De architettura  (On Architecture)\r\n1 AD. Morris Hicky Morgan. Cambridge: Harvard University Press. London: Humphrey Milford. Oxford University Press. 1914. Print.\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladianism Timeline”\r\n<a href=\"http://www.palladiancenter.org/timeline-Palladianism.html\">http://www.palladiancenter.org/timeline-Palladianism.html</a>\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladio\'s Literary Predecessors”\r\n<a href=\"http://www.palladiancenter.org/predecessors.html\">http://www.palladiancenter.org/predecessors.html</a>\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladio\'s and his Books”\r\n<a href=\"http://www.palladiancenter.org/palladiobooks.html\">http://www.palladiancenter.org/palladiobooks.html</a>\r\n\r\nTavernor, Robert “Palladio\'s Four Books on Architecture”\r\nArchitecture Week, 19 July 2000.<a href=\"http://www.architectureweek.com/2000/0719/culture_1-1.html\"> http://www.architectureweek.com/2000/0719/culture_1-1.html</a></strong></strong>','The Four Books of Architecture','','inherit','open','open','','2395-revision-6','','','2012-09-24 19:35:25','2012-09-25 01:35:25','',2395,'http://jeanatacc.com/2011/?p=2553',0,'revision','',0),(2554,60,'2012-09-24 19:37:28','2012-09-25 01:37:28','','The Prince2','','inherit','open','open','','the-prince2','','','2012-09-24 19:37:28','2012-09-25 01:37:28','',0,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/The-Prince2.doc',0,'attachment','application/msword',0),(2555,62,'2012-09-24 19:36:28','2012-09-25 01:36:28','<strong>  </strong>\r\n<p dir=\"ltr\">I quattro libri dell\'architettura</p>\r\n<strong><strong><strong>Michael Brandon Seals\r\nJ. Lauer, Huma 1302 12:00 p.m.- 1:20 p.m.\r\n<img src=\"https://lh4.googleusercontent.com/WhiBS9oONAMEFS5dtI9oyKp0Rj9l5pwy-dMxD_ZlNuQwY5JrYeNn9v7r3LqLs8QiT4NABhsgAPOhDyg7dLumtmSE6YGMfxWKSE4Akyp90ldooiP470g\" alt=\"\" width=\"435px;\" height=\"580px;\" />\r\n</strong></strong></strong>\r\n<p dir=\"ltr\"> English architect Inigo Jones annotations in</p>\r\n<p dir=\"ltr\">Palladio’s Four Books on Architecture</p>\r\n<p dir=\"ltr\"><a href=\"http://inha.revues.org/3396\">http://inha.revues.org/3396</a></p>\r\n<strong><strong>\r\n\r\n\r\nAndrea Palladio (1508 – 1580), an Italian born architect who penned what is considered by some to be one of the greatest volumes ever published on the subject of architecture.  I quattro libri dell\'architettura  (The Four Books of Architecture)(1570) has become the standard repository and reference for classic renaissance design, influencing artists, architects and designers from the 16th century to the present day. The Four Books of Architecture consists of four separately published editions each describing a complete set of rules that define the conception, design and aesthetics of a structure. Along with highly detailed woodcuts emblazoning the cover. This incredibly illustrated tome is further divided into rules and sub-rule sets, governing everything from the placement and shape of walls, roofs, arches, details, site, etc. Once referred to by Thomas Jefferson as “the Bible” (Center for Palladian Studies in America) this book has had more influence on design and architecture than possibly any other book of its period or since, the fact that it is still applicable to the present day is in itself a feat very few printed works of the time can muster, as well as the spawning of a movement entirely based off the published work, Palladianism, the style of Architecture based completely off the rules and illustrations from the The Four Books on Architecture. Preservation of this work is of the utmost importance due to its unique composition and clarity of information that transcends languages timelines and generations.\r\n\r\nTypical of this period architects often would take their direction from the study of buildings of their antiquity especially those built by the Greco/Romans and many architects would often simply duplicate their forms as best they could adapting the overall composition to better suit their needs or discarding features they had no use for, such as a Roman bath house or social toilet. There were also surviving texts from the Roman empire including one from first century architect, Marcus Vitruvius Pollio, whose work  <a href=\"http://en.wikipedia.org/wiki/De_Architectura\">De Architectura</a> (\"On Architecture\") was thought of and is still known as one of the best preserved examples of Roman building and this would also go on to greatly influence palladio\'s work on the Four Books. (CPSA) However whereas most of his fellows looked to the surviving monumental roman structures such as the coliseum, or triumphal arch for the rhetoric to supply their language of construction. Palladio was able to distill his modus operandi from the form and structure of the classic Roman temple. He would go on to outline and define a more methodical approach to the design of a structure, where a large majority of the variables involved had sets of rules and sub rules,  in order to not only provide a functional and uniform scale but also to be aesthetically pleasing in the classical sense, and whereas the majority of his peers merely emulated the classic’s, refashioning and modifying them to fit their needs, Palladio created an innovative and unique style using the classic school as his metric all the while still satisfying patrons concerns regarding the local social and economic criteria of the time. With the formula for the systems and rules all clearly outlined, this was a book made not just for the architect but for patrons and builders as well as anyone interested in pursuing knowledge in the fields of architecture or construction. Highly praised at the time amongst peers and critics, however it was not until the widespread european distribution in the 1700’s that the Four Books really started to gain popularity and momentum, not only as a publication but as a distinct architectural style as well.\r\n\r\nThe Four Books of Architecture is thought of by many to this day to be a compendium of the thought process of renaissance builders of the period. In no other classic publication will you be able to find so clearly laid out formula and examples illustrating the classic sense of building design and construction, and in fact many modern books referring to the Greco/Roman or Renaissance period in architectural design end up citing The Four Books on Architecture extensively. Furthermore in the present day there are many organizations and societies dedicated solely to the further spread and understanding of the rules transcribed within the Four Books on Architecture, one very prominent organization The Center for Palladian Studies in America(CPSA) is dedicated to educating and furthering the works of Palladio and his influence in America, in addition to quantifying the effects the Four Books have had influencing further architectural styles of the past, however many CPSA volunteers are also dedicated to the preservation of palladian inspired structures of the American Renaissance.\r\n\r\nNow I am by no means a as informed on the subject of architecture as I feel I should be however as a practicing designer and draftsman for a number of years now. I can fully appreciate the monumental undertaking this book was for the author as well as the publisher(s), the tooling alone required to print this weighty and illustrated volume must have been absolutely a very work of art in itself. In addition very rarely have I encountered a book with such depth of knowledge and any one of a thousand questions regarding the subject of scale to city planning can easily be answered due to the rule and sub rules such as helping to define the best orientation of a site or building pad in relation to the sun or the classical art of placing a structure so that prevailing winds naturally and efficiently provide natural climate control. This is a book I can easily see myself reading and studying again and again, each time finding some hidden gem of design left to me by my peers and counterparts from an era long passed.\r\n\r\nA work such as this has the ability to provide future generations with a reference to the classical orders and design intent of the time in addition to being one of the only period written pieces on the subject that still survives. However The Four Books on Architecture is a rare work that has the ability to allow us not only to see the structures built by architects of antiquity but shines light on the standards and practices involved to create works of that caliber. By providing insight into how the men and women of our past came up with innovative solutions to their various dilemma, we too should be able to use this work to further understand the mindset of past cultures creators and creations, and nowhere else in print will you find a more complete treatise on the creation of buildings of classic design, a resource I feel would not exist if this publication were not to persevere into the twenty-second century. If this meaty tome full of renaissance knowledge was ever lost to us, would we ever be able to find a more pure example of the style form and function of the renaissance that is Palladio\'s The Four Books on Architecture.\r\n\r\n\r\nPalladio, Andrea. I quattro libri dell\'architettura (The Four Books on Architecture)\r\nCambridge: MIT Press, 1997. Print.\r\n\r\nVitruvius , Marcus. De architettura  (On Architecture)\r\n1 AD. Morris Hicky Morgan. Cambridge: Harvard University Press. London: Humphrey Milford. Oxford University Press. 1914. Print.\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladianism Timeline”\r\n<a href=\"http://www.palladiancenter.org/timeline-Palladianism.html\">http://www.palladiancenter.org/timeline-Palladianism.html</a>\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladio\'s Literary Predecessors”\r\n<a href=\"http://www.palladiancenter.org/predecessors.html\">http://www.palladiancenter.org/predecessors.html</a>\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladio\'s and his Books”\r\n<a href=\"http://www.palladiancenter.org/palladiobooks.html\">http://www.palladiancenter.org/palladiobooks.html</a>\r\n\r\nTavernor, Robert “Palladio\'s Four Books on Architecture”\r\nArchitecture Week, 19 July 2000.<a href=\"http://www.architectureweek.com/2000/0719/culture_1-1.html\"> http://www.architectureweek.com/2000/0719/culture_1-1.html</a></strong></strong>','The Four Books of Architecture','','inherit','open','open','','2395-revision-7','','','2012-09-24 19:36:28','2012-09-25 01:36:28','',2395,'http://jeanatacc.com/2011/?p=2555',0,'revision','',0),(2557,60,'2012-09-24 19:37:56','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-09-24 19:37:56','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=2557',0,'post','',0),(2560,60,'2012-09-24 19:41:49','2012-09-25 01:41:49','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p style=\"text-align: center;\" align=\"center\"> <img class=\"aligncenter\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"233\" height=\"334\" /></p>\r\n<p style=\"text-align: center;\">http://duanegraham.files.wordpress.com/2010/01/the-prince.jpg</p>\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\n<!--more-->The early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','publish','open','open','','the-prince-by-niccolo-machiavelli-2','','','2012-10-18 08:49:26','2012-10-18 14:49:26','',0,'http://jeanatacc.com/2011/?p=2560',0,'post','',7),(2561,62,'2012-09-24 19:38:32','2012-09-25 01:38:32','<strong>  </strong>\n<p dir=\"ltr\">I quattro libri dell\'architettura</p>\n<strong><strong><strong>Michael Brandon Seals\nJ. Lauer, Huma 1302 12:00 p.m.- 1:20 p.m.\n<img src=\"https://lh4.googleusercontent.com/WhiBS9oONAMEFS5dtI9oyKp0Rj9l5pwy-dMxD_ZlNuQwY5JrYeNn9v7r3LqLs8QiT4NABhsgAPOhDyg7dLumtmSE6YGMfxWKSE4Akyp90ldooiP470g\" alt=\"\" width=\"435px;\" height=\"580px;\" />\n</strong></strong></strong>\n<p dir=\"ltr\"> English architect Inigo Jones annotations in</p>\n<p dir=\"ltr\">Palladio’s Four Books on Architecture</p>\n<p dir=\"ltr\"><a href=\"http://inha.revues.org/3396\">http://inha.revues.org/3396</a></p>\n&nbsp;\n\nAndrea Palladio (1508 – 1580), an Italian born architect who penned what is considered by some to be one of the greatest volumes ever published on the subject of architecture.  I quattro libri dell\'architettura  (The Four Books of Architecture)(1570) has become the standard repository and reference for classic renaissance design, influencing artists, architects and designers from the 16th century to the present day. The Four Books of Architecture consists of four separately published editions each describing a complete set of rules that define the conception, design and aesthetics of a structure. Along with highly detailed woodcuts emblazoning the cover. This incredibly illustrated tome is further divided into rules and sub-rule sets, governing everything from the placement and shape of walls, roofs, arches, details, site, etc. Once referred to by Thomas Jefferson as “the Bible” (Center for Palladian Studies in America) this book has had more influence on design and architecture than possibly any other book of its period or since, the fact that it is still applicable to the present day is in itself a feat very few printed works of the time can muster, as well as the spawning of a movement entirely based off the published work, Palladianism, the style of Architecture based completely off the rules and illustrations from the The Four Books on Architecture. Preservation of this work is of the utmost importance due to its unique composition and clarity of information that transcends languages timelines and generations.\n\nTypical of this period architects often would take their direction from the study of buildings of their antiquity especially those built by the Greco/Romans and many architects would often simply duplicate their forms as best they could adapting the overall composition to better suit their needs or discarding features they had no use for, such as a Roman bath house or social toilet. There were also surviving texts from the Roman empire including one from first century architect, Marcus Vitruvius Pollio, whose work  <a href=\"http://en.wikipedia.org/wiki/De_Architectura\">De Architectura</a> (\"On Architecture\") was thought of and is still known as one of the best preserved examples of Roman building and this would also go on to greatly influence palladio\'s work on the Four Books. (CPSA) However whereas most of his fellows looked to the surviving monumental roman structures such as the coliseum, or triumphal arch for the rhetoric to supply their language of construction. Palladio was able to distill his modus operandi from the form and structure of the classic Roman temple. He would go on to outline and define a more methodical approach to the design of a structure, where a large majority of the variables involved had sets of rules and sub rules,  in order to not only provide a functional and uniform scale but also to be aesthetically pleasing in the classical sense, and whereas the majority of his peers merely emulated the classic’s, refashioning and modifying them to fit their needs, Palladio created an innovative and unique style using the classic school as his metric all the while still satisfying patrons concerns regarding the local social and economic criteria of the time. With the formula for the systems and rules all clearly outlined, this was a book made not just for the architect but for patrons and builders as well as anyone interested in pursuing knowledge in the fields of architecture or construction. Highly praised at the time amongst peers and critics, however it was not until the widespread european distribution in the 1700’s that the Four Books really started to gain popularity and momentum, not only as a publication but as a distinct architectural style as well.\n\nThe Four Books of Architecture is thought of by many to this day to be a compendium of the thought process of renaissance builders of the period. In no other classic publication will you be able to find so clearly laid out formula and examples illustrating the classic sense of building design and construction, and in fact many modern books referring to the Greco/Roman or Renaissance period in architectural design end up citing The Four Books on Architecture extensively. Furthermore in the present day there are many organizations and societies dedicated solely to the further spread and understanding of the rules transcribed within the Four Books on Architecture, one very prominent organization The Center for Palladian Studies in America(CPSA) is dedicated to educating and furthering the works of Palladio and his influence in America, in addition to quantifying the effects the Four Books have had influencing further architectural styles of the past, however many CPSA volunteers are also dedicated to the preservation of palladian inspired structures of the American Renaissance.\n\nNow I am by no means a as informed on the subject of architecture as I feel I should be however as a practicing designer and draftsman for a number of years now. I can fully appreciate the monumental undertaking this book was for the author as well as the publisher(s), the tooling alone required to print this weighty and illustrated volume must have been absolutely a very work of art in itself. In addition very rarely have I encountered a book with such depth of knowledge and any one of a thousand questions regarding the subject of scale to city planning can easily be answered due to the rule and sub rules such as helping to define the best orientation of a site or building pad in relation to the sun or the classical art of placing a structure so that prevailing winds naturally and efficiently provide natural climate control. This is a book I can easily see myself reading and studying again and again, each time finding some hidden gem of design left to me by my peers and counterparts from an era long passed.\n\nA work such as this has the ability to provide future generations with a reference to the classical orders and design intent of the time in addition to being one of the only period written pieces on the subject that still survives. However The Four Books on Architecture is a rare work that has the ability to allow us not only to see the structures built by architects of antiquity but shines light on the standards and practices involved to create works of that caliber. By providing insight into how the men and women of our past came up with innovative solutions to their various dilemma, we too should be able to use this work to further understand the mindset of past cultures creators and creations, and nowhere else in print will you find a more complete treatise on the creation of buildings of classic design, a resource I feel would not exist if this publication were not to persevere into the twenty-second century. If this meaty tome full of renaissance knowledge was ever lost to us, would we ever be able to find a more pure example of the style form and function of the renaissance that is Palladio\'s The Four Books on Architecture.\n\nPalladio, Andrea. I quattro libri dell\'architettura (The Four Books on Architecture)\nCambridge: MIT Press, 1997. Print.\n\nVitruvius , Marcus. De architettura  (On Architecture)\n1 AD. Morris Hicky Morgan. Cambridge: Harvard University Press. London: Humphrey Milford. Oxford University Press. 1914. Print.\n\nCenter for Palladian Studies in America(CPSA). “Palladianism Timeline”\n<a href=\"http://www.palladiancenter.org/timeline-Palladianism.html\">http://www.palladiancenter.org/timeline-Palladianism.html</a>\n\nCenter for Palladian Studies in America(CPSA). “Palladio\'s Literary Predecessors”\n<a href=\"http://www.palladiancenter.org/predecessors.html\">http://www.palladiancenter.org/predecessors.html</a>\n\nCenter for Palladian Studies in America(CPSA). “Palladio\'s and his Books”\n<a href=\"http://www.palladiancenter.org/palladiobooks.html\">http://www.palladiancenter.org/palladiobooks.html</a>\n\nTavernor, Robert “Palladio\'s Four Books on Architecture”\nArchitecture Week, 19 July 2000.<a href=\"http://www.architectureweek.com/2000/0719/culture_1-1.html\"> http://www.architectureweek.com/2000/0719/culture_1-1.html</a>','The Four Books of Architecture','','inherit','open','open','','2395-revision-8','','','2012-09-24 19:38:32','2012-09-25 01:38:32','',2395,'http://jeanatacc.com/2011/?p=2561',0,'revision','',0),(2562,60,'2012-09-24 19:41:27','2012-09-25 01:41:27','<p align=\"center\"> “The Prince”</p>\n<p align=\"center\"></p>\n<p align=\"center\">Niccolo Machiavelli</p>\n<p align=\"center\"></p>\n<p align=\"center\">16<sup>th</sup> Century</p>\n<p align=\"center\"></p>\n<p align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"331\" height=\"475\" /></p>\n<p align=\"center\"></p>\n&nbsp;\n\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\n\nThe early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\n\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\n\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\n\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\n\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\n\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\n<div>\n\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\n\n</div>\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<p align=\"center\">Works Cited</p>\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\n\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\n\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision','','','2012-09-24 19:41:27','2012-09-25 01:41:27','',2560,'http://jeanatacc.com/2011/?p=2562',0,'revision','',0),(2563,69,'2012-09-24 19:32:57','2012-09-25 01:32:57','http://reinep.wordpress.com/2010/08/04/deliberate-sealed-tunnel-under-sun-pyramid-on-teotihuacan-found/\r\n\r\nThe  pyramids  of  Teotihuacan  are  one  of  the  oldest  pyramids  in are  history. They  are  located  in  Mexico  about  30miles  from  one  of  the  biggest  city’s  in  the  world  known  as  Mexico  City.  The  original  date  of  theses  pyramids  are  unknown  but  should  be  older then 200  a.d.  Also  for  a  time  period  the  Aztec  had  wondered  off  from  what  they  have  been told  by  their  gods, and  had  stumbled  upon  the  pyramids  of  Teotihuacan  to  have  as  there own  land. These  magnificent  pyramids  are  a  big  part  of  history  and  should  be  conserved for  future  generations  to  be  able  to  learn  from  them. If  these  Pyramids  would  be  destroyed  there  would  be  allot  off  useful   information gone. We  are  still  to  this  day  still  learning  and gaining knowledge  from studying  them.\r\n\r\nThere  are  many  important  historical  impacts   that  have  shaped  the  pyramids.  From  the  Mayans  having  it  has  there  kingdom. To  the  Aztec’s  defeat  of  Cortez  and his Spanish  armed  forces.Sciences  all  off  this  they  are  just used  for  a tourist  site. For  use  to  ask  who  had built these Pyramids we have  to  know  that  the  builders  are  still  to  this  day unknown. Some  general  knowledge  is  That  the  two  biggest  of the  pyramids  are  the  sun  and  the  moon  pyramids. They  are  a representation  of  a  strong  connection  that  the  people  had  both  with  their  gods  and  with  the  universe.\r\n\r\nTo  actually  say  what  era  the  pyramids  purpose  was  or  what  they  worked for  is  asking  what  many  of  the  different  tribal  backgrounds  have  used  them  for. You called point  out  what  the  Aztec  people  used them  for. It  was  there  place  of  worship, and gathering were all put to use during there time period. For the actually archectual structure of the pyramids was magnificiant and way ahead of its structurally era. You could compare it to the Great Pyramids of Egypt. Saying that they are both very important structures. just as the Egyptian pyramids they are Humunguess in size and have barrel grounds in them for there kings in queens just as Teotihuacan do for there speretual leaders. They are simular in ways like the way they align up with each other. Even if they are so far apart from each other there functions are about the same throughout history. having different rulers over them and gods coming down are just some of the similarities they have. Also having  1used as dramatic stage for religious rituals and civic ceremonies.\r\n\r\n3Which making them very unusual are exedingly ahead of its structurally time period. A fact about the Sun and the Moon pyramid is that they are actually aligned up with the sun and the moon. The main street that connects them is called “Street of Dead” which in many cases could be interesting for why they called it that. Known for sightings of there gods for sacrifices or tolls they would receive from them, also giving the people a greater knowledge of the world. I think of the gods they said they would come down from the sky “other worldly biegns”. Which has made a very huge impact on what is being discovered. A cool thing about the name is that it means 1The Place Where Men Become Gods. Which was very interesting men becoming gods does that mean that they were given powers are just tools that made them like the gods.\r\n\r\nThought time they have been worked on and built on from different cultural groups forming there own certain structural features. For each time they were controlled by a group of people they had vast land to live off of. from the tools that were given to them had made there lives allot easier and made them able to think for them selves. There is contriverse on how they received these gifts and how they were used in different eras.\r\n\r\nFor most part people just know that these pyramids of Teotihuacan are located in Mexico, and probably that the Aztec had apart to do with them. They are a significant part of Mexican history to show How we had started off. Their concerns for this place is some were to go on a family vacation or road trip. Some 2Archologists today are still stunned to how anyone would be able to pick up those thousand pound bricks. How they would be able to carried them or even move them from one spot to the next. Which i would think is mind boggling.\r\n\r\nMy thought how the Teotihuacan Pyramids is that we need to look deeper then what facts are given to use to really be able to learn and define what your thoughts are own the pyramids. I am also think that it is a very good thing to be able to know about what has gone down in history and in the very magnificent Structural grounds. For that i conclude that i am glad that i as able to go in depth about Teotihuacan.\r\n\r\nWork cited List\r\n1. www.ancient-wisdom.co.oh/mexicoteotihuacan.htm\r\nLewis Spence, Mexico and Peru, 1994, Senate press. Renato Vesco, David Hatcher Childress. Man Made UFO\'s. 2007. Adventures Unlimited Press.Fagan, Garrett G. (2006). Archaeological Fantasies: How Pseudoarchaeology Misrepresents the Past and Misleads the Public. New York: Routledge. pp. 102The atlas of mysterious places. Guild publishing. 1987. G. Hancock. Fingerprints of the gods. Mandarin. 1996.\r\n\r\n2.http://www.mexconnect.com/articles/823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods\r\nBy: Allen Cogan\r\n3. http://www.aztec-history.com/\r\nThe Aztecs by Michael E. Smith (2003); Aztec Imperial Strategies by Frances F. Berdan, et al. (1996); Imperial Ends: The Decay, Collapse, and Revival of Empires by Alexander K. Motyl (2001); The Tenochca Empire of Ancient Mexico: The Triple Alliance of Tenochtitlan, Tetzcoco, and Tlacopan by Pedro Carrasco (1999)\r\n\r\n','Pyramids of Teotihuacan ','','inherit','open','open','','2549-revision-3','','','2012-09-24 19:32:57','2012-09-25 01:32:57','',2549,'http://jeanatacc.com/2011/?p=2563',0,'revision','',0),(2564,60,'2012-09-24 19:41:28','2012-09-25 01:41:28','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"331\" height=\"475\" /></p>\r\n<p align=\"center\"></p>\r\n&nbsp;\r\n\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\nThe early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-2','','','2012-09-24 19:41:28','2012-09-25 01:41:28','',2560,'http://jeanatacc.com/2011/?p=2564',0,'revision','',0),(2565,69,'2012-09-24 19:41:38','2012-09-25 01:41:38','<img class=\"alignnone\" src=\"http://www.mexconnect.com/photos/8996-teotihuacan1s-p-panoramic-view-of-teotihuacan-looking-south-from-the-top-o-original.jpg?1267914708\" alt=\"\" width=\"300\" height=\"225\" />\r\n\r\nThe  pyramids  of  Teotihuacan  are  one  of  the  oldest  pyramids  in are  history. They  are  located  in  Mexico  about  30miles  from  one  of  the  biggest  city’s  in  the  world  known  as  Mexico  City.  The  original  date  of  theses  pyramids  are  unknown  but  should  be  older then 200  a.d.  Also  for  a  time  period  the  Aztec  had  wondered  off  from  what  they  have  been told  by  their  gods, and  had  stumbled  upon  the  pyramids  of  Teotihuacan  to  have  as  there own  land. These  magnificent  pyramids  are  a  big  part  of  history  and  should  be  conserved for  future  generations  to  be  able  to  learn  from  them. If  these  Pyramids  would  be  destroyed  there  would  be  allot  off  useful   information gone. We  are  still  to  this  day  still  learning  and gaining knowledge  from studying  them.\r\n\r\nThere  are  many  important  historical  impacts   that  have  shaped  the  pyramids.  From  the  Mayans  having  it  has  there  kingdom. To  the  Aztec’s  defeat  of  Cortez  and his Spanish  armed  forces.Sciences  all  off  this  they  are  just used  for  a tourist  site. For  use  to  ask  who  had built these Pyramids we have  to  know  that  the  builders  are  still  to  this  day unknown. Some  general  knowledge  is  That  the  two  biggest  of the  pyramids  are  the  sun  and  the  moon  pyramids. They  are  a representation  of  a  strong  connection  that  the  people  had  both  with  their  gods  and  with  the  universe.\r\n\r\nTo  actually  say  what  era  the  pyramids  purpose  was  or  what  they  worked for  is  asking  what  many  of  the  different  tribal  backgrounds  have  used  them  for. You called point  out  what  the  Aztec  people  used them  for. It  was  there  place  of  worship, and gathering were all put to use during there time period.  You could compare it to the Great Pyramids of Egypt. Saying that they are both very important structures. just as the Egyptian pyramids they are enormous  in size and have barrel grounds in them for there kings in queens just as Teotihuacan do for there  leaders. They are alike in many  ways like the way they align up with each other. Even if they are so far apart from each other there functions are about the same throughout history. having different rulers over them and gods coming down are just some of the similarities they have. Also having  1used as dramatic stage for religious rituals and civic ceremonies.\r\n\r\n3Which making them very unusual and ahead of its structurally time period. A fact about the Sun and the Moon pyramid is that they are actually aligned up with the sun and the moon. The main street that connects them is called “Street of Dead” which in many cases could be interesting for why they called it that. Known for sightings of there gods for sacrifices or tolls they would receive  from them, also giving the people a greater knowledge of the world. I think of the gods they said they would come down from the sky “other worldly gods”. Which has made a very huge impact on what is being discovered. A cool thing about the name is that it means 1The Place Where Men Become Gods. Which was very interesting men becoming gods does that mean that they were given powers are just tools that made them like the gods.\r\n\r\nThought time they have been worked on and built on from different cultural groups forming there own certain structural features. For each time they were controlled by a group of people they had vast land to live off of. from the tools that were given to them had made there lives allot easier and made them able to think for them selves. There is contrivers  on how they received these gifts and how they were used in different eras.\r\n\r\nFor most part people just know that these pyramids of Teotihuacan are located in Mexico, and probably that the Aztec had apart to do with them. They are a significant part of Mexican history to show How we had started off. Their concerns for this place is some were to go on a family vacation or road trip. Some 2Archologists today are still stunned to how anyone would be able to pick up those thousand pound bricks. How they would be able to carried them or even move them from one spot to the next. Which i would think is mind boggling.\r\n\r\nMy thought how the Teotihuacan Pyramids is that we need to look deeper then what facts are given to use to really be able to learn and define what your thoughts are own the pyramids. I am also think that it is a very good thing to be able to know about what has gone down in history and in the very magnificent Structural grounds. For that i conclude that i am glad that i as able to go in depth about Teotihuacan.\r\n\r\nWork cited List\r\n1. www.ancient-wisdom.co.oh/mexicoteotihuacan.htm\r\nLewis Spence, Mexico and Peru, 1994, Senate press. Renato Vesco, David Hatcher Childress. Man Made UFO\'s. 2007. Adventures Unlimited Press.Fagan, Garrett G. (2006). Archaeological Fantasies: How Pseudoarchaeology Misrepresents the Past and Misleads the Public. New York: Routledge. pp. 102The atlas of mysterious places. Guild publishing. 1987. G. Hancock. Fingerprints of the gods. Mandarin. 1996.\r\n\r\n2.http://www.mexconnect.com/articles/823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods\r\nBy: Allen Cogan\r\n3. http://www.aztec-history.com/\r\nThe Aztecs by Michael E. Smith (2003); Aztec Imperial Strategies by Frances F. Berdan, et al. (1996); Imperial Ends: The Decay, Collapse, and Revival of Empires by Alexander K. Motyl (2001); The Tenochca Empire of Ancient Mexico: The Triple Alliance of Tenochtitlan, Tetzcoco, and Tlacopan by Pedro Carrasco (1999)\r\n\r\n','Pyramids of Teotihuacan ','','inherit','open','open','','2549-revision-4','','','2012-09-24 19:41:38','2012-09-25 01:41:38','',2549,'http://jeanatacc.com/2011/?p=2565',0,'revision','',0),(2567,60,'2012-09-24 19:41:43','2012-09-25 01:41:43','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"331\" height=\"475\" /></p>\r\n<p align=\"center\"></p>\r\n&nbsp;\r\n\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\nThe early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-4','','','2012-09-24 19:41:43','2012-09-25 01:41:43','',2560,'http://jeanatacc.com/2011/?p=2567',0,'revision','',0),(2569,60,'2012-09-24 19:43:00','2012-09-25 01:43:00','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"331\" height=\"475\" /></p>\r\n&nbsp;\r\n\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\nThe early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-6','','','2012-09-24 19:43:00','2012-09-25 01:43:00','',2560,'http://jeanatacc.com/2011/?p=2569',0,'revision','',0),(2568,60,'2012-09-24 19:41:49','2012-09-25 01:41:49','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"331\" height=\"475\" /></p>\r\n<p align=\"center\"></p>\r\n&nbsp;\r\n\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\nThe early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-5','','','2012-09-24 19:41:49','2012-09-25 01:41:49','',2560,'http://jeanatacc.com/2011/?p=2568',0,'revision','',0),(2570,69,'2012-09-24 19:41:40','2012-09-25 01:41:40','<img class=\"alignnone\" src=\"http://www.mexconnect.com/photos/8996-teotihuacan1s-p-panoramic-view-of-teotihuacan-looking-south-from-the-top-o-original.jpg?1267914708\" alt=\"\" width=\"300\" height=\"225\" />\r\n\r\nThe  pyramids  of  Teotihuacan  are  one  of  the  oldest  pyramids  in are  history. They  are  located  in  Mexico  about  30miles  from  one  of  the  biggest  city’s  in  the  world  known  as  Mexico  City.  The  original  date  of  theses  pyramids  are  unknown  but  should  be  older then 200  a.d.  Also  for  a  time  period  the  Aztec  had  wondered  off  from  what  they  have  been told  by  their  gods, and  had  stumbled  upon  the  pyramids  of  Teotihuacan  to  have  as  there own  land. These  magnificent  pyramids  are  a  big  part  of  history  and  should  be  conserved for  future  generations  to  be  able  to  learn  from  them. If  these  Pyramids  would  be  destroyed  there  would  be  allot  off  useful   information gone. We  are  still  to  this  day  still  learning  and gaining knowledge  from studying  them.\r\n\r\nThere  are  many  important  historical  impacts   that  have  shaped  the  pyramids.  From  the  Mayans  having  it  has  there  kingdom. To  the  Aztec’s  defeat  of  Cortez  and his Spanish  armed  forces.Sciences  all  off  this  they  are  just used  for  a tourist  site. For  use  to  ask  who  had built these Pyramids we have  to  know  that  the  builders  are  still  to  this  day unknown. Some  general  knowledge  is  That  the  two  biggest  of the  pyramids  are  the  sun  and  the  moon  pyramids. They  are  a representation  of  a  strong  connection  that  the  people  had  both  with  their  gods  and  with  the  universe.\r\n\r\nTo  actually  say  what  era  the  pyramids  purpose  was  or  what  they  worked for  is  asking  what  many  of  the  different  tribal  backgrounds  have  used  them  for. You called point  out  what  the  Aztec  people  used them  for. It  was  there  place  of  worship, and gathering were all put to use during there time period.  You could compare it to the Great Pyramids of Egypt. Saying that they are both very important structures. just as the Egyptian pyramids they are enormous  in size and have barrel grounds in them for there kings in queens just as Teotihuacan do for there  leaders. They are alike in many  ways like the way they align up with each other. Even if they are so far apart from each other there functions are about the same throughout history. having different rulers over them and gods coming down are just some of the similarities they have. Also having  1used as dramatic stage for religious rituals and civic ceremonies.\r\n\r\n3Which making them very unusual and ahead of its structurally time period. A fact about the Sun and the Moon pyramid is that they are actually aligned up with the sun and the moon. The main street that connects them is called “Street of Dead” which in many cases could be interesting for why they called it that. Known for sightings of there gods for sacrifices or tolls they would receive  from them, also giving the people a greater knowledge of the world. I think of the gods they said they would come down from the sky “other worldly gods”. Which has made a very huge impact on what is being discovered. A cool thing about the name is that it means 1The Place Where Men Become Gods. Which was very interesting men becoming gods does that mean that they were given powers are just tools that made them like the gods.\r\n\r\nThought time they have been worked on and built on from different cultural groups forming there own certain structural features. For each time they were controlled by a group of people they had vast land to live off of. from the tools that were given to them had made there lives allot easier and made them able to think for them selves. There is contrivers  on how they received these gifts and how they were used in different eras.\r\n\r\nFor most part people just know that these pyramids of Teotihuacan are located in Mexico, and probably that the Aztec had apart to do with them. They are a significant part of Mexican history to show How we had started off. Their concerns for this place is some were to go on a family vacation or road trip. Some 2Archologists today are still stunned to how anyone would be able to pick up those thousand pound bricks. How they would be able to carried them or even move them from one spot to the next. Which i would think is mind boggling.\r\n\r\nMy thought how the Teotihuacan Pyramids is that we need to look deeper then what facts are given to use to really be able to learn and define what your thoughts are own the pyramids. I am also think that it is a very good thing to be able to know about what has gone down in history and in the very magnificent Structural grounds. For that i conclude that i am glad that i as able to go in depth about Teotihuacan.\r\n\r\nWork cited List\r\n1. www.ancient-wisdom.co.oh/mexicoteotihuacan.htm\r\nLewis Spence, Mexico and Peru, 1994, Senate press. Renato Vesco, David Hatcher Childress. Man Made UFO\'s. 2007. Adventures Unlimited Press.Fagan, Garrett G. (2006). Archaeological Fantasies: How Pseudoarchaeology Misrepresents the Past and Misleads the Public. New York: Routledge. pp. 102The atlas of mysterious places. Guild publishing. 1987. G. Hancock. Fingerprints of the gods. Mandarin. 1996.\r\n\r\n2.http://www.mexconnect.com/articles/823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods\r\nBy: Allen Cogan\r\n3. http://www.aztec-history.com/\r\nThe Aztecs by Michael E. Smith (2003); Aztec Imperial Strategies by Frances F. Berdan, et al. (1996); Imperial Ends: The Decay, Collapse, and Revival of Empires by Alexander K. Motyl (2001); The Tenochca Empire of Ancient Mexico: The Triple Alliance of Tenochtitlan, Tetzcoco, and Tlacopan by Pedro Carrasco (1999)','Pyramids of Teotihuacan ','','inherit','open','open','','2549-revision-5','','','2012-09-24 19:41:40','2012-09-25 01:41:40','',2549,'http://jeanatacc.com/2011/?p=2570',0,'revision','',0),(2571,1,'2012-10-08 08:54:53','2012-10-08 14:54:53','<img class=\"aligncenter\" src=\"http://www.mexconnect.com/photos/8996-teotihuacan1s-p-panoramic-view-of-teotihuacan-looking-south-from-the-top-o-original.jpg?1267914708\" alt=\"\" width=\"300\" height=\"225\" />\n\nThe  pyramids  of  Teotihuacan  are  one  of  the  oldest  pyramids  in are  history. They  are  located  in  Mexico  about  30miles  from  one  of  the  biggest  city’s  in  the  world  known  as  Mexico  City.  The  original  date  of  theses  pyramids  are  unknown  but  should  be  older then 200  a.d.  Also  for  a  time  period  the  Aztec  had  wondered  off  from  what  they  have  been told  by  their  gods, and  had  stumbled  upon  the  pyramids  of  Teotihuacan  to  have  as  there own  land. These  magnificent  pyramids  are  a  big  part  of  history  and  should  be  conserved for  future  generations  to  be  able  to  learn  from  them. If  these  Pyramids  would  be  destroyed  there  would  be  allot  off  useful   information gone. We  are  still  to  this  day  still  learning  and gaining knowledge  from studying  them.\n\n<!--more-->There  are  many  important  historical  impacts   that  have  shaped  the  pyramids.  From  the  Mayans  having  it  has  there  kingdom. To  the  Aztec’s  defeat  of  Cortez  and his Spanish  armed  forces.Sciences  all  off  this  they  are  just used  for  a tourist  site. For  use  to  ask  who  had built these Pyramids we have  to  know  that  the  builders  are  still  to  this  day unknown. Some  general  knowledge  is  That  the  two  biggest  of the  pyramids  are  the  sun  and  the  moon  pyramids. They  are  a representation  of  a  strong  connection  that  the  people  had  both  with  their  gods  and  with  the  universe.\n\nTo  actually  say  what  era  the  pyramids  purpose  was  or  what  they  worked for  is  asking  what  many  of  the  different  tribal  backgrounds  have  used  them  for. You called point  out  what  the  Aztec  people  used them  for. It  was  there  place  of  worship, and gathering were all put to use during there time period.  You could compare it to the Great Pyramids of Egypt. Saying that they are both very important structures. just as the Egyptian pyramids they are enormous  in size and have barrel grounds in them for there kings in queens just as Teotihuacan do for there  leaders. They are alike in many  ways like the way they align up with each other. Even if they are so far apart from each other there functions are about the same throughout history. having different rulers over them and gods coming down are just some of the similarities they have. Also having  1used as dramatic stage for religious rituals and civic ceremonies.\n\n3Which making them very unusual and ahead of its structurally time period. A fact about the Sun and the Moon pyramid is that they are actually aligned up with the sun and the moon. The main street that connects them is called “Street of Dead” which in many cases could be interesting for why they called it that. Known for sightings of there gods for sacrifices or tolls they would receive  from them, also giving the people a greater knowledge of the world. I think of the gods they said they would come down from the sky “other worldly gods”. Which has made a very huge impact on what is being discovered. A cool thing about the name is that it means 1The Place Where Men Become Gods. Which was very interesting men becoming gods does that mean that they were given powers are just tools that made them like the gods.\n\nThought time they have been worked on and built on from different cultural groups forming there own certain structural features. For each time they were controlled by a group of people they had vast land to live off of. from the tools that were given to them had made there lives allot easier and made them able to think for them selves. There is contrivers  on how they received these gifts and how they were used in different eras.\n\nFor most part people just know that these pyramids of Teotihuacan are located in Mexico, and probably that the Aztec had apart to do with them. They are a significant part of Mexican history to show How we had started off. Their concerns for this place is some were to go on a family vacation or road trip. Some 2Archologists today are still stunned to how anyone would be able to pick up those thousand pound bricks. How they would be able to carried them or even move them from one spot to the next. Which i would think is mind boggling.\n\nMy thought how the Teotihuacan Pyramids is that we need to look deeper then what facts are given to use to really be able to learn and define what your thoughts are own the pyramids. I am also think that it is a very good thing to be able to know about what has gone down in history and in the very magnificent Structural grounds. For that i conclude that i am glad that i as able to go in depth about Teotihuacan.\n\nWork cited List\n1. www.ancient-wisdom.co.oh/mexicoteotihuacan.htm\nLewis Spence, Mexico and Peru, 1994, Senate press. Renato Vesco, David Hatcher Childress. Man Made UFO\'s. 2007. Adventures Unlimited Press.Fagan, Garrett G. (2006). Archaeological Fantasies: How Pseudoarchaeology Misrepresents the Past and Misleads the Public. New York: Routledge. pp. 102The atlas of mysterious places. Guild publishing. 1987. G. Hancock. Fingerprints of the gods. Mandarin. 1996.\n\n2.http://www.mexconnect.com/articles/823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods\nBy: Allen Cogan\n3. http://www.aztec-history.com/\nThe Aztecs by Michael E. Smith (2003); Aztec Imperial Strategies by Frances F. Berdan, et al. (1996); Imperial Ends: The Decay, Collapse, and Revival of Empires by Alexander K. Motyl (2001); The Tenochca Empire of Ancient Mexico: The Triple Alliance of Tenochtitlan, Tetzcoco, and Tlacopan by Pedro Carrasco (1999)\n\n&nbsp;','Pyramids of Teotihuacan ','','inherit','open','open','','2549-autosave','','','2012-10-08 08:54:53','2012-10-08 14:54:53','',2549,'http://jeanatacc.com/2011/?p=2571',0,'revision','',0),(2572,69,'2012-09-24 19:46:49','2012-09-25 01:46:49','<img class=\"alignnone\" src=\"http://www.mexconnect.com/photos/8996-teotihuacan1s-p-panoramic-view-of-teotihuacan-looking-south-from-the-top-o-original.jpg?1267914708\" alt=\"\" width=\"300\" height=\"225\" />\r\n\r\nThe  pyramids  of  Teotihuacan  are  one  of  the  oldest  pyramids  in are  history. They  are  located  in  Mexico  about  30miles  from  one  of  the  biggest  city’s  in  the  world  known  as  Mexico  City.  The  original  date  of  theses  pyramids  are  unknown  but  should  be  older then 200  a.d.  Also  for  a  time  period  the  Aztec  had  wondered  off  from  what  they  have  been told  by  their  gods, and  had  stumbled  upon  the  pyramids  of  Teotihuacan  to  have  as  there own  land. These  magnificent  pyramids  are  a  big  part  of  history  and  should  be  conserved for  future  generations  to  be  able  to  learn  from  them. If  these  Pyramids  would  be  destroyed  there  would  be  allot  off  useful   information gone. We  are  still  to  this  day  still  learning  and gaining knowledge  from studying  them.\r\n\r\n<!--nextpage-->There  are  many  important  historical  impacts   that  have  shaped  the  pyramids.  From  the  Mayans  having  it  has  there  kingdom. To  the  Aztec’s  defeat  of  Cortez  and his Spanish  armed  forces.Sciences  all  off  this  they  are  just used  for  a tourist  site. For  use  to  ask  who  had built these Pyramids we have  to  know  that  the  builders  are  still  to  this  day unknown. Some  general  knowledge  is  That  the  two  biggest  of the  pyramids  are  the  sun  and  the  moon  pyramids. They  are  a representation  of  a  strong  connection  that  the  people  had  both  with  their  gods  and  with  the  universe.\r\n\r\nTo  actually  say  what  era  the  pyramids  purpose  was  or  what  they  worked for  is  asking  what  many  of  the  different  tribal  backgrounds  have  used  them  for. You called point  out  what  the  Aztec  people  used them  for. It  was  there  place  of  worship, and gathering were all put to use during there time period.  You could compare it to the Great Pyramids of Egypt. Saying that they are both very important structures. just as the Egyptian pyramids they are enormous  in size and have barrel grounds in them for there kings in queens just as Teotihuacan do for there  leaders. They are alike in many  ways like the way they align up with each other. Even if they are so far apart from each other there functions are about the same throughout history. having different rulers over them and gods coming down are just some of the similarities they have. Also having  1used as dramatic stage for religious rituals and civic ceremonies.\r\n\r\n3Which making them very unusual and ahead of its structurally time period. A fact about the Sun and the Moon pyramid is that they are actually aligned up with the sun and the moon. The main street that connects them is called “Street of Dead” which in many cases could be interesting for why they called it that. Known for sightings of there gods for sacrifices or tolls they would receive  from them, also giving the people a greater knowledge of the world. I think of the gods they said they would come down from the sky “other worldly gods”. Which has made a very huge impact on what is being discovered. A cool thing about the name is that it means 1The Place Where Men Become Gods. Which was very interesting men becoming gods does that mean that they were given powers are just tools that made them like the gods.\r\n\r\nThought time they have been worked on and built on from different cultural groups forming there own certain structural features. For each time they were controlled by a group of people they had vast land to live off of. from the tools that were given to them had made there lives allot easier and made them able to think for them selves. There is contrivers  on how they received these gifts and how they were used in different eras.\r\n\r\nFor most part people just know that these pyramids of Teotihuacan are located in Mexico, and probably that the Aztec had apart to do with them. They are a significant part of Mexican history to show How we had started off. Their concerns for this place is some were to go on a family vacation or road trip. Some 2Archologists today are still stunned to how anyone would be able to pick up those thousand pound bricks. How they would be able to carried them or even move them from one spot to the next. Which i would think is mind boggling.\r\n\r\nMy thought how the Teotihuacan Pyramids is that we need to look deeper then what facts are given to use to really be able to learn and define what your thoughts are own the pyramids. I am also think that it is a very good thing to be able to know about what has gone down in history and in the very magnificent Structural grounds. For that i conclude that i am glad that i as able to go in depth about Teotihuacan.\r\n\r\nWork cited List\r\n1. www.ancient-wisdom.co.oh/mexicoteotihuacan.htm\r\nLewis Spence, Mexico and Peru, 1994, Senate press. Renato Vesco, David Hatcher Childress. Man Made UFO\'s. 2007. Adventures Unlimited Press.Fagan, Garrett G. (2006). Archaeological Fantasies: How Pseudoarchaeology Misrepresents the Past and Misleads the Public. New York: Routledge. pp. 102The atlas of mysterious places. Guild publishing. 1987. G. Hancock. Fingerprints of the gods. Mandarin. 1996.\r\n\r\n2.http://www.mexconnect.com/articles/823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods\r\nBy: Allen Cogan\r\n3. http://www.aztec-history.com/\r\nThe Aztecs by Michael E. Smith (2003); Aztec Imperial Strategies by Frances F. Berdan, et al. (1996); Imperial Ends: The Decay, Collapse, and Revival of Empires by Alexander K. Motyl (2001); The Tenochca Empire of Ancient Mexico: The Triple Alliance of Tenochtitlan, Tetzcoco, and Tlacopan by Pedro Carrasco (1999)\r\n\r\n&nbsp;','Pyramids of Teotihuacan ','','inherit','open','open','','2549-revision-6','','','2012-09-24 19:46:49','2012-09-25 01:46:49','',2549,'http://jeanatacc.com/2011/?p=2572',0,'revision','',0),(2614,1,'2012-09-24 20:04:14','2012-09-25 02:04:14','[gallery]\r\n\r\n<!--more-->\r\n\r\nThe Sistine Chapel ceilings should be preserved because it is a reminder and visual of the Creation of man. The Sistine Chapel Ceiling  (Creation of Adam and Last Judgment), was created by Michelangelo Buonarroti when Pope Julius II commissioned him to repaint the ceiling in 1508.The works of art located on The Sistine Chapel Ceiling tells nine stories from the first book of the bible, Genesis. The Creation of Adam, the most famous, has been replicated and mass produced in almost every culture. The Sistine Chapel Ceiling remains a masterpiece and has inspired many of its visitors throughout history. Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, the first book of the Bible. Williams E. Wallace states, the pictures fall into three groups of three alternating large and small panels:\r\n\r\nThe first group shows God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden where they have lived and where they walked with God The third group of three pictures shows the plight of Humanity, and in particular the family of Noah. Visually the pictures are not in strictly chronological order (30).\r\n\r\nWallace says, if they are perceived as three groups, then the pictures in each of the three units inform upon each other, in the same way as was usual in Medieval paintings and stained glass (Wallace 31). Wallace interjects; the three sections of Creation, Downfall and Fate of Humanity appear in reverse order, when read from the entrance of the chapel. However, each individual scene is painted to be viewed when looking towards the altar (Wallace, 30). This is not easily apparent when viewing a reproduced image of the ceiling, but becomes clear when the viewer looks upward at the vault. Paoletti and Radke suggest that this reversed progression symbolizes a return to a state of grace (qtd. in Wallace 30). Wallace says the three sections are generally described in the order of Biblical chronology:\r\n\r\nThe scenes, from the altar towards the main door, are ordered as follows: The Separation of Light and Darkness, The Creation of the Sun, Moon and Earth, The Separation of Land and Water, The Creation of Adam, The Creation of Eve, The Temptation and Expulsion, The Sacrifice of Noah, The Great Flood, and The Drunkenness of Noah. This monumental fresco covers the entire end wall of the chapel which led the obliteration of the frescoes painted at the time of Sixtus IV: the first figures of the popes, the first two scenes of the life of Christ and life of Moses, the image of the Virgin of Assumption (by Perugino), together with the first two lunettes, representing the Ancestors of Christ were frescoed earlier by Michelangelo himself. The two large windows set into the altar wall were closed up (31).\r\n\r\nA historical time line taken from The Encyclopædia Britannica states:\r\n\r\nDuring the early years before the creation of the Sistine chapel in 1494 Charles VIII of France (r. 1483–98) invaded Italy and seized Naples, launching the “Italian Wars”. This war involved a series of military conflicts between rival European powers—particularly France and Spain—for the takeover of several Italian city-states. In 1497 Michelangelo perhaps the outstanding painter, sculptor, architect, and draftsman of his time was active in Rome, having left Florence after the expulsion of the Medici in 1494. He receives a commission for the tomb of a French cardinal at Saint Peter\'s Basilica, for which he executes the Pietà, a life size sculpture depicting the dead Christ in his mother\'s arms. The masterful rendering of the human form and the flowing drapery of the Virgin\'s garment, as well as the combined dignity and emotional intensity of this work earn much praise from the artist\'s contemporaries. After completing the Pietà, Michelangelo returns to Florence, where he produces the colossal David which is completed 1504 (“Michelangelo,” <span style=\"text-decoration: underline\">Encyclopædia Britannica</span>).\r\n\r\nIn 1503 Giuliano della Rovere is elected Pope Julius II (r. 1503–13). An outstanding patron, Julius commissions some of the finest landmarks of Renaissance art. Shortly after his election, he plans to replace the extant Saint Peter\'s Basilica with a new structure. A central-plan church of potential magnificence, designed by Bramante, is begun in 1506; construction is barely underway when the architect dies in 1514. In 1505, Michelangelo returns to Rome and undertakes a monumental tomb design for Pope Julius II. Due to various complications, the scale of the project is dramatically reduced over time, and of the forty over-life size figures planned by Michelangelo for the tomb, only the statue of Moses (1513–15; now Church of San Pietro in Vincoli) is fully realized. Also originally intended for the tomb are several figures of slaves, some half-finished. The tomb would remain incomplete until 1547 (“Michelangelo,” Encyclopædia Britannica).\r\n\r\nIn 1508, Luca Signorelli (1441–1523) completes the fresco cycle on the walls of the Sistine Chapel. In the same year, Julius II summons Michelangelo from a sojourn in Florence to paint ceiling frescoes for the chapel. The complex program, painted over the next four years, includes scenes from the Book of Genesis—notably, the creation of man and the expulsion of Adam and Eve from the Garden of Eden—as well as figures of apostles, prophets, and sibyls. More than twenty years later, Michelangelo returns to the chapel and paints the Last Judgment (1536–41) for the apse wall. The Sistine Chapel ceilings, enormous fresco, presents a vivid, turbulent vision of the ecstasy of the saved and the torments of the damned was painted over the altar, at the commission of Pope Paul III Farnese (“Michelangelo,” Encyclopædia Britannica).\r\n\r\nAccording to Gloria Fiero:\r\n\r\nA significant archeological event influenced Michelangelo\'s treatment of the figure after 1506: in that year, diggers working in Rome uncovered the Laocoön, the celebrated Hellenistic sculpture that had been known to Western scholars only by way of the Roman writer, Pliny. The sculpture with its bold contortions and its powerfully rendered anatomy had as great an impact on Michelangelo and the course of High Renaissance art as Cicero\'s prose had exercised on Petrarch and Early Renaissance literature. Michelangelo’s work, completed between 1508 and 1512, was cohesive with the times; indeed, the twisted torsos, taut muscles, and stretched physiques of the Sistine Chapel figures (ch.17).\r\n\r\nJulie L. Carnagie, Peggy Saari, and Aaron Saari state, the work of the Sistine Chapel ceilings suffered numerous setbacks, such as mold and miserable, damp weather that disallowed plaster curing. A primary cause of downtime occurred when Julius was off waging a war, or ill to the point that Last Rites were administered. The ceiling project, and any hope Michelangelo had of being paid, were both frequently in jeopardy while Julius was absent or near death (234).\r\n\r\nWallace says, while much of the symbolism of the ceiling dates from the early church, the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance Humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Socrates and other Classical writers. Michelangelo, as a young man, had spent time at the Humanist academy established by the Medici family in Florence (20).\r\n\r\nAccording to Carnagie, P. Saari, and A. Saari:\r\n\r\nThe rediscovery of Greco-Roman culture in the Renaissance restored the nude to the heart of creative endeavor. Nude figures based on antique models appear in Italy as early as the mid-thirteenth century, and by the mid-fifteenth century, nudes had become symbols of antiquity and its reincarnation. This work of art being massively large in statue was very unusual, but for Michelangelo this combination of throbbing life with colossal grandeur became the special quality of Michelangelo\'s art. From then on his work consisted mainly of very large innovative projects. Because he preferred to work on a grand scale, however, he could not turn down commissions from great clients (235).\r\n\r\nAt all times in human history, the human body has been one of the principal subjects for artists. It has been represented on prehistoric paintings and statutes and in all eras since. The male nude was more common in antiquity, especially in ancient Greece, but today the tendency is for the female nude body to be more highly regarded and represented (Carnagie, P. Saari, and A. Saari 235).Wallace implies, since the first days of photography, the nude was a source of inspiration for those that adopted the new medium. Most of the early images have been closely guarded or surreptitiously circulated, on account of social norms of the time. At that time, prostitutes tended to model for these photographs (42). Today, the images of the human body are often, especially in advertising for the wide variety of products and services, those of the female body.\r\n\r\nThe Sistine Chapel ceilings are thought of as a thing of beauty. Many Christian believers that journey to the Vatican Chapel are inspired by its magnificent creativity and magnitude. The reception of today verses that of yester year varies little some individuals feel that nudity has no place in the church but others feel that this is where it all began with the Creation of Man. The Chapel is seen as the sacred vessel in which it is and proper attire is required to gain admission. Various websites urge tourists and visitors to arrive early to avoid the long lines that tend to occur due to many the marvel at the work of art. There are hundreds of tourists visiting the Chapel and other Vatican Museums at any given time, so one could easily see overcrowding while visiting.\r\n\r\nMy personal reaction to this work is that it is a masterpiece. In a world where nudity is seen as a form of taboo in Michelangelo’s era the human anatomy was beautiful. Every line of the human anatomy in his art told a story whether it was stress or joy it stood for something. According to Fiero:\r\n\r\nIn the Creation of Adam, God and Man equal in size and muscular grace confront each other like partners in the divine plan. Adam reaches longingly toward God, seeking the moment of fulfillment, when God will charge his languid body with celestial energy. If the image depicts Creation, it is also a metaphor for the Renaissance belief in the potential divinity of humankind—the visual analogue of Pico\'s Oration on the Dignity of Man (ch.17).\r\n\r\nI believe, nothing in this work is taken out of context or taken to the extreme the visual focus is on the entire work not the nudity. In The Bible nudity in the beginning was norm until the “Fall of Man”, it was then that we as humans began to desire the need for coverings or clothes.\r\n\r\nMichelangelo, who is known for his creativity like the paintings on the ceiling of the Sistine Chapel, has other works that are comparable or that supersede others. One that he is best known for is the sculpture of David. This tall towering marble sculpture also embodies the sheer inspiration the Michelangelo felt for the human body as does the fresco ceiling paintings. Michelangelo was a master sculptor and painter. Biography taken from a How stuff works.com article states that:\r\n\r\nMichelangelo was inspired by the works of antiquity and his own religious faith, Michelangelo created some of the most remarkable sculptures in history. His obsession with physical beauty and the nude male form influenced much of his work, and his sculptures, paintings, and buildings continue to inspire and awe art-lovers today (1).\r\n\r\nThe statue of David is typical of Michelangelo\'s work large and grand in statue. Like the Sistine Chapel ceilings the statue has been reproduced many times. Michelangelo’s David has become one of the most recognized works. The statue has become a symbol of both strength and youthful human beauty.\r\n\r\nThe Sistine Chapel ceiling artistry remains most significant for future generations, because it shows how the world was formed, how we came in to existence, and the downfall and final judgment of man. The preservation of the Sistine Chapel ceilings masterpiece will also give future generations hope and provide a guide to understand that God is all-knowing and omnipresent. Though you may not be able to see Him, God is there and the church will remain the structural center for all Christian believers.\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Michelangelo.\" Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2012. Web. 04 Sep. 2012.\r\n\r\n<span style=\"text-decoration: underline\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/379957/Michelangelo</span>\r\n\r\n\"Michelangelo\"  21 August 2007.  HowStuffWorks.com. &lt;http://entertainment.howstuffworks.com/arts/artwork/michelangelo.htm&gt;  22 September 2012.\r\n\r\n\"Michelangelo Buonarroti.\" Renaissance and Reformation Reference Library. Ed. Julie L. Carnagie, Peggy Saari, and Aaron Saari. Vol. 4: Vol. 2: Biographies. Detroit: UXL, 2002. 232-241. Gale Virtual Reference Library. Web. 30 Aug. 2012.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\nWallace, William E.. Michelangelo : The Artist, the Man and his Times. Cambridge: Cambridge University Press, 2011. Ebook Library. Web. 30 Aug. 2012.\r\n\r\n<a href=\"http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215\">http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215</a>','The Sistine Chapel Ceilings','','inherit','open','open','','2558-revision-4','','','2012-09-24 20:04:14','2012-09-25 02:04:14','',2558,'http://jeanatacc.com/2011/?p=2614',0,'revision','',0),(2573,63,'2012-09-24 19:50:48','2012-09-25 01:50:48','','ScottRubin-TCP1','','inherit','open','open','','scottrubin-tcp1','','','2012-09-24 19:50:48','2012-09-25 01:50:48','',2558,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/ScottRubin-TCP1.rtf',0,'attachment','application/rtf',0),(2574,63,'2012-09-24 19:57:27','2012-09-25 01:57:27','','google image','Michelangelo commissioned by Pope Julius II della Rovere in 1508-1512 to repaint the ceiling of the Sistine Chapel. \r\n','inherit','open','open','','google-image','','','2012-09-24 19:57:27','2012-09-25 01:57:27','',2558,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/google-image.jpg',0,'attachment','image/jpeg',0),(2575,63,'2012-09-24 20:00:55','2012-09-25 02:00:55','[gallery]\n\n<!--more-->h','The Sistine Chapel Ceilings','','inherit','open','open','','2558-revision','','','2012-09-24 20:00:55','2012-09-25 02:00:55','',2558,'http://jeanatacc.com/2011/?p=2575',0,'revision','',0),(2576,63,'2012-09-24 20:01:48','2012-09-25 02:01:48','[gallery]\r\n\r\n<!--more-->\r\n\r\nThe Sistine Chapel ceilings should be preserved because it is a reminder and visual of the Creation of man. The Sistine Chapel Ceiling  (Creation of Adam and Last Judgment), was created by Michelangelo Buonarroti when Pope Julius II commissioned him to repaint the ceiling in 1508.The works of art located on The Sistine Chapel Ceiling tells nine stories from the first book of the bible, Genesis. The Creation of Adam, the most famous, has been replicated and mass produced in almost every culture. The Sistine Chapel Ceiling remains a masterpiece and has inspired many of its visitors throughout history. Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, the first book of the Bible. Williams E. Wallace states, the pictures fall into three groups of three alternating large and small panels:\r\n\r\nThe first group shows God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden where they have lived and where they walked with God The third group of three pictures shows the plight of Humanity, and in particular the family of Noah. Visually the pictures are not in strictly chronological order (30).\r\n\r\nWallace says, if they are perceived as three groups, then the pictures in each of the three units inform upon each other, in the same way as was usual in Medieval paintings and stained glass (Wallace 31). Wallace interjects; the three sections of Creation, Downfall and Fate of Humanity appear in reverse order, when read from the entrance of the chapel. However, each individual scene is painted to be viewed when looking towards the altar (Wallace, 30). This is not easily apparent when viewing a reproduced image of the ceiling, but becomes clear when the viewer looks upward at the vault. Paoletti and Radke suggest that this reversed progression symbolizes a return to a state of grace (qtd. in Wallace 30). Wallace says the three sections are generally described in the order of Biblical chronology:\r\n\r\nThe scenes, from the altar towards the main door, are ordered as follows: The Separation of Light and Darkness, The Creation of the Sun, Moon and Earth, The Separation of Land and Water, The Creation of Adam, The Creation of Eve, The Temptation and Expulsion, The Sacrifice of Noah, The Great Flood, and The Drunkenness of Noah. This monumental fresco covers the entire end wall of the chapel which led the obliteration of the frescoes painted at the time of Sixtus IV: the first figures of the popes, the first two scenes of the life of Christ and life of Moses, the image of the Virgin of Assumption (by Perugino), together with the first two lunettes, representing the Ancestors of Christ were frescoed earlier by Michelangelo himself. The two large windows set into the altar wall were closed up (31).\r\n\r\nA historical time line taken from The Encyclopædia Britannica states:\r\n\r\nDuring the early years before the creation of the Sistine chapel in 1494 Charles VIII of France (r. 1483–98) invaded Italy and seized Naples, launching the “Italian Wars”. This war involved a series of military conflicts between rival European powers—particularly France and Spain—for the takeover of several Italian city-states. In 1497 Michelangelo perhaps the outstanding painter, sculptor, architect, and draftsman of his time was active in Rome, having left Florence after the expulsion of the Medici in 1494. He receives a commission for the tomb of a French cardinal at Saint Peter\'s Basilica, for which he executes the Pietà, a life size sculpture depicting the dead Christ in his mother\'s arms. The masterful rendering of the human form and the flowing drapery of the Virgin\'s garment, as well as the combined dignity and emotional intensity of this work earn much praise from the artist\'s contemporaries. After completing the Pietà, Michelangelo returns to Florence, where he produces the colossal David which is completed 1504 (“Michelangelo,” <span style=\"text-decoration: underline\">Encyclopædia Britannica</span>).\r\n\r\nIn 1503 Giuliano della Rovere is elected Pope Julius II (r. 1503–13). An outstanding patron, Julius commissions some of the finest landmarks of Renaissance art. Shortly after his election, he plans to replace the extant Saint Peter\'s Basilica with a new structure. A central-plan church of potential magnificence, designed by Bramante, is begun in 1506; construction is barely underway when the architect dies in 1514. In 1505, Michelangelo returns to Rome and undertakes a monumental tomb design for Pope Julius II. Due to various complications, the scale of the project is dramatically reduced over time, and of the forty over-life size figures planned by Michelangelo for the tomb, only the statue of Moses (1513–15; now Church of San Pietro in Vincoli) is fully realized. Also originally intended for the tomb are several figures of slaves, some half-finished. The tomb would remain incomplete until 1547 (“Michelangelo,” Encyclopædia Britannica).\r\n\r\nIn 1508, Luca Signorelli (1441–1523) completes the fresco cycle on the walls of the Sistine Chapel. In the same year, Julius II summons Michelangelo from a sojourn in Florence to paint ceiling frescoes for the chapel. The complex program, painted over the next four years, includes scenes from the Book of Genesis—notably, the creation of man and the expulsion of Adam and Eve from the Garden of Eden—as well as figures of apostles, prophets, and sibyls. More than twenty years later, Michelangelo returns to the chapel and paints the Last Judgment (1536–41) for the apse wall. The Sistine Chapel ceilings, enormous fresco, presents a vivid, turbulent vision of the ecstasy of the saved and the torments of the damned was painted over the altar, at the commission of Pope Paul III Farnese (“Michelangelo,” Encyclopædia Britannica).\r\n\r\nAccording to Gloria Fiero:\r\n\r\nA significant archeological event influenced Michelangelo\'s treatment of the figure after 1506: in that year, diggers working in Rome uncovered the Laocoön, the celebrated Hellenistic sculpture that had been known to Western scholars only by way of the Roman writer, Pliny. The sculpture with its bold contortions and its powerfully rendered anatomy had as great an impact on Michelangelo and the course of High Renaissance art as Cicero\'s prose had exercised on Petrarch and Early Renaissance literature. Michelangelo’s work, completed between 1508 and 1512, was cohesive with the times; indeed, the twisted torsos, taut muscles, and stretched physiques of the Sistine Chapel figures (ch.17).\r\n\r\nJulie L. Carnagie, Peggy Saari, and Aaron Saari state, the work of the Sistine Chapel ceilings suffered numerous setbacks, such as mold and miserable, damp weather that disallowed plaster curing. A primary cause of downtime occurred when Julius was off waging a war, or ill to the point that Last Rites were administered. The ceiling project, and any hope Michelangelo had of being paid, were both frequently in jeopardy while Julius was absent or near death (234).\r\n\r\nWallace says, while much of the symbolism of the ceiling dates from the early church, the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance Humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Socrates and other Classical writers. Michelangelo, as a young man, had spent time at the Humanist academy established by the Medici family in Florence (20).\r\n\r\nAccording to Carnagie, P. Saari, and A. Saari:\r\n\r\nThe rediscovery of Greco-Roman culture in the Renaissance restored the nude to the heart of creative endeavor. Nude figures based on antique models appear in Italy as early as the mid-thirteenth century, and by the mid-fifteenth century, nudes had become symbols of antiquity and its reincarnation. This work of art being massively large in statue was very unusual, but for Michelangelo this combination of throbbing life with colossal grandeur became the special quality of Michelangelo\'s art. From then on his work consisted mainly of very large innovative projects. Because he preferred to work on a grand scale, however, he could not turn down commissions from great clients (235).\r\n\r\nAt all times in human history, the human body has been one of the principal subjects for artists. It has been represented on prehistoric paintings and statutes and in all eras since. The male nude was more common in antiquity, especially in ancient Greece, but today the tendency is for the female nude body to be more highly regarded and represented (Carnagie, P. Saari, and A. Saari 235).Wallace implies, since the first days of photography, the nude was a source of inspiration for those that adopted the new medium. Most of the early images have been closely guarded or surreptitiously circulated, on account of social norms of the time. At that time, prostitutes tended to model for these photographs (42). Today, the images of the human body are often, especially in advertising for the wide variety of products and services, those of the female body.\r\n\r\nThe Sistine Chapel ceilings are thought of as a thing of beauty. Many Christian believers that journey to the Vatican Chapel are inspired by its magnificent creativity and magnitude. The reception of today verses that of yester year varies little some individuals feel that nudity has no place in the church but others feel that this is where it all began with the Creation of Man. The Chapel is seen as the sacred vessel in which it is and proper attire is required to gain admission. Various websites urge tourists and visitors to arrive early to avoid the long lines that tend to occur due to many the marvel at the work of art. There are hundreds of tourists visiting the Chapel and other Vatican Museums at any given time, so one could easily see overcrowding while visiting.\r\n\r\nMy personal reaction to this work is that it is a masterpiece. In a world where nudity is seen as a form of taboo in Michelangelo’s era the human anatomy was beautiful. Every line of the human anatomy in his art told a story whether it was stress or joy it stood for something. According to Fiero:\r\n\r\nIn the Creation of Adam, God and Man equal in size and muscular grace confront each other like partners in the divine plan. Adam reaches longingly toward God, seeking the moment of fulfillment, when God will charge his languid body with celestial energy. If the image depicts Creation, it is also a metaphor for the Renaissance belief in the potential divinity of humankind—the visual analogue of Pico\'s Oration on the Dignity of Man (ch.17).\r\n\r\nI believe, nothing in this work is taken out of context or taken to the extreme the visual focus is on the entire work not the nudity. In The Bible nudity in the beginning was norm until the “Fall of Man”, it was then that we as humans began to desire the need for coverings or clothes.\r\n\r\nMichelangelo, who is known for his creativity like the paintings on the ceiling of the Sistine Chapel, has other works that are comparable or that supersede others. One that he is best known for is the sculpture of David. This tall towering marble sculpture also embodies the sheer inspiration the Michelangelo felt for the human body as does the fresco ceiling paintings. Michelangelo was a master sculptor and painter. Biography taken from a How stuff works.com article states that:\r\n\r\nMichelangelo was inspired by the works of antiquity and his own religious faith, Michelangelo created some of the most remarkable sculptures in history. His obsession with physical beauty and the nude male form influenced much of his work, and his sculptures, paintings, and buildings continue to inspire and awe art-lovers today (1).\r\n\r\nThe statue of David is typical of Michelangelo\'s work large and grand in statue. Like the Sistine Chapel ceilings the statue has been reproduced many times. Michelangelo’s David has become one of the most recognized works. The statue has become a symbol of both strength and youthful human beauty.\r\n\r\nThe Sistine Chapel ceiling artistry remains most significant for future generations, because it shows how the world was formed, how we came in to existence, and the downfall and final judgment of man. The preservation of the Sistine Chapel ceilings masterpiece will also give future generations hope and provide a guide to understand that God is all-knowing and omnipresent. Though you may not be able to see Him, God is there and the church will remain the structural center for all Christian believers.\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Michelangelo.\" Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2012. Web. 04 Sep. 2012.\r\n\r\n<span style=\"text-decoration: underline\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/379957/Michelangelo</span>\r\n\r\n\"Michelangelo\"  21 August 2007.  HowStuffWorks.com. &lt;http://entertainment.howstuffworks.com/arts/artwork/michelangelo.htm&gt;  22 September 2012.\r\n\r\n\"Michelangelo Buonarroti.\" Renaissance and Reformation Reference Library. Ed. Julie L. Carnagie, Peggy Saari, and Aaron Saari. Vol. 4: Vol. 2: Biographies. Detroit: UXL, 2002. 232-241. Gale Virtual Reference Library. Web. 30 Aug. 2012.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\nWallace, William E.. Michelangelo : The Artist, the Man and his Times. Cambridge: Cambridge University Press, 2011. Ebook Library. Web. 30 Aug. 2012.\r\n\r\n<a href=\"http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215\">http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215</a>','The Sistine Chapel Ceilings','','inherit','open','open','','2558-revision-2','','','2012-09-24 20:01:48','2012-09-25 02:01:48','',2558,'http://jeanatacc.com/2011/?p=2576',0,'revision','',0),(2577,1,'2012-10-08 08:52:56','2012-10-08 14:52:56','[caption id=\"attachment_2574\" align=\"aligncenter\" width=\"300\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/google-image.jpg\"><img class=\"size-medium wp-image-2574\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/google-image-300x105.jpg\" alt=\"\" width=\"300\" height=\"105\" /></a> Michelangelo commissioned by Pope Julius II della Rovere in 1508-1512 to repaint the ceiling of the Sistine Chapel.<a href=\"http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html\" target=\"_blank\">http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html</a>[/caption]\n\n<a href=\"http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html\" target=\"_blank\">l</a>\n\n&nbsp;\n\nThe Sistine Chapel ceilings should be preserved because it is a reminder and visual of the Creation of man. The Sistine Chapel Ceiling  (Creation of Adam and Last Judgment), was created by Michelangelo Buonarroti when Pope Julius II commissioned him to repaint the ceiling in 1508.The works of art located on The Sistine Chapel Ceiling tells nine stories from the first book of the bible, Genesis. The Creation of Adam, the most famous, has been replicated and mass produced in almost every culture. The Sistine Chapel Ceiling remains a masterpiece and has inspired many of its visitors throughout history.  <em>Prof. Boerner’s</em> states the pictures fall into three groups of three alternating large and small panels (<a href=\"http://www.boerner.net/jboerner/?p=20068\" target=\"new\">boerner.net</a> )<!--more-->\n\nWikipedia describes the first group shows God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden where they have lived and where they walked with God The third group of three pictures shows the plight of Humanity, and in particular the family of Noah. Visually the pictures are not in strictly chronological order (<a href=\"http://en.wikipedia.org/wiki/Ignudo\" target=\"new\">wikipedia.org</a>).\n\n<em>Prof. Boerner </em>says,\" If they are perceived as three groups, then the pictures in each of the three units inform upon each other, in the same way as was usual in Medieval paintings and stained glass. The three sections of Creation, Downfall and Fate of Humanity appear in reverse order, when read from the entrance of the chapel \"(<a href=\"http://www.boerner.net/jboerner/?p=20068\" target=\"new\">boerner.net</a>). However, each individual scene is painted to be viewed when looking towards the altar (<a href=\"http://maps.thefullwiki.org/Sistine_Chapel_ceiling\" target=\"new\">maps.thefullwiki.org/Sistine_Chapel_ceiling</a>). This is not easily apparent when viewing a reproduced image of the ceiling, but becomes clear when the viewer looks upward at the vault. Paoletti and Radke suggest that this reversed progression symbolizes a return to a state of grace (qtd. in Wallace 30). Wallace says the three sections are generally described in the order of Biblical chronology:\n\n<em>Prof. Boerner’s  </em>says the scenes, from the altar towards the main door, are ordered as follows: The Separation of Light and Darkness, The Creation of the Sun, Moon and Earth, The Separation of Land and Water, The Creation of Adam, The Creation of Eve, The Temptation and Expulsion, The Sacrifice of Noah, The Great Flood, and The Drunkenness of Noah. This monumental fresco covers the entire end wall of the chapel which led the obliteration of the frescoes painted at the time of Sixtus IV: the first figures of the popes, the first two scenes of the life of Christ and life of Moses, the image of the Virgin of Assumption (by Perugino), together with the first two lunettes, representing the Ancestors of Christ were frescoed earlier by Michelangelo himself. The two large windows set into the altar wall were closed up (<a title=\"http://www.boerner.net/jboerner/?p=10355\" href=\"http://www.boerner.net/jboerner/?p=10355\" target=\"_blank\">www.boerner.net</a>).\n\nA historical time line taken from Heilbrunn Timeline of Art History  states:\n\nDuring the early years before the creation of the Sistine chapel in 1494 Charles VIII of France (r. 1483–98) invaded Italy and seized Naples, launching the “Italian Wars”. This war involved a series of military conflicts between rival European powers—particularly France and Spain—for the takeover of several Italian city-states. In 1497 Michelangelo perhaps the outstanding painter, sculptor, architect, and draftsman of his time was active in Rome, having left Florence after the expulsion of the Medici in 1494. He receives a commission for the tomb of a French cardinal at Saint Peter\'s Basilica, for which he executes the Pietà, a life size sculpture depicting the dead Christ in his mother\'s arms. The masterful rendering of the human form and the flowing drapery of the Virgin\'s garment, as well as the combined dignity and emotional intensity of this work earn much praise from the artist\'s contemporaries. After completing the Pietà, Michelangelo returns to Florence, where he produces the colossal David which is completed 1504 (metmuseum.org).\n\nIn 1503 Giuliano della Rovere is elected Pope Julius II (r. 1503–13). An outstanding patron, Julius commissions some of the finest landmarks of Renaissance art. Shortly after his election, he plans to replace the extant Saint Peter\'s Basilica with a new structure. A central-plan church of potential magnificence, designed by Bramante, is begun in 1506; construction is barely underway when the architect dies in 1514. In 1505, Michelangelo returns to Rome and undertakes a monumental tomb design for Pope Julius II. Due to various complications, the scale of the project is dramatically reduced over time, and of the forty over-life size figures planned by Michelangelo for the tomb, only the statue of Moses (1513–15; now Church of San Pietro in Vincoli) is fully realized. Also originally intended for the tomb are several figures of slaves, some half-finished. The tomb would remain incomplete until 1547 (metmuseum.org) .\n\nIn 1508, Luca Signorelli (1441–1523) completes the fresco cycle on the walls of the Sistine Chapel. In the same year, Julius II summons Michelangelo from a sojourn in Florence to paint ceiling frescoes for the chapel. The complex program, painted over the next four years, includes scenes from the Book of Genesis—notably, the creation of man and the expulsion of Adam and Eve from the Garden of Eden—as well as figures of apostles, prophets, and sibyls. More than twenty years later, Michelangelo returns to the chapel and paints the Last Judgment (1536–41) for the apse wall. The Sistine Chapel ceilings, enormous fresco, presents a vivid, turbulent vision of the ecstasy of the saved and the torments of the damned was painted over the altar, at the commission of Pope Paul III Farnese (metmuseum.org).\n\nAccording to Gloria Fiero:\n\nA significant archeological event influenced Michelangelo\'s treatment of the figure after 1506: in that year, diggers working in Rome uncovered the Laocoön, the celebrated Hellenistic sculpture that had been known to Western scholars only by way of the Roman writer, Pliny. The sculpture with its bold contortions and its powerfully rendered anatomy had as great an impact on Michelangelo and the course of High Renaissance art as Cicero\'s prose had exercised on Petrarch and Early Renaissance literature. Michelangelo’s work, completed between 1508 and 1512, was cohesive with the times; indeed, the twisted torsos, taut muscles, and stretched physiques of the Sistine Chapel figures (ch.17).\n\nJulie L. Carnagie, Peggy Saari, and Aaron Saari state, the work of the Sistine Chapel ceilings suffered numerous setbacks, such as mold and miserable, damp weather that disallowed plaster curing. The ceiling project, and any hope Michelangelo had of being paid, were both frequently in jeopardy while Julius was absent or near death (234).\n\n\"While much of the symbolism of the ceiling dates from the early church, the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance Humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Socrates and other Classical writers. Michelangelo, as a young man, had spent time at the Humanist academy established by the Medici family in Florence\" (<a href=\"http://maps.thefullwiki.org/Sistine_Chapel_ceiling\" target=\"new\">maps.thefullwiki.org/Sistine_Chapel_ceiling</a>).\n\n\"The rediscovery of Greco-Roman culture in the Renaissance restored the nude to the heart of creative endeavor. Nude figures based on antique models appear in Italy as early as the mid-thirteenth century, and by the mid-fifteenth century, nudes had become symbols of antiquity and its reincarnation\" (<a href=\"http://www.metmuseum.org/toah/hd/numr/hd_numr.htm\" target=\"new\">metmuseum.org</a>).\n\nAccording to Carnagie, P. Saari, and A. Saari:\n\nThis work of art being massively large in statue was very unusual, but for Michelangelo this combination of throbbing life with colossal grandeur became the special quality of Michelangelo\'s art. From then on his work consisted mainly of very large innovative projects. Because he preferred to work on a grand scale, however, he could not turn down commissions from great clients (235).\n\nAt all times in human history, the human body has been one of the principal subjects for artists. It has been represented on prehistoric paintings and statutes and in all eras since(<a href=\"http://pediaview.com/openpedia/Depictions_of_nudity\" target=\"new\">pediaview.com</a>). The male nude was more common in antiquity, especially in ancient Greece, but today the tendency is for the female nude body to be more highly regarded and represented (Carnagie, P. Saari, and A. Saari 235). Since the first days of photography, the nude was a source of inspiration for those that adopted the new medium. Most of the early images have been closely guarded or surreptitiously circulated, on account of social norms of the time. At that time, prostitutes tended to model for these photographs. Today, the images of the human body are often, especially in advertising for the wide variety of products and services, those of the female body (<a href=\"http://pediaview.com/openpedia/Depictions_of_nudity\" target=\"new\">pediaview.com)</a>.\n\nThe Sistine Chapel ceilings are thought of as a thing of beauty. Many Christian believers that journey to the Vatican Chapel are inspired by its magnificent creativity and magnitude. The reception of today verses that of yester year varies little some individuals feel that nudity has no place in the church but others feel that this is where it all began with the Creation of Man. The Chapel is seen as the sacred vessel in which it is and proper attire is required to gain admission. Various websites urge tourists and visitors to arrive early to avoid the long lines that tend to occur due to many the marvel at the work of art. There are hundreds of tourists visiting the Chapel and other Vatican Museums at any given time, so one could easily see overcrowding while visiting.\n\nMy personal reaction to this work is that it is a masterpiece. In a world where nudity is seen as a form of taboo in Michelangelo’s era the human anatomy was beautiful. Every line of the human anatomy in his art told a story whether it was stress or joy it stood for something. According to Fiero:\n\nIn the Creation of Adam, God and Man equal in size and muscular grace confront each other like partners in the divine plan. Adam reaches longingly toward God, seeking the moment of fulfillment, when God will charge his languid body with celestial energy. If the image depicts Creation, it is also a metaphor for the Renaissance belief in the potential divinity of humankind—the visual analogue of Pico\'s Oration on the Dignity of Man (ch.17).\n\nI believe, nothing in this work is taken out of context or taken to the extreme the visual focus is on the entire work not the nudity. In The Bible nudity in the beginning was norm until the “Fall of Man”, it was then that we as humans began to desire the need for coverings or clothes.\n\nMichelangelo, who is known for his creativity like the paintings on the ceiling of the Sistine Chapel, has other works that are comparable or that supersede others. One that he is best known for is the sculpture of David. This tall towering marble sculpture also embodies the sheer inspiration the Michelangelo felt for the human body as does the fresco ceiling paintings. Michelangelo was a master sculptor and painter. Biography taken from a How stuff works.com article states that:\n\nMichelangelo was inspired by the works of antiquity and his own religious faith, Michelangelo created some of the most remarkable sculptures in history. His obsession with physical beauty and the nude male form influenced much of his work, and his sculptures, paintings, and buildings continue to inspire and awe art-lovers today (1).\n\nThe statue of David is typical of Michelangelo\'s work large and grand in statue. Like the Sistine Chapel ceilings the statue has been reproduced many times. Michelangelo’s David has become one of the most recognized works. The statue has become a symbol of both strength and youthful human beauty.\n\nThe Sistine Chapel ceiling artistry remains most significant for future generations, because it shows how the world was formed, how we came in to existence, and the downfall and final judgment of man. The preservation of the Sistine Chapel ceilings masterpiece will also give future generations hope and provide a guide to understand that God is all-knowing and omnipresent. Though you may not be able to see Him, God is there and the church will remain the structural center for all Christian believers.\n<p align=\"center\">Works Cited</p>\n\"Michelangelo.\" Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2012. Web. 04 Sep. 2012.\n\n<span style=\"text-decoration: underline;\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/379957/Michelangelo</span>\n\n\"Michelangelo\"  21 August 2007.  HowStuffWorks.com. &lt;http://entertainment.howstuffworks.com/arts/artwork/michelangelo.htm&gt;  22 September 2012.\n\n\"Michelangelo Buonarroti.\" Renaissance and Reformation Reference Library. Ed. Julie L. Carnagie, Peggy Saari, and Aaron Saari. Vol. 4: Vol. 2: Biographies. Detroit: UXL, 2002. 232-241. Gale Virtual Reference Library. Web. 30 Aug. 2012.\n\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\n\nWallace, William E.. Michelangelo : The Artist, the Man and his Times. Cambridge: Cambridge University Press, 2011. Ebook Library. Web. 30 Aug. 2012.\n\n<a href=\"http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215\">http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215</a>\n\n<span style=\"text-decoration: underline;\">http://www.metmuseum.org/toah/ht/?period=08®ion=eusts</span>\n\n<a href=\"http://www.myspace.com/michelangelo_buonarroti\">http://www.myspace.com/michelangelo_buonarroti#</a>!\n\n<a href=\"http://maps.thefullwiki.org/Sistine_Chapel_ceiling\">http://maps.thefullwiki.org/Sistine_Chapel_ceiling</a>\n\n<a href=\"http://pediaview.com/openpedia/Depictions_of_nudity\">http://pediaview.com/openpedia/Depictions_of_nudity</a>\n\n<a href=\"http://en.wikipedia.org/wiki/Ignudo\">http://en.wikipedia.org/wiki/Ignudo</a>\n\n<a href=\"http://www.boerner.net/jboerner/?p=20068\">http://www.boerner.net/jboerner/?p=20068</a>\n\n<a href=\"http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html\">http://www.wga.hu/frames-e.html?/html/m/michelan/3sistina/index.html</a>','The Sistine Chapel Ceilings','','inherit','open','open','','2558-autosave','','','2012-10-08 08:52:56','2012-10-08 14:52:56','',2558,'http://jeanatacc.com/2011/?p=2577',0,'revision','',0),(2578,63,'2012-09-24 20:01:49','2012-09-25 02:01:49','[gallery]\r\n\r\n<!--more-->\r\n\r\nThe Sistine Chapel ceilings should be preserved because it is a reminder and visual of the Creation of man. The Sistine Chapel Ceiling  (Creation of Adam and Last Judgment), was created by Michelangelo Buonarroti when Pope Julius II commissioned him to repaint the ceiling in 1508.The works of art located on The Sistine Chapel Ceiling tells nine stories from the first book of the bible, Genesis. The Creation of Adam, the most famous, has been replicated and mass produced in almost every culture. The Sistine Chapel Ceiling remains a masterpiece and has inspired many of its visitors throughout history. Along the central section of the ceiling, Michelangelo depicted nine scenes from the Book of Genesis, the first book of the Bible. Williams E. Wallace states, the pictures fall into three groups of three alternating large and small panels:\r\n\r\nThe first group shows God creating the Heavens and the Earth. The second group shows God creating the first man and woman, Adam and Eve, and their disobedience of God and consequent expulsion from the Garden of Eden where they have lived and where they walked with God The third group of three pictures shows the plight of Humanity, and in particular the family of Noah. Visually the pictures are not in strictly chronological order (30).\r\n\r\nWallace says, if they are perceived as three groups, then the pictures in each of the three units inform upon each other, in the same way as was usual in Medieval paintings and stained glass (Wallace 31). Wallace interjects; the three sections of Creation, Downfall and Fate of Humanity appear in reverse order, when read from the entrance of the chapel. However, each individual scene is painted to be viewed when looking towards the altar (Wallace, 30). This is not easily apparent when viewing a reproduced image of the ceiling, but becomes clear when the viewer looks upward at the vault. Paoletti and Radke suggest that this reversed progression symbolizes a return to a state of grace (qtd. in Wallace 30). Wallace says the three sections are generally described in the order of Biblical chronology:\r\n\r\nThe scenes, from the altar towards the main door, are ordered as follows: The Separation of Light and Darkness, The Creation of the Sun, Moon and Earth, The Separation of Land and Water, The Creation of Adam, The Creation of Eve, The Temptation and Expulsion, The Sacrifice of Noah, The Great Flood, and The Drunkenness of Noah. This monumental fresco covers the entire end wall of the chapel which led the obliteration of the frescoes painted at the time of Sixtus IV: the first figures of the popes, the first two scenes of the life of Christ and life of Moses, the image of the Virgin of Assumption (by Perugino), together with the first two lunettes, representing the Ancestors of Christ were frescoed earlier by Michelangelo himself. The two large windows set into the altar wall were closed up (31).\r\n\r\nA historical time line taken from The Encyclopædia Britannica states:\r\n\r\nDuring the early years before the creation of the Sistine chapel in 1494 Charles VIII of France (r. 1483–98) invaded Italy and seized Naples, launching the “Italian Wars”. This war involved a series of military conflicts between rival European powers—particularly France and Spain—for the takeover of several Italian city-states. In 1497 Michelangelo perhaps the outstanding painter, sculptor, architect, and draftsman of his time was active in Rome, having left Florence after the expulsion of the Medici in 1494. He receives a commission for the tomb of a French cardinal at Saint Peter\'s Basilica, for which he executes the Pietà, a life size sculpture depicting the dead Christ in his mother\'s arms. The masterful rendering of the human form and the flowing drapery of the Virgin\'s garment, as well as the combined dignity and emotional intensity of this work earn much praise from the artist\'s contemporaries. After completing the Pietà, Michelangelo returns to Florence, where he produces the colossal David which is completed 1504 (“Michelangelo,” <span style=\"text-decoration: underline\">Encyclopædia Britannica</span>).\r\n\r\nIn 1503 Giuliano della Rovere is elected Pope Julius II (r. 1503–13). An outstanding patron, Julius commissions some of the finest landmarks of Renaissance art. Shortly after his election, he plans to replace the extant Saint Peter\'s Basilica with a new structure. A central-plan church of potential magnificence, designed by Bramante, is begun in 1506; construction is barely underway when the architect dies in 1514. In 1505, Michelangelo returns to Rome and undertakes a monumental tomb design for Pope Julius II. Due to various complications, the scale of the project is dramatically reduced over time, and of the forty over-life size figures planned by Michelangelo for the tomb, only the statue of Moses (1513–15; now Church of San Pietro in Vincoli) is fully realized. Also originally intended for the tomb are several figures of slaves, some half-finished. The tomb would remain incomplete until 1547 (“Michelangelo,” Encyclopædia Britannica).\r\n\r\nIn 1508, Luca Signorelli (1441–1523) completes the fresco cycle on the walls of the Sistine Chapel. In the same year, Julius II summons Michelangelo from a sojourn in Florence to paint ceiling frescoes for the chapel. The complex program, painted over the next four years, includes scenes from the Book of Genesis—notably, the creation of man and the expulsion of Adam and Eve from the Garden of Eden—as well as figures of apostles, prophets, and sibyls. More than twenty years later, Michelangelo returns to the chapel and paints the Last Judgment (1536–41) for the apse wall. The Sistine Chapel ceilings, enormous fresco, presents a vivid, turbulent vision of the ecstasy of the saved and the torments of the damned was painted over the altar, at the commission of Pope Paul III Farnese (“Michelangelo,” Encyclopædia Britannica).\r\n\r\nAccording to Gloria Fiero:\r\n\r\nA significant archeological event influenced Michelangelo\'s treatment of the figure after 1506: in that year, diggers working in Rome uncovered the Laocoön, the celebrated Hellenistic sculpture that had been known to Western scholars only by way of the Roman writer, Pliny. The sculpture with its bold contortions and its powerfully rendered anatomy had as great an impact on Michelangelo and the course of High Renaissance art as Cicero\'s prose had exercised on Petrarch and Early Renaissance literature. Michelangelo’s work, completed between 1508 and 1512, was cohesive with the times; indeed, the twisted torsos, taut muscles, and stretched physiques of the Sistine Chapel figures (ch.17).\r\n\r\nJulie L. Carnagie, Peggy Saari, and Aaron Saari state, the work of the Sistine Chapel ceilings suffered numerous setbacks, such as mold and miserable, damp weather that disallowed plaster curing. A primary cause of downtime occurred when Julius was off waging a war, or ill to the point that Last Rites were administered. The ceiling project, and any hope Michelangelo had of being paid, were both frequently in jeopardy while Julius was absent or near death (234).\r\n\r\nWallace says, while much of the symbolism of the ceiling dates from the early church, the ceiling also has elements that express the specifically Renaissance thinking that sought to reconcile Christian theology with the philosophy of Renaissance Humanism. During the 15th century in Italy, and in Florence in particular, there was a strong interest in Classical literature and the philosophies of Plato, Socrates and other Classical writers. Michelangelo, as a young man, had spent time at the Humanist academy established by the Medici family in Florence (20).\r\n\r\nAccording to Carnagie, P. Saari, and A. Saari:\r\n\r\nThe rediscovery of Greco-Roman culture in the Renaissance restored the nude to the heart of creative endeavor. Nude figures based on antique models appear in Italy as early as the mid-thirteenth century, and by the mid-fifteenth century, nudes had become symbols of antiquity and its reincarnation. This work of art being massively large in statue was very unusual, but for Michelangelo this combination of throbbing life with colossal grandeur became the special quality of Michelangelo\'s art. From then on his work consisted mainly of very large innovative projects. Because he preferred to work on a grand scale, however, he could not turn down commissions from great clients (235).\r\n\r\nAt all times in human history, the human body has been one of the principal subjects for artists. It has been represented on prehistoric paintings and statutes and in all eras since. The male nude was more common in antiquity, especially in ancient Greece, but today the tendency is for the female nude body to be more highly regarded and represented (Carnagie, P. Saari, and A. Saari 235).Wallace implies, since the first days of photography, the nude was a source of inspiration for those that adopted the new medium. Most of the early images have been closely guarded or surreptitiously circulated, on account of social norms of the time. At that time, prostitutes tended to model for these photographs (42). Today, the images of the human body are often, especially in advertising for the wide variety of products and services, those of the female body.\r\n\r\nThe Sistine Chapel ceilings are thought of as a thing of beauty. Many Christian believers that journey to the Vatican Chapel are inspired by its magnificent creativity and magnitude. The reception of today verses that of yester year varies little some individuals feel that nudity has no place in the church but others feel that this is where it all began with the Creation of Man. The Chapel is seen as the sacred vessel in which it is and proper attire is required to gain admission. Various websites urge tourists and visitors to arrive early to avoid the long lines that tend to occur due to many the marvel at the work of art. There are hundreds of tourists visiting the Chapel and other Vatican Museums at any given time, so one could easily see overcrowding while visiting.\r\n\r\nMy personal reaction to this work is that it is a masterpiece. In a world where nudity is seen as a form of taboo in Michelangelo’s era the human anatomy was beautiful. Every line of the human anatomy in his art told a story whether it was stress or joy it stood for something. According to Fiero:\r\n\r\nIn the Creation of Adam, God and Man equal in size and muscular grace confront each other like partners in the divine plan. Adam reaches longingly toward God, seeking the moment of fulfillment, when God will charge his languid body with celestial energy. If the image depicts Creation, it is also a metaphor for the Renaissance belief in the potential divinity of humankind—the visual analogue of Pico\'s Oration on the Dignity of Man (ch.17).\r\n\r\nI believe, nothing in this work is taken out of context or taken to the extreme the visual focus is on the entire work not the nudity. In The Bible nudity in the beginning was norm until the “Fall of Man”, it was then that we as humans began to desire the need for coverings or clothes.\r\n\r\nMichelangelo, who is known for his creativity like the paintings on the ceiling of the Sistine Chapel, has other works that are comparable or that supersede others. One that he is best known for is the sculpture of David. This tall towering marble sculpture also embodies the sheer inspiration the Michelangelo felt for the human body as does the fresco ceiling paintings. Michelangelo was a master sculptor and painter. Biography taken from a How stuff works.com article states that:\r\n\r\nMichelangelo was inspired by the works of antiquity and his own religious faith, Michelangelo created some of the most remarkable sculptures in history. His obsession with physical beauty and the nude male form influenced much of his work, and his sculptures, paintings, and buildings continue to inspire and awe art-lovers today (1).\r\n\r\nThe statue of David is typical of Michelangelo\'s work large and grand in statue. Like the Sistine Chapel ceilings the statue has been reproduced many times. Michelangelo’s David has become one of the most recognized works. The statue has become a symbol of both strength and youthful human beauty.\r\n\r\nThe Sistine Chapel ceiling artistry remains most significant for future generations, because it shows how the world was formed, how we came in to existence, and the downfall and final judgment of man. The preservation of the Sistine Chapel ceilings masterpiece will also give future generations hope and provide a guide to understand that God is all-knowing and omnipresent. Though you may not be able to see Him, God is there and the church will remain the structural center for all Christian believers.\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n<h2 align=\"center\"></h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Michelangelo.\" Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2012. Web. 04 Sep. 2012.\r\n\r\n<span style=\"text-decoration: underline\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/379957/Michelangelo</span>\r\n\r\n\"Michelangelo\"  21 August 2007.  HowStuffWorks.com. &lt;http://entertainment.howstuffworks.com/arts/artwork/michelangelo.htm&gt;  22 September 2012.\r\n\r\n\"Michelangelo Buonarroti.\" Renaissance and Reformation Reference Library. Ed. Julie L. Carnagie, Peggy Saari, and Aaron Saari. Vol. 4: Vol. 2: Biographies. Detroit: UXL, 2002. 232-241. Gale Virtual Reference Library. Web. 30 Aug. 2012.\r\n\r\n<a href=\"http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w\">http://go.galegroup.com.lsproxy.austincc.edu/ps/i.do?id=GALE%7CCX3426300080&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=GVRL&amp;sw=w</a>\r\n\r\nWallace, William E.. Michelangelo : The Artist, the Man and his Times. Cambridge: Cambridge University Press, 2011. Ebook Library. Web. 30 Aug. 2012.\r\n\r\n<a href=\"http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215\">http://www.austincc.eblib.com.lsproxy.austincc.edu/patron/FullRecord.aspx?p=803215</a>','The Sistine Chapel Ceilings','','inherit','open','open','','2558-revision-3','','','2012-09-24 20:01:49','2012-09-25 02:01:49','',2558,'http://jeanatacc.com/2011/?p=2578',0,'revision','',0),(2579,72,'2012-09-24 20:13:05','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-09-24 20:13:05','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=2579',0,'post','',0),(2590,72,'2012-09-24 20:51:43','2012-09-25 02:51:43','<!--more-->Miguel de Cervantes story of Don Quixote is about an eccentric gentlemen from an unnamed village in La Mancha. Quixote has neglected his land, lost his fortune, and driven himself mad by reading too many books of chivalry. Now at fifty years old, he decides to become a knight and set off on a great adventure to change the world. Despite his valiant efforts, he eventually fails and pushes the people that care about him farther away. Cervantes keeps the reader longing for more with fluent comic relief and the suspense of the “chivalric knight‘s” level of his commitment.\n\nWhen the story of Don Quixote was created in 1605, literary pieces focused on the tragic yet theatrical views of Shakespeare and the likes of furthering scientific knowledge. Miguel De Cervantes took it upon himself to tell a tale about a gentleman in pursuit of eternal glory who will stop at nothing to get what he wants out of life. Having a “mid-life crisis” in these times, were not a specific characteristic of literature in the early seventeenth century. The constant struggle of man versus himself is what I find to be particularly important, not only to myself, but for future generations to come.\n\nThis novel is mainly a parody of romances of chivalry, and can also be considered a disguised autobiography of Cervantes. (<em>Cervantes, </em>chapter 7: Cervantes Masterpiece: Don Quixote, Manuel Duran). It has been said that Don Quixote is considered the worlds first modern novel, one of the funniest and most tragic books ever written. Cervantes used literature against Don Quixote to create an internal antagonist, while other writings used literature to boost the moral of love and empower the mind. Don Quixote spent his whole life reading books about chivalry, eventually driving himself mad, and causing him to create a new identity. He became so enthralled in his readings that he actually sold his land in order to purchase more of the written word on his quest to become the greatest knight he could imagine.\n\nThe fifty-something year old pulled out old family armor, designed his own helmet, and set out to make the world a better place. He renamed his horse, himself, and his squire and traveled across lands in search of great adventure. So he began his journey, popping into little Inn’s (castles in his mind) while being cared for by the beautiful women (princesses to serve him). The determined knight fought off giant brutes (windmills) and attacking armies (ehh…just sheep). He clearly lost touch with reality. By this point he just wanted to make himself happy and be the “knight” he had always yearned to be.\n\nIn my opinion, this is a prime example of a man going through a mid-life crisis. Our “brave knight” wanted to feel like he was apart of something greater and transformed himself. Much like what a fifty-something year old man today would do: maybe go out and get a tattoo (Quixote’s armor), go purchase a sports car (our knight’s custom-named horse), and travel around creating a new life for themselves. I think this type of action is dangerous and shows what not to do when something like this presents itself to a man at a crossroads like Don Quixote faced. You never want to lose touch with reality to that extreme. It ultimately causes undesired pain and struggle.\n\nThroughout the read, his squire (Sancho), is there to say exactly what the reader is thinking. These are not giants, Dulcina is not beautiful, sheep are not attacking armies, and that none of this is real. Yet despite all of the support in truth and attempts to prove him wrong, he continued to believe that he was right.(Don Quixote Review by John Thorton http://classiclit.about.com/od/donquixotecervantes/fr/aa_donquixote.htm&gt;). So we explore page after page, waiting to see how much more this “knight” is able to take before he gives in…if he gives in at all. Which goes to show that no matter how good of a friend a man has by his side, it will always be about completing the task at hand.\n\nIn the play “The Knight of the Burning Pestle”, written by Francis Beaumont, we learn that our beloved Don Quixote was not alone in his chivalric behavior. The play is a comedy that allows spectators to have sympathy for both sides of the story much like the readers of Don Quixote. There were disruptions with the Grocer and his wife’s interference of the smooth flow of the play, much like the way Cervantes cunningly brings himself in and out as one of his own characters. If there are any life lessons to be learned from these works of art, it is recognizing that we all have faults and different ways of perceiving things that are sometimes not as important as we believe them to be. In other words, we should never take ourselves too serious.\n\nThe amazing and inspiring story of Don Quixote is necessary for future generations to read and learn for themselves the importance of staying healthy and making sane decisions, even if they decide to drop everything in pursuit of their dreams or goals. It is very easy for someone to have a one-track mind about something, especially at a certain age. It is also convenient to block out all advice and suggestions from ones who care deeply about you like your family, friends, or colleagues. If I were about to board a spaceship and transport to the future, I would need this important piece of literature to share with everyone I build relationships with. Generations should study this piece and really learn the life lessons that it has to offer. It also does not hurt that it provides a bit of comic relief.\n<p align=\"center\"> <!--more--></p>','Don Quixote','','inherit','open','open','','2581-revision-2','','','2012-09-24 20:51:43','2012-09-25 02:51:43','',2581,'http://jeanatacc.com/2011/?p=2590',0,'revision','',0),(2591,72,'2012-09-24 21:01:40','2012-09-25 03:01:40','<!--more-->Miguel de Cervantes story of Don Quixote is about an eccentric gentlemen from an unnamed village in La Mancha. Quixote has neglected his land, lost his fortune, and driven himself mad by reading too many books of chivalry. Now at fifty years old, he decides to become a knight and set off on a great adventure to change the world. Despite his valiant efforts, he eventually fails and pushes the people that care about him farther away. Cervantes keeps the reader longing for more with fluent comic relief and the suspense of the “chivalric knight‘s” level of his commitment.\r\n\r\nWhen the story of Don Quixote was created in 1605, literary pieces focused on the tragic yet theatrical views of Shakespeare and the likes of furthering scientific knowledge. Miguel De Cervantes took it upon himself to tell a tale about a gentleman in pursuit of eternal glory who will stop at nothing to get what he wants out of life. Having a “mid-life crisis” in these times, were not a specific characteristic of literature in the early seventeenth century. The constant struggle of man versus himself is what I find to be particularly important, not only to myself, but for future generations to come.\r\n\r\nThis novel is mainly a parody of romances of chivalry, and can also be considered a disguised autobiography of Cervantes. (<em>Cervantes, </em>chapter 7: Cervantes Masterpiece: Don Quixote, Manuel Duran). It has been said that Don Quixote is considered the worlds first modern novel, one of the funniest and most tragic books ever written. Cervantes used literature against Don Quixote to create an internal antagonist, while other writings used literature to boost the moral of love and empower the mind. Don Quixote spent his whole life reading books about chivalry, eventually driving himself mad, and causing him to create a new identity. He became so enthralled in his readings that he actually sold his land in order to purchase more of the written word on his quest to become the greatest knight he could imagine.\r\n\r\nThe fifty-something year old pulled out old family armor, designed his own helmet, and set out to make the world a better place. He renamed his horse, himself, and his squire and traveled across lands in search of great adventure. So he began his journey, popping into little Inn’s (castles in his mind) while being cared for by the beautiful women (princesses to serve him). The determined knight fought off giant brutes (windmills) and attacking armies (ehh…just sheep). He clearly lost touch with reality. By this point he just wanted to make himself happy and be the “knight” he had always yearned to be.\r\n\r\nIn my opinion, this is a prime example of a man going through a mid-life crisis. Our “brave knight” wanted to feel like he was apart of something greater and transformed himself. Much like what a fifty-something year old man today would do: maybe go out and get a tattoo (Quixote’s armor), go purchase a sports car (our knight’s custom-named horse), and travel around creating a new life for themselves. I think this type of action is dangerous and shows what not to do when something like this presents itself to a man at a crossroads like Don Quixote faced. You never want to lose touch with reality to that extreme. It ultimately causes undesired pain and struggle.\r\n\r\nThroughout the read, his squire (Sancho), is there to say exactly what the reader is thinking. These are not giants, Dulcina is not beautiful, sheep are not attacking armies, and that none of this is real. Yet despite all of the support in truth and attempts to prove him wrong, he continued to believe that he was right.(Don Quixote Review by John Thorton http://classiclit.about.com/od/donquixotecervantes/fr/aa_donquixote.htm&gt;). So we explore page after page, waiting to see how much more this “knight” is able to take before he gives in…if he gives in at all. Which goes to show that no matter how good of a friend a man has by his side, it will always be about completing the task at hand.\r\n\r\nIn the play “The Knight of the Burning Pestle”, written by Francis Beaumont, we learn that our beloved Don Quixote was not alone in his chivalric behavior. The play is a comedy that allows spectators to have sympathy for both sides of the story much like the readers of Don Quixote. There were disruptions with the Grocer and his wife’s interference of the smooth flow of the play, much like the way Cervantes cunningly brings himself in and out as one of his own characters. If there are any life lessons to be learned from these works of art, it is recognizing that we all have faults and different ways of perceiving things that are sometimes not as important as we believe them to be. In other words, we should never take ourselves too serious.\r\n\r\nThe amazing and inspiring story of Don Quixote is necessary for future generations to read and learn for themselves the importance of staying healthy and making sane decisions, even if they decide to drop everything in pursuit of their dreams or goals. It is very easy for someone to have a one-track mind about something, especially at a certain age. It is also convenient to block out all advice and suggestions from ones who care deeply about you like your family, friends, or colleagues. If I were about to board a spaceship and transport to the future, I would need this important piece of literature to share with everyone I build relationships with. Generations should study this piece and really learn the life lessons that it has to offer. It also does not hurt that it provides a bit of comic relief.\r\n<p align=\"center\"> Works Cited List</p>\r\n(<em>Cervantes, </em>chapter 7: Cervantes Masterpiece: Don Quixote, Manuel Duran)\r\n\r\n(Don Quixote Review by John Thorton http://classiclit.about.com/od/donquixotecervantes/fr/aa_donquixote.htm&gt;)\r\n\r\n(Don Quixote by Miguel de Cervantes 1605)\r\n<p align=\"center\"><span style=\"font-size: large\">Cervantes, Manuel Duran. <em>Twayne’s World Authors Series 329, </em>New York: Twayne Publishers, 1974. From <em>Literature Resource Center.)</em></span><em></em></p>\r\n( <em>Fighting Windmills. </em>Encounters with Don Quixote, Manuel Duran, Fay R. Rogg. 1925)\r\n\r\n( Who is Don Quixote by June Reynolds <a href=\"http://www.quixote-quest.org/\"><span style=\"text-decoration: underline\"><span style=\"text-decoration: underline\"><span style=\"color: #0000ff\">www.quixote-quest.org</span></span></span></a>)','Don Quixote','','inherit','open','open','','2581-revision-3','','','2012-09-24 21:01:40','2012-09-25 03:01:40','',2581,'http://jeanatacc.com/2011/?p=2591',0,'revision','',0),(2592,65,'2012-09-25 16:00:53','2012-09-25 22:00:53','&nbsp;\n\n<img src=\"http://www.silkroadgourmet.com/wp-content/uploads/2011/07/Ibn-Battuta-Sets-out.jpg\" alt=\"\" width=\"447\" height=\"298\" />\n\nIbn Battuta sets out\n<p style=\"text-align: center\"><a href=\"http://www.silkroadgourmet.com\">http://www.silkroadgourmet.com</a></p>\nThe “Rihla”, a classic Arabic name of the word <em>the journey</em>, is one of the most important and famous literature works of travel of the 14<sup>th</sup> century. It’s an account of travels and vivid experiences of the famous Moroccan explorer Ibn Battouta (1304-1368)(Fiero).<!--more-->\n\nIbn Batouta’s book of travel is considered as an eye witness of the cultural, social, and political life in the 14<sup>th</sup> century. Indeed, it is a geographical and historical reference. Because of that, Ibn Battouta’s book of travel should be preserved for future generations.\n\nThe book is about a Muslim scholar who left his homeland at the age of 21 in the intention to perform the pilgrimage, and ended up returning home “29 years later” (Rumford). After finishing his pilgrimage to Mecca and Medina, instead of returning home, he decided to discover and visit the entire Islamic world at that time. Driven by his intellectual curiosity, he started his adventure. Thus, during 29 years, he visited about 44 countries of the Islamic world and beyond. His journey covered North Africa, West Africa, Asia, and some of Europe (Dunn). What is important about this, is that he recorded and documented all of his travels over 29 years.\n\nThe work was created on December 1355, when the Sultan of Morocco ordered the young writer, Ibn Juzayy, to record Ibn Battuta’s experiences. After finishing the work, the book was given the official title: <em>A gift to the Observers Concerning the Curiosities of the Cities and the Marvels Encountered in Travels </em>(Dunn).\n\n“Enormous opportunities for long-distance travel began to exist in the 13<sup>th</sup> century after the Mongols and other nomadic groups established large, stable empires in Eurasia that facilitated travel, trade and cultural exchange”.(journey to Mecca). The expanding world of Islam, after the Mongol converted to faith, created sort of cultural and political stability which helps Muslims to travel freely across Eurasia. (Dunn<em>)</em>. Caravans and sea lanes created transportation and communication network that stretched across the Eastern Hemisphere.\n\nThe 14<sup>th</sup> century was a century of remarkable events such as the beginning of the hundred year’s war, and the bubonic plague that ravaged almost the entire world killing millions of peoples. In the middle of these events, an important number of literature and artistic works were created by European and African personalities. During this era, literature works were more about “personal experiences in the everyday world”, and tales were the famous form of literature. (Fiero)\n\nSome of the important literature works at that time was the Boccaccio’s <em>Decameron</em> and <em>Immoral tales. </em>Chaucer, who was influenced by Boccaccio’s tales, left a remarkable group of stories called <em>The Canterbury tales</em> (Fiero). In the Muslim and Arabic world, <em>The Muquaddima, (</em>Introduction), of the historian and philosopher Ibn Khaldun was one of the important works of sociology and philosophy in the 14<sup>th</sup> century; and Ash-Sharif al-Idrisi, who wrote one of the greatest works of the medieval geography, <em>The Pleasure</em> <em>Excursion of One of Who Is Eager to Traverse the Regions of the World</em>. (Encyclopedia Britannica).\n\nThe <em>Rihla </em>was more than just a simple group tales; it was a piece of information and entertainment for the readers with detailed description of peoples, customs, monuments and cuisine of each place he visited.\n\nIn fact, Ibn Battouta’s book of travel was educational and informative in term of content. Indeed, it was a great source of inspiration knowing the story behind the creation of the work; Ibn Battouta left his hometown and family at a young age to perform the pilgrimage, but he ended up traveling about 75,000 miles (Encyclopedia Britannica), seeking education and learning about different Islamic cultures. For this reason, this work is considered innovative of its time; it should be preserved for future generation to teach them about intellectual curiosity.\n\nIf we compare Ibn battouta’s work with those of his contemporaries, such as Ibn Jubayr, and Ash-Sharif Al-Idrisi, we find that his <em>Rihla</em> contains observation of geographical details, as well as cultural, religious and political matters witch far exceed those provided by the other books. According to Dunn, “he ranged over almost every aspect of fourteenth-century life from cuisine, botany, and marriage practices to dynastic history and the price of chickens”.\n\nAt that time, Ibn Battouta’s experience was unique in the Islamic world by the fact that he traveled further and for a longer period than any other contemporary. For this reason, his experience, and tales attracted the attention of everybody including the Sultan of Morocco, who ordered Ibn Battuta to prepare a narrative of the experiences he encountered during his journey. Moreover, Ibn Battouta was a subject of a biographical notice of the Andalusian scholar Abu l’Barakat al-Balafiqi.\n\nThe translation and publishing of the work in many languages contributed to the circulation of the work. Today, the book is used as a source of information and entertainment. At the same time, Ibn Battouta’s book of travel became a subject of research and inspiration to many experts in the field of geography or literature. For example, Rumfod used Ibn Battouta’s own extensive records as the inspiration of the text in his book <em>The Traveling Man </em>(Smith). Again, the Professor of History Dunn wrote a book about Ibn Battuta’s adventure (<em>The adventures of Ibn Battuta</em>), and described <em>the Rihla</em> as “a comprehensive survey…..and the record of a dramatic adventure” (Dunn).\n\nPersonally, I find that Ibn Battouta’s book of travel very interesting as it provides an eye-witness account of the various cultures of that era, the political events, and the social and economic live at that time. In addition, what is particularly meaningful about The <em>Rihla</em> is how Ibn Battouta set out by himself and traveled about 75,000 miles facing the dangers and the unknown. In fact, at that time, most people on the Eurasian land lived and died very close to where they were born without even venturing very far from home given the danger of traveling in the 14<sup>th</sup> century. In other words, Ibn Battouta and his book is an example of courage, and willpower.\n\nAnother important thing about the book of Ibn Battouta is that without his recordings, there would have been many undiscovered civilizations; historians would have never known about these smaller civilizations. The Columbia Electronica Encyclopedia mentioned that: Ibn Battouta “still considered a most reliable source for the geography of his period and an authority on the cultural and social history of Islam”.\n\n<em><span style=\"text-decoration: underline\">the rihla</span></em>, wasn’t the first book of travel written at that time. Ibn Battouta was always compared by his contemporary Italian explorer Marco Polo. Marco Polo’s book of travel was titled: <em>Il milione.</em> Both Ibn Battouta and Marco Polo wrote about their travels in what became the medieval bestsellers. Both works evoked several similarities and differences.\n\nIn term of similarities, both explorers left an account of what they had seen during their travels witch started at an early age, and covered too many countries from Asia, Africa, and Europe. Also, both works represented a geographical description. However, both books were criticized. In fact, both the reliability of their accounts, and the authenticity of the information they provide have been challenged time and again. For example, some historians suggest that Marco Polo never went to China, basing their argument on the fact that Marco failed to describe the Great Wall of China, Chopsticks, and tea. Similarly, critics about <em>Rihla </em>concluded that many dates and exact details were altered by Battuta and Juzay (Dunn).\n\nThese two works are alike in that they were not written down by their creators. Ibn Battouta’s book was recorded by the young scholar Ibn Juzayyupon the request of the Moroccan ruler. Meanwhile, <em>Il Milione</em> was composed by Rustichello de Pisa, a well-known author, who was accompanying Polo in the prison. (Encyclopedia Britannica)\n\nDespite of all these similarities, Ibn Battuta’s book of travel stands out from its contemporary Marco Polo’s book by the fact that Ibn Battouta traveled about 75,000 miles, much further than did Marco Polo. For instance <em>the Rihla</em> had more information and covered more places than in <em>Il Milione.</em>\n\nIndeed, when Ibn Battouta started his travel career, he was driven by his religious zeal, and intellectual curiosity that leaded him to occupy many important positions in different countries; he was appointed a judge and an ambassador. He also started his adventure by himself leaving behind his family and friends. Ibn Battuta was a brave man, who risked his life to discover different cultures and bring knowledge of it to the public.\n\nIn contrast, Marco Polo left his home to accompany his father and uncle in search for trade and wealth (Encyclopedia Britannica).\n\nProf. Dunn described Polo’s book as “a treatise of empirical geography revealing almost nothing about his personality”; his book was divided in two parts, the first part is autobiography, and the second part which composed the large volume was dedicated to the description of China and some other Asian countries (Dunn).\n\nIn Contrast, Ibn Battouta told so much about him throughout the book, and included the book some verses of poetry which gave it a special taste, and made it distinguishable from its peers. The Prof. Dunn described this aspect in Ibn Battouta’s work and wrote: “the autobiography, the personal adventure, remains in the heart of the book, revealing the traveler’s gregarious, high-spirited…..ingratiating personality through the account of the life he lived”. Thus<em>, The Rihla</em> was filled with numerous tales and adventures witch far exceed the observations of Marco Polo in liveliness, acuity and insight.\n\nIbn Battuta wasn’t a scientist or geographer; he was a simple man seeking knowledge and adventure, his intellectual curiosity made from him one of the greatest travelers and explorers in the humanity, and made form his work a geographical and cultural reference for historians, geographers, and knowledge seekers. For instance, future generations need to be aware of the significance of this work, and learn from its values. In fact, the preservation of the work is the key for the achievement of this goal.\n\nBiographies and narratives there are in quantities, but the historians for all their picturesque details, rarely show the ability to select the essential and to give their figures that touch of the intimate which makes them live again for the reader. It is in this faculty that Ibn Battuta excels. Among all the literature works of travel, Ibn Battuta’s narrative is valued for the literary merits of its vivid description and comprehensive analysis of medieval Islamic life as well as for its utility to archeologists and other scholars for whom the work serves as a unique guide to the relics of the society in which Ibn Battuta lived.\n<p align=\"center\"><span style=\"text-decoration: underline\">Works cited</span></p>\nFiero. <em>The Humanistic Tradition. </em>6<sup>th</sup> Edition. Vol.2\n\nIt’s a textbook about the humanities from the renaissance to the present that I used to discuss the historical context of the work’s time.\n\n<em>Ibn Battuta</em>. Columbia Electronica Encyclopedia, 6<sup>th</sup> Edition (2011): 1.web. 7 Sept. 2012.\n\nHttp://ehis.ebscohost.com.Isproxy.austincc.edu/ehost/detail?vid=3&amp;hid=102&amp;sid\n\nThis is an electronic encyclopedia that provides information about all subjects. I used it to find information about Ibn Battuta’s biography.\n\n<em>Ibn Battuta. </em>Encyclopedia Britannica. Encyclopedia Britannica Online Academic Edition.\n\nEncyclopedia Britannica Inc., 2012. Web. 7 Sep.2012.\n\n<a href=\"http://www.britannica.com.isproxy.austincc.edu/EBchecked/topic/280726/Ibn-Battuta\">Http://www.britannica.com.Isproxy.austincc.edu/EBchecked/topic/280726/Ibn-Battuta</a>\n\nIt’s an electronic encyclopedia from the ACC library containing several articles about different subjects. It helped me finding information about Ibn Battuta’s life and travels.\n\nIyer, Pico. <em>A voyager for the Ages</em>. (Cover story). Time international (Atlantic Edition)\n\n178.5 (2011): 68-88.\n\nThis is an article from the Acc library where the author describes the importance of Ibn Battuta’s experience. I used it to find arguments about why Ibn Bttuta’s book is innovative and unusual.\n\nSmith, Robin. <em>The Marvels of the Road.</em> Book Links 12.1(2012): 41.\n\nThis is a journal article from The ACC library about the description of Rumford Book which was influenced by Ibn Battuta’s book.\n\nRoss E., Dunn. <em>The adventures of Ibn Battuta, a Muslim Traveler of the 14<sup>th</sup> Century</em>.\n\nUniversity of California Press. Berkely, Los Angeles, London. 1989. Print.\n\nIn this book the author explains how the Muslim world worked in the early 14<sup>th</sup> century using Ibn Bttuta’s Rihla as a reference. I used this book to compare between Ibn Battuta and Marco polo and their works. I also used it to explain how the work is received today.','Ibn Battuta\'s book of Travels','','inherit','open','open','','2427-autosave','','','2012-09-25 16:00:53','2012-09-25 22:00:53','',2427,'http://jeanatacc.com/2011/?p=2592',0,'revision','',0),(2593,65,'2012-09-24 21:00:02','2012-09-25 03:00:02','[gallery]\r\n\r\n<img src=\"http://www.silkroadgourmet.com/wp-content/uploads/2011/07/Ibn-Battuta-Sets-out.jpg\" alt=\"\" width=\"447\" height=\"298\" />\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://www.silkroadgourmet.com\">http://www.silkroadgourmet.com</a></p>\r\nThe “Rihla”, a classic Arabic name of the word <em>the journey</em>, is one of the most important and famous literature works of travel of the 14<sup>th</sup> century. It’s an account of travels and vivid experiences of the famous Moroccan explorer Ibn Battouta (1304-1368)(Fiero).\r\n\r\nIbn Batouta’s book of travel is considered as an eye witness of the cultural, social, and political life in the 14<sup>th</sup> century. Indeed, it is a geographical and historical reference. Because of that, Ibn Battouta’s book of travel should be preserved for future generations.\r\n\r\nThe book is about a Muslim scholar who left his homeland at the age of 21 in the intention to perform the pilgrimage, and ended up returning home “29 years later” (Rumford). After finishing his pilgrimage to Mecca and Medina, instead of returning home, he decided to discover and visit the entire Islamic world at that time. Driven by his intellectual curiosity, he started his adventure. Thus, during 29 years, he visited about 44 countries of the Islamic world and beyond. His journey covered North Africa, West Africa, Asia, and some of Europe (Dunn). What is important about this, is that he recorded and documented all of his travels over 29 years.\r\n\r\nThe work was created on December 1355, when the Sultan of Morocco ordered the young writer, Ibn Juzayy, to record Ibn Battuta’s experiences. After finishing the work, the book was given the official title: <em>A gift to the Observers Concerning the Curiosities of the Cities and the Marvels Encountered in Travels </em>(Dunn).\r\n\r\n“Enormous opportunities for long-distance travel began to exist in the 13<sup>th</sup> century after the Mongols and other nomadic groups established large, stable empires in Eurasia that facilitated travel, trade and cultural exchange”.(journey to Mecca). The expanding world of Islam, after the Mongol converted to faith, created sort of cultural and political stability which helps Muslims to travel freely across Eurasia. (Dunn<em>)</em>. Caravans and sea lanes created transportation and communication network that stretched across the Eastern Hemisphere.\r\n\r\nThe 14<sup>th</sup> century was a century of remarkable events such as the beginning of the hundred year’s war, and the bubonic plague that ravaged almost the entire world killing millions of peoples. In the middle of these events, an important number of literature and artistic works were created by European and African personalities. During this era, literature works were more about “personal experiences in the everyday world”, and tales were the famous form of literature. (Fiero)\r\n\r\nSome of the important literature works at that time was the Boccaccio’s <em>Decameron</em> and <em>Immoral tales. </em>Chaucer, who was influenced by Boccaccio’s tales, left a remarkable group of stories called <em>The Canterbury tales</em> (Fiero). In the Muslim and Arabic world, <em>The Muquaddima, (</em>Introduction), of the historian and philosopher Ibn Khaldun was one of the important works of sociology and philosophy in the 14<sup>th</sup> century; and Ash-Sharif al-Idrisi, who wrote one of the greatest works of the medieval geography, <em>The Pleasure</em> <em>Excursion of One of Who Is Eager to Traverse the Regions of the World</em>. (Encyclopedia Britannica).\r\n\r\nThe <em>Rihla </em>was more than just a simple group tales; it was a piece of information and entertainment for the readers with detailed description of peoples, customs, monuments and cuisine of each place he visited.\r\n\r\nIn fact, Ibn Battouta’s book of travel was educational and informative in term of content. Indeed, it was a great source of inspiration knowing the story behind the creation of the work; Ibn Battouta left his hometown and family at a young age to perform the pilgrimage, but he ended up traveling about 75,000 miles (Encyclopedia Britannica), seeking education and learning about different Islamic cultures. For this reason, this work is considered innovative of its time; it should be preserved for future generation to teach them about intellectual curiosity.\r\n\r\nIf we compare Ibn battouta’s work with those of his contemporaries, such as Ibn Jubayr, and Ash-Sharif Al-Idrisi, we find that his <em>Rihla</em> contains observation of geographical details, as well as cultural, religious and political matters witch far exceed those provided by the other books. According to Dunn, “he ranged over almost every aspect of fourteenth-century life from cuisine, botany, and marriage practices to dynastic history and the price of chickens”.\r\n\r\nAt that time, Ibn Battouta’s experience was unique in the Islamic world by the fact that he traveled further and for a longer period than any other contemporary. For this reason, his experience, and tales attracted the attention of everybody including the Sultan of Morocco, who ordered Ibn Battuta to prepare a narrative of the experiences he encountered during his journey. Moreover, Ibn Battouta was a subject of a biographical notice of the Andalusian scholar Abu l’Barakat al-Balafiqi.\r\n\r\nThe translation and publishing of the work in many languages contributed to the circulation of the work. Today, the book is used as a source of information and entertainment. At the same time, Ibn Battouta’s book of travel became a subject of research and inspiration to many experts in the field of geography or literature. For example, Rumfod used Ibn Battouta’s own extensive records as the inspiration of the text in his book <em>The Traveling Man </em>(Smith). Again, the Professor of History Dunn wrote a book about Ibn Battuta’s adventure (<em>The adventures of Ibn Battuta</em>), and described <em>the Rihla</em> as “a comprehensive survey…..and the record of a dramatic adventure” (Dunn).\r\n\r\nPersonally, I find that Ibn Battouta’s book of travel very interesting as it provides an eye-witness account of the various cultures of that era, the political events, and the social and economic live at that time. In addition, what is particularly meaningful about The <em>Rihla</em> is how Ibn Battouta set out by himself and traveled about 75,000 miles facing the dangers and the unknown. In fact, at that time, most people on the Eurasian land lived and died very close to where they were born without even venturing very far from home given the danger of traveling in the 14<sup>th</sup> century. In other words, Ibn Battouta and his book is an example of courage, and willpower.\r\n\r\nAnother important thing about the book of Ibn Battouta is that without his recordings, there would have been many undiscovered civilizations; historians would have never known about these smaller civilizations. The Columbia Electronica Encyclopedia mentioned that: Ibn Battouta “still considered a most reliable source for the geography of his period and an authority on the cultural and social history of Islam”.\r\n\r\n<em><span style=\"text-decoration: underline\">The Rihla</span></em>, wasn’t the first book of travel written at that time. Ibn Battouta was always compared by his contemporary Italian explorer Marco Polo. Marco Polo’s book of travel was titled: <em>Il milione.</em> Both Ibn Battouta and Marco Polo wrote about their travels in what became the medieval bestsellers. Both works evoked several similarities and differences.\r\n\r\nIn term of similarities, both explorers left an account of what they had seen during their travels witch started at an early age, and covered too many countries from Asia, Africa, and Europe. Also, both works represented a geographical description. However, both books were criticized. In fact, both the reliability of their accounts, and the authenticity of the information they provide have been challenged time and again. For example, some historians suggest that Marco Polo never went to China, basing their argument on the fact that Marco failed to describe the Great Wall of China, Chopsticks, and tea. Similarly, critics about <em>Rihla </em>concluded that many dates and exact details were altered by Battuta and Juzay (Dunn).\r\n\r\nThese two works are alike in that they were not written down by their creators. Ibn Battouta’s book was recorded by the young scholar Ibn Juzayyupon the request of the Moroccan ruler. Meanwhile, <em>Il Milione</em> was composed by Rustichello de Pisa, a well-known author, who was accompanying Polo in the prison. (Encyclopedia Britannica)\r\n\r\nDespite of all these similarities, Ibn Battuta’s book of travel stands out from its contemporary Marco Polo’s book by the fact that Ibn Battouta traveled about 75,000 miles, much further than did Marco Polo. For instance <em>the Rihla</em> had more information and covered more places than in <em>Il Milione.</em>\r\n\r\nIndeed, when Ibn Battouta started his travel career, he was driven by his religious zeal, and intellectual curiosity that leaded him to occupy many important positions in different countries; he was appointed a judge and an ambassador. He also started his adventure by himself leaving behind his family and friends. Ibn Battuta was a brave man, who risked his life to discover different cultures and bring knowledge of it to the public.\r\n\r\nIn contrast, Marco Polo left his home to accompany his father and uncle in search for trade and wealth (Encyclopedia Britannica).\r\n\r\nProf. Dunn described Polo’s book as “a treatise of empirical geography revealing almost nothing about his personality”; his book was divided in two parts, the first part is autobiography, and the second part which composed the large volume was dedicated to the description of China and some other Asian countries (Dunn).\r\n\r\nIn Contrast, Ibn Battouta told so much about him throughout the book, and included the book some verses of poetry which gave it a special taste, and made it distinguishable from its peers. The Prof. Dunn described this aspect in Ibn Battouta’s work and wrote: “the autobiography, the personal adventure, remains in the heart of the book, revealing the traveler’s gregarious, high-spirited…..ingratiating personality through the account of the life he lived”. Thus<em>, The Rihla</em> was filled with numerous tales and adventures witch far exceed the observations of Marco Polo in liveliness, acuity and insight.\r\n\r\nIbn Battuta wasn’t a scientist or geographer; he was a simple man seeking knowledge and adventure, his intellectual curiosity made from him one of the greatest travelers and explorers in the humanity, and made form his work a geographical and cultural reference for historians, geographers, and knowledge seekers. For instance, future generations need to be aware of the significance of this work, and learn from its values. In fact, the preservation of the work is the key for the achievement of this goal.\r\n\r\nBiographies and narratives there are in quantities, but the historians for all their picturesque details, rarely show the ability to select the essential and to give their figures that touch of the intimate which makes them live again for the reader. It is in this faculty that Ibn Battuta excels. Among all the literature works of travel, Ibn Battuta’s narrative is valued for the literary merits of its vivid description and comprehensive analysis of medieval Islamic life as well as for its utility to archeologists and other scholars for whom the work serves as a unique guide to the relics of the society in which Ibn Battuta lived.\r\n<p align=\"center\"><span style=\"text-decoration: underline\">Works cited</span></p>\r\nFiero. <em>The Humanistic Tradition. </em>6<sup>th</sup> Edition. Vol.2\r\n\r\nIt’s a textbook about the humanities from the renaissance to the present that I used to discuss the historical context of the work’s time.\r\n\r\n<em>Ibn Battuta</em>. Columbia Electronica Encyclopedia, 6<sup>th</sup> Edition (2011): 1.web. 7 Sept. 2012.\r\n\r\nHttp://ehis.ebscohost.com.Isproxy.austincc.edu/ehost/detail?vid=3&amp;hid=102&amp;sid\r\n\r\nThis is an electronic encyclopedia that provides information about all subjects. I used it to find information about Ibn Battuta’s biography.\r\n\r\n<em>Ibn Battuta. </em>Encyclopedia Britannica. Encyclopedia Britannica Online Academic Edition.\r\n\r\nEncyclopedia Britannica Inc., 2012. Web. 7 Sep.2012.\r\n\r\n<a href=\"http://www.britannica.com.isproxy.austincc.edu/EBchecked/topic/280726/Ibn-Battuta\">Http://www.britannica.com.Isproxy.austincc.edu/EBchecked/topic/280726/Ibn-Battuta</a>\r\n\r\nIt’s an electronic encyclopedia from the ACC library containing several articles about different subjects. It helped me finding information about Ibn Battuta’s life and travels.\r\n\r\nIyer, Pico. <em>A voyager for the Ages</em>. (Cover story). Time international (Atlantic Edition)\r\n\r\n178.5 (2011): 68-88.\r\n\r\nThis is an article from the Acc library where the author describes the importance of Ibn Battuta’s experience. I used it to find arguments about why Ibn Bttuta’s book is innovative and unusual.\r\n\r\nSmith, Robin. <em>The Marvels of the Road.</em> Book Links 12.1(2012): 41.\r\n\r\nThis is a journal article from The ACC library about the description of Rumford Book which was influenced by Ibn Battuta’s book.\r\n\r\nRoss E., Dunn. <em>The adventures of Ibn Battuta, a Muslim Traveler of the 14<sup>th</sup> Century</em>.\r\n\r\nUniversity of California Press. Berkely, Los Angeles, London. 1989. Print.\r\n\r\nIn this book the author explains how the Muslim world worked in the early 14<sup>th</sup> century using Ibn Bttuta’s Rihla as a reference. I used this book to compare between Ibn Battuta and Marco polo and their works. I also used it to explain how the work is received today.','Ibn Battuta\'s book of Travels','','inherit','open','open','','2427-revision-8','','','2012-09-24 21:00:02','2012-09-25 03:00:02','',2427,'http://jeanatacc.com/2011/?p=2593',0,'revision','',0),(2594,65,'2012-09-24 21:07:39','2012-09-25 03:07:39','&nbsp;\r\n\r\n<img src=\"http://www.silkroadgourmet.com/wp-content/uploads/2011/07/Ibn-Battuta-Sets-out.jpg\" alt=\"\" width=\"447\" height=\"298\" />\r\n\r\nIbn Battuta sets out\r\n<p style=\"text-align: center\"><a href=\"http://www.silkroadgourmet.com\">http://www.silkroadgourmet.com</a></p>\r\nThe “Rihla”, a classic Arabic name of the word <em>the journey</em>, is one of the most important and famous literature works of travel of the 14<sup>th</sup> century. It’s an account of travels and vivid experiences of the famous Moroccan explorer Ibn Battouta (1304-1368)(Fiero).\r\n\r\nIbn Batouta’s book of travel is considered as an eye witness of the cultural, social, and political life in the 14<sup>th</sup> century. Indeed, it is a geographical and historical reference. Because of that, Ibn Battouta’s book of travel should be preserved for future generations.\r\n\r\nThe book is about a Muslim scholar who left his homeland at the age of 21 in the intention to perform the pilgrimage, and ended up returning home “29 years later” (Rumford). After finishing his pilgrimage to Mecca and Medina, instead of returning home, he decided to discover and visit the entire Islamic world at that time. Driven by his intellectual curiosity, he started his adventure. Thus, during 29 years, he visited about 44 countries of the Islamic world and beyond. His journey covered North Africa, West Africa, Asia, and some of Europe (Dunn). What is important about this, is that he recorded and documented all of his travels over 29 years.\r\n\r\nThe work was created on December 1355, when the Sultan of Morocco ordered the young writer, Ibn Juzayy, to record Ibn Battuta’s experiences. After finishing the work, the book was given the official title: <em>A gift to the Observers Concerning the Curiosities of the Cities and the Marvels Encountered in Travels </em>(Dunn).\r\n\r\n“Enormous opportunities for long-distance travel began to exist in the 13<sup>th</sup> century after the Mongols and other nomadic groups established large, stable empires in Eurasia that facilitated travel, trade and cultural exchange”.(journey to Mecca). The expanding world of Islam, after the Mongol converted to faith, created sort of cultural and political stability which helps Muslims to travel freely across Eurasia. (Dunn<em>)</em>. Caravans and sea lanes created transportation and communication network that stretched across the Eastern Hemisphere.\r\n\r\nThe 14<sup>th</sup> century was a century of remarkable events such as the beginning of the hundred year’s war, and the bubonic plague that ravaged almost the entire world killing millions of peoples. In the middle of these events, an important number of literature and artistic works were created by European and African personalities. During this era, literature works were more about “personal experiences in the everyday world”, and tales were the famous form of literature. (Fiero)\r\n\r\nSome of the important literature works at that time was the Boccaccio’s <em>Decameron</em> and <em>Immoral tales. </em>Chaucer, who was influenced by Boccaccio’s tales, left a remarkable group of stories called <em>The Canterbury tales</em> (Fiero). In the Muslim and Arabic world, <em>The Muquaddima, (</em>Introduction), of the historian and philosopher Ibn Khaldun was one of the important works of sociology and philosophy in the 14<sup>th</sup> century; and Ash-Sharif al-Idrisi, who wrote one of the greatest works of the medieval geography, <em>The Pleasure</em> <em>Excursion of One of Who Is Eager to Traverse the Regions of the World</em>. (Encyclopedia Britannica).\r\n\r\nThe <em>Rihla </em>was more than just a simple group tales; it was a piece of information and entertainment for the readers with detailed description of peoples, customs, monuments and cuisine of each place he visited.\r\n\r\nIn fact, Ibn Battouta’s book of travel was educational and informative in term of content. Indeed, it was a great source of inspiration knowing the story behind the creation of the work; Ibn Battouta left his hometown and family at a young age to perform the pilgrimage, but he ended up traveling about 75,000 miles (Encyclopedia Britannica), seeking education and learning about different Islamic cultures. For this reason, this work is considered innovative of its time; it should be preserved for future generation to teach them about intellectual curiosity.\r\n\r\nIf we compare Ibn battouta’s work with those of his contemporaries, such as Ibn Jubayr, and Ash-Sharif Al-Idrisi, we find that his <em>Rihla</em> contains observation of geographical details, as well as cultural, religious and political matters witch far exceed those provided by the other books. According to Dunn, “he ranged over almost every aspect of fourteenth-century life from cuisine, botany, and marriage practices to dynastic history and the price of chickens”.\r\n\r\nAt that time, Ibn Battouta’s experience was unique in the Islamic world by the fact that he traveled further and for a longer period than any other contemporary. For this reason, his experience, and tales attracted the attention of everybody including the Sultan of Morocco, who ordered Ibn Battuta to prepare a narrative of the experiences he encountered during his journey. Moreover, Ibn Battouta was a subject of a biographical notice of the Andalusian scholar Abu l’Barakat al-Balafiqi.\r\n\r\nThe translation and publishing of the work in many languages contributed to the circulation of the work. Today, the book is used as a source of information and entertainment. At the same time, Ibn Battouta’s book of travel became a subject of research and inspiration to many experts in the field of geography or literature. For example, Rumfod used Ibn Battouta’s own extensive records as the inspiration of the text in his book <em>The Traveling Man </em>(Smith). Again, the Professor of History Dunn wrote a book about Ibn Battuta’s adventure (<em>The adventures of Ibn Battuta</em>), and described <em>the Rihla</em> as “a comprehensive survey…..and the record of a dramatic adventure” (Dunn).\r\n\r\nPersonally, I find that Ibn Battouta’s book of travel very interesting as it provides an eye-witness account of the various cultures of that era, the political events, and the social and economic live at that time. In addition, what is particularly meaningful about The <em>Rihla</em> is how Ibn Battouta set out by himself and traveled about 75,000 miles facing the dangers and the unknown. In fact, at that time, most people on the Eurasian land lived and died very close to where they were born without even venturing very far from home given the danger of traveling in the 14<sup>th</sup> century. In other words, Ibn Battouta and his book is an example of courage, and willpower.\r\n\r\nAnother important thing about the book of Ibn Battouta is that without his recordings, there would have been many undiscovered civilizations; historians would have never known about these smaller civilizations. The Columbia Electronica Encyclopedia mentioned that: Ibn Battouta “still considered a most reliable source for the geography of his period and an authority on the cultural and social history of Islam”.\r\n\r\n<em><span style=\"text-decoration: underline\">the rihla</span></em>, wasn’t the first book of travel written at that time. Ibn Battouta was always compared by his contemporary Italian explorer Marco Polo. Marco Polo’s book of travel was titled: <em>Il milione.</em> Both Ibn Battouta and Marco Polo wrote about their travels in what became the medieval bestsellers. Both works evoked several similarities and differences.\r\n\r\nIn term of similarities, both explorers left an account of what they had seen during their travels witch started at an early age, and covered too many countries from Asia, Africa, and Europe. Also, both works represented a geographical description. However, both books were criticized. In fact, both the reliability of their accounts, and the authenticity of the information they provide have been challenged time and again. For example, some historians suggest that Marco Polo never went to China, basing their argument on the fact that Marco failed to describe the Great Wall of China, Chopsticks, and tea. Similarly, critics about <em>Rihla </em>concluded that many dates and exact details were altered by Battuta and Juzay (Dunn).\r\n\r\nThese two works are alike in that they were not written down by their creators. Ibn Battouta’s book was recorded by the young scholar Ibn Juzayyupon the request of the Moroccan ruler. Meanwhile, <em>Il Milione</em> was composed by Rustichello de Pisa, a well-known author, who was accompanying Polo in the prison. (Encyclopedia Britannica)\r\n\r\nDespite of all these similarities, Ibn Battuta’s book of travel stands out from its contemporary Marco Polo’s book by the fact that Ibn Battouta traveled about 75,000 miles, much further than did Marco Polo. For instance <em>the Rihla</em> had more information and covered more places than in <em>Il Milione.</em>\r\n\r\nIndeed, when Ibn Battouta started his travel career, he was driven by his religious zeal, and intellectual curiosity that leaded him to occupy many important positions in different countries; he was appointed a judge and an ambassador. He also started his adventure by himself leaving behind his family and friends. Ibn Battuta was a brave man, who risked his life to discover different cultures and bring knowledge of it to the public.\r\n\r\nIn contrast, Marco Polo left his home to accompany his father and uncle in search for trade and wealth (Encyclopedia Britannica).\r\n\r\nProf. Dunn described Polo’s book as “a treatise of empirical geography revealing almost nothing about his personality”; his book was divided in two parts, the first part is autobiography, and the second part which composed the large volume was dedicated to the description of China and some other Asian countries (Dunn).\r\n\r\nIn Contrast, Ibn Battouta told so much about him throughout the book, and included the book some verses of poetry which gave it a special taste, and made it distinguishable from its peers. The Prof. Dunn described this aspect in Ibn Battouta’s work and wrote: “the autobiography, the personal adventure, remains in the heart of the book, revealing the traveler’s gregarious, high-spirited…..ingratiating personality through the account of the life he lived”. Thus<em>, The Rihla</em> was filled with numerous tales and adventures witch far exceed the observations of Marco Polo in liveliness, acuity and insight.\r\n\r\nIbn Battuta wasn’t a scientist or geographer; he was a simple man seeking knowledge and adventure, his intellectual curiosity made from him one of the greatest travelers and explorers in the humanity, and made form his work a geographical and cultural reference for historians, geographers, and knowledge seekers. For instance, future generations need to be aware of the significance of this work, and learn from its values. In fact, the preservation of the work is the key for the achievement of this goal.\r\n\r\nBiographies and narratives there are in quantities, but the historians for all their picturesque details, rarely show the ability to select the essential and to give their figures that touch of the intimate which makes them live again for the reader. It is in this faculty that Ibn Battuta excels. Among all the literature works of travel, Ibn Battuta’s narrative is valued for the literary merits of its vivid description and comprehensive analysis of medieval Islamic life as well as for its utility to archeologists and other scholars for whom the work serves as a unique guide to the relics of the society in which Ibn Battuta lived.\r\n<p align=\"center\"><span style=\"text-decoration: underline\">Works cited</span></p>\r\nFiero. <em>The Humanistic Tradition. </em>6<sup>th</sup> Edition. Vol.2\r\n\r\nIt’s a textbook about the humanities from the renaissance to the present that I used to discuss the historical context of the work’s time.\r\n\r\n<em>Ibn Battuta</em>. Columbia Electronica Encyclopedia, 6<sup>th</sup> Edition (2011): 1.web. 7 Sept. 2012.\r\n\r\nHttp://ehis.ebscohost.com.Isproxy.austincc.edu/ehost/detail?vid=3&amp;hid=102&amp;sid\r\n\r\nThis is an electronic encyclopedia that provides information about all subjects. I used it to find information about Ibn Battuta’s biography.\r\n\r\n<em>Ibn Battuta. </em>Encyclopedia Britannica. Encyclopedia Britannica Online Academic Edition.\r\n\r\nEncyclopedia Britannica Inc., 2012. Web. 7 Sep.2012.\r\n\r\n<a href=\"http://www.britannica.com.isproxy.austincc.edu/EBchecked/topic/280726/Ibn-Battuta\">Http://www.britannica.com.Isproxy.austincc.edu/EBchecked/topic/280726/Ibn-Battuta</a>\r\n\r\nIt’s an electronic encyclopedia from the ACC library containing several articles about different subjects. It helped me finding information about Ibn Battuta’s life and travels.\r\n\r\nIyer, Pico. <em>A voyager for the Ages</em>. (Cover story). Time international (Atlantic Edition)\r\n\r\n178.5 (2011): 68-88.\r\n\r\nThis is an article from the Acc library where the author describes the importance of Ibn Battuta’s experience. I used it to find arguments about why Ibn Bttuta’s book is innovative and unusual.\r\n\r\nSmith, Robin. <em>The Marvels of the Road.</em> Book Links 12.1(2012): 41.\r\n\r\nThis is a journal article from The ACC library about the description of Rumford Book which was influenced by Ibn Battuta’s book.\r\n\r\nRoss E., Dunn. <em>The adventures of Ibn Battuta, a Muslim Traveler of the 14<sup>th</sup> Century</em>.\r\n\r\nUniversity of California Press. Berkely, Los Angeles, London. 1989. Print.\r\n\r\nIn this book the author explains how the Muslim world worked in the early 14<sup>th</sup> century using Ibn Bttuta’s Rihla as a reference. I used this book to compare between Ibn Battuta and Marco polo and their works. I also used it to explain how the work is received today.','Ibn Battuta\'s book of Travels','','inherit','open','open','','2427-revision-9','','','2012-09-24 21:07:39','2012-09-25 03:07:39','',2427,'http://jeanatacc.com/2011/?p=2594',0,'revision','',0),(2595,56,'2012-09-24 21:53:09','2012-09-25 03:53:09','Veronica Franco (1546-1591) was “the most famous courtesan of Venice... [She] became a writer by allying herself with distinguished men at the center of her city’s culture.”  (Franco, Jones and Rosenthal)  She published Familiar Letters in 1580 and it should be preserved in the Time Capsule Project because of the way she attempted and changed the way courtesans and vulnerable women in that time period were viewed by the upper class.\r\n<!--more-->\r\nThe title of the book was also the style in which it was written; a collection of 50 familiar letters, which means they were “written to a friend, but intended for eventual publication.”  There were a wide variety of topics in the letters; including invitations, thank you letters, advice, congratulations and accompanying sonnets or other papers.\r\n\r\nEpistolary works, “the production of letters as literary artifacts” was a popular format for authors in Venice in the mid 1500s, but by 1580 when she chose to publish Familiar Letters, it was rapidly falling into disfavor.   Franco’s first work, Terze rime, published in 1575 was in the capitolo style of poetry, so she was capable and knowledgeable enough to produce a work in a more fashionable style if she chose to.  She chose this format deliberately:  the familiar letter was more intimate than poetry and Franco wanted to establish and maintain an intimacy with her audience.  (Bassanese 777)\r\n\r\nVeronica Franco was the “epitome of the successful and gifted cortigiana onesta (honest courtesan of the Italian Renaissance... a “cultured prostitute...”  She behaved, appeared, dressed, entertained and charmed like a lady of high society, but she also “grant[ed] full erotic satisfaction” to her patrons.  (Bassanese 777)  It was a delicate balance and Franco balanced upon it well.  To anyone that did not socialize with courtesans, it was easy to imagine and criticize them for leading a debauched lives and she was trying to change that view with this volume of letters.  (Franco, Jones and Rosenthal)\r\n\r\nAnn Jones and Margaret Rosenthal postulate several plausible theories for the format Franco chose to use in this work.  It invited others into her private salon and establish a personal dialog with whoever read her words.  People who did not have the opportunity to mingle with her lofty circle (and never doubt that she moved in the upper echelons of society - one of her clients was King Henry III) could now see how she lived her life.  They found out what she thought, how she spent her days, learned what she knew and “listened” to what she advised.  “At the same time, because it [the epistolary format] requires a grasp of the proper rhetorical forms advocated by classical authors... the letter demonstrates the learning and the savoir-faire of its writer.”  (Franco, Jones and Rosenthal 9)\r\n\r\nI believe that Franco’s letters were largely a public relations exercise.  That is not to say that they were fabrications by any stretch of the imagination.  In my research, I have found no indication that anyone believes that she misrepresented herself.  Familiar Letters is her opportunity to shine and yet paint herself as a conventional and virtuous woman of her class.\r\nBy many people of her time, however, Franco was considered no more than a prostitute, albeit a high paid one, and was viewed with contempt.  In Letter 22, she berated the mother of a young woman for planning to start the girl on the path of a courtesan.  Franco had advised the mother, and in fact had paved the way for her, to send the daughter to the Casa delle Zitelle, a sanctuary for young girls to protect them from the fate of prostitution and keep them eligible for good marriages.  The letter was blunt, but the intent behind the words was compassionate; she was trying to keep another woman from facing the ignominy and uncertainty that Franco lived with.  (Bassanese 779) (Franco, Jones and Rosenthal 37-40)\r\n\r\n[caption id=\"attachment_2608\" align=\"alignleft\" width=\"150\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/220px-VeronicaFranco.jpg\"><img class=\"size-thumbnail wp-image-2608\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/220px-VeronicaFranco-150x150.jpg\" alt=\"Portrait by Tintoretto, ca. 1575\" width=\"150\" height=\"150\" /></a> http://upload.wikimedia.org/wikipedia/commons/thumb/8/8b/VeronicaFranco.jpg/220px-VeronicaFranco.jpg[/caption]\r\n\r\n&nbsp;\r\n\r\nBooks written in the familiar letter style often had the names removed.  Franco made some exceptions in her book, the most notable being the salutation to Henry III, King of France in her second letter.   (Bassanese 779)  (Franco, Jones and Rosenthal 24)\r\n\r\nAccording to Johnson and Rosenthal, it appears that Franco’s two books, Terze rime and Familiar Letters were published privately and it was entirely possible that she funded them herself.  As a result, this particular work was probably not widely read beyond Venice upper society.  That does not mean that Franco was unknown as a poet.  In fact, she received a commission to write for an anthology commemorating “men of the Venetian elite, such as the military hero, Estore Martinengo”.  (Rosenthal)  Commissions of that nature were not dispensed by lottery; they were earned.\r\n\r\nAfter her death in 1591, interest in Franco as a person didn’t start to rise again until the early 1700s and “Familiar Letters” wasn’t republished again until 1949.  Since then, scholars and feminists have taken a fresh look at the woman who managed to live dependent upon the whims of the rich, and sometimes capricious, elite while at the same time establishing the “courtesan\'s virtue, reason, wisdom and fairness” as valuable people and citizens in their own right. (Rosenthal)\r\n\r\nFranco’s Familiar Letters are tangible evidence of the life she lived in more ways than one.  Not only do they provide a record of her activities, but they also record the way she navigated the perilous nature of her existence.  Veronica Franco was a beautiful, intelligent and accomplished woman and in the 20th and 21st century, she could have created a career and life for herself that would not be dependent upon someone else’s generosity ~ but not then.\r\nIn the 16th century, Veronica Franco supported her household from the largesse of her patrons.  In other words, without her patrons, she was just a few steps above needing to accommodate anyone who would pay her fee.  Through her actions and the spoken word, Franco was able to raise herself up to same the level of humanity as the men that she socialized with and served.  She managed to make them see her as one of their equals and therefore worthy of the same consideration as an individual as they were.\r\n\r\nThat is where the subtle magic of Familiar Letters lies.  It is evidence of the beginnings of the seeds of feminism.  It wasn’t as exciting and far reaching as the works of Lucretia Marinella or Laura Cereta, but I believe the impact she had on individuals spread like ripples in a pond and helped set the stage for later change and reform.\r\n\r\nI wanted to save Familiar Letters because it is a piece of evidence that provides a glimpse into how human beings can make life better for ourselves in the moment and, at the same time, set the stage for improving life for others in the future.  It shows how an amazing woman managed to change the way men and women in a small group related to each other.\r\n\r\nHowever, as a piece of work, it does not stand well enough by itself.  One needs to know too much background information about Franco, Venice, courtesans and feminism to make this a good offering for a time capsule.  I am sad to say that I withdraw my proposal to include Familiar Letters in the Time Capsule Project.\r\n\r\nWorks Cited\r\n\r\nBassanese, Fiora. \"Veronica Franco.\" Encyclopedia of Italian Literary Studies. New York. Taylor and Francis Group.   2007. Print.\r\n\r\nFranco, Veronica, author. Jones, Ann Rosalind and Rosenthal Margaret F. translators. “Poems and Selected Letters (The Other Voice in Early Modern Europe).” The University of Chicago Press. 1998. Print.\r\n\r\nRosenthal, Margaret. \"Biography: Franco, Veronica.\" Italian Women Writers. The University of Southern California, 2003. Web. 24 Sep 2012. &lt;http://www.lib.uchicago.edu/efts/IWW&gt;','Veronica Franco, Familiar Letters','','publish','open','open','','veronica-franco-familiar-letters','','','2012-10-16 14:37:22','2012-10-16 20:37:22','',0,'http://jeanatacc.com/2011/?p=2595',0,'post','',8),(2596,56,'2012-09-24 21:50:41','2012-09-25 03:50:41','Veronica Franco (1546-1591) was “the most famous courtesan of Venice... [She] became a writer by allying herself with distinguished men at the center of her city’s culture.”  (Franco, Jones and Rosenthal)  She published Familiar Letters in 1580 and I believe it should be preserved in the Time Capsule Project because of the way she attempted and changed the way courtesans and vulnerable women in that time period were viewed by the upper class.\n\nThe title of the book was also the style in which it was written; a collection of 50 familiar letters, which means they were “written to a friend, but intended for eventual publication.”  There were a wide variety of topics in the letters; including invitations, thank you letters, advice, congratulations and accompanying sonnets or other papers.\n\nEpistolary works, “the production of letters as literary artifacts” was a popular format for authors in Venice in the mid 1500s, but by 1580 when she chose to publish Familiar Letters, it was rapidly falling into disfavor.   Franco’s first work, Terze rime, published in 1575 was in the capitolo style of poetry, so she was capable and knowledgeable enough to produce a work in a more fashionable style if she chose to.  She chose this format deliberately:  the familiar letter was more intimate than poetry and Franco wanted to establish and maintain an intimacy with her audience.  (Bassanese 777)\n\nVeronica Franco was the “epitome of the successful and gifted cortigiana onesta (honest courtesan of the Italian Renaissance... a “cultured prostitute...”  She behaved, appeared, dressed, entertained and charmed like a lady of high society, but she also “grant[ed] full erotic satisfaction” to her patrons.  (Bassanese 777)  It was a delicate balance and Franco balanced upon it well.  To anyone that did not socialize with courtesans, it was easy to imagine and criticize them for leading a debauched lives and she was trying to change that view with this volume of letters.  (Franco, Jones and Rosenthal)\n\nAnn Jones and Margaret Rosenthal postulate several plausible theories for the format Franco chose to use in this work.  It invited others into her private salon and establish a personal dialog with whoever read her words.  People who did not have the opportunity to mingle with her lofty circle (and never doubt that she moved in the upper echelons of society - one of her clients was King Henry III) could now see how she lived her life.  They found out what she thought, how she spent her days, learned what she knew and “listened” to what she advised.  “At the same time, because it [the epistolary format] requires a grasp of the proper rhetorical forms advocated by classical authors... the letter demonstrates the learning and the savoir-faire of its writer.”  (Franco, Jones and Rosenthal 9)\n\nI believe that Franco’s letters were largely a public relations exercise.  That is not to say that they were fabrications by any stretch of the imagination.  In my research, I have found no indication that anyone believes that she misrepresented herself.  Familiar Letters is her opportunity to shine and yet paint herself as a conventional and virtuous woman of her class.\nBy many people of her time, however, Franco was considered no more than a prostitute, albeit a high paid one, and was viewed with contempt.  In Letter 22, she berated the mother of a young woman for planning to start the girl on the path of a courtesan.  Franco had advised the mother, and in fact had paved the way for her, to send the daughter to the Casa delle Zitelle, a sanctuary for young girls to protect them from the fate of prostitution and keep them eligible for good marriages.  The letter was blunt, but the intent behind the words was compassionate; she was trying to keep another woman from facing the ignominy and uncertainty that Franco lived with.  (Bassanese 779) (Franco, Jones and Rosenthal 37-40)\n\nBooks written in the familiar letter style often had the names removed.  Franco made some exceptions in her book, the most notable being the salutation to Henry III, King of France in her second letter.   (Bassanese 779)  (Franco, Jones and Rosenthal 24)\n\nAccording to Johnson and Rosenthal, it appears that Franco’s two books, Terze rime and Familiar Letters were published privately and it was entirely possible that she funded them herself.  As a result, this particular work was probably not widely read beyond Venice upper society.  That does not mean that Franco was unknown as a poet.  In fact, she received a commission to write for an anthology commemorating “men of the Venetian elite, such as the military hero, Estore Martinengo”.  (Rosenthal)  Commissions of that nature were not dispensed by lottery; they were earned.\n\nAfter her death in 1591, interest in Franco as a person didn’t start to rise again until the early 1700s and “Familiar Letters” wasn’t republished again until 1949.  Since then, scholars and feminists have taken a fresh look at the woman who managed to live dependent upon the whims of the rich, and sometimes capricious, elite while at the same time establishing the “courtesan\'s virtue, reason, wisdom and fairness” as valuable people and citizens in their own right. (Rosenthal)\n\nFranco’s Familiar Letters are tangible evidence of the life she lived in more ways than one.  Not only do they provide a record of her activities, but they also record the way she navigated the perilous nature of her existence.  Veronica Franco was a beautiful, intelligent and accomplished woman and in the 20th and 21st century, she could have created a career and life for herself that would not be dependent upon someone else’s generosity ~ but not then.\nIn the 16th century, Veronica Franco supported her household from the largesse of her patrons.  In other words, without her patrons, she was just a few steps above needing to accommodate anyone who would pay her fee.  Through her actions and the spoken word, Franco was able to raise herself up to same the level of humanity as the men that she socialized with and served.  She managed to make them see her as one of their equals and therefore worthy of the same consideration as an individual as they were.\n\nThat is where the subtle magic of Familiar Letters lies.  It is evidence of the beginnings of the seeds of feminism.  It wasn’t as exciting and far reaching as the works of Lucretia Marinella or Laura Cereta, but I believe the impact she had on individuals spread like ripples in a pond and helped set the stage for later change and reform.\n\nI wanted to save Familiar Letters because it is a piece of evidence that provides a glimpse into how human beings can make life better for ourselves in the moment and, at the same time, set the stage for improving life for others in the future.  It shows how an amazing woman managed to change the way men and women in a small group related to each other.\n\nHowever, as a piece of work, it does not stand well enough by itself.  One needs to know too much background information about Franco, Venice, courtesans and feminism to make this a good offering for a time capsule.  I am sad to say that I withdraw my proposal to include Familiar Letters in the Time Capsule Project.\n\nWorks Cited\n\nBassanese, Fiora. \"Veronica Franco.\" Encyclopedia of Italian Literary Studies. New York. Taylor and Francis Group.   2007. Print.\n\nFranco, Veronica, author. Jones, Ann Rosalind and Rosenthal Margaret F. translators. “Poems and Selected Letters (The Other Voice in Early Modern Europe).” The University of Chicago Press. 1998. Print.\n\nRosenthal, Margaret. \"Biography: Franco, Veronica.\" Italian Women Writers. The University of Southern California, 2003. Web. 24 Sep 2012. &lt;http://www.lib.uchicago.edu/efts/IWW&gt;','Veronica Franco, Familiar Letters','','inherit','open','open','','2595-revision','','','2012-09-24 21:50:41','2012-09-25 03:50:41','',2595,'http://jeanatacc.com/2011/?p=2596',0,'revision','',0),(2597,70,'2012-09-24 22:06:03','2012-09-25 04:06:03','<p align=\"center\"><strong><span style=\"text-decoration: underline;\">Titan</span></strong></p>\r\n<p align=\"center\"><strong><span style=\"text-decoration: underline;\">Venus of Urbino</span></strong></p>\r\n<p align=\"center\"><strong> </strong></p>\r\nIn Titan’s painting of the <span style=\"text-decoration: underline;\">Venus of Urbino</span> reveals a women posing nude. Created in March of (1536-38), it was said to be the \"<span style=\"text-decoration: underline;\">First Female reclining nude</span>,” “<span style=\"text-decoration: underline;\">painting ever created in Europe</span>.” It was not intended to be picture for sexual desires but more along the lines of a woman sleeping that was unaware of the presence of a visitor peeking in on her. However, in the background kneels a small child and wealthy looking women next to her turned in the opposite direction looking away from <span style=\"text-decoration: underline;\">Venus</span> near the window seal as if none of what is happening behind them is taking place. Titan\'s painting shows the natural beauty of the woman form relaxed on a chase with a “<span style=\"text-decoration: underline;\">hand full of roses that may have been a symbolism of love and the other gently placed over her pubic region.”</span> However, by many it was extolled for the artist\'s and philosophers of its era. Titan\'s painting was “<span style=\"text-decoration: underline;\">never held or viewed as a negative form of art</span>.” <em></em>\r\n\r\n<!--more-->A few major events the shaped life in this era was that when the painting was created it “<span style=\"text-decoration: underline;\">influenced a lot of the ancient Greek sculptures that are seen all over Europe mainly in Venice.</span>” In Ancient Greek times the painting was seen as a natural form of the female body being partially undressed and in most cases nude.\r\n\r\nThis painting is typical for its era it started what is now seen today of the ancient Greek statues. “<span style=\"text-decoration: underline;\">Venus was a mythical creature</span>” in each painting the “<span style=\"text-decoration: underline;\">women were never real but were just a figment of the artist’s imagination</span>” and many artist in this time painted many nude women. No one painting was the same the content was always different many of the paintings would show a women reclining nude or in another standing. The imagination of Titan was very vivid in how he portrayed his work.\r\n\r\nThe work was different in its time a lot of paintings made were those of gods. With Titans painting it was unusual to most forms of art, his images of nude women may have been sought out to be “<span style=\"text-decoration: underline;\">something more of a personal or something that had great meaning to him.</span>” Being one of the first mythological nude paintings it was different to the art that occurred in its time. \"<span style=\"text-decoration: underline;\">As with no other painter, painting practice and technique in Titian\'s late work have themselves been thermalized and charged with meaning</span>.\"\r\n\r\nThe art was inspirational to many and spread throughout the world. It was said that many artist were drawn to this portrait such as, \"<span style=\"text-decoration: underline;\">Mark Twain, who thought it too lascivious, and Manet, who thought it insufficiently so, painting an even more shocking version</span>\". Venus\'s form as she lies upon the couch is viewed by many walks of life and “<span style=\"text-decoration: underline;\">The one true viewer gazing upon her is the sole recipient of her beauty; her lust.</span>”\r\n\r\nI personally like Titan’s work in this painting it to me expresses a different form of art. Being able to picture exactly what was to be sought out of the portrait makes it very interesting to the sense that one can almost think, “<span style=\"text-decoration: underline;\">What is the meaning he was trying to achieve.”</span> I caught myself wondering exactly what any other person what wonder, why this type of painting? What made him paint something so visual? Was he trying to prove to the world after painting this mythical creature? Maybe it was for beauty or something that would be enticing to him. However, only Titan would be able to answer such question. He was a master of his work; he was one of the main inspirations for Greek art and sculptures throughout Greece. He also influenced many other artists that formed other paintings throughout Venice, Italy and many of them created other forms of the <span style=\"text-decoration: underline;\">Venus of Urbino</span> painting for example <span style=\"text-decoration: underline;\">Diego Velazquez’s “Venus in a Mirror”</span>. His painting is very vibrant and colorful; to most it may mean nothing but a nude woman on an oil painting however, it is a very meaningful piece of art. To its viewers it can be seen as Venus is looking into the distance at her lover or even a stranger peaking in or maybe even Titan himself but no one really knows.\r\n\r\nThe <span style=\"text-decoration: underline;\">Venus of Urbino</span> painting can most likely be compared to another painting that was created by Titan many years later. Titan painted the “<span style=\"text-decoration: underline;\">the art dealer Jacopo Strada, c. 1566</span>”which portrays a man hold a de-clothed women in hand as if she was a trophy he had won with a pile of money lying at his knees. Mostly all of Titan’s paintings are of nude women from the paintings of “<span style=\"text-decoration: underline;\">Nymph and the Shepherd</span>,” to the \"<span style=\"text-decoration: underline;\">Late Titian and the Sensuality Painting of</span><span style=\"text-decoration: underline;\"> Allegory of Prudence</span>” which was a painting created for more suitable audiences. Titan was once asked, “<span style=\"text-decoration: underline;\">why his later works differed so greatly from earlier ones, Titian answered that </span><span style=\"text-decoration: underline;\">he gave up trying to match</span><span style=\"text-decoration: underline;\">Michelangelo, Raphael</span><span style=\"text-decoration: underline;\"> </span><span style=\"text-decoration: underline;\">and others in refinement; beauty, aiming to make his mark with a new roughness of handling</span>.\"\r\n\r\nThe young Venus of Urbino oil painting was ahead of its time in many ways being as it was in the time of the higher point of the renaissance. Titan’s painting was one of the most magnificent creations he’s ever created in his time alongside of many other portraits he has created in his life time.\r\n\r\nI believe that this type painting would be very vital in the time capsule; it is a piece of history that has been carried on for hundreds of years. In many years to come millions could gaze on this piece of art and learn more about the past; how things would have been maybe even how this form of paint was a natural thing. I believe in keeping things that have significant meaning to the world will make a big impact on those now and in the future. Just like the Pyramids, Stone Hedge, and all other forms of art made by many different civilizations around the world are viewed now and remember since they were first found. The Venus of Urbino painting would be one of the forms of art that should be kept around for those whom maybe interested in art work from the past time. This painting should be added to the time capsule so that it can be influence on the next generation to come.\r\n\r\n&nbsp;\r\n<p align=\"center\"><strong><em><span style=\"text-decoration: underline;\">Works Cited Page:</span></em></strong></p>\r\n \"Titian\'s \"Venus of Urbino\"\" Suite101.com. Suzanne Hill, 1 Aug. 2006. Web. 17 Sept. 2012. &lt;http://suite101.com/article/titian_s__venus_of_urbino_-a4047&gt;.\r\n\r\n\"Titian: Venus of Urbino.\" Titans: Venus of Urbino. Art &amp; Critique, 2011. Web. 17 Sept. 2012. &lt;http://artandcritique.com/titian-venus-of-urbino/&gt;.\r\n\r\nArtofthefirebird.com. Julia E. Benson, 26 Feb. 2001. Web. 17 Sept. 2012.\r\n\r\n\"JWJeffery.com.\" <em>Â» Venus of Urbino: Inspiration and Influence.</em> Joshua Jeffery, Mar.-Apr. 2009. Web. 24 Sept. 2012. &lt;http://www.jwjeffery.com/?p=64&gt;.\r\n\r\n\"Famous Paintings Reviewed.\" <em>Famous Paintings: Titian Paintings</em>. Susan Benford, n.d. Web. 24 Sept. 2012. &lt;http://www.themasterpiececards.com/famous-paintings-reviewed/bid/17756/Famous-Paintings-Titian-Paintings&gt;.\r\n\r\nhttp://classconnection.s3.amazonaws.com/960/flashcards/1126960/jpg/venus_of_urbino1327686665046.jpg','Titan\'s Venus of Urbino','','publish','open','open','','titans-venus-of-urbino','','','2012-09-30 12:16:23','2012-09-30 18:16:23','',0,'http://jeanatacc.com/2011/?p=2597',0,'post','',9),(2598,56,'2012-09-24 21:51:32','2012-09-25 03:51:32','Veronica Franco (1546-1591) was “the most famous courtesan of Venice... [She] became a writer by allying herself with distinguished men at the center of her city’s culture.”  (Franco, Jones and Rosenthal)  She published Familiar Letters in 1580 and I believe it should be preserved in the Time Capsule Project because of the way she attempted and changed the way courtesans and vulnerable women in that time period were viewed by the upper class.\r\n\r\nThe title of the book was also the style in which it was written; a collection of 50 familiar letters, which means they were “written to a friend, but intended for eventual publication.”  There were a wide variety of topics in the letters; including invitations, thank you letters, advice, congratulations and accompanying sonnets or other papers.\r\n\r\nEpistolary works, “the production of letters as literary artifacts” was a popular format for authors in Venice in the mid 1500s, but by 1580 when she chose to publish Familiar Letters, it was rapidly falling into disfavor.   Franco’s first work, Terze rime, published in 1575 was in the capitolo style of poetry, so she was capable and knowledgeable enough to produce a work in a more fashionable style if she chose to.  She chose this format deliberately:  the familiar letter was more intimate than poetry and Franco wanted to establish and maintain an intimacy with her audience.  (Bassanese 777)\r\n\r\nVeronica Franco was the “epitome of the successful and gifted cortigiana onesta (honest courtesan of the Italian Renaissance... a “cultured prostitute...”  She behaved, appeared, dressed, entertained and charmed like a lady of high society, but she also “grant[ed] full erotic satisfaction” to her patrons.  (Bassanese 777)  It was a delicate balance and Franco balanced upon it well.  To anyone that did not socialize with courtesans, it was easy to imagine and criticize them for leading a debauched lives and she was trying to change that view with this volume of letters.  (Franco, Jones and Rosenthal)\r\n\r\nAnn Jones and Margaret Rosenthal postulate several plausible theories for the format Franco chose to use in this work.  It invited others into her private salon and establish a personal dialog with whoever read her words.  People who did not have the opportunity to mingle with her lofty circle (and never doubt that she moved in the upper echelons of society - one of her clients was King Henry III) could now see how she lived her life.  They found out what she thought, how she spent her days, learned what she knew and “listened” to what she advised.  “At the same time, because it [the epistolary format] requires a grasp of the proper rhetorical forms advocated by classical authors... the letter demonstrates the learning and the savoir-faire of its writer.”  (Franco, Jones and Rosenthal 9)\r\n\r\nI believe that Franco’s letters were largely a public relations exercise.  That is not to say that they were fabrications by any stretch of the imagination.  In my research, I have found no indication that anyone believes that she misrepresented herself.  Familiar Letters is her opportunity to shine and yet paint herself as a conventional and virtuous woman of her class.\r\nBy many people of her time, however, Franco was considered no more than a prostitute, albeit a high paid one, and was viewed with contempt.  In Letter 22, she berated the mother of a young woman for planning to start the girl on the path of a courtesan.  Franco had advised the mother, and in fact had paved the way for her, to send the daughter to the Casa delle Zitelle, a sanctuary for young girls to protect them from the fate of prostitution and keep them eligible for good marriages.  The letter was blunt, but the intent behind the words was compassionate; she was trying to keep another woman from facing the ignominy and uncertainty that Franco lived with.  (Bassanese 779) (Franco, Jones and Rosenthal 37-40)\r\n\r\nBooks written in the familiar letter style often had the names removed.  Franco made some exceptions in her book, the most notable being the salutation to Henry III, King of France in her second letter.   (Bassanese 779)  (Franco, Jones and Rosenthal 24)\r\n\r\nAccording to Johnson and Rosenthal, it appears that Franco’s two books, Terze rime and Familiar Letters were published privately and it was entirely possible that she funded them herself.  As a result, this particular work was probably not widely read beyond Venice upper society.  That does not mean that Franco was unknown as a poet.  In fact, she received a commission to write for an anthology commemorating “men of the Venetian elite, such as the military hero, Estore Martinengo”.  (Rosenthal)  Commissions of that nature were not dispensed by lottery; they were earned.\r\n\r\nAfter her death in 1591, interest in Franco as a person didn’t start to rise again until the early 1700s and “Familiar Letters” wasn’t republished again until 1949.  Since then, scholars and feminists have taken a fresh look at the woman who managed to live dependent upon the whims of the rich, and sometimes capricious, elite while at the same time establishing the “courtesan\'s virtue, reason, wisdom and fairness” as valuable people and citizens in their own right. (Rosenthal)\r\n\r\nFranco’s Familiar Letters are tangible evidence of the life she lived in more ways than one.  Not only do they provide a record of her activities, but they also record the way she navigated the perilous nature of her existence.  Veronica Franco was a beautiful, intelligent and accomplished woman and in the 20th and 21st century, she could have created a career and life for herself that would not be dependent upon someone else’s generosity ~ but not then.\r\nIn the 16th century, Veronica Franco supported her household from the largesse of her patrons.  In other words, without her patrons, she was just a few steps above needing to accommodate anyone who would pay her fee.  Through her actions and the spoken word, Franco was able to raise herself up to same the level of humanity as the men that she socialized with and served.  She managed to make them see her as one of their equals and therefore worthy of the same consideration as an individual as they were.\r\n\r\nThat is where the subtle magic of Familiar Letters lies.  It is evidence of the beginnings of the seeds of feminism.  It wasn’t as exciting and far reaching as the works of Lucretia Marinella or Laura Cereta, but I believe the impact she had on individuals spread like ripples in a pond and helped set the stage for later change and reform.\r\n\r\nI wanted to save Familiar Letters because it is a piece of evidence that provides a glimpse into how human beings can make life better for ourselves in the moment and, at the same time, set the stage for improving life for others in the future.  It shows how an amazing woman managed to change the way men and women in a small group related to each other.\r\n\r\nHowever, as a piece of work, it does not stand well enough by itself.  One needs to know too much background information about Franco, Venice, courtesans and feminism to make this a good offering for a time capsule.  I am sad to say that I withdraw my proposal to include Familiar Letters in the Time Capsule Project.\r\n\r\nWorks Cited\r\n\r\nBassanese, Fiora. \"Veronica Franco.\" Encyclopedia of Italian Literary Studies. New York. Taylor and Francis Group.   2007. Print.\r\n\r\nFranco, Veronica, author. Jones, Ann Rosalind and Rosenthal Margaret F. translators. “Poems and Selected Letters (The Other Voice in Early Modern Europe).” The University of Chicago Press. 1998. Print.\r\n\r\nRosenthal, Margaret. \"Biography: Franco, Veronica.\" Italian Women Writers. The University of Southern California, 2003. Web. 24 Sep 2012. &lt;http://www.lib.uchicago.edu/efts/IWW&gt;','Veronica Franco, Familiar Letters','','inherit','open','open','','2595-revision-2','','','2012-09-24 21:51:32','2012-09-25 03:51:32','',2595,'http://jeanatacc.com/2011/?p=2598',0,'revision','',0),(2599,70,'2012-09-24 21:56:43','2012-09-25 03:56:43','<p align=\"center\"><strong><span style=\"text-decoration: underline\"><!--more-->Titan</span></strong></p>\n<p align=\"center\"><strong><span style=\"text-decoration: underline\">Venus of Urbino</span></strong></p>\n<p align=\"center\"><strong> </strong></p>\nIn Titan’s painting of the <span style=\"text-decoration: underline\">Venus of Urbino</span> reveals a women posing nude. Created in March of (1536-38), it was said to be the \"<span style=\"text-decoration: underline\">First Female reclining nude</span>,” “<span style=\"text-decoration: underline\">painting ever created in Europe</span>.” It was not intended to be picture for sexual desires but more along the lines of a woman sleeping that was unaware of the presence of a visitor peeking in on her. However, in the background kneels a small child and wealthy looking women next to her turned in the opposite direction looking away from <span style=\"text-decoration: underline\">Venus</span> near the window seal as if none of what is happening behind them is taking place. Titan\'s painting shows the natural beauty of the woman form relaxed on a chase with a “<span style=\"text-decoration: underline\">hand full of roses that may have been a symbolism of love and the other gently placed over her pubic region.”</span> However, by many it was extolled for the artist\'s and philosophers of its era. Titan\'s painting was “<span style=\"text-decoration: underline\">never held or viewed as a negative form of art</span>.” <em></em>\n\nA few major events the shaped life in this era was that when the painting was created it “<span style=\"text-decoration: underline\">influenced a lot of the ancient Greek sculptures that are seen all over Europe mainly in Venice.</span>” In Ancient Greek times the painting was seen as a natural form of the female body being partially undressed and in most cases nude.\n\nThis painting is typical for its era it started what is now seen today of the ancient Greek statues. “<span style=\"text-decoration: underline\">Venus was a mythical creature</span>” in each painting the “<span style=\"text-decoration: underline\">women were never real but were just a figment of the artist’s imagination</span>” and many artist in this time painted many nude women. No one painting was the same the content was always different many of the paintings would show a women reclining nude or in another standing. The imagination of Titan was very vivid in how he portrayed his work.\n\nThe work was different in its time a lot of paintings made were those of gods. With Titans painting it was unusual to most forms of art, his images of nude women may have been sought out to be “<span style=\"text-decoration: underline\">something more of a personal or something that had great meaning to him.</span>” Being one of the first mythological nude paintings it was different to the art that occurred in its time. \"<span style=\"text-decoration: underline\">As with no other painter, painting practice and technique in Titian\'s late work have themselves been thermalized and charged with meaning</span>.\"\n\nThe art was inspirational to many and spread throughout the world. It was said that many artist were drawn to this portrait such as, \"<span style=\"text-decoration: underline\">Mark Twain, who thought it too lascivious, and Manet, who thought it insufficiently so, painting an even more shocking version</span>\". Venus\'s form as she lies upon the couch is viewed by many walks of life and “<span style=\"text-decoration: underline\">The one true viewer gazing upon her is the sole recipient of her beauty; her lust.</span>”\n\nI personally like Titan’s work in this painting it to me expresses a different form of art. Being able to picture exactly what was to be sought out of the portrait makes it very interesting to the sense that one can almost think, “<span style=\"text-decoration: underline\">What is the meaning he was trying to achieve.”</span> I caught myself wondering exactly what any other person what wonder, why this type of painting? What made him paint something so visual? Was he trying to prove to the world after painting this mythical creature? Maybe it was for beauty or something that would be enticing to him. However, only Titan would be able to answer such question. He was a master of his work; he was one of the main inspirations for Greek art and sculptures throughout Greece. He also influenced many other artists that formed other paintings throughout Venice, Italy and many of them created other forms of the <span style=\"text-decoration: underline\">Venus of Urbino</span> painting for example <span style=\"text-decoration: underline\">Diego Velazquez’s “Venus in a Mirror”</span>. His painting is very vibrant and colorful; to most it may mean nothing but a nude woman on an oil painting however, it is a very meaningful piece of art. To its viewers it can be seen as Venus is looking into the distance at her lover or even a stranger peaking in or maybe even Titan himself but no one really knows.\n<h2><strong>The <span style=\"text-decoration: underline\">Venus of Urbino</span> painting can most likely be compared to another painting that was created by Titan many years later. Titan painted the “<span style=\"text-decoration: underline\">the art dealer Jacopo Strada, c. 1566</span>”which portrays a man hold a de-clothed women in hand as if she was a trophy he had won with a pile of money lying at his knees. Mostly all of Titan’s paintings are of nude women from the paintings of “<span style=\"text-decoration: underline\">Nymph and the Shepherd</span>,” to the \"<span style=\"text-decoration: underline\">Late Titian and the Sensuality Painting of</span><span style=\"text-decoration: underline\"> Allegory of Prudence</span>” which was a painting created for more suitable audiences. Titan was once asked, “<span style=\"text-decoration: underline\">why his later works differed so greatly from earlier ones, Titian answered that </span><span style=\"text-decoration: underline\">he gave up trying to match</span><span style=\"text-decoration: underline\">Michelangelo, Raphael</span><span style=\"text-decoration: underline\"> </span><span style=\"text-decoration: underline\">and others in refinement; beauty, aiming to make his mark with a new roughness of handling</span>.”</strong></h2>\n<h2><strong>The young Venus of Urbino oil painting was ahead of its time in many ways being as it was in the time of the higher point of the renaissance. Titan’s painting was one of the most magnificent creations he’s ever created in his time alongside of many other portraits he has created in his life time.</strong></h2>\nI believe that this type painting would be very vital in the time capsule; it is a piece of history that has been carried on for hundreds of years. In many years to come millions could gaze on this piece of art and learn more about the past; how things would have been maybe even how this form of paint was a natural thing. I believe in keeping things that have significant meaning to the world will make a big impact on those now and in the future. Just like the Pyramids, Stone Hedge, and all other forms of art made by many different civilizations around the world are viewed now and remember since they were first found. The Venus of Urbino painting would be one of the forms of art that should be kept around for those whom maybe interested in art work from the past time. This painting should be added to the time capsule so that it can be influence on the next generation to come.\n\n&nbsp;\n<p align=\"center\"><strong><em><span style=\"text-decoration: underline\">Works Cited Page:</span></em></strong></p>\n \"Titian\'s \"Venus of Urbino\"\" Suite101.com. Suzanne Hill, 1 Aug. 2006. Web. 17 Sept. 2012. &lt;http://suite101.com/article/titian_s__venus_of_urbino_-a4047&gt;.\n\n\"Titian: Venus of Urbino.\" Titans: Venus of Urbino. Art &amp; Critique, 2011. Web. 17 Sept. 2012. &lt;http://artandcritique.com/titian-venus-of-urbino/&gt;.\n\nArtofthefirebird.com. Julia E. Benson, 26 Feb. 2001. Web. 17 Sept. 2012.\n\n\"JWJeffery.com.\" <em>Â» Venus of Urbino: Inspiration and Influence.</em> Joshua Jeffery, Mar.-Apr. 2009. Web. 24 Sept. 2012. &lt;http://www.jwjeffery.com/?p=64&gt;.\n\n\"Famous Paintings Reviewed.\" <em>Famous Paintings: Titian Paintings</em>. Susan Benford, n.d. Web. 24 Sept. 2012. &lt;http://www.themasterpiececards.com/famous-paintings-reviewed/bid/17756/Famous-Paintings-Titian-Paintings&gt;.\n\nhttp://classconnection.s3.amazonaws.com/960/flashcards/1126960/jpg/venus_of_urbino1327686665046.jpg','Titan\'s Venus of Urbino','','inherit','open','open','','2597-revision','','','2012-09-24 21:56:43','2012-09-25 03:56:43','',2597,'http://jeanatacc.com/2011/?p=2599',0,'revision','',0),(2600,70,'2012-09-24 22:02:40','2012-09-25 04:02:40','<p align=\"center\"><strong><span style=\"text-decoration: underline\"><!--more-->Titan</span></strong><span style=\"text-decoration: underline\"></span></p>\n<p align=\"center\"><strong><span style=\"text-decoration: underline\">Venus of Urbino</span></strong></p>\n<p align=\"center\"><strong> </strong></p>\nIn Titan’s painting of the <span style=\"text-decoration: underline\">Venus of Urbino</span> reveals a women posing nude. Created in March of (1536-38), it was said to be the \"<span style=\"text-decoration: underline\">First Female reclining nude</span>,” “<span style=\"text-decoration: underline\">painting ever created in Europe</span>.” It was not intended to be picture for sexual desires but more along the lines of a woman sleeping that was unaware of the presence of a visitor peeking in on her. However, in the background kneels a small child and wealthy looking women next to her turned in the opposite direction looking away from <span style=\"text-decoration: underline\">Venus</span> near the window seal as if none of what is happening behind them is taking place. Titan\'s painting shows the natural beauty of the woman form relaxed on a chase with a “<span style=\"text-decoration: underline\">hand full of roses that may have been a symbolism of love and the other gently placed over her pubic region.”</span> However, by many it was extolled for the artist\'s and philosophers of its era. Titan\'s painting was “<span style=\"text-decoration: underline\">never held or viewed as a negative form of art</span>.” <em></em>\n\nA few major events the shaped life in this era was that when the painting was created it “<span style=\"text-decoration: underline\">influenced a lot of the ancient Greek sculptures that are seen all over Europe mainly in Venice.</span>” In Ancient Greek times the painting was seen as a natural form of the female body being partially undressed and in most cases nude.\n\nThis painting is typical for its era it started what is now seen today of the ancient Greek statues. “<span style=\"text-decoration: underline\">Venus was a mythical creature</span>” in each painting the “<span style=\"text-decoration: underline\">women were never real but were just a figment of the artist’s imagination</span>” and many artist in this time painted many nude women. No one painting was the same the content was always different many of the paintings would show a women reclining nude or in another standing. The imagination of Titan was very vivid in how he portrayed his work.\n\nThe work was different in its time a lot of paintings made were those of gods. With Titans painting it was unusual to most forms of art, his images of nude women may have been sought out to be “<span style=\"text-decoration: underline\">something more of a personal or something that had great meaning to him.</span>” Being one of the first mythological nude paintings it was different to the art that occurred in its time. \"<span style=\"text-decoration: underline\">As with no other painter, painting practice and technique in Titian\'s late work have themselves been thermalized and charged with meaning</span>.\"\n\nThe art was inspirational to many and spread throughout the world. It was said that many artist were drawn to this portrait such as, \"<span style=\"text-decoration: underline\">Mark Twain, who thought it too lascivious, and Manet, who thought it insufficiently so, painting an even more shocking version</span>\". Venus\'s form as she lies upon the couch is viewed by many walks of life and “<span style=\"text-decoration: underline\">The one true viewer gazing upon her is the sole recipient of her beauty; her lust.</span>”\n\nI personally like Titan’s work in this painting it to me expresses a different form of art. Being able to picture exactly what was to be sought out of the portrait makes it very interesting to the sense that one can almost think, “<span style=\"text-decoration: underline\">What is the meaning he was trying to achieve.”</span> I caught myself wondering exactly what any other person what wonder, why this type of painting? What made him paint something so visual? Was he trying to prove to the world after painting this mythical creature? Maybe it was for beauty or something that would be enticing to him. However, only Titan would be able to answer such question. He was a master of his work; he was one of the main inspirations for Greek art and sculptures throughout Greece. He also influenced many other artists that formed other paintings throughout Venice, Italy and many of them created other forms of the <span style=\"text-decoration: underline\">Venus of Urbino</span> painting for example <span style=\"text-decoration: underline\">Diego Velazquez’s “Venus in a Mirror”</span>. His painting is very vibrant and colorful; to most it may mean nothing but a nude woman on an oil painting however, it is a very meaningful piece of art. To its viewers it can be seen as Venus is looking into the distance at her lover or even a stranger peaking in or maybe even Titan himself but no one really knows.\n<h2>The <span style=\"text-decoration: underline\">Venus of Urbino</span> painting can most likely be compared to another painting that was created by Titan many years later. Titan painted the “<span style=\"text-decoration: underline\">the art dealer Jacopo Strada, c. 1566</span>”which portrays a man hold a de-clothed women in hand as if she was a trophy he had won with a pile of money lying at his knees. Mostly all of Titan’s paintings are of nude women from the paintings of “<span style=\"text-decoration: underline\">Nymph and the Shepherd</span>,” to the \"<span style=\"text-decoration: underline\">Late Titian and the Sensuality Painting of</span><span style=\"text-decoration: underline\"> Allegory of Prudence</span>” which was a painting created for more suitable audiences. Titan was once asked, “<span style=\"text-decoration: underline\">why his later works differed so greatly from earlier ones, Titian answered that </span><span style=\"text-decoration: underline\">he gave up trying to match</span><span style=\"text-decoration: underline\">Michelangelo, Raphael</span><span style=\"text-decoration: underline\"> </span><span style=\"text-decoration: underline\">and others in refinement; beauty, aiming to make his mark with a new roughness of handling</span>.”</h2>\n<h2>The young Venus of Urbino oil painting was ahead of its time in many ways being as it was in the time of the higher point of the renaissance. Titan’s painting was one of the most magnificent creations he’s ever created in his time alongside of many other portraits he has created in his life time.</h2>\nI believe that this type painting would be very vital in the time capsule; it is a piece of history that has been carried on for hundreds of years. In many years to come millions could gaze on this piece of art and learn more about the past; how things would have been maybe even how this form of paint was a natural thing. I believe in keeping things that have significant meaning to the world will make a big impact on those now and in the future. Just like the Pyramids, Stone Hedge, and all other forms of art made by many different civilizations around the world are viewed now and remember since they were first found. The Venus of Urbino painting would be one of the forms of art that should be kept around for those whom maybe interested in art work from the past time. This painting should be added to the time capsule so that it can be influence on the next generation to come.\n\n&nbsp;\n<p align=\"center\"><strong><em><span style=\"text-decoration: underline\">Works Cited Page:</span></em></strong></p>\n \"Titian\'s \"Venus of Urbino\"\" Suite101.com. Suzanne Hill, 1 Aug. 2006. Web. 17 Sept. 2012. &lt;http://suite101.com/article/titian_s__venus_of_urbino_-a4047&gt;.\n\n\"Titian: Venus of Urbino.\" Titans: Venus of Urbino. Art &amp; Critique, 2011. Web. 17 Sept. 2012. &lt;http://artandcritique.com/titian-venus-of-urbino/&gt;.\n\nArtofthefirebird.com. Julia E. Benson, 26 Feb. 2001. Web. 17 Sept. 2012.\n\n\"JWJeffery.com.\" <em>Â» Venus of Urbino: Inspiration and Influence.</em> Joshua Jeffery, Mar.-Apr. 2009. Web. 24 Sept. 2012. &lt;http://www.jwjeffery.com/?p=64&gt;.\n\n\"Famous Paintings Reviewed.\" <em>Famous Paintings: Titian Paintings</em>. Susan Benford, n.d. Web. 24 Sept. 2012. &lt;http://www.themasterpiececards.com/famous-paintings-reviewed/bid/17756/Famous-Paintings-Titian-Paintings&gt;.\n\nhttp://classconnection.s3.amazonaws.com/960/flashcards/1126960/jpg/venus_of_urbino1327686665046.jpg','Titan\'s Venus of Urbino','','inherit','open','open','','2597-revision-2','','','2012-09-24 22:02:40','2012-09-25 04:02:40','',2597,'http://jeanatacc.com/2011/?p=2600',0,'revision','',0),(2601,56,'2012-09-24 21:53:09','2012-09-25 03:53:09','Veronica Franco (1546-1591) was “the most famous courtesan of Venice... [She] became a writer by allying herself with distinguished men at the center of her city’s culture.”  (Franco, Jones and Rosenthal)  She published Familiar Letters in 1580 and I believe it should be preserved in the Time Capsule Project because of the way she attempted and changed the way courtesans and vulnerable women in that time period were viewed by the upper class.\r\n<!--more-->\r\nThe title of the book was also the style in which it was written; a collection of 50 familiar letters, which means they were “written to a friend, but intended for eventual publication.”  There were a wide variety of topics in the letters; including invitations, thank you letters, advice, congratulations and accompanying sonnets or other papers.\r\n\r\nEpistolary works, “the production of letters as literary artifacts” was a popular format for authors in Venice in the mid 1500s, but by 1580 when she chose to publish Familiar Letters, it was rapidly falling into disfavor.   Franco’s first work, Terze rime, published in 1575 was in the capitolo style of poetry, so she was capable and knowledgeable enough to produce a work in a more fashionable style if she chose to.  She chose this format deliberately:  the familiar letter was more intimate than poetry and Franco wanted to establish and maintain an intimacy with her audience.  (Bassanese 777)\r\n\r\nVeronica Franco was the “epitome of the successful and gifted cortigiana onesta (honest courtesan of the Italian Renaissance... a “cultured prostitute...”  She behaved, appeared, dressed, entertained and charmed like a lady of high society, but she also “grant[ed] full erotic satisfaction” to her patrons.  (Bassanese 777)  It was a delicate balance and Franco balanced upon it well.  To anyone that did not socialize with courtesans, it was easy to imagine and criticize them for leading a debauched lives and she was trying to change that view with this volume of letters.  (Franco, Jones and Rosenthal)\r\n\r\nAnn Jones and Margaret Rosenthal postulate several plausible theories for the format Franco chose to use in this work.  It invited others into her private salon and establish a personal dialog with whoever read her words.  People who did not have the opportunity to mingle with her lofty circle (and never doubt that she moved in the upper echelons of society - one of her clients was King Henry III) could now see how she lived her life.  They found out what she thought, how she spent her days, learned what she knew and “listened” to what she advised.  “At the same time, because it [the epistolary format] requires a grasp of the proper rhetorical forms advocated by classical authors... the letter demonstrates the learning and the savoir-faire of its writer.”  (Franco, Jones and Rosenthal 9)\r\n\r\nI believe that Franco’s letters were largely a public relations exercise.  That is not to say that they were fabrications by any stretch of the imagination.  In my research, I have found no indication that anyone believes that she misrepresented herself.  Familiar Letters is her opportunity to shine and yet paint herself as a conventional and virtuous woman of her class.\r\nBy many people of her time, however, Franco was considered no more than a prostitute, albeit a high paid one, and was viewed with contempt.  In Letter 22, she berated the mother of a young woman for planning to start the girl on the path of a courtesan.  Franco had advised the mother, and in fact had paved the way for her, to send the daughter to the Casa delle Zitelle, a sanctuary for young girls to protect them from the fate of prostitution and keep them eligible for good marriages.  The letter was blunt, but the intent behind the words was compassionate; she was trying to keep another woman from facing the ignominy and uncertainty that Franco lived with.  (Bassanese 779) (Franco, Jones and Rosenthal 37-40)\r\n\r\nBooks written in the familiar letter style often had the names removed.  Franco made some exceptions in her book, the most notable being the salutation to Henry III, King of France in her second letter.   (Bassanese 779)  (Franco, Jones and Rosenthal 24)\r\n\r\nAccording to Johnson and Rosenthal, it appears that Franco’s two books, Terze rime and Familiar Letters were published privately and it was entirely possible that she funded them herself.  As a result, this particular work was probably not widely read beyond Venice upper society.  That does not mean that Franco was unknown as a poet.  In fact, she received a commission to write for an anthology commemorating “men of the Venetian elite, such as the military hero, Estore Martinengo”.  (Rosenthal)  Commissions of that nature were not dispensed by lottery; they were earned.\r\n\r\nAfter her death in 1591, interest in Franco as a person didn’t start to rise again until the early 1700s and “Familiar Letters” wasn’t republished again until 1949.  Since then, scholars and feminists have taken a fresh look at the woman who managed to live dependent upon the whims of the rich, and sometimes capricious, elite while at the same time establishing the “courtesan\'s virtue, reason, wisdom and fairness” as valuable people and citizens in their own right. (Rosenthal)\r\n\r\nFranco’s Familiar Letters are tangible evidence of the life she lived in more ways than one.  Not only do they provide a record of her activities, but they also record the way she navigated the perilous nature of her existence.  Veronica Franco was a beautiful, intelligent and accomplished woman and in the 20th and 21st century, she could have created a career and life for herself that would not be dependent upon someone else’s generosity ~ but not then.\r\nIn the 16th century, Veronica Franco supported her household from the largesse of her patrons.  In other words, without her patrons, she was just a few steps above needing to accommodate anyone who would pay her fee.  Through her actions and the spoken word, Franco was able to raise herself up to same the level of humanity as the men that she socialized with and served.  She managed to make them see her as one of their equals and therefore worthy of the same consideration as an individual as they were.\r\n\r\nThat is where the subtle magic of Familiar Letters lies.  It is evidence of the beginnings of the seeds of feminism.  It wasn’t as exciting and far reaching as the works of Lucretia Marinella or Laura Cereta, but I believe the impact she had on individuals spread like ripples in a pond and helped set the stage for later change and reform.\r\n\r\nI wanted to save Familiar Letters because it is a piece of evidence that provides a glimpse into how human beings can make life better for ourselves in the moment and, at the same time, set the stage for improving life for others in the future.  It shows how an amazing woman managed to change the way men and women in a small group related to each other.\r\n\r\nHowever, as a piece of work, it does not stand well enough by itself.  One needs to know too much background information about Franco, Venice, courtesans and feminism to make this a good offering for a time capsule.  I am sad to say that I withdraw my proposal to include Familiar Letters in the Time Capsule Project.\r\n\r\nWorks Cited\r\n\r\nBassanese, Fiora. \"Veronica Franco.\" Encyclopedia of Italian Literary Studies. New York. Taylor and Francis Group.   2007. Print.\r\n\r\nFranco, Veronica, author. Jones, Ann Rosalind and Rosenthal Margaret F. translators. “Poems and Selected Letters (The Other Voice in Early Modern Europe).” The University of Chicago Press. 1998. Print.\r\n\r\nRosenthal, Margaret. \"Biography: Franco, Veronica.\" Italian Women Writers. The University of Southern California, 2003. Web. 24 Sep 2012. &lt;http://www.lib.uchicago.edu/efts/IWW&gt;','Veronica Franco, Familiar Letters','','inherit','open','open','','2595-revision-3','','','2012-09-24 21:53:09','2012-09-25 03:53:09','',2595,'http://jeanatacc.com/2011/?p=2601',0,'revision','',0),(2602,56,'2012-09-30 19:46:20','2012-10-01 01:46:20','Veronica Franco (1546-1591) was “the most famous courtesan of Venice... [She] became a writer by allying herself with distinguished men at the center of her city’s culture.”  (Franco, Jones and Rosenthal)  She published Familiar Letters in 1580 and it should be preserved in the Time Capsule Project because of the way she attempted and changed the way courtesans and vulnerable women in that time period were viewed by the upper class.\n<!--more-->\nThe title of the book was also the style in which it was written; a collection of 50 familiar letters, which means they were “written to a friend, but intended for eventual publication.”  There were a wide variety of topics in the letters; including invitations, thank you letters, advice, congratulations and accompanying sonnets or other papers.\n\nEpistolary works, “the production of letters as literary artifacts” was a popular format for authors in Venice in the mid 1500s, but by 1580 when she chose to publish Familiar Letters, it was rapidly falling into disfavor.   Franco’s first work, Terze rime, published in 1575 was in the capitolo style of poetry, so she was capable and knowledgeable enough to produce a work in a more fashionable style if she chose to.  She chose this format deliberately:  the familiar letter was more intimate than poetry and Franco wanted to establish and maintain an intimacy with her audience.  (Bassanese 777)\n\nVeronica Franco was the “epitome of the successful and gifted cortigiana onesta (honest courtesan of the Italian Renaissance... a “cultured prostitute...”  She behaved, appeared, dressed, entertained and charmed like a lady of high society, but she also “grant[ed] full erotic satisfaction” to her patrons.  (Bassanese 777)  It was a delicate balance and Franco balanced upon it well.  To anyone that did not socialize with courtesans, it was easy to imagine and criticize them for leading a debauched lives and she was trying to change that view with this volume of letters.  (Franco, Jones and Rosenthal)\n\nAnn Jones and Margaret Rosenthal postulate several plausible theories for the format Franco chose to use in this work.  It invited others into her private salon and establish a personal dialog with whoever read her words.  People who did not have the opportunity to mingle with her lofty circle (and never doubt that she moved in the upper echelons of society - one of her clients was King Henry III) could now see how she lived her life.  They found out what she thought, how she spent her days, learned what she knew and “listened” to what she advised.  “At the same time, because it [the epistolary format] requires a grasp of the proper rhetorical forms advocated by classical authors... the letter demonstrates the learning and the savoir-faire of its writer.”  (Franco, Jones and Rosenthal 9)\n\nI believe that Franco’s letters were largely a public relations exercise.  That is not to say that they were fabrications by any stretch of the imagination.  In my research, I have found no indication that anyone believes that she misrepresented herself.  Familiar Letters is her opportunity to shine and yet paint herself as a conventional and virtuous woman of her class.\nBy many people of her time, however, Franco was considered no more than a prostitute, albeit a high paid one, and was viewed with contempt.  In Letter 22, she berated the mother of a young woman for planning to start the girl on the path of a courtesan.  Franco had advised the mother, and in fact had paved the way for her, to send the daughter to the Casa delle Zitelle, a sanctuary for young girls to protect them from the fate of prostitution and keep them eligible for good marriages.  The letter was blunt, but the intent behind the words was compassionate; she was trying to keep another woman from facing the ignominy and uncertainty that Franco lived with.  (Bassanese 779) (Franco, Jones and Rosenthal 37-40)\n\n[caption id=\"attachment_2608\" align=\"alignleft\" width=\"150\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/220px-VeronicaFranco.jpg\"><img class=\"size-thumbnail wp-image-2608\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/220px-VeronicaFranco-150x150.jpg\" alt=\"Portrait by Tintoretto, ca. 1575\" width=\"150\" height=\"150\" /></a> http://upload.wikimedia.org/wikipedia/commons/thumb/8/8b/VeronicaFranco.jpg/220px-VeronicaFranco.jpg[/caption]\n\n&nbsp;\n\nBooks written in the familiar letter style often had the names removed.  Franco made some exceptions in her book, the most notable being the salutation to Henry III, King of France in her second letter.   (Bassanese 779)  (Franco, Jones and Rosenthal 24)\n\nAccording to Johnson and Rosenthal, it appears that Franco’s two books, Terze rime and Familiar Letters were published privately and it was entirely possible that she funded them herself.  As a result, this particular work was probably not widely read beyond Venice upper society.  That does not mean that Franco was unknown as a poet.  In fact, she received a commission to write for an anthology commemorating “men of the Venetian elite, such as the military hero, Estore Martinengo”.  (Rosenthal)  Commissions of that nature were not dispensed by lottery; they were earned.\n\nAfter her death in 1591, interest in Franco as a person didn’t start to rise again until the early 1700s and “Familiar Letters” wasn’t republished again until 1949.  Since then, scholars and feminists have taken a fresh look at the woman who managed to live dependent upon the whims of the rich, and sometimes capricious, elite while at the same time establishing the “courtesan\'s virtue, reason, wisdom and fairness” as valuable people and citizens in their own right. (Rosenthal)\n\nFranco’s Familiar Letters are tangible evidence of the life she lived in more ways than one.  Not only do they provide a record of her activities, but they also record the way she navigated the perilous nature of her existence.  Veronica Franco was a beautiful, intelligent and accomplished woman and in the 20th and 21st century, she could have created a career and life for herself that would not be dependent upon someone else’s generosity ~ but not then.\nIn the 16th century, Veronica Franco supported her household from the largesse of her patrons.  In other words, without her patrons, she was just a few steps above needing to accommodate anyone who would pay her fee.  Through her actions and the spoken word, Franco was able to raise herself up to same the level of humanity as the men that she socialized with and served.  She managed to make them see her as one of their equals and therefore worthy of the same consideration as an individual as they were.\n\nThat is where the subtle magic of Familiar Letters lies.  It is evidence of the beginnings of the seeds of feminism.  It wasn’t as exciting and far reaching as the works of Lucretia Marinella or Laura Cereta, but I believe the impact she had on individuals spread like ripples in a pond and helped set the stage for later change and reform.\n\nI wanted to save Familiar Letters because it is a piece of evidence that provides a glimpse into how human beings can make life better for ourselves in the moment and, at the same time, set the stage for improving life for others in the future.  It shows how an amazing woman managed to change the way men and women in a small group related to each other.\n\nHowever, as a piece of work, it does not stand well enough by itself.  One needs to know too much background information about Franco, Venice, courtesans and feminism to make this a good offering for a time capsule.  I am sad to say that I withdraw my proposal to include Familiar Letters in the Time Capsule Project.\n\nWorks Cited\n\nBassanese, Fiora. \"Veronica Franco.\" Encyclopedia of Italian Literary Studies. New York. Taylor and Francis Group.   2007. Print.\n\nFranco, Veronica, author. Jones, Ann Rosalind and Rosenthal Margaret F. translators. “Poems and Selected Letters (The Other Voice in Early Modern Europe).” The University of Chicago Press. 1998. Print.\n\nRosenthal, Margaret. \"Biography: Franco, Veronica.\" Italian Women Writers. The University of Southern California, 2003. Web. 24 Sep 2012. &lt;http://www.lib.uchicago.edu/efts/IWW&gt;','Veronica Franco, Familiar Letters','','inherit','open','open','','2595-autosave','','','2012-09-30 19:46:20','2012-10-01 01:46:20','',2595,'http://jeanatacc.com/2011/?p=2602',0,'revision','',0),(2608,56,'2012-09-24 22:25:02','2012-09-25 04:25:02','Portrait painted by Tintoretto, one of her benefactors.','The Honest Courtesan','','inherit','open','open','','220px-veronicafranco','','','2012-09-24 22:25:02','2012-09-25 04:25:02','',2595,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/220px-VeronicaFranco.jpg',0,'attachment','image/jpeg',0),(2604,70,'2012-09-24 22:03:01','2012-09-25 04:03:01','<p align=\"center\"><strong><span style=\"text-decoration: underline\"><!--more-->Titan</span></strong><span style=\"text-decoration: underline\"></span></p>\r\n<p align=\"center\"><strong><span style=\"text-decoration: underline\">Venus of Urbino</span></strong></p>\r\n<p align=\"center\"><strong> </strong></p>\r\nIn Titan’s painting of the <span style=\"text-decoration: underline\">Venus of Urbino</span> reveals a women posing nude. Created in March of (1536-38), it was said to be the \"<span style=\"text-decoration: underline\">First Female reclining nude</span>,” “<span style=\"text-decoration: underline\">painting ever created in Europe</span>.” It was not intended to be picture for sexual desires but more along the lines of a woman sleeping that was unaware of the presence of a visitor peeking in on her. However, in the background kneels a small child and wealthy looking women next to her turned in the opposite direction looking away from <span style=\"text-decoration: underline\">Venus</span> near the window seal as if none of what is happening behind them is taking place. Titan\'s painting shows the natural beauty of the woman form relaxed on a chase with a “<span style=\"text-decoration: underline\">hand full of roses that may have been a symbolism of love and the other gently placed over her pubic region.”</span> However, by many it was extolled for the artist\'s and philosophers of its era. Titan\'s painting was “<span style=\"text-decoration: underline\">never held or viewed as a negative form of art</span>.” <em></em>\r\n\r\nA few major events the shaped life in this era was that when the painting was created it “<span style=\"text-decoration: underline\">influenced a lot of the ancient Greek sculptures that are seen all over Europe mainly in Venice.</span>” In Ancient Greek times the painting was seen as a natural form of the female body being partially undressed and in most cases nude.\r\n\r\nThis painting is typical for its era it started what is now seen today of the ancient Greek statues. “<span style=\"text-decoration: underline\">Venus was a mythical creature</span>” in each painting the “<span style=\"text-decoration: underline\">women were never real but were just a figment of the artist’s imagination</span>” and many artist in this time painted many nude women. No one painting was the same the content was always different many of the paintings would show a women reclining nude or in another standing. The imagination of Titan was very vivid in how he portrayed his work.\r\n\r\nThe work was different in its time a lot of paintings made were those of gods. With Titans painting it was unusual to most forms of art, his images of nude women may have been sought out to be “<span style=\"text-decoration: underline\">something more of a personal or something that had great meaning to him.</span>” Being one of the first mythological nude paintings it was different to the art that occurred in its time. \"<span style=\"text-decoration: underline\">As with no other painter, painting practice and technique in Titian\'s late work have themselves been thermalized and charged with meaning</span>.\"\r\n\r\nThe art was inspirational to many and spread throughout the world. It was said that many artist were drawn to this portrait such as, \"<span style=\"text-decoration: underline\">Mark Twain, who thought it too lascivious, and Manet, who thought it insufficiently so, painting an even more shocking version</span>\". Venus\'s form as she lies upon the couch is viewed by many walks of life and “<span style=\"text-decoration: underline\">The one true viewer gazing upon her is the sole recipient of her beauty; her lust.</span>”\r\n\r\nI personally like Titan’s work in this painting it to me expresses a different form of art. Being able to picture exactly what was to be sought out of the portrait makes it very interesting to the sense that one can almost think, “<span style=\"text-decoration: underline\">What is the meaning he was trying to achieve.”</span> I caught myself wondering exactly what any other person what wonder, why this type of painting? What made him paint something so visual? Was he trying to prove to the world after painting this mythical creature? Maybe it was for beauty or something that would be enticing to him. However, only Titan would be able to answer such question. He was a master of his work; he was one of the main inspirations for Greek art and sculptures throughout Greece. He also influenced many other artists that formed other paintings throughout Venice, Italy and many of them created other forms of the <span style=\"text-decoration: underline\">Venus of Urbino</span> painting for example <span style=\"text-decoration: underline\">Diego Velazquez’s “Venus in a Mirror”</span>. His painting is very vibrant and colorful; to most it may mean nothing but a nude woman on an oil painting however, it is a very meaningful piece of art. To its viewers it can be seen as Venus is looking into the distance at her lover or even a stranger peaking in or maybe even Titan himself but no one really knows.\r\n<h2>The <span style=\"text-decoration: underline\">Venus of Urbino</span> painting can most likely be compared to another painting that was created by Titan many years later. Titan painted the “<span style=\"text-decoration: underline\">the art dealer Jacopo Strada, c. 1566</span>”which portrays a man hold a de-clothed women in hand as if she was a trophy he had won with a pile of money lying at his knees. Mostly all of Titan’s paintings are of nude women from the paintings of “<span style=\"text-decoration: underline\">Nymph and the Shepherd</span>,” to the \"<span style=\"text-decoration: underline\">Late Titian and the Sensuality Painting of</span><span style=\"text-decoration: underline\"> Allegory of Prudence</span>” which was a painting created for more suitable audiences. Titan was once asked, “<span style=\"text-decoration: underline\">why his later works differed so greatly from earlier ones, Titian answered that </span><span style=\"text-decoration: underline\">he gave up trying to match</span><span style=\"text-decoration: underline\">Michelangelo, Raphael</span><span style=\"text-decoration: underline\"> </span><span style=\"text-decoration: underline\">and others in refinement; beauty, aiming to make his mark with a new roughness of handling</span>.”</h2>\r\n<h2>The young Venus of Urbino oil painting was ahead of its time in many ways being as it was in the time of the higher point of the renaissance. Titan’s painting was one of the most magnificent creations he’s ever created in his time alongside of many other portraits he has created in his life time.</h2>\r\nI believe that this type painting would be very vital in the time capsule; it is a piece of history that has been carried on for hundreds of years. In many years to come millions could gaze on this piece of art and learn more about the past; how things would have been maybe even how this form of paint was a natural thing. I believe in keeping things that have significant meaning to the world will make a big impact on those now and in the future. Just like the Pyramids, Stone Hedge, and all other forms of art made by many different civilizations around the world are viewed now and remember since they were first found. The Venus of Urbino painting would be one of the forms of art that should be kept around for those whom maybe interested in art work from the past time. This painting should be added to the time capsule so that it can be influence on the next generation to come.\r\n\r\n&nbsp;\r\n<p align=\"center\"><strong><em><span style=\"text-decoration: underline\">Works Cited Page:</span></em></strong></p>\r\n \"Titian\'s \"Venus of Urbino\"\" Suite101.com. Suzanne Hill, 1 Aug. 2006. Web. 17 Sept. 2012. &lt;http://suite101.com/article/titian_s__venus_of_urbino_-a4047&gt;.\r\n\r\n\"Titian: Venus of Urbino.\" Titans: Venus of Urbino. Art &amp; Critique, 2011. Web. 17 Sept. 2012. &lt;http://artandcritique.com/titian-venus-of-urbino/&gt;.\r\n\r\nArtofthefirebird.com. Julia E. Benson, 26 Feb. 2001. Web. 17 Sept. 2012.\r\n\r\n\"JWJeffery.com.\" <em>Â» Venus of Urbino: Inspiration and Influence.</em> Joshua Jeffery, Mar.-Apr. 2009. Web. 24 Sept. 2012. &lt;http://www.jwjeffery.com/?p=64&gt;.\r\n\r\n\"Famous Paintings Reviewed.\" <em>Famous Paintings: Titian Paintings</em>. Susan Benford, n.d. Web. 24 Sept. 2012. &lt;http://www.themasterpiececards.com/famous-paintings-reviewed/bid/17756/Famous-Paintings-Titian-Paintings&gt;.\r\n\r\nhttp://classconnection.s3.amazonaws.com/960/flashcards/1126960/jpg/venus_of_urbino1327686665046.jpg','Titan\'s Venus of Urbino','','inherit','open','open','','2597-revision-3','','','2012-09-24 22:03:01','2012-09-25 04:03:01','',2597,'http://jeanatacc.com/2011/?p=2604',0,'revision','',0),(2605,1,'2012-09-30 12:16:13','2012-09-30 18:16:13','<p align=\"center\"><strong><span style=\"text-decoration: underline;\">Titan</span></strong></p>\n<p align=\"center\"><strong><span style=\"text-decoration: underline;\">Venus of Urbino</span></strong></p>\n<p align=\"center\"><strong> </strong></p>\nIn Titan’s painting of the <span style=\"text-decoration: underline;\">Venus of Urbino</span> reveals a women posing nude. Created in March of (1536-38), it was said to be the \"<span style=\"text-decoration: underline;\">First Female reclining nude</span>,” “<span style=\"text-decoration: underline;\">painting ever created in Europe</span>.” It was not intended to be picture for sexual desires but more along the lines of a woman sleeping that was unaware of the presence of a visitor peeking in on her. However, in the background kneels a small child and wealthy looking women next to her turned in the opposite direction looking away from <span style=\"text-decoration: underline;\">Venus</span> near the window seal as if none of what is happening behind them is taking place. Titan\'s painting shows the natural beauty of the woman form relaxed on a chase with a “<span style=\"text-decoration: underline;\">hand full of roses that may have been a symbolism of love and the other gently placed over her pubic region.”</span> However, by many it was extolled for the artist\'s and philosophers of its era. Titan\'s painting was “<span style=\"text-decoration: underline;\">never held or viewed as a negative form of art</span>.” <em></em>\n\n<!--more-->A few major events the shaped life in this era was that when the painting was created it “<span style=\"text-decoration: underline;\">influenced a lot of the ancient Greek sculptures that are seen all over Europe mainly in Venice.</span>” In Ancient Greek times the painting was seen as a natural form of the female body being partially undressed and in most cases nude.\n\nThis painting is typical for its era it started what is now seen today of the ancient Greek statues. “<span style=\"text-decoration: underline;\">Venus was a mythical creature</span>” in each painting the “<span style=\"text-decoration: underline;\">women were never real but were just a figment of the artist’s imagination</span>” and many artist in this time painted many nude women. No one painting was the same the content was always different many of the paintings would show a women reclining nude or in another standing. The imagination of Titan was very vivid in how he portrayed his work.\n\nThe work was different in its time a lot of paintings made were those of gods. With Titans painting it was unusual to most forms of art, his images of nude women may have been sought out to be “<span style=\"text-decoration: underline;\">something more of a personal or something that had great meaning to him.</span>” Being one of the first mythological nude paintings it was different to the art that occurred in its time. \"<span style=\"text-decoration: underline;\">As with no other painter, painting practice and technique in Titian\'s late work have themselves been thermalized and charged with meaning</span>.\"\n\nThe art was inspirational to many and spread throughout the world. It was said that many artist were drawn to this portrait such as, \"<span style=\"text-decoration: underline;\">Mark Twain, who thought it too lascivious, and Manet, who thought it insufficiently so, painting an even more shocking version</span>\". Venus\'s form as she lies upon the couch is viewed by many walks of life and “<span style=\"text-decoration: underline;\">The one true viewer gazing upon her is the sole recipient of her beauty; her lust.</span>”\n\nI personally like Titan’s work in this painting it to me expresses a different form of art. Being able to picture exactly what was to be sought out of the portrait makes it very interesting to the sense that one can almost think, “<span style=\"text-decoration: underline;\">What is the meaning he was trying to achieve.”</span> I caught myself wondering exactly what any other person what wonder, why this type of painting? What made him paint something so visual? Was he trying to prove to the world after painting this mythical creature? Maybe it was for beauty or something that would be enticing to him. However, only Titan would be able to answer such question. He was a master of his work; he was one of the main inspirations for Greek art and sculptures throughout Greece. He also influenced many other artists that formed other paintings throughout Venice, Italy and many of them created other forms of the <span style=\"text-decoration: underline;\">Venus of Urbino</span> painting for example <span style=\"text-decoration: underline;\">Diego Velazquez’s “Venus in a Mirror”</span>. His painting is very vibrant and colorful; to most it may mean nothing but a nude woman on an oil painting however, it is a very meaningful piece of art. To its viewers it can be seen as Venus is looking into the distance at her lover or even a stranger peaking in or maybe even Titan himself but no one really knows.\n\nThe <span style=\"text-decoration: underline;\">Venus of Urbino</span> painting can most likely be compared to another painting that was created by Titan many years later. Titan painted the “<span style=\"text-decoration: underline;\">the art dealer Jacopo Strada, c. 1566</span>”which portrays a man hold a de-clothed women in hand as if she was a trophy he had won with a pile of money lying at his knees. Mostly all of Titan’s paintings are of nude women from the paintings of “<span style=\"text-decoration: underline;\">Nymph and the Shepherd</span>,” to the \"<span style=\"text-decoration: underline;\">Late Titian and the Sensuality Painting of</span><span style=\"text-decoration: underline;\"> Allegory of Prudence</span>” which was a painting created for more suitable audiences. Titan was once asked, “<span style=\"text-decoration: underline;\">why his later works differed so greatly from earlier ones, Titian answered that </span><span style=\"text-decoration: underline;\">he gave up trying to match</span><span style=\"text-decoration: underline;\">Michelangelo, Raphael</span><span style=\"text-decoration: underline;\"> </span><span style=\"text-decoration: underline;\">and others in refinement; beauty, aiming to make his mark with a new roughness of handling</span>.\"\n\nThe young Venus of Urbino oil painting was ahead of its time in many ways being as it was in the time of the higher point of the renaissance. Titan’s painting was one of the most magnificent creations he’s ever created in his time alongside of many other portraits he has created in his life time.\n\nI believe that this type painting would be very vital in the time capsule; it is a piece of history that has been carried on for hundreds of years. In many years to come millions could gaze on this piece of art and learn more about the past; how things would have been maybe even how this form of paint was a natural thing. I believe in keeping things that have significant meaning to the world will make a big impact on those now and in the future. Just like the Pyramids, Stone Hedge, and all other forms of art made by many different civilizations around the world are viewed now and remember since they were first found. The Venus of Urbino painting would be one of the forms of art that should be kept around for those whom maybe interested in art work from the past time. This painting should be added to the time capsule so that it can be influence on the next generation to come.\n\n&nbsp;\n<p align=\"center\"><strong><em><span style=\"text-decoration: underline;\">Works Cited Page:</span></em></strong></p>\n \"Titian\'s \"Venus of Urbino\"\" Suite101.com. Suzanne Hill, 1 Aug. 2006. Web. 17 Sept. 2012. &lt;http://suite101.com/article/titian_s__venus_of_urbino_-a4047&gt;.\n\n\"Titian: Venus of Urbino.\" Titans: Venus of Urbino. Art &amp; Critique, 2011. Web. 17 Sept. 2012. &lt;http://artandcritique.com/titian-venus-of-urbino/&gt;.\n\nArtofthefirebird.com. Julia E. Benson, 26 Feb. 2001. Web. 17 Sept. 2012.\n\n\"JWJeffery.com.\" <em>Â» Venus of Urbino: Inspiration and Influence.</em> Joshua Jeffery, Mar.-Apr. 2009. Web. 24 Sept. 2012. &lt;http://www.jwjeffery.com/?p=64&gt;.\n\n\"Famous Paintings Reviewed.\" <em>Famous Paintings: Titian Paintings</em>. Susan Benford, n.d. Web. 24 Sept. 2012. &lt;http://www.themasterpiececards.com/famous-paintings-reviewed/bid/17756/Famous-Paintings-Titian-Paintings&gt;.\n\nhttp://classconnection.s3.amazonaws.com/960/flashcards/1126960/jpg/venus_of_urbino1327686665046.jpg','Titan\'s Venus of Urbino','','inherit','open','open','','2597-autosave','','','2012-09-30 12:16:13','2012-09-30 18:16:13','',2597,'http://jeanatacc.com/2011/?p=2605',0,'revision','',0),(2609,56,'2012-09-24 22:03:02','2012-09-25 04:03:02','Veronica Franco (1546-1591) was “the most famous courtesan of Venice... [She] became a writer by allying herself with distinguished men at the center of her city’s culture.”  (Franco, Jones and Rosenthal)  She published Familiar Letters in 1580 and it should be preserved in the Time Capsule Project because of the way she attempted and changed the way courtesans and vulnerable women in that time period were viewed by the upper class.\r\n<!--more-->\r\nThe title of the book was also the style in which it was written; a collection of 50 familiar letters, which means they were “written to a friend, but intended for eventual publication.”  There were a wide variety of topics in the letters; including invitations, thank you letters, advice, congratulations and accompanying sonnets or other papers.\r\n\r\nEpistolary works, “the production of letters as literary artifacts” was a popular format for authors in Venice in the mid 1500s, but by 1580 when she chose to publish Familiar Letters, it was rapidly falling into disfavor.   Franco’s first work, Terze rime, published in 1575 was in the capitolo style of poetry, so she was capable and knowledgeable enough to produce a work in a more fashionable style if she chose to.  She chose this format deliberately:  the familiar letter was more intimate than poetry and Franco wanted to establish and maintain an intimacy with her audience.  (Bassanese 777)\r\n\r\nVeronica Franco was the “epitome of the successful and gifted cortigiana onesta (honest courtesan of the Italian Renaissance... a “cultured prostitute...”  She behaved, appeared, dressed, entertained and charmed like a lady of high society, but she also “grant[ed] full erotic satisfaction” to her patrons.  (Bassanese 777)  It was a delicate balance and Franco balanced upon it well.  To anyone that did not socialize with courtesans, it was easy to imagine and criticize them for leading a debauched lives and she was trying to change that view with this volume of letters.  (Franco, Jones and Rosenthal)\r\n\r\nAnn Jones and Margaret Rosenthal postulate several plausible theories for the format Franco chose to use in this work.  It invited others into her private salon and establish a personal dialog with whoever read her words.  People who did not have the opportunity to mingle with her lofty circle (and never doubt that she moved in the upper echelons of society - one of her clients was King Henry III) could now see how she lived her life.  They found out what she thought, how she spent her days, learned what she knew and “listened” to what she advised.  “At the same time, because it [the epistolary format] requires a grasp of the proper rhetorical forms advocated by classical authors... the letter demonstrates the learning and the savoir-faire of its writer.”  (Franco, Jones and Rosenthal 9)\r\n\r\nI believe that Franco’s letters were largely a public relations exercise.  That is not to say that they were fabrications by any stretch of the imagination.  In my research, I have found no indication that anyone believes that she misrepresented herself.  Familiar Letters is her opportunity to shine and yet paint herself as a conventional and virtuous woman of her class.\r\nBy many people of her time, however, Franco was considered no more than a prostitute, albeit a high paid one, and was viewed with contempt.  In Letter 22, she berated the mother of a young woman for planning to start the girl on the path of a courtesan.  Franco had advised the mother, and in fact had paved the way for her, to send the daughter to the Casa delle Zitelle, a sanctuary for young girls to protect them from the fate of prostitution and keep them eligible for good marriages.  The letter was blunt, but the intent behind the words was compassionate; she was trying to keep another woman from facing the ignominy and uncertainty that Franco lived with.  (Bassanese 779) (Franco, Jones and Rosenthal 37-40)\r\n\r\nBooks written in the familiar letter style often had the names removed.  Franco made some exceptions in her book, the most notable being the salutation to Henry III, King of France in her second letter.   (Bassanese 779)  (Franco, Jones and Rosenthal 24)\r\n\r\nAccording to Johnson and Rosenthal, it appears that Franco’s two books, Terze rime and Familiar Letters were published privately and it was entirely possible that she funded them herself.  As a result, this particular work was probably not widely read beyond Venice upper society.  That does not mean that Franco was unknown as a poet.  In fact, she received a commission to write for an anthology commemorating “men of the Venetian elite, such as the military hero, Estore Martinengo”.  (Rosenthal)  Commissions of that nature were not dispensed by lottery; they were earned.\r\n\r\nAfter her death in 1591, interest in Franco as a person didn’t start to rise again until the early 1700s and “Familiar Letters” wasn’t republished again until 1949.  Since then, scholars and feminists have taken a fresh look at the woman who managed to live dependent upon the whims of the rich, and sometimes capricious, elite while at the same time establishing the “courtesan\'s virtue, reason, wisdom and fairness” as valuable people and citizens in their own right. (Rosenthal)\r\n\r\nFranco’s Familiar Letters are tangible evidence of the life she lived in more ways than one.  Not only do they provide a record of her activities, but they also record the way she navigated the perilous nature of her existence.  Veronica Franco was a beautiful, intelligent and accomplished woman and in the 20th and 21st century, she could have created a career and life for herself that would not be dependent upon someone else’s generosity ~ but not then.\r\nIn the 16th century, Veronica Franco supported her household from the largesse of her patrons.  In other words, without her patrons, she was just a few steps above needing to accommodate anyone who would pay her fee.  Through her actions and the spoken word, Franco was able to raise herself up to same the level of humanity as the men that she socialized with and served.  She managed to make them see her as one of their equals and therefore worthy of the same consideration as an individual as they were.\r\n\r\nThat is where the subtle magic of Familiar Letters lies.  It is evidence of the beginnings of the seeds of feminism.  It wasn’t as exciting and far reaching as the works of Lucretia Marinella or Laura Cereta, but I believe the impact she had on individuals spread like ripples in a pond and helped set the stage for later change and reform.\r\n\r\nI wanted to save Familiar Letters because it is a piece of evidence that provides a glimpse into how human beings can make life better for ourselves in the moment and, at the same time, set the stage for improving life for others in the future.  It shows how an amazing woman managed to change the way men and women in a small group related to each other.\r\n\r\nHowever, as a piece of work, it does not stand well enough by itself.  One needs to know too much background information about Franco, Venice, courtesans and feminism to make this a good offering for a time capsule.  I am sad to say that I withdraw my proposal to include Familiar Letters in the Time Capsule Project.\r\n\r\nWorks Cited\r\n\r\nBassanese, Fiora. \"Veronica Franco.\" Encyclopedia of Italian Literary Studies. New York. Taylor and Francis Group.   2007. Print.\r\n\r\nFranco, Veronica, author. Jones, Ann Rosalind and Rosenthal Margaret F. translators. “Poems and Selected Letters (The Other Voice in Early Modern Europe).” The University of Chicago Press. 1998. Print.\r\n\r\nRosenthal, Margaret. \"Biography: Franco, Veronica.\" Italian Women Writers. The University of Southern California, 2003. Web. 24 Sep 2012. &lt;http://www.lib.uchicago.edu/efts/IWW&gt;','Veronica Franco, Familiar Letters','','inherit','open','open','','2595-revision-4','','','2012-09-24 22:03:02','2012-09-25 04:03:02','',2595,'http://jeanatacc.com/2011/?p=2609',0,'revision','',0),(2610,1,'2012-09-24 13:47:14','2012-09-24 19:47:14','whats up','Pico\'s Oritation on the Dignity of Man','','inherit','open','open','','2401-revision-3','','','2012-09-24 13:47:14','2012-09-24 19:47:14','',2401,'http://jeanatacc.com/2011/?p=2610',0,'revision','',0),(2611,1,'2012-09-24 19:40:06','2012-09-25 01:40:06','<strong>  </strong>\r\n<p dir=\"ltr\">I quattro libri dell\'architettura</p>\r\n<strong><strong><strong>Michael Brandon Seals\r\nJ. Lauer, Huma 1302 12:00 p.m.- 1:20 p.m.\r\n<img src=\"https://lh4.googleusercontent.com/WhiBS9oONAMEFS5dtI9oyKp0Rj9l5pwy-dMxD_ZlNuQwY5JrYeNn9v7r3LqLs8QiT4NABhsgAPOhDyg7dLumtmSE6YGMfxWKSE4Akyp90ldooiP470g\" alt=\"\" width=\"435px;\" height=\"580px;\" />\r\n</strong></strong></strong>\r\n<p dir=\"ltr\"> English architect Inigo Jones annotations in</p>\r\n<p dir=\"ltr\">Palladio’s Four Books on Architecture</p>\r\n<p dir=\"ltr\"><a href=\"http://inha.revues.org/3396\">http://inha.revues.org/3396</a></p>\r\n&nbsp;\r\n\r\nAndrea Palladio (1508 – 1580), an Italian born architect who penned what is considered by some to be one of the greatest volumes ever published on the subject of architecture.  I quattro libri dell\'architettura  (The Four Books of Architecture)(1570) has become the standard repository and reference for classic renaissance design, influencing artists, architects and designers from the 16th century to the present day. The Four Books of Architecture consists of four separately published editions each describing a complete set of rules that define the conception, design and aesthetics of a structure. Along with highly detailed woodcuts emblazoning the cover. This incredibly illustrated tome is further divided into rules and sub-rule sets, governing everything from the placement and shape of walls, roofs, arches, details, site, etc. Once referred to by Thomas Jefferson as “the Bible” (Center for Palladian Studies in America) this book has had more influence on design and architecture than possibly any other book of its period or since, the fact that it is still applicable to the present day is in itself a feat very few printed works of the time can muster, as well as the spawning of a movement entirely based off the published work, Palladianism, the style of Architecture based completely off the rules and illustrations from the The Four Books on Architecture. Preservation of this work is of the utmost importance due to its unique composition and clarity of information that transcends languages timelines and generations.\r\n\r\nTypical of this period architects often would take their direction from the study of buildings of their antiquity especially those built by the Greco/Romans and many architects would often simply duplicate their forms as best they could adapting the overall composition to better suit their needs or discarding features they had no use for, such as a Roman bath house or social toilet. There were also surviving texts from the Roman empire including one from first century architect, Marcus Vitruvius Pollio, whose work  <a href=\"http://en.wikipedia.org/wiki/De_Architectura\">De Architectura</a> (\"On Architecture\") was thought of and is still known as one of the best preserved examples of Roman building and this would also go on to greatly influence palladio\'s work on the Four Books. (CPSA) However whereas most of his fellows looked to the surviving monumental roman structures such as the coliseum, or triumphal arch for the rhetoric to supply their language of construction. Palladio was able to distill his modus operandi from the form and structure of the classic Roman temple. He would go on to outline and define a more methodical approach to the design of a structure, where a large majority of the variables involved had sets of rules and sub rules,  in order to not only provide a functional and uniform scale but also to be aesthetically pleasing in the classical sense, and whereas the majority of his peers merely emulated the classic’s, refashioning and modifying them to fit their needs, Palladio created an innovative and unique style using the classic school as his metric all the while still satisfying patrons concerns regarding the local social and economic criteria of the time. With the formula for the systems and rules all clearly outlined, this was a book made not just for the architect but for patrons and builders as well as anyone interested in pursuing knowledge in the fields of architecture or construction. Highly praised at the time amongst peers and critics, however it was not until the widespread european distribution in the 1700’s that the Four Books really started to gain popularity and momentum, not only as a publication but as a distinct architectural style as well.\r\n\r\nThe Four Books of Architecture is thought of by many to this day to be a compendium of the thought process of renaissance builders of the period. In no other classic publication will you be able to find so clearly laid out formula and examples illustrating the classic sense of building design and construction, and in fact many modern books referring to the Greco/Roman or Renaissance period in architectural design end up citing The Four Books on Architecture extensively. Furthermore in the present day there are many organizations and societies dedicated solely to the further spread and understanding of the rules transcribed within the Four Books on Architecture, one very prominent organization The Center for Palladian Studies in America(CPSA) is dedicated to educating and furthering the works of Palladio and his influence in America, in addition to quantifying the effects the Four Books have had influencing further architectural styles of the past, however many CPSA volunteers are also dedicated to the preservation of palladian inspired structures of the American Renaissance.\r\n\r\nNow I am by no means a as informed on the subject of architecture as I feel I should be however as a practicing designer and draftsman for a number of years now. I can fully appreciate the monumental undertaking this book was for the author as well as the publisher(s), the tooling alone required to print this weighty and illustrated volume must have been absolutely a very work of art in itself. In addition very rarely have I encountered a book with such depth of knowledge and any one of a thousand questions regarding the subject of scale to city planning can easily be answered due to the rule and sub rules such as helping to define the best orientation of a site or building pad in relation to the sun or the classical art of placing a structure so that prevailing winds naturally and efficiently provide natural climate control. This is a book I can easily see myself reading and studying again and again, each time finding some hidden gem of design left to me by my peers and counterparts from an era long passed.\r\n\r\nA work such as this has the ability to provide future generations with a reference to the classical orders and design intent of the time in addition to being one of the only period written pieces on the subject that still survives. However The Four Books on Architecture is a rare work that has the ability to allow us not only to see the structures built by architects of antiquity but shines light on the standards and practices involved to create works of that caliber. By providing insight into how the men and women of our past came up with innovative solutions to their various dilemma, we too should be able to use this work to further understand the mindset of past cultures creators and creations, and nowhere else in print will you find a more complete treatise on the creation of buildings of classic design, a resource I feel would not exist if this publication were not to persevere into the twenty-second century. If this meaty tome full of renaissance knowledge was ever lost to us, would we ever be able to find a more pure example of the style form and function of the renaissance that is Palladio\'s The Four Books on Architecture.\r\n\r\nPalladio, Andrea. I quattro libri dell\'architettura (The Four Books on Architecture)\r\nCambridge: MIT Press, 1997. Print.\r\n\r\nVitruvius , Marcus. De architettura  (On Architecture)\r\n1 AD. Morris Hicky Morgan. Cambridge: Harvard University Press. London: Humphrey Milford. Oxford University Press. 1914. Print.\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladianism Timeline”\r\n<a href=\"http://www.palladiancenter.org/timeline-Palladianism.html\">http://www.palladiancenter.org/timeline-Palladianism.html</a>\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladio\'s Literary Predecessors”\r\n<a href=\"http://www.palladiancenter.org/predecessors.html\">http://www.palladiancenter.org/predecessors.html</a>\r\n\r\nCenter for Palladian Studies in America(CPSA). “Palladio\'s and his Books”\r\n<a href=\"http://www.palladiancenter.org/palladiobooks.html\">http://www.palladiancenter.org/palladiobooks.html</a>\r\n\r\nTavernor, Robert “Palladio\'s Four Books on Architecture”\r\nArchitecture Week, 19 July 2000.<a href=\"http://www.architectureweek.com/2000/0719/culture_1-1.html\"> http://www.architectureweek.com/2000/0719/culture_1-1.html</a>','The Four Books of Architecture','','inherit','open','open','','2395-revision-9','','','2012-09-24 19:40:06','2012-09-25 01:40:06','',2395,'http://jeanatacc.com/2011/?p=2611',0,'revision','',0),(2612,1,'2012-09-24 19:43:04','2012-09-25 01:43:04','<p align=\"center\"> “The Prince”</p>\r\n<p align=\"center\">Niccolo Machiavelli</p>\r\n<p align=\"center\">16<sup>th</sup> Century</p>\r\n<p align=\"center\"> <img class=\"alignnone\" src=\"http://www.iranian.com/main/files/blogimages/machiavelli.jpg\" alt=\"\" width=\"331\" height=\"475\" /></p>\r\n&nbsp;\r\n\r\nNiccolo Machiavelli, an Italian philosopher during the renaissance, was regarded highly for his controversial writings and aggressive stance on political power. To illustrate the issues of government during the renaissance, Machiavelli wrote a book entitled “The Prince” in order to effectively demonstrate the vulnerability of power in the Italian monarchy and promote self reliance amongst the general populace.\r\n\r\nThe early renaissance consisted of a time that is now exemplified and referred to as one of the first modernistic styles of culture that societies have established and are now regarded for ending the primitive age. During the era, science, religion, politics, business, art and even literature were recorded and preserved in order to be reflected upon in the future (now). Minds such as, Da Vinci or Raphael are part of the main reason that the Renaissance ceases to create an era reckoned for its high relative intelligence and high class.\r\n\r\n“The Prince”, by Niccolo Machiavelli is interesting in the sense that it was considered to be one of the first modern political books. As a result, it is not a book typical of its era, although the book is essentially a reference to the present time relative of its release to the public in 1532. The natures of its contents were direct reflections of the monarchy that Machiavelli perceived as a negative impact to the Italian society.\r\n\r\nToday’s standards consist of liberal movements that accept most forms of diversity in a broad sense. For instance, “The Communist Manifesto” by Karl Marx was banned during the red scare and partly after, until libertarians decided the book was a symbol of oppressive government. The point is, at the time of publication for “The Prince” it was a controversial centerpiece that garnered advocating a tyrannical style of ruling.\r\n\r\nDuring the 16<sup>th</sup> century, most citizens revered the monarchy as force that was to be feared and regarded as a higher authority. However, since the book was published five years after the death of Machiavelli, the general populace couldn’t direct their aggression toward Machiavelli. Instead the public deemed the book as a form of strategy to attain a government through a personal constabulary. It was a consistent reminder to the general public that the Medici family continued to rule the area, sinceItaly consisted of multiple city sections instead of being one unified single state.\r\n\r\nPersonally, I think the work is great. It summarized the renaissance era in a way that embellished what was perceived as wrong. The logic behind the work is extremely simplistic, yet these enabled Lorenzo Medici from the Medici family to grasp the concept of sustaining power throughout the sections. It is considered to be one of the most controversial books, however the book itself is ingenious, due to the fact that it laminates what citizens hoped to achieve. The readers of the book understood that the intention of it was not to gain notoriety, instead it was written to evaporate the Medici’s distrust of Machiavelli, which only betters the writing due to the fact that its intention was not to be famous.\r\n\r\nA book similar to “The Prince” would be “Oration on the Dignity of Man” by Pico. Pico announced his oration during the late 15<sup>th</sup> century, as opposed to Machiavelli’s in the 16<sup>th</sup> century. “Oration on the Dignity of Man” was essentially an analysis of the human mind authored by Pico della Mirandola, another renaissance philosopher. Both contain appeals to humans, although Machiavelli and Pico differed in the sense that Pico’s was a deliberate denouncement.\r\n<div>\r\n\r\n“The Prince” is significant because of the great history behind it. It’s significant because it was one of the first modern political books. It’s significant because it Machiavelli an escape from the hatred of the Medici family. Lastly, it’s significant because it uses thoughts that were perceived to be evil and molds them to create a construct of power. To this day it is still considered one of the top most controversial literary artifacts of history.\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Works Cited</p>\r\n\"Niccolo Machiavelli &amp; The Prince.\" <em>Niccolo Machiavelli &amp; The Prince</em>. A Collection of Wisdom, n.d. Web.24 Sept. 2012. &lt;http://www.rodneyohebsion.com/machiavelli.htm&gt;.\r\n\r\nBoyer, Josh, Luca Wilmer, and Edison Jyang. \"The Prince.\" <em>The Literature Network</em>. Jalic Inc., n.d. Web.24 Sept. 2012. &lt;http://www.online-literature.com/machiavelli/prince/&gt;.\r\n\r\n\"Machiavelli, Niccolo. 1469Â–1527. The Prince. Vol. 36, Part 1. The Harvard Classics.\" <em>Machiavelli, Niccolo</em><em>. 1469Â–1527</em><em>. The Prince</em><em>. Vol</em><em>. 36, Part 1</em><em>. The Harvard Classics</em>. Trans. N.H Thomson.NEW YORK: P.F. COLLIER &amp; SON COMPANY, 1909–14NEW YORK: BARTLEBY.COM, 2001, n.d. Web.24 Sept. 2012. &lt;http://www.bartleby.com/36/1/&gt;.','\"The Prince\", by Niccolo Machiavelli','','inherit','open','open','','2560-revision-7','','','2012-09-24 19:43:04','2012-09-25 01:43:04','',2560,'http://jeanatacc.com/2011/?p=2612',0,'revision','',0),(2613,1,'2012-09-24 19:48:32','2012-09-25 01:48:32','<img class=\"alignnone\" src=\"http://www.mexconnect.com/photos/8996-teotihuacan1s-p-panoramic-view-of-teotihuacan-looking-south-from-the-top-o-original.jpg?1267914708\" alt=\"\" width=\"300\" height=\"225\" />\r\n\r\nThe  pyramids  of  Teotihuacan  are  one  of  the  oldest  pyramids  in are  history. They  are  located  in  Mexico  about  30miles  from  one  of  the  biggest  city’s  in  the  world  known  as  Mexico  City.  The  original  date  of  theses  pyramids  are  unknown  but  should  be  older then 200  a.d.  Also  for  a  time  period  the  Aztec  had  wondered  off  from  what  they  have  been told  by  their  gods, and  had  stumbled  upon  the  pyramids  of  Teotihuacan  to  have  as  there own  land. These  magnificent  pyramids  are  a  big  part  of  history  and  should  be  conserved for  future  generations  to  be  able  to  learn  from  them. If  these  Pyramids  would  be  destroyed  there  would  be  allot  off  useful   information gone. We  are  still  to  this  day  still  learning  and gaining knowledge  from studying  them.\r\n\r\n<!--nextpage-->There  are  many  important  historical  impacts   that  have  shaped  the  pyramids.  From  the  Mayans  having  it  has  there  kingdom. To  the  Aztec’s  defeat  of  Cortez  and his Spanish  armed  forces.Sciences  all  off  this  they  are  just used  for  a tourist  site. For  use  to  ask  who  had built these Pyramids we have  to  know  that  the  builders  are  still  to  this  day unknown. Some  general  knowledge  is  That  the  two  biggest  of the  pyramids  are  the  sun  and  the  moon  pyramids. They  are  a representation  of  a  strong  connection  that  the  people  had  both  with  their  gods  and  with  the  universe.\r\n\r\nTo  actually  say  what  era  the  pyramids  purpose  was  or  what  they  worked for  is  asking  what  many  of  the  different  tribal  backgrounds  have  used  them  for. You called point  out  what  the  Aztec  people  used them  for. It  was  there  place  of  worship, and gathering were all put to use during there time period.  You could compare it to the Great Pyramids of Egypt. Saying that they are both very important structures. just as the Egyptian pyramids they are enormous  in size and have barrel grounds in them for there kings in queens just as Teotihuacan do for there  leaders. They are alike in many  ways like the way they align up with each other. Even if they are so far apart from each other there functions are about the same throughout history. having different rulers over them and gods coming down are just some of the similarities they have. Also having  1used as dramatic stage for religious rituals and civic ceremonies.\r\n\r\n3Which making them very unusual and ahead of its structurally time period. A fact about the Sun and the Moon pyramid is that they are actually aligned up with the sun and the moon. The main street that connects them is called “Street of Dead” which in many cases could be interesting for why they called it that. Known for sightings of there gods for sacrifices or tolls they would receive  from them, also giving the people a greater knowledge of the world. I think of the gods they said they would come down from the sky “other worldly gods”. Which has made a very huge impact on what is being discovered. A cool thing about the name is that it means 1The Place Where Men Become Gods. Which was very interesting men becoming gods does that mean that they were given powers are just tools that made them like the gods.\r\n\r\nThought time they have been worked on and built on from different cultural groups forming there own certain structural features. For each time they were controlled by a group of people they had vast land to live off of. from the tools that were given to them had made there lives allot easier and made them able to think for them selves. There is contrivers  on how they received these gifts and how they were used in different eras.\r\n\r\nFor most part people just know that these pyramids of Teotihuacan are located in Mexico, and probably that the Aztec had apart to do with them. They are a significant part of Mexican history to show How we had started off. Their concerns for this place is some were to go on a family vacation or road trip. Some 2Archologists today are still stunned to how anyone would be able to pick up those thousand pound bricks. How they would be able to carried them or even move them from one spot to the next. Which i would think is mind boggling.\r\n\r\nMy thought how the Teotihuacan Pyramids is that we need to look deeper then what facts are given to use to really be able to learn and define what your thoughts are own the pyramids. I am also think that it is a very good thing to be able to know about what has gone down in history and in the very magnificent Structural grounds. For that i conclude that i am glad that i as able to go in depth about Teotihuacan.\r\n\r\nWork cited List\r\n1. www.ancient-wisdom.co.oh/mexicoteotihuacan.htm\r\nLewis Spence, Mexico and Peru, 1994, Senate press. Renato Vesco, David Hatcher Childress. Man Made UFO\'s. 2007. Adventures Unlimited Press.Fagan, Garrett G. (2006). Archaeological Fantasies: How Pseudoarchaeology Misrepresents the Past and Misleads the Public. New York: Routledge. pp. 102The atlas of mysterious places. Guild publishing. 1987. G. Hancock. Fingerprints of the gods. Mandarin. 1996.\r\n\r\n2.http://www.mexconnect.com/articles/823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods823-the-great-pyramids-of-teotihuacan-mexico-place-of-the-gods\r\nBy: Allen Cogan\r\n3. http://www.aztec-history.com/\r\nThe Aztecs by Michael E. Smith (2003); Aztec Imperial Strategies by Frances F. Berdan, et al. (1996); Imperial Ends: The Decay, Collapse, and Revival of Empires by Alexander K. Motyl (2001); The Tenochca Empire of Ancient Mexico: The Triple Alliance of Tenochtitlan, Tetzcoco, and Tlacopan by Pedro Carrasco (1999)\r\n\r\n&nbsp;\r\n\r\n','Pyramids of Teotihuacan ','','inherit','open','open','','2549-revision-7','','','2012-09-24 19:48:32','2012-09-25 01:48:32','',2549,'http://jeanatacc.com/2011/?p=2613',0,'revision','',0),(2615,1,'2012-09-24 21:08:04','2012-09-25 03:08:04','&nbsp;\r\n\r\n<img src=\"http://www.silkroadgourmet.com/wp-content/uploads/2011/07/Ibn-Battuta-Sets-out.jpg\" alt=\"\" width=\"447\" height=\"298\" />\r\n\r\nIbn Battuta sets out\r\n<p style=\"text-align: center\"><a href=\"http://www.silkroadgourmet.com\">http://www.silkroadgourmet.com</a></p>\r\nThe “Rihla”, a classic Arabic name of the word <em>the journey</em>, is one of the most important and famous literature works of travel of the 14<sup>th</sup> century. It’s an account of travels and vivid experiences of the famous Moroccan explorer Ibn Battouta (1304-1368)(Fiero).\r\n\r\nIbn Batouta’s book of travel is considered as an eye witness of the cultural, social, and political life in the 14<sup>th</sup> century. Indeed, it is a geographical and historical reference. Because of that, Ibn Battouta’s book of travel should be preserved for future generations.\r\n\r\nThe book is about a Muslim scholar who left his homeland at the age of 21 in the intention to perform the pilgrimage, and ended up returning home “29 years later” (Rumford). After finishing his pilgrimage to Mecca and Medina, instead of returning home, he decided to discover and visit the entire Islamic world at that time. Driven by his intellectual curiosity, he started his adventure. Thus, during 29 years, he visited about 44 countries of the Islamic world and beyond. His journey covered North Africa, West Africa, Asia, and some of Europe (Dunn). What is important about this, is that he recorded and documented all of his travels over 29 years.\r\n\r\nThe work was created on December 1355, when the Sultan of Morocco ordered the young writer, Ibn Juzayy, to record Ibn Battuta’s experiences. After finishing the work, the book was given the official title: <em>A gift to the Observers Concerning the Curiosities of the Cities and the Marvels Encountered in Travels </em>(Dunn).\r\n\r\n“Enormous opportunities for long-distance travel began to exist in the 13<sup>th</sup> century after the Mongols and other nomadic groups established large, stable empires in Eurasia that facilitated travel, trade and cultural exchange”.(journey to Mecca). The expanding world of Islam, after the Mongol converted to faith, created sort of cultural and political stability which helps Muslims to travel freely across Eurasia. (Dunn<em>)</em>. Caravans and sea lanes created transportation and communication network that stretched across the Eastern Hemisphere.\r\n\r\nThe 14<sup>th</sup> century was a century of remarkable events such as the beginning of the hundred year’s war, and the bubonic plague that ravaged almost the entire world killing millions of peoples. In the middle of these events, an important number of literature and artistic works were created by European and African personalities. During this era, literature works were more about “personal experiences in the everyday world”, and tales were the famous form of literature. (Fiero)\r\n\r\nSome of the important literature works at that time was the Boccaccio’s <em>Decameron</em> and <em>Immoral tales. </em>Chaucer, who was influenced by Boccaccio’s tales, left a remarkable group of stories called <em>The Canterbury tales</em> (Fiero). In the Muslim and Arabic world, <em>The Muquaddima, (</em>Introduction), of the historian and philosopher Ibn Khaldun was one of the important works of sociology and philosophy in the 14<sup>th</sup> century; and Ash-Sharif al-Idrisi, who wrote one of the greatest works of the medieval geography, <em>The Pleasure</em> <em>Excursion of One of Who Is Eager to Traverse the Regions of the World</em>. (Encyclopedia Britannica).\r\n\r\nThe <em>Rihla </em>was more than just a simple group tales; it was a piece of information and entertainment for the readers with detailed description of peoples, customs, monuments and cuisine of each place he visited.\r\n\r\nIn fact, Ibn Battouta’s book of travel was educational and informative in term of content. Indeed, it was a great source of inspiration knowing the story behind the creation of the work; Ibn Battouta left his hometown and family at a young age to perform the pilgrimage, but he ended up traveling about 75,000 miles (Encyclopedia Britannica), seeking education and learning about different Islamic cultures. For this reason, this work is considered innovative of its time; it should be preserved for future generation to teach them about intellectual curiosity.\r\n\r\nIf we compare Ibn battouta’s work with those of his contemporaries, such as Ibn Jubayr, and Ash-Sharif Al-Idrisi, we find that his <em>Rihla</em> contains observation of geographical details, as well as cultural, religious and political matters witch far exceed those provided by the other books. According to Dunn, “he ranged over almost every aspect of fourteenth-century life from cuisine, botany, and marriage practices to dynastic history and the price of chickens”.\r\n\r\nAt that time, Ibn Battouta’s experience was unique in the Islamic world by the fact that he traveled further and for a longer period than any other contemporary. For this reason, his experience, and tales attracted the attention of everybody including the Sultan of Morocco, who ordered Ibn Battuta to prepare a narrative of the experiences he encountered during his journey. Moreover, Ibn Battouta was a subject of a biographical notice of the Andalusian scholar Abu l’Barakat al-Balafiqi.\r\n\r\nThe translation and publishing of the work in many languages contributed to the circulation of the work. Today, the book is used as a source of information and entertainment. At the same time, Ibn Battouta’s book of travel became a subject of research and inspiration to many experts in the field of geography or literature. For example, Rumfod used Ibn Battouta’s own extensive records as the inspiration of the text in his book <em>The Traveling Man </em>(Smith). Again, the Professor of History Dunn wrote a book about Ibn Battuta’s adventure (<em>The adventures of Ibn Battuta</em>), and described <em>the Rihla</em> as “a comprehensive survey…..and the record of a dramatic adventure” (Dunn).\r\n\r\nPersonally, I find that Ibn Battouta’s book of travel very interesting as it provides an eye-witness account of the various cultures of that era, the political events, and the social and economic live at that time. In addition, what is particularly meaningful about The <em>Rihla</em> is how Ibn Battouta set out by himself and traveled about 75,000 miles facing the dangers and the unknown. In fact, at that time, most people on the Eurasian land lived and died very close to where they were born without even venturing very far from home given the danger of traveling in the 14<sup>th</sup> century. In other words, Ibn Battouta and his book is an example of courage, and willpower.\r\n\r\nAnother important thing about the book of Ibn Battouta is that without his recordings, there would have been many undiscovered civilizations; historians would have never known about these smaller civilizations. The Columbia Electronica Encyclopedia mentioned that: Ibn Battouta “still considered a most reliable source for the geography of his period and an authority on the cultural and social history of Islam”.\r\n\r\n<em><span style=\"text-decoration: underline\">the rihla</span></em>, wasn’t the first book of travel written at that time. Ibn Battouta was always compared by his contemporary Italian explorer Marco Polo. Marco Polo’s book of travel was titled: <em>Il milione.</em> Both Ibn Battouta and Marco Polo wrote about their travels in what became the medieval bestsellers. Both works evoked several similarities and differences.\r\n\r\nIn term of similarities, both explorers left an account of what they had seen during their travels witch started at an early age, and covered too many countries from Asia, Africa, and Europe. Also, both works represented a geographical description. However, both books were criticized. In fact, both the reliability of their accounts, and the authenticity of the information they provide have been challenged time and again. For example, some historians suggest that Marco Polo never went to China, basing their argument on the fact that Marco failed to describe the Great Wall of China, Chopsticks, and tea. Similarly, critics about <em>Rihla </em>concluded that many dates and exact details were altered by Battuta and Juzay (Dunn).\r\n\r\nThese two works are alike in that they were not written down by their creators. Ibn Battouta’s book was recorded by the young scholar Ibn Juzayyupon the request of the Moroccan ruler. Meanwhile, <em>Il Milione</em> was composed by Rustichello de Pisa, a well-known author, who was accompanying Polo in the prison. (Encyclopedia Britannica)\r\n\r\nDespite of all these similarities, Ibn Battuta’s book of travel stands out from its contemporary Marco Polo’s book by the fact that Ibn Battouta traveled about 75,000 miles, much further than did Marco Polo. For instance <em>the Rihla</em> had more information and covered more places than in <em>Il Milione.</em>\r\n\r\nIndeed, when Ibn Battouta started his travel career, he was driven by his religious zeal, and intellectual curiosity that leaded him to occupy many important positions in different countries; he was appointed a judge and an ambassador. He also started his adventure by himself leaving behind his family and friends. Ibn Battuta was a brave man, who risked his life to discover different cultures and bring knowledge of it to the public.\r\n\r\nIn contrast, Marco Polo left his home to accompany his father and uncle in search for trade and wealth (Encyclopedia Britannica).\r\n\r\nProf. Dunn described Polo’s book as “a treatise of empirical geography revealing almost nothing about his personality”; his book was divided in two parts, the first part is autobiography, and the second part which composed the large volume was dedicated to the description of China and some other Asian countries (Dunn).\r\n\r\nIn Contrast, Ibn Battouta told so much about him throughout the book, and included the book some verses of poetry which gave it a special taste, and made it distinguishable from its peers. The Prof. Dunn described this aspect in Ibn Battouta’s work and wrote: “the autobiography, the personal adventure, remains in the heart of the book, revealing the traveler’s gregarious, high-spirited…..ingratiating personality through the account of the life he lived”. Thus<em>, The Rihla</em> was filled with numerous tales and adventures witch far exceed the observations of Marco Polo in liveliness, acuity and insight.\r\n\r\nIbn Battuta wasn’t a scientist or geographer; he was a simple man seeking knowledge and adventure, his intellectual curiosity made from him one of the greatest travelers and explorers in the humanity, and made form his work a geographical and cultural reference for historians, geographers, and knowledge seekers. For instance, future generations need to be aware of the significance of this work, and learn from its values. In fact, the preservation of the work is the key for the achievement of this goal.\r\n\r\nBiographies and narratives there are in quantities, but the historians for all their picturesque details, rarely show the ability to select the essential and to give their figures that touch of the intimate which makes them live again for the reader. It is in this faculty that Ibn Battuta excels. Among all the literature works of travel, Ibn Battuta’s narrative is valued for the literary merits of its vivid description and comprehensive analysis of medieval Islamic life as well as for its utility to archeologists and other scholars for whom the work serves as a unique guide to the relics of the society in which Ibn Battuta lived.\r\n<p align=\"center\"><span style=\"text-decoration: underline\">Works cited</span></p>\r\nFiero. <em>The Humanistic Tradition. </em>6<sup>th</sup> Edition. Vol.2\r\n\r\nIt’s a textbook about the humanities from the renaissance to the present that I used to discuss the historical context of the work’s time.\r\n\r\n<em>Ibn Battuta</em>. Columbia Electronica Encyclopedia, 6<sup>th</sup> Edition (2011): 1.web. 7 Sept. 2012.\r\n\r\nHttp://ehis.ebscohost.com.Isproxy.austincc.edu/ehost/detail?vid=3&amp;hid=102&amp;sid\r\n\r\nThis is an electronic encyclopedia that provides information about all subjects. I used it to find information about Ibn Battuta’s biography.\r\n\r\n<em>Ibn Battuta. </em>Encyclopedia Britannica. Encyclopedia Britannica Online Academic Edition.\r\n\r\nEncyclopedia Britannica Inc., 2012. Web. 7 Sep.2012.\r\n\r\n<a href=\"http://www.britannica.com.isproxy.austincc.edu/EBchecked/topic/280726/Ibn-Battuta\">Http://www.britannica.com.Isproxy.austincc.edu/EBchecked/topic/280726/Ibn-Battuta</a>\r\n\r\nIt’s an electronic encyclopedia from the ACC library containing several articles about different subjects. It helped me finding information about Ibn Battuta’s life and travels.\r\n\r\nIyer, Pico. <em>A voyager for the Ages</em>. (Cover story). Time international (Atlantic Edition)\r\n\r\n178.5 (2011): 68-88.\r\n\r\nThis is an article from the Acc library where the author describes the importance of Ibn Battuta’s experience. I used it to find arguments about why Ibn Bttuta’s book is innovative and unusual.\r\n\r\nSmith, Robin. <em>The Marvels of the Road.</em> Book Links 12.1(2012): 41.\r\n\r\nThis is a journal article from The ACC library about the description of Rumford Book which was influenced by Ibn Battuta’s book.\r\n\r\nRoss E., Dunn. <em>The adventures of Ibn Battuta, a Muslim Traveler of the 14<sup>th</sup> Century</em>.\r\n\r\nUniversity of California Press. Berkely, Los Angeles, London. 1989. Print.\r\n\r\nIn this book the author explains how the Muslim world worked in the early 14<sup>th</sup> century using Ibn Bttuta’s Rihla as a reference. I used this book to compare between Ibn Battuta and Marco polo and their works. I also used it to explain how the work is received today.','Ibn Battuta\'s book of Travels','','inherit','open','open','','2427-revision-10','','','2012-09-24 21:08:04','2012-09-25 03:08:04','',2427,'http://jeanatacc.com/2011/?p=2615',0,'revision','',0),(2616,1,'2012-09-24 21:01:48','2012-09-25 03:01:48','<!--more-->Miguel de Cervantes story of Don Quixote is about an eccentric gentlemen from an unnamed village in La Mancha. Quixote has neglected his land, lost his fortune, and driven himself mad by reading too many books of chivalry. Now at fifty years old, he decides to become a knight and set off on a great adventure to change the world. Despite his valiant efforts, he eventually fails and pushes the people that care about him farther away. Cervantes keeps the reader longing for more with fluent comic relief and the suspense of the “chivalric knight‘s” level of his commitment.\r\n\r\nWhen the story of Don Quixote was created in 1605, literary pieces focused on the tragic yet theatrical views of Shakespeare and the likes of furthering scientific knowledge. Miguel De Cervantes took it upon himself to tell a tale about a gentleman in pursuit of eternal glory who will stop at nothing to get what he wants out of life. Having a “mid-life crisis” in these times, were not a specific characteristic of literature in the early seventeenth century. The constant struggle of man versus himself is what I find to be particularly important, not only to myself, but for future generations to come.\r\n\r\nThis novel is mainly a parody of romances of chivalry, and can also be considered a disguised autobiography of Cervantes. (<em>Cervantes, </em>chapter 7: Cervantes Masterpiece: Don Quixote, Manuel Duran). It has been said that Don Quixote is considered the worlds first modern novel, one of the funniest and most tragic books ever written. Cervantes used literature against Don Quixote to create an internal antagonist, while other writings used literature to boost the moral of love and empower the mind. Don Quixote spent his whole life reading books about chivalry, eventually driving himself mad, and causing him to create a new identity. He became so enthralled in his readings that he actually sold his land in order to purchase more of the written word on his quest to become the greatest knight he could imagine.\r\n\r\nThe fifty-something year old pulled out old family armor, designed his own helmet, and set out to make the world a better place. He renamed his horse, himself, and his squire and traveled across lands in search of great adventure. So he began his journey, popping into little Inn’s (castles in his mind) while being cared for by the beautiful women (princesses to serve him). The determined knight fought off giant brutes (windmills) and attacking armies (ehh…just sheep). He clearly lost touch with reality. By this point he just wanted to make himself happy and be the “knight” he had always yearned to be.\r\n\r\nIn my opinion, this is a prime example of a man going through a mid-life crisis. Our “brave knight” wanted to feel like he was apart of something greater and transformed himself. Much like what a fifty-something year old man today would do: maybe go out and get a tattoo (Quixote’s armor), go purchase a sports car (our knight’s custom-named horse), and travel around creating a new life for themselves. I think this type of action is dangerous and shows what not to do when something like this presents itself to a man at a crossroads like Don Quixote faced. You never want to lose touch with reality to that extreme. It ultimately causes undesired pain and struggle.\r\n\r\nThroughout the read, his squire (Sancho), is there to say exactly what the reader is thinking. These are not giants, Dulcina is not beautiful, sheep are not attacking armies, and that none of this is real. Yet despite all of the support in truth and attempts to prove him wrong, he continued to believe that he was right.(Don Quixote Review by John Thorton http://classiclit.about.com/od/donquixotecervantes/fr/aa_donquixote.htm&gt;). So we explore page after page, waiting to see how much more this “knight” is able to take before he gives in…if he gives in at all. Which goes to show that no matter how good of a friend a man has by his side, it will always be about completing the task at hand.\r\n\r\nIn the play “The Knight of the Burning Pestle”, written by Francis Beaumont, we learn that our beloved Don Quixote was not alone in his chivalric behavior. The play is a comedy that allows spectators to have sympathy for both sides of the story much like the readers of Don Quixote. There were disruptions with the Grocer and his wife’s interference of the smooth flow of the play, much like the way Cervantes cunningly brings himself in and out as one of his own characters. If there are any life lessons to be learned from these works of art, it is recognizing that we all have faults and different ways of perceiving things that are sometimes not as important as we believe them to be. In other words, we should never take ourselves too serious.\r\n\r\nThe amazing and inspiring story of Don Quixote is necessary for future generations to read and learn for themselves the importance of staying healthy and making sane decisions, even if they decide to drop everything in pursuit of their dreams or goals. It is very easy for someone to have a one-track mind about something, especially at a certain age. It is also convenient to block out all advice and suggestions from ones who care deeply about you like your family, friends, or colleagues. If I were about to board a spaceship and transport to the future, I would need this important piece of literature to share with everyone I build relationships with. Generations should study this piece and really learn the life lessons that it has to offer. It also does not hurt that it provides a bit of comic relief.\r\n<p align=\"center\"> Works Cited List</p>\r\n(<em>Cervantes, </em>chapter 7: Cervantes Masterpiece: Don Quixote, Manuel Duran)\r\n\r\n(Don Quixote Review by John Thorton http://classiclit.about.com/od/donquixotecervantes/fr/aa_donquixote.htm&gt;)\r\n\r\n(Don Quixote by Miguel de Cervantes 1605)\r\n<p align=\"center\"><span style=\"font-size: large\">Cervantes, Manuel Duran. <em>Twayne’s World Authors Series 329, </em>New York: Twayne Publishers, 1974. From <em>Literature Resource Center.)</em></span><em></em></p>\r\n( <em>Fighting Windmills. </em>Encounters with Don Quixote, Manuel Duran, Fay R. Rogg. 1925)\r\n\r\n( Who is Don Quixote by June Reynolds <a href=\"http://www.quixote-quest.org/\"><span style=\"text-decoration: underline\"><span style=\"text-decoration: underline\"><span style=\"color: #0000ff\">www.quixote-quest.org</span></span></span></a>)','Don Quixote','','inherit','open','open','','2581-revision-4','','','2012-09-24 21:01:48','2012-09-25 03:01:48','',2581,'http://jeanatacc.com/2011/?p=2616',0,'revision','',0),(2617,1,'2012-09-25 13:01:32','2012-09-25 19:01:32','Miguel de Cervantes story of Don Quixote is about an eccentric gentlemen from an unnamed village in La Mancha. Quixote has neglected his land, lost his fortune, and driven himself mad by reading too many books of chivalry. Now at fifty years old, he decides to become a knight and set off on a great adventure to change the world. Despite his valiant efforts, he eventually fails and pushes the people that care about him farther away. Cervantes keeps the reader longing for more with fluent comic relief and the suspense of the “chivalric knight‘s” level of his commitment.<!--more-->\r\n\r\nWhen the story of Don Quixote was created in 1605, literary pieces focused on the tragic yet theatrical views of Shakespeare and the likes of furthering scientific knowledge. Miguel De Cervantes took it upon himself to tell a tale about a gentleman in pursuit of eternal glory who will stop at nothing to get what he wants out of life. Having a “mid-life crisis” in these times, were not a specific characteristic of literature in the early seventeenth century. The constant struggle of man versus himself is what I find to be particularly important, not only to myself, but for future generations to come.\r\n\r\nThis novel is mainly a parody of romances of chivalry, and can also be considered a disguised autobiography of Cervantes. (<em>Cervantes, </em>chapter 7: Cervantes Masterpiece: Don Quixote, Manuel Duran). It has been said that Don Quixote is considered the worlds first modern novel, one of the funniest and most tragic books ever written. Cervantes used literature against Don Quixote to create an internal antagonist, while other writings used literature to boost the moral of love and empower the mind. Don Quixote spent his whole life reading books about chivalry, eventually driving himself mad, and causing him to create a new identity. He became so enthralled in his readings that he actually sold his land in order to purchase more of the written word on his quest to become the greatest knight he could imagine.\r\n\r\nThe fifty-something year old pulled out old family armor, designed his own helmet, and set out to make the world a better place. He renamed his horse, himself, and his squire and traveled across lands in search of great adventure. So he began his journey, popping into little Inn’s (castles in his mind) while being cared for by the beautiful women (princesses to serve him). The determined knight fought off giant brutes (windmills) and attacking armies (ehh…just sheep). He clearly lost touch with reality. By this point he just wanted to make himself happy and be the “knight” he had always yearned to be.\r\n\r\nIn my opinion, this is a prime example of a man going through a mid-life crisis. Our “brave knight” wanted to feel like he was apart of something greater and transformed himself. Much like what a fifty-something year old man today would do: maybe go out and get a tattoo (Quixote’s armor), go purchase a sports car (our knight’s custom-named horse), and travel around creating a new life for themselves. I think this type of action is dangerous and shows what not to do when something like this presents itself to a man at a crossroads like Don Quixote faced. You never want to lose touch with reality to that extreme. It ultimately causes undesired pain and struggle.\r\n\r\nThroughout the read, his squire (Sancho), is there to say exactly what the reader is thinking. These are not giants, Dulcina is not beautiful, sheep are not attacking armies, and that none of this is real. Yet despite all of the support in truth and attempts to prove him wrong, he continued to believe that he was right.(Don Quixote Review by John Thorton http://classiclit.about.com/od/donquixotecervantes/fr/aa_donquixote.htm&gt;). So we explore page after page, waiting to see how much more this “knight” is able to take before he gives in…if he gives in at all. Which goes to show that no matter how good of a friend a man has by his side, it will always be about completing the task at hand.\r\n\r\nIn the play “The Knight of the Burning Pestle”, written by Francis Beaumont, we learn that our beloved Don Quixote was not alone in his chivalric behavior. The play is a comedy that allows spectators to have sympathy for both sides of the story much like the readers of Don Quixote. There were disruptions with the Grocer and his wife’s interference of the smooth flow of the play, much like the way Cervantes cunningly brings himself in and out as one of his own characters. If there are any life lessons to be learned from these works of art, it is recognizing that we all have faults and different ways of perceiving things that are sometimes not as important as we believe them to be. In other words, we should never take ourselves too serious.\r\n\r\nThe amazing and inspiring story of Don Quixote is necessary for future generations to read and learn for themselves the importance of staying healthy and making sane decisions, even if they decide to drop everything in pursuit of their dreams or goals. It is very easy for someone to have a one-track mind about something, especially at a certain age. It is also convenient to block out all advice and suggestions from ones who care deeply about you like your family, friends, or colleagues. If I were about to board a spaceship and transport to the future, I would need this important piece of literature to share with everyone I build relationships with. Generations should study this piece and really learn the life lessons that it has to offer. It also does not hurt that it provides a bit of comic relief.\r\n<p align=\"center\"> Works Cited List</p>\r\n(<em>Cervantes, </em>chapter 7: Cervantes Masterpiece: Don Quixote, Manuel Duran)\r\n\r\n(Don Quixote Review by John Thorton http://classiclit.about.com/od/donquixotecervantes/fr/aa_donquixote.htm&gt;)\r\n\r\n(Don Quixote by Miguel de Cervantes 1605)\r\n<p align=\"center\"><span style=\"font-size: large;\">Cervantes, Manuel Duran. <em>Twayne’s World Authors Series 329, </em>New York: Twayne Publishers, 1974. From <em>Literature Resource Center.)</em></span><em></em></p>\r\n( <em>Fighting Windmills. </em>Encounters with Don Quixote, Manuel Duran, Fay R. Rogg. 1925)\r\n\r\n( Who is Don Quixote by June Reynolds <a href=\"http://www.quixote-quest.org/\"><span style=\"text-decoration: underline;\"><span style=\"text-decoration: underline;\"><span style=\"color: #0000ff;\">www.quixote-quest.org</span></span></span></a>)','Don Quixote','','inherit','open','open','','2581-revision-5','','','2012-09-25 13:01:32','2012-09-25 19:01:32','',2581,'http://jeanatacc.com/2011/?p=2617',0,'revision','',0),(2618,1,'2012-09-24 22:26:15','2012-09-25 04:26:15','Veronica Franco (1546-1591) was “the most famous courtesan of Venice... [She] became a writer by allying herself with distinguished men at the center of her city’s culture.”  (Franco, Jones and Rosenthal)  She published Familiar Letters in 1580 and it should be preserved in the Time Capsule Project because of the way she attempted and changed the way courtesans and vulnerable women in that time period were viewed by the upper class.\r\n<!--more-->\r\nThe title of the book was also the style in which it was written; a collection of 50 familiar letters, which means they were “written to a friend, but intended for eventual publication.”  There were a wide variety of topics in the letters; including invitations, thank you letters, advice, congratulations and accompanying sonnets or other papers.\r\n\r\nEpistolary works, “the production of letters as literary artifacts” was a popular format for authors in Venice in the mid 1500s, but by 1580 when she chose to publish Familiar Letters, it was rapidly falling into disfavor.   Franco’s first work, Terze rime, published in 1575 was in the capitolo style of poetry, so she was capable and knowledgeable enough to produce a work in a more fashionable style if she chose to.  She chose this format deliberately:  the familiar letter was more intimate than poetry and Franco wanted to establish and maintain an intimacy with her audience.  (Bassanese 777)\r\n\r\nVeronica Franco was the “epitome of the successful and gifted cortigiana onesta (honest courtesan of the Italian Renaissance... a “cultured prostitute...”  She behaved, appeared, dressed, entertained and charmed like a lady of high society, but she also “grant[ed] full erotic satisfaction” to her patrons.  (Bassanese 777)  It was a delicate balance and Franco balanced upon it well.  To anyone that did not socialize with courtesans, it was easy to imagine and criticize them for leading a debauched lives and she was trying to change that view with this volume of letters.  (Franco, Jones and Rosenthal)\r\n\r\nAnn Jones and Margaret Rosenthal postulate several plausible theories for the format Franco chose to use in this work.  It invited others into her private salon and establish a personal dialog with whoever read her words.  People who did not have the opportunity to mingle with her lofty circle (and never doubt that she moved in the upper echelons of society - one of her clients was King Henry III) could now see how she lived her life.  They found out what she thought, how she spent her days, learned what she knew and “listened” to what she advised.  “At the same time, because it [the epistolary format] requires a grasp of the proper rhetorical forms advocated by classical authors... the letter demonstrates the learning and the savoir-faire of its writer.”  (Franco, Jones and Rosenthal 9)\r\n\r\nI believe that Franco’s letters were largely a public relations exercise.  That is not to say that they were fabrications by any stretch of the imagination.  In my research, I have found no indication that anyone believes that she misrepresented herself.  Familiar Letters is her opportunity to shine and yet paint herself as a conventional and virtuous woman of her class.\r\nBy many people of her time, however, Franco was considered no more than a prostitute, albeit a high paid one, and was viewed with contempt.  In Letter 22, she berated the mother of a young woman for planning to start the girl on the path of a courtesan.  Franco had advised the mother, and in fact had paved the way for her, to send the daughter to the Casa delle Zitelle, a sanctuary for young girls to protect them from the fate of prostitution and keep them eligible for good marriages.  The letter was blunt, but the intent behind the words was compassionate; she was trying to keep another woman from facing the ignominy and uncertainty that Franco lived with.  (Bassanese 779) (Franco, Jones and Rosenthal 37-40)\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/220px-VeronicaFranco.jpg\"><img class=\"alignleft size-thumbnail wp-image-2608\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/220px-VeronicaFranco-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></a>\r\n\r\nBooks written in the familiar letter style often had the names removed.  Franco made some exceptions in her book, the most notable being the salutation to Henry III, King of France in her second letter.   (Bassanese 779)  (Franco, Jones and Rosenthal 24)\r\n\r\nAccording to Johnson and Rosenthal, it appears that Franco’s two books, Terze rime and Familiar Letters were published privately and it was entirely possible that she funded them herself.  As a result, this particular work was probably not widely read beyond Venice upper society.  That does not mean that Franco was unknown as a poet.  In fact, she received a commission to write for an anthology commemorating “men of the Venetian elite, such as the military hero, Estore Martinengo”.  (Rosenthal)  Commissions of that nature were not dispensed by lottery; they were earned.\r\n\r\nAfter her death in 1591, interest in Franco as a person didn’t start to rise again until the early 1700s and “Familiar Letters” wasn’t republished again until 1949.  Since then, scholars and feminists have taken a fresh look at the woman who managed to live dependent upon the whims of the rich, and sometimes capricious, elite while at the same time establishing the “courtesan\'s virtue, reason, wisdom and fairness” as valuable people and citizens in their own right. (Rosenthal)\r\n\r\nFranco’s Familiar Letters are tangible evidence of the life she lived in more ways than one.  Not only do they provide a record of her activities, but they also record the way she navigated the perilous nature of her existence.  Veronica Franco was a beautiful, intelligent and accomplished woman and in the 20th and 21st century, she could have created a career and life for herself that would not be dependent upon someone else’s generosity ~ but not then.\r\nIn the 16th century, Veronica Franco supported her household from the largesse of her patrons.  In other words, without her patrons, she was just a few steps above needing to accommodate anyone who would pay her fee.  Through her actions and the spoken word, Franco was able to raise herself up to same the level of humanity as the men that she socialized with and served.  She managed to make them see her as one of their equals and therefore worthy of the same consideration as an individual as they were.\r\n\r\nThat is where the subtle magic of Familiar Letters lies.  It is evidence of the beginnings of the seeds of feminism.  It wasn’t as exciting and far reaching as the works of Lucretia Marinella or Laura Cereta, but I believe the impact she had on individuals spread like ripples in a pond and helped set the stage for later change and reform.\r\n\r\nI wanted to save Familiar Letters because it is a piece of evidence that provides a glimpse into how human beings can make life better for ourselves in the moment and, at the same time, set the stage for improving life for others in the future.  It shows how an amazing woman managed to change the way men and women in a small group related to each other.\r\n\r\nHowever, as a piece of work, it does not stand well enough by itself.  One needs to know too much background information about Franco, Venice, courtesans and feminism to make this a good offering for a time capsule.  I am sad to say that I withdraw my proposal to include Familiar Letters in the Time Capsule Project.\r\n\r\nWorks Cited\r\n\r\nBassanese, Fiora. \"Veronica Franco.\" Encyclopedia of Italian Literary Studies. New York. Taylor and Francis Group.   2007. Print.\r\n\r\nFranco, Veronica, author. Jones, Ann Rosalind and Rosenthal Margaret F. translators. “Poems and Selected Letters (The Other Voice in Early Modern Europe).” The University of Chicago Press. 1998. Print.\r\n\r\nRosenthal, Margaret. \"Biography: Franco, Veronica.\" Italian Women Writers. The University of Southern California, 2003. Web. 24 Sep 2012. &lt;http://www.lib.uchicago.edu/efts/IWW&gt;','Veronica Franco, Familiar Letters','','inherit','open','open','','2595-revision-5','','','2012-09-24 22:26:15','2012-09-25 04:26:15','',2595,'http://jeanatacc.com/2011/?p=2618',0,'revision','',0),(2619,1,'2012-09-24 22:06:03','2012-09-25 04:06:03','<p align=\"center\"><strong><span style=\"text-decoration: underline\"><!--more-->Titan</span></strong><span style=\"text-decoration: underline\"></span></p>\r\n<p align=\"center\"><strong><span style=\"text-decoration: underline\">Venus of Urbino</span></strong></p>\r\n<p align=\"center\"><strong> </strong></p>\r\nIn Titan’s painting of the <span style=\"text-decoration: underline\">Venus of Urbino</span> reveals a women posing nude. Created in March of (1536-38), it was said to be the \"<span style=\"text-decoration: underline\">First Female reclining nude</span>,” “<span style=\"text-decoration: underline\">painting ever created in Europe</span>.” It was not intended to be picture for sexual desires but more along the lines of a woman sleeping that was unaware of the presence of a visitor peeking in on her. However, in the background kneels a small child and wealthy looking women next to her turned in the opposite direction looking away from <span style=\"text-decoration: underline\">Venus</span> near the window seal as if none of what is happening behind them is taking place. Titan\'s painting shows the natural beauty of the woman form relaxed on a chase with a “<span style=\"text-decoration: underline\">hand full of roses that may have been a symbolism of love and the other gently placed over her pubic region.”</span> However, by many it was extolled for the artist\'s and philosophers of its era. Titan\'s painting was “<span style=\"text-decoration: underline\">never held or viewed as a negative form of art</span>.” <em></em>\r\n\r\nA few major events the shaped life in this era was that when the painting was created it “<span style=\"text-decoration: underline\">influenced a lot of the ancient Greek sculptures that are seen all over Europe mainly in Venice.</span>” In Ancient Greek times the painting was seen as a natural form of the female body being partially undressed and in most cases nude.\r\n\r\nThis painting is typical for its era it started what is now seen today of the ancient Greek statues. “<span style=\"text-decoration: underline\">Venus was a mythical creature</span>” in each painting the “<span style=\"text-decoration: underline\">women were never real but were just a figment of the artist’s imagination</span>” and many artist in this time painted many nude women. No one painting was the same the content was always different many of the paintings would show a women reclining nude or in another standing. The imagination of Titan was very vivid in how he portrayed his work.\r\n\r\nThe work was different in its time a lot of paintings made were those of gods. With Titans painting it was unusual to most forms of art, his images of nude women may have been sought out to be “<span style=\"text-decoration: underline\">something more of a personal or something that had great meaning to him.</span>” Being one of the first mythological nude paintings it was different to the art that occurred in its time. \"<span style=\"text-decoration: underline\">As with no other painter, painting practice and technique in Titian\'s late work have themselves been thermalized and charged with meaning</span>.\"\r\n\r\nThe art was inspirational to many and spread throughout the world. It was said that many artist were drawn to this portrait such as, \"<span style=\"text-decoration: underline\">Mark Twain, who thought it too lascivious, and Manet, who thought it insufficiently so, painting an even more shocking version</span>\". Venus\'s form as she lies upon the couch is viewed by many walks of life and “<span style=\"text-decoration: underline\">The one true viewer gazing upon her is the sole recipient of her beauty; her lust.</span>”\r\n\r\nI personally like Titan’s work in this painting it to me expresses a different form of art. Being able to picture exactly what was to be sought out of the portrait makes it very interesting to the sense that one can almost think, “<span style=\"text-decoration: underline\">What is the meaning he was trying to achieve.”</span> I caught myself wondering exactly what any other person what wonder, why this type of painting? What made him paint something so visual? Was he trying to prove to the world after painting this mythical creature? Maybe it was for beauty or something that would be enticing to him. However, only Titan would be able to answer such question. He was a master of his work; he was one of the main inspirations for Greek art and sculptures throughout Greece. He also influenced many other artists that formed other paintings throughout Venice, Italy and many of them created other forms of the <span style=\"text-decoration: underline\">Venus of Urbino</span> painting for example <span style=\"text-decoration: underline\">Diego Velazquez’s “Venus in a Mirror”</span>. His painting is very vibrant and colorful; to most it may mean nothing but a nude woman on an oil painting however, it is a very meaningful piece of art. To its viewers it can be seen as Venus is looking into the distance at her lover or even a stranger peaking in or maybe even Titan himself but no one really knows.\r\n<h2>The <span style=\"text-decoration: underline\">Venus of Urbino</span> painting can most likely be compared to another painting that was created by Titan many years later. Titan painted the “<span style=\"text-decoration: underline\">the art dealer Jacopo Strada, c. 1566</span>”which portrays a man hold a de-clothed women in hand as if she was a trophy he had won with a pile of money lying at his knees. Mostly all of Titan’s paintings are of nude women from the paintings of “<span style=\"text-decoration: underline\">Nymph and the Shepherd</span>,” to the \"<span style=\"text-decoration: underline\">Late Titian and the Sensuality Painting of</span><span style=\"text-decoration: underline\"> Allegory of Prudence</span>” which was a painting created for more suitable audiences. Titan was once asked, “<span style=\"text-decoration: underline\">why his later works differed so greatly from earlier ones, Titian answered that </span><span style=\"text-decoration: underline\">he gave up trying to match</span><span style=\"text-decoration: underline\">Michelangelo, Raphael</span><span style=\"text-decoration: underline\"> </span><span style=\"text-decoration: underline\">and others in refinement; beauty, aiming to make his mark with a new roughness of handling</span>.”</h2>\r\n<h2>The young Venus of Urbino oil painting was ahead of its time in many ways being as it was in the time of the higher point of the renaissance. Titan’s painting was one of the most magnificent creations he’s ever created in his time alongside of many other portraits he has created in his life time.</h2>\r\nI believe that this type painting would be very vital in the time capsule; it is a piece of history that has been carried on for hundreds of years. In many years to come millions could gaze on this piece of art and learn more about the past; how things would have been maybe even how this form of paint was a natural thing. I believe in keeping things that have significant meaning to the world will make a big impact on those now and in the future. Just like the Pyramids, Stone Hedge, and all other forms of art made by many different civilizations around the world are viewed now and remember since they were first found. The Venus of Urbino painting would be one of the forms of art that should be kept around for those whom maybe interested in art work from the past time. This painting should be added to the time capsule so that it can be influence on the next generation to come.\r\n\r\n&nbsp;\r\n<p align=\"center\"><strong><em><span style=\"text-decoration: underline\">Works Cited Page:</span></em></strong></p>\r\n \"Titian\'s \"Venus of Urbino\"\" Suite101.com. Suzanne Hill, 1 Aug. 2006. Web. 17 Sept. 2012. &lt;http://suite101.com/article/titian_s__venus_of_urbino_-a4047&gt;.\r\n\r\n\"Titian: Venus of Urbino.\" Titans: Venus of Urbino. Art &amp; Critique, 2011. Web. 17 Sept. 2012. &lt;http://artandcritique.com/titian-venus-of-urbino/&gt;.\r\n\r\nArtofthefirebird.com. Julia E. Benson, 26 Feb. 2001. Web. 17 Sept. 2012.\r\n\r\n\"JWJeffery.com.\" <em>Â» Venus of Urbino: Inspiration and Influence.</em> Joshua Jeffery, Mar.-Apr. 2009. Web. 24 Sept. 2012. &lt;http://www.jwjeffery.com/?p=64&gt;.\r\n\r\n\"Famous Paintings Reviewed.\" <em>Famous Paintings: Titian Paintings</em>. Susan Benford, n.d. Web. 24 Sept. 2012. &lt;http://www.themasterpiececards.com/famous-paintings-reviewed/bid/17756/Famous-Paintings-Titian-Paintings&gt;.\r\n\r\nhttp://classconnection.s3.amazonaws.com/960/flashcards/1126960/jpg/venus_of_urbino1327686665046.jpg','Titan\'s Venus of Urbino','','inherit','open','open','','2597-revision-4','','','2012-09-24 22:06:03','2012-09-25 04:06:03','',2597,'http://jeanatacc.com/2011/?p=2619',0,'revision','',0),(2620,64,'2012-09-24 10:54:16','2012-09-24 16:54:16','','Auto Draft','','inherit','open','open','','2403-revision','','','2012-09-24 10:54:16','2012-09-24 16:54:16','',2403,'http://jeanatacc.com/2011/?p=2620',0,'revision','',0),(2622,64,'2012-09-25 16:44:12','2012-09-25 22:44:12','','Pic','http://classicalastrologer.com/pico_d3.jpg','inherit','open','open','','pic','','','2012-09-25 16:44:12','2012-09-25 22:44:12','',2403,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/Pic.rtf',0,'attachment','application/rtf',0),(2623,64,'2012-09-25 16:40:04','2012-09-25 22:40:04','http://classicalastrologer.com/pico_d3.jpg\nWhy was Giovanni Pico Mirandolla’s Oration on the Dignity of Man Monumental?\n1. Name of Work: Oration on the Dignity of man.\n2. Creator: Giovanni Pico della Mirandolla\n3. Date: 1486\nBy: Joseph Avila\nIn this writing, Pico gives praise and full account to prove that human existence and thought have spawned from a creator of divine purpose, he gives light on a \"unity of truth\" for all mankind that gives hierarchical order, an order ”where man is right in the middle of earth” placed there by God. Pico gives complete thanks for being in this position and takes the reader by complete surprise. “Man is the most fortunate of living things, and consequently deserving of all admiration, we were made to be at the center of the world.\"(Fiero) “Pico ties traditional modern divinity purpose with philosophical ideals and rationales. Pico goes on to boldly challenge the church to debate on some 900 theological propositions that challenge the church\" at the young age of 24. A website describing Pico’s Oration “It thoroughly remaps the human landscape to center all attention on human capacity and the human perspective. Pico had a massive intellect and literally studied everything there was to be studied in the university curriculum of the Renaissance; the Oration in part is meant to be a preface to a massive compendium of all the intellectual achievements of humanity—a compendium that never appeared because of his early death.”1\n5. A general discussion of the historical context of its time (what were some of the major\nevents that shaped life at the time the work was created?).\nThe time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life.\n1. Pico\'s work was not typical of this era, which made it more monumental. This work helped inspire a movement that was at the early stages of its life, an era that was in need for intellectual, rational and moral excellence that pushed away from corruption, it was the spawn of the renaissance (or rebirth) in a time of corruption from church officials. Christianity was the law, and Pico went against the law with his writings and stood up to the church, questioned and debated with them.\n2. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\n\n3. The work was received as negative in its time in the Churches\' eyes; ”Pico was persecuted for heresy and was forced to flee Italy.” (Fiero)” ”When the Apology that Pico hastily published provoked Innocent to denounce all nine hundred Conclusions, the audacious young Count left for Paris, but at the pope\'s request he was detained by French authorities and briefly jailed.”(2) Some scholars argue that Pico’s theses were very important during this time, to blend religions. One article writes “Pico’s theses were an important symbol of the renaissance blending Christian and Greek ideas.”(3)\n\n4. People today view him and his writings as an iconic figure in Europe, an example is \"Frances Yates was the first to recognize Pico as a \"Christian magus,\" and to elevate his role in history, saying, \"The profound significance of Pico della Mirandola in the history of Humanity can hardly be overestimated. He it was who first boldly formulated a new position for European man, man as magus using both Magia and Cabala to act upon the world, to control his destiny by science.\" (Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"(4) People today have a much different reaction then when it was originally written, the writings of Pico are held to extreme high acclaim.\n5. My initial reaction was that I was blown away, I have never read something that combines divinity, and spiritual grace with the thought of reason (Greek thought) woven into it, Pico also used other religious doctrines, Pico “Introduced to the Hebrew Kabbala, Pico became the first Christian scholar to use Kabbalistic doctrine in support of Christian theology. In 1486, planning to defend 900 theses he had drawn from diverse Greek, Hebrew, Arabic, and Latin writers, he invited scholars from all of Europe to Rome for a public disputation. For the occasion he composed his celebrated Oratio.”(5) What amazed me most was that Pico also says there is Divine purpose, a destiny but also free will at hand. Pico first starts out by stating \"God is the Father and the Mightiest Architect who has infinite wisdom\". (fiero)Pico states that it is your own decision to rise again to the superior orders whose life is divine, so he is stating that there is free will after biblical reason and purpose that again transcends back to its original higher realm of purpose, which is in a sense a choice from divine purpose.\n6. Pico’s work has a drastic reflection on other artist’, one artist is Raphael Sanzio, who was considered a master painter. Raphael painted a fresco for the Vatican Stanza della Segnatura, Raphael painted the School of Athens, in this painting Raphael immortalizes the company of great philosophers and scientist of history, \" At the center of the composition appear two giants of philosophy, Plato, who is pointing upward of heavenward to indicate that his view of reality is fixed in universal forms, and he is standing directly next to Aristotle who is pointing downward, to the earth, to indicate that universal truth depends on study of the earth.\" The painting clearly separates the two opposing views and draws the line right down the center of the painting, completely separating earth and heavenly views, this has a lot to do with Pico’s Divinity of man, according to Raphael, he is stating that there are two opposing views that have a fine line between them, fate verses free will, this goes against Pico’s ideas which state that they can both be of one “unity of truth” a heavenly divine purpose which can be impeded by your own fee will.\n7. It is hard to say what is most important of this work, I think this whole work is a masterpiece when it is whole, Pico warns the public of divine truth, and propels human thought and rationalization but to not forget that\" it is man\'s unique right to such unbounded admiration.\" that \" man is the most fortunate of living things.\"(fiero)I asked myself why does Pico view man as such fortunate of beings’, why does he hold man on such a high platform in his writings, calling man a “miracle”, after all the corruption and wars, lies and ignorance that constantly surrounds him, when man is capable of so many bad things. There was one theme to my question, Pico’s love for his God and love for man(humankind) to strive for perfection in oneself, to strive for justice and what is right, through rationalization. If we all learn to perfect ourselves as an individual first, then we can become close to perfect as a whole. Man is constantly changing, and has the power to transform, we are so great because we have the power within ourselves to choose to be great. We can change the world one individual at a time. In Pico’s words when God the father, the Mightiest Architect in his infinite hidden wisdom created humans, he created a creature which might comprehend the meaning of so vast an achievement, which might be moved with love and beauty and smitten with awe in its grandeur. He bethought Himself to bringing forth man.\n\nWorks Cited\n\n1. http://www.alcott.net/alcott/home/champions/Pico.html\n2. The Stanford Encyclopedia for Philosophy: http://plato.stanford.edu/entries/pico-della-mirandola/ 6-3-2008\n3. C.F Wallis, Info please Encyclopedia 1965 http://www.infoplease.com/ce6/people/A0838961.html\n4. Francis Yates, Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"\n5. Encyclopedia Britannica http://www.britannica.com/EBchecked/topic/459504/Giovanni-Pico-della-Mirandola-count-di-Concordia','Why Giovanni Pico Mirandolla\'s Oration on the Dignity of Man Monumental','','inherit','open','open','','2403-revision-2','','','2012-09-25 16:40:04','2012-09-25 22:40:04','',2403,'http://jeanatacc.com/2011/?p=2623',0,'revision','',0),(2624,64,'2012-09-25 16:44:53','2012-09-25 22:44:53','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Pic.rtf\">Pic</a>\r\n\r\nhttp://classicalastrologer.com/pico_d3.jpg\r\nWhy was Giovanni Pico Mirandolla’s Oration on the Dignity of Man Monumental?\r\n1. Name of Work: Oration on the Dignity of man.\r\n2. Creator: Giovanni Pico della Mirandolla\r\n3. Date: 1486\r\nBy: Joseph Avila\r\nIn this writing, Pico gives praise and full account to prove that human existence and thought have spawned from a creator of divine purpose, he gives light on a \"unity of truth\" for all mankind that gives hierarchical order, an order ”where man is right in the middle of earth” placed there by God. Pico gives complete thanks for being in this position and takes the reader by complete surprise. “Man is the most fortunate of living things, and consequently deserving of all admiration, we were made to be at the center of the world.\"(Fiero) “Pico ties traditional modern divinity purpose with philosophical ideals and rationales. Pico goes on to boldly challenge the church to debate on some 900 theological propositions that challenge the church\" at the young age of 24. A website describing Pico’s Oration “It thoroughly remaps the human landscape to center all attention on human capacity and the human perspective. Pico had a massive intellect and literally studied everything there was to be studied in the university curriculum of the Renaissance; the Oration in part is meant to be a preface to a massive compendium of all the intellectual achievements of humanity—a compendium that never appeared because of his early death.”1\r\n5. A general discussion of the historical context of its time (what were some of the major\r\nevents that shaped life at the time the work was created?).\r\nThe time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life.\r\n1. Pico\'s work was not typical of this era, which made it more monumental. This work helped inspire a movement that was at the early stages of its life, an era that was in need for intellectual, rational and moral excellence that pushed away from corruption, it was the spawn of the renaissance (or rebirth) in a time of corruption from church officials. Christianity was the law, and Pico went against the law with his writings and stood up to the church, questioned and debated with them.\r\n2. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\r\n\r\n3. The work was received as negative in its time in the Churches\' eyes; ”Pico was persecuted for heresy and was forced to flee Italy.” (Fiero)” ”When the Apology that Pico hastily published provoked Innocent to denounce all nine hundred Conclusions, the audacious young Count left for Paris, but at the pope\'s request he was detained by French authorities and briefly jailed.”(2) Some scholars argue that Pico’s theses were very important during this time, to blend religions. One article writes “Pico’s theses were an important symbol of the renaissance blending Christian and Greek ideas.”(3)\r\n\r\n4. People today view him and his writings as an iconic figure in Europe, an example is \"Frances Yates was the first to recognize Pico as a \"Christian magus,\" and to elevate his role in history, saying, \"The profound significance of Pico della Mirandola in the history of Humanity can hardly be overestimated. He it was who first boldly formulated a new position for European man, man as magus using both Magia and Cabala to act upon the world, to control his destiny by science.\" (Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"(4) People today have a much different reaction then when it was originally written, the writings of Pico are held to extreme high acclaim.\r\n5. My initial reaction was that I was blown away, I have never read something that combines divinity, and spiritual grace with the thought of reason (Greek thought) woven into it, Pico also used other religious doctrines, Pico “Introduced to the Hebrew Kabbala, Pico became the first Christian scholar to use Kabbalistic doctrine in support of Christian theology. In 1486, planning to defend 900 theses he had drawn from diverse Greek, Hebrew, Arabic, and Latin writers, he invited scholars from all of Europe to Rome for a public disputation. For the occasion he composed his celebrated Oratio.”(5) What amazed me most was that Pico also says there is Divine purpose, a destiny but also free will at hand. Pico first starts out by stating \"God is the Father and the Mightiest Architect who has infinite wisdom\". (fiero)Pico states that it is your own decision to rise again to the superior orders whose life is divine, so he is stating that there is free will after biblical reason and purpose that again transcends back to its original higher realm of purpose, which is in a sense a choice from divine purpose.\r\n6. Pico’s work has a drastic reflection on other artist’, one artist is Raphael Sanzio, who was considered a master painter. Raphael painted a fresco for the Vatican Stanza della Segnatura, Raphael painted the School of Athens, in this painting Raphael immortalizes the company of great philosophers and scientist of history, \" At the center of the composition appear two giants of philosophy, Plato, who is pointing upward of heavenward to indicate that his view of reality is fixed in universal forms, and he is standing directly next to Aristotle who is pointing downward, to the earth, to indicate that universal truth depends on study of the earth.\" The painting clearly separates the two opposing views and draws the line right down the center of the painting, completely separating earth and heavenly views, this has a lot to do with Pico’s Divinity of man, according to Raphael, he is stating that there are two opposing views that have a fine line between them, fate verses free will, this goes against Pico’s ideas which state that they can both be of one “unity of truth” a heavenly divine purpose which can be impeded by your own fee will.\r\n7. It is hard to say what is most important of this work, I think this whole work is a masterpiece when it is whole, Pico warns the public of divine truth, and propels human thought and rationalization but to not forget that\" it is man\'s unique right to such unbounded admiration.\" that \" man is the most fortunate of living things.\"(fiero)I asked myself why does Pico view man as such fortunate of beings’, why does he hold man on such a high platform in his writings, calling man a “miracle”, after all the corruption and wars, lies and ignorance that constantly surrounds him, when man is capable of so many bad things. There was one theme to my question, Pico’s love for his God and love for man(humankind) to strive for perfection in oneself, to strive for justice and what is right, through rationalization. If we all learn to perfect ourselves as an individual first, then we can become close to perfect as a whole. Man is constantly changing, and has the power to transform, we are so great because we have the power within ourselves to choose to be great. We can change the world one individual at a time. In Pico’s words when God the father, the Mightiest Architect in his infinite hidden wisdom created humans, he created a creature which might comprehend the meaning of so vast an achievement, which might be moved with love and beauty and smitten with awe in its grandeur. He bethought Himself to bringing forth man.\r\n\r\nWorks Cited\r\n\r\n1. http://www.alcott.net/alcott/home/champions/Pico.html\r\n2. The Stanford Encyclopedia for Philosophy: http://plato.stanford.edu/entries/pico-della-mirandola/ 6-3-2008\r\n3. C.F Wallis, Info please Encyclopedia 1965 http://www.infoplease.com/ce6/people/A0838961.html\r\n4. Francis Yates, Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"\r\n5. Encyclopedia Britannica http://www.britannica.com/EBchecked/topic/459504/Giovanni-Pico-della-Mirandola-count-di-Concordia','Why Giovanni Pico Mirandolla\'s Oration on the Dignity of Man Monumental','','inherit','open','open','','2403-revision-3','','','2012-09-25 16:44:53','2012-09-25 22:44:53','',2403,'http://jeanatacc.com/2011/?p=2624',0,'revision','',0),(2625,64,'2012-09-25 16:46:40','2012-09-25 22:46:40','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Pic.rtf\">Pic</a>\n\nhttp://classicalastrologer.com/pico_d3.jpg\nWhy was Giovanni Pico Mirandolla’s Oration on the Dignity of Man Monumental?\n1. Name of Work: Oration on the Dignity of man.\n2. Creator: Giovanni Pico della Mirandolla\n3. Date: 1486\nBy: Joseph Avila\nIn this writing, Pico gives praise and full account to prove that human existence and thought have spawned from a creator of divine purpose, he gives light on a \"unity of truth\" for all mankind that gives hierarchical order, an order ”where man is right in the middle of earth” placed there by God. Pico gives complete thanks for being in this position and takes the reader by complete surprise. “Man is the most fortunate of living things, and consequently deserving of all admiration, we were made to be at the center of the world.\"(Fiero) “Pico ties traditional modern divinity purpose with philosophical ideals and rationales. Pico goes on to boldly challenge the church to debate on some 900 theological propositions that challenge the church\" at the young age of 24. A website describing Pico’s Oration “It thoroughly remaps the human landscape to center all attention on human capacity and the human perspective. Pico had a massive intellect and literally studied everything there was to be studied in the university curriculum of the Renaissance; the Oration in part is meant to be a preface to a massive compendium of all the intellectual achievements of humanity—a compendium that never appeared because of his early death.”1\n5. A general discussion of the historical context of its time (what were some of the major\nevents that shaped life at the time the work was created?).\nThe time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life.\n1. Pico\'s work was not typical of this era, which made it more monumental. This work helped inspire a movement that was at the early stages of its life, an era that was in need for intellectual, rational and moral excellence that pushed away from corruption, it was the spawn of the renaissance (or rebirth) in a time of corruption from church officials. Christianity was the law, and Pico went against the law with his writings and stood up to the church, questioned and debated with them.\n2. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\n\n3. The work was received as negative in its time in the Churches\' eyes; ”Pico was persecuted for heresy and was forced to flee Italy.” (Fiero)” ”When the Apology that Pico hastily published provoked Innocent to denounce all nine hundred Conclusions, the audacious young Count left for Paris, but at the pope\'s request he was detained by French authorities and briefly jailed.”(2) Some scholars argue that Pico’s theses were very important during this time, to blend religions. One article writes “Pico’s theses were an important symbol of the renaissance blending Christian and Greek ideas.”(3)\n\n4. People today view him and his writings as an iconic figure in Europe, an example is \"Frances Yates was the first to recognize Pico as a \"Christian magus,\" and to elevate his role in history, saying, \"The profound significance of Pico della Mirandola in the history of Humanity can hardly be overestimated. He it was who first boldly formulated a new position for European man, man as magus using both Magia and Cabala to act upon the world, to control his destiny by science.\" (Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"(4) People today have a much different reaction then when it was originally written, the writings of Pico are held to extreme high acclaim.\n5. My initial reaction was that I was blown away, I have never read something that combines divinity, and spiritual grace with the thought of reason (Greek thought) woven into it, Pico also used other religious doctrines, Pico “Introduced to the Hebrew Kabbala, Pico became the first Christian scholar to use Kabbalistic doctrine in support of Christian theology. In 1486, planning to defend 900 theses he had drawn from diverse Greek, Hebrew, Arabic, and Latin writers, he invited scholars from all of Europe to Rome for a public disputation. For the occasion he composed his celebrated Oratio.”(5) What amazed me most was that Pico also says there is Divine purpose, a destiny but also free will at hand. Pico first starts out by stating \"God is the Father and the Mightiest Architect who has infinite wisdom\". (fiero)Pico states that it is your own decision to rise again to the superior orders whose life is divine, so he is stating that there is free will after biblical reason and purpose that again transcends back to its original higher realm of purpose, which is in a sense a choice from divine purpose.\n6. Pico’s work has a drastic reflection on other artist’, one artist is Raphael Sanzio, who was considered a master painter. Raphael painted a fresco for the Vatican Stanza della Segnatura, Raphael painted the School of Athens, in this painting Raphael immortalizes the company of great philosophers and scientist of history, \" At the center of the composition appear two giants of philosophy, Plato, who is pointing upward of heavenward to indicate that his view of reality is fixed in universal forms, and he is standing directly next to Aristotle who is pointing downward, to the earth, to indicate that universal truth depends on study of the earth.\" The painting clearly separates the two opposing views and draws the line right down the center of the painting, completely separating earth and heavenly views, this has a lot to do with Pico’s Divinity of man, according to Raphael, he is stating that there are two opposing views that have a fine line between them, fate verses free will, this goes against Pico’s ideas which state that they can both be of one “unity of truth” a heavenly divine purpose which can be impeded by your own fee will.\n7. It is hard to say what is most important of this work, I think this whole work is a masterpiece when it is whole, Pico warns the public of divine truth, and propels human thought and rationalization but to not forget that\" it is man\'s unique right to such unbounded admiration.\" that \" man is the most fortunate of living things.\"(fiero)I asked myself why does Pico view man as such fortunate of beings’, why does he hold man on such a high platform in his writings, calling man a “miracle”, after all the corruption and wars, lies and ignorance that constantly surrounds him, when man is capable of so many bad things. There was one theme to my question, Pico’s love for his God and love for man(humankind) to strive for perfection in oneself, to strive for justice and what is right, through rationalization. If we all learn to perfect ourselves as an individual first, then we can become close to perfect as a whole. Man is constantly changing, and has the power to transform, we are so great because we have the power within ourselves to choose to be great. We can change the world one individual at a time. In Pico’s words when God the father, the Mightiest Architect in his infinite hidden wisdom created humans, he created a creature which might comprehend the meaning of so vast an achievement, which might be moved with love and beauty and smitten with awe in its grandeur. He bethought Himself to bringing forth man.\n\nWorks Cited\n\n1. http://www.alcott.net/alcott/home/champions/Pico.html\n2. The Stanford Encyclopedia for Philosophy: http://plato.stanford.edu/entries/pico-della-mirandola/ 6-3-2008\n3. C.F Wallis, Info please Encyclopedia 1965 http://www.infoplease.com/ce6/people/A0838961.html\n4. Francis Yates, Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"\n5. Encyclopedia Britannica http://www.britannica.com/EBchecked/topic/459504/Giovanni-Pico-della-Mirandola-count-di-Concordia','Why Giovanni Pico Mirandolla\'s Oration on the Dignity of Man Monumental','','inherit','open','open','','2403-revision-4','','','2012-09-25 16:46:40','2012-09-25 22:46:40','',2403,'http://jeanatacc.com/2011/?p=2625',0,'revision','',0),(2626,64,'2012-09-25 16:49:05','2012-09-25 22:49:05','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Pic.rtf\">Pic</a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Pic.rtf\">Pic</a>\r\n\r\nhttp://classicalastrologer.com/pico_d3.jpg\r\nWhy was Giovanni Pico Mirandolla’s Oration on the Dignity of Man Monumental?\r\n1. Name of Work: Oration on the Dignity of man.\r\n2. Creator: Giovanni Pico della Mirandolla\r\n3. Date: 1486\r\nBy: Joseph Avila\r\nIn this writing, Pico gives praise and full account to prove that human existence and thought have spawned from a creator of divine purpose, he gives light on a \"unity of truth\" for all mankind that gives hierarchical order, an order ”where man is right in the middle of earth” placed there by God. Pico gives complete thanks for being in this position and takes the reader by complete surprise. “Man is the most fortunate of living things, and consequently deserving of all admiration, we were made to be at the center of the world.\"(Fiero) “Pico ties traditional modern divinity purpose with philosophical ideals and rationales. Pico goes on to boldly challenge the church to debate on some 900 theological propositions that challenge the church\" at the young age of 24. A website describing Pico’s Oration “It thoroughly remaps the human landscape to center all attention on human capacity and the human perspective. Pico had a massive intellect and literally studied everything there was to be studied in the university curriculum of the Renaissance; the Oration in part is meant to be a preface to a massive compendium of all the intellectual achievements of humanity—a compendium that never appeared because of his early death.”1\r\n5. A general discussion of the historical context of its time (what were some of the major\r\nevents that shaped life at the time the work was created?).\r\nThe time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life.\r\n1. Pico\'s work was not typical of this era, which made it more monumental. This work helped inspire a movement that was at the early stages of its life, an era that was in need for intellectual, rational and moral excellence that pushed away from corruption, it was the spawn of the renaissance (or rebirth) in a time of corruption from church officials. Christianity was the law, and Pico went against the law with his writings and stood up to the church, questioned and debated with them.\r\n2. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\r\n\r\n3. The work was received as negative in its time in the Churches\' eyes; ”Pico was persecuted for heresy and was forced to flee Italy.” (Fiero)” ”When the Apology that Pico hastily published provoked Innocent to denounce all nine hundred Conclusions, the audacious young Count left for Paris, but at the pope\'s request he was detained by French authorities and briefly jailed.”(2) Some scholars argue that Pico’s theses were very important during this time, to blend religions. One article writes “Pico’s theses were an important symbol of the renaissance blending Christian and Greek ideas.”(3)\r\n\r\n4. People today view him and his writings as an iconic figure in Europe, an example is \"Frances Yates was the first to recognize Pico as a \"Christian magus,\" and to elevate his role in history, saying, \"The profound significance of Pico della Mirandola in the history of Humanity can hardly be overestimated. He it was who first boldly formulated a new position for European man, man as magus using both Magia and Cabala to act upon the world, to control his destiny by science.\" (Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"(4) People today have a much different reaction then when it was originally written, the writings of Pico are held to extreme high acclaim.\r\n5. My initial reaction was that I was blown away, I have never read something that combines divinity, and spiritual grace with the thought of reason (Greek thought) woven into it, Pico also used other religious doctrines, Pico “Introduced to the Hebrew Kabbala, Pico became the first Christian scholar to use Kabbalistic doctrine in support of Christian theology. In 1486, planning to defend 900 theses he had drawn from diverse Greek, Hebrew, Arabic, and Latin writers, he invited scholars from all of Europe to Rome for a public disputation. For the occasion he composed his celebrated Oratio.”(5) What amazed me most was that Pico also says there is Divine purpose, a destiny but also free will at hand. Pico first starts out by stating \"God is the Father and the Mightiest Architect who has infinite wisdom\". (fiero)Pico states that it is your own decision to rise again to the superior orders whose life is divine, so he is stating that there is free will after biblical reason and purpose that again transcends back to its original higher realm of purpose, which is in a sense a choice from divine purpose.\r\n6. Pico’s work has a drastic reflection on other artist’, one artist is Raphael Sanzio, who was considered a master painter. Raphael painted a fresco for the Vatican Stanza della Segnatura, Raphael painted the School of Athens, in this painting Raphael immortalizes the company of great philosophers and scientist of history, \" At the center of the composition appear two giants of philosophy, Plato, who is pointing upward of heavenward to indicate that his view of reality is fixed in universal forms, and he is standing directly next to Aristotle who is pointing downward, to the earth, to indicate that universal truth depends on study of the earth.\" The painting clearly separates the two opposing views and draws the line right down the center of the painting, completely separating earth and heavenly views, this has a lot to do with Pico’s Divinity of man, according to Raphael, he is stating that there are two opposing views that have a fine line between them, fate verses free will, this goes against Pico’s ideas which state that they can both be of one “unity of truth” a heavenly divine purpose which can be impeded by your own fee will.\r\n7. It is hard to say what is most important of this work, I think this whole work is a masterpiece when it is whole, Pico warns the public of divine truth, and propels human thought and rationalization but to not forget that\" it is man\'s unique right to such unbounded admiration.\" that \" man is the most fortunate of living things.\"(fiero)I asked myself why does Pico view man as such fortunate of beings’, why does he hold man on such a high platform in his writings, calling man a “miracle”, after all the corruption and wars, lies and ignorance that constantly surrounds him, when man is capable of so many bad things. There was one theme to my question, Pico’s love for his God and love for man(humankind) to strive for perfection in oneself, to strive for justice and what is right, through rationalization. If we all learn to perfect ourselves as an individual first, then we can become close to perfect as a whole. Man is constantly changing, and has the power to transform, we are so great because we have the power within ourselves to choose to be great. We can change the world one individual at a time. In Pico’s words when God the father, the Mightiest Architect in his infinite hidden wisdom created humans, he created a creature which might comprehend the meaning of so vast an achievement, which might be moved with love and beauty and smitten with awe in its grandeur. He bethought Himself to bringing forth man.\r\n\r\nWorks Cited\r\n\r\n1. http://www.alcott.net/alcott/home/champions/Pico.html\r\n2. The Stanford Encyclopedia for Philosophy: http://plato.stanford.edu/entries/pico-della-mirandola/ 6-3-2008\r\n3. C.F Wallis, Info please Encyclopedia 1965 http://www.infoplease.com/ce6/people/A0838961.html\r\n4. Francis Yates, Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"\r\n5. Encyclopedia Britannica http://www.britannica.com/EBchecked/topic/459504/Giovanni-Pico-della-Mirandola-count-di-Concordia','Why Giovanni Pico Mirandolla\'s Oration on the Dignity of Man Monumental','','inherit','open','open','','2403-revision-5','','','2012-09-25 16:49:05','2012-09-25 22:49:05','',2403,'http://jeanatacc.com/2011/?p=2626',0,'revision','',0),(2627,1,'2012-09-30 12:00:28','2012-09-30 18:00:28','AUSTIN COMMUNITY COLLEGE\n\nTCP – 1 Michelangelo’s Dome of St. Peter’s Basilica\n\nJ.LAUER HUMA 1302-007 #13622\n\nPHILIP ROBINSON\n\n9/24/2012\n\nTime Capsule Project 1\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1.jpg\"><img class=\"size-medium wp-image-2630 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1-208x300.jpg\" alt=\"\" width=\"208\" height=\"300\" /></a>\n<p style=\"text-align: center;\">Image 1</p>\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Michelangelos-St.-Peters-Dome-Google-Earth-Img.2.jpg\"><img class=\"size-medium wp-image-2656 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Michelangelos-St.-Peters-Dome-Google-Earth-Img.2-300x251.jpg\" alt=\"\" width=\"300\" height=\"251\" /></a>\n<p style=\"text-align: center;\">Image 2</p>\nMichelangelo’s work on the Dome at St. Peter’s was a return to the former grandeur of Greek and Roman work brought forth during the renaissance period of classical humanism focusing on Christian and classical subjects. (Fiero)Michelangelo worked on St. Peter’s Basilica from 1546 until his death in 1564 at 88. At the time of the domes commission, wealthy merchants, and people of stature had been commissioning grand estates and pieces of art to decorate them. The church decided to follow in the footsteps of their patrons and commission a jewel for the Basilica in Rome Italy. The trend was quite simple, the bigger and more elaborate the better(ch 16)<a title=\"\" href=\"#_edn1\">[i]</a>. There are many facets of this particular building that are fascinating, however for this paper I will be focusing on the architectural facet.<!--more-->\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/10_IMG_70193.jpg\"><img class=\"size-medium wp-image-2653 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/10_IMG_70193-300x216.jpg\" alt=\"\" width=\"300\" height=\"216\" /></a>\n<p style=\"text-align: center;\">Image 3</p>\n(fiero)Given the backdrop of the plague and its decimating effect on civilization and the lack of qualified artisans to rebuild, maintain, and improve basic societal infrastructure; one can imagine the rarity of skilled individuals capable of designing and building a dome of this magnitude(ch 16-19)<a title=\"\" href=\"#_edn2\">[ii]</a>. While sharing design aspects with the Pantheon of the Greek and Roman period, this renaissance period remodel is much larger. The interior of Michelangelo’s Dome of St. of St Peter’s is absolutely stunning.  There are many artistic features of the interior that add considerable weight reinforcement necessities with regard to structural concerns. (web)<strong><em>“</em></strong><em>The great dome soars above the altar and the baldacchino, sumptuously embellished with mosaic and stucco ornaments. It is supported by four structural piers with a perimeter of 71 m. and a height of 120 m. from the ground to the roof of the lantern. With the four Evangelists that are portrayed in medallions with a diameter of 8.5 m. The gigantic black letters (2 m. high) of this text on a gold background are lit by the light from 16 large windows, typical of Michelangelo\'s style, which punctuate the drum. Above the windows, the dome is divided into sixteen ribs and as many segments, decorated by majestic figures on six ascending concentric levels. Starting at the bottom the figures portray: 1. busts of the 16 popes buried in the basilica; 2. majestic figures of Christ, the Virgin Mary, St. Joseph, St. John the Baptist and various Apostles;3. in the rectangular frames, angels bearing the instruments of Jesus\' Passion; 4. the faces of cherubim and seraphim in circular medallions; 5. angels, the custodians of St. Peter\'s tomb; 6. additional faces of winged angels. </em>\n\n<em>     Many artists worked on these decorations. Clement VIII commissioned Giuseppe Cesari, known as Cavalier d\'Arpino (1568-1640) to carry out the upper part of the decoration. He prepared the cartoons from 1603 to 1612. His drawings were simultaneously transposed into mosaic by the best mosaic artists of the period.(stpetersbasilica.org)<a title=\"\" href=\"#_edn3\"><strong>[iii]</strong></a>” </em>\n\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/tumblr_m5m6njjmfg1qgpvyjo1_12803.jpg\"><img class=\"size-medium wp-image-2654 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/tumblr_m5m6njjmfg1qgpvyjo1_12803-208x300.jpg\" alt=\"\" width=\"208\" height=\"300\" /></a>\n<p style=\"text-align: center;\">Image 3</p>\nWhile other domes have been constructed had been constructed previously in and around Italy, I believe this particular piece stands out due to the sheer enormity and grandiosity of the structural modeling needed to support the dome that now crowns what was the Basilica. (web) “<em>To give a reference point: US Capitol-96ft, The Pantheon-142ft, and St Peter’s-138ft.(pbs.org)<a title=\"\" href=\"#_edn4\"><strong>[iv]</strong></a>”</em> Michelangelo’s St. Peter’s Dome in Rome and Brunelleschi’s Dome in Florence share many structural ideas. However, there are some obvious differences in height, diameter, and internal style. Both artists have drawn from the same basic structural design. Brunelleschi’s dome in Florence was the largest domed structure in Italy at 50 meters in diameter and 90 meters in height; finished post mortum 1473(brunelleschisdome.org)<a title=\"\" href=\"#_edn5\">[v]</a>. Then Michelangelo’s dome at the Basilica in Rome now stands at an impressive 71 meters in diameter and 120 meters in height finished post mortum 1590(stpetersbasilica.org)<a title=\"\" href=\"#_edn6\">[vi]</a>. The largest differences between these two goliaths of humanistic engineering and artistic spirits would be the method of work that went into the project and the beauty that it portrays. While Brunelleschi focused on painting and architectural details, Michelangelo also incorporated ornate sculpture in his expression.\n\n&nbsp;\n\nI think that those inclined to the religious statements of the work received it well. Wu writes, “<em>Michelangelo wanted people\'s first reaction as they walked into the dome is astonishment. People may be overwhelmed to see the amount of light that appears at the top of the dome and will lead and draw the audience\'s attention slowly toward the dome. However, the sensation must only last in an instant, because he didn\'t want people to feel secluded from the massiveness of the dome, rather be a part of the dimension of pure contemplation. (web)</em><a title=\"\" href=\"#_edn7\">[vii]</a>”\n\n<strong> </strong>\n\n<strong>     </strong>In the current view<strong> </strong>I believe that it is thought of as a symbol that might unify the people of the Catholic and Christian faiths. I think a lot of people today respect the amount of work that went into the project and the beauty that it portrays. I also believe that today people are less unified by a symbol of faith such as the Basilica due to the intelligence level of the populace and the availability of information on other faiths. It is also my belief that this and other great works with religious design are meant to inspire awe, respect, power, and control.\n\n<strong> </strong>\n\n<strong>     </strong>Why should Michelangelo’s Dome of St Peter’s be preserved in a time capsule? As an architectural drafting major, the part that I found most meaningful was the marriage of structure and art. It is just as beautiful on the outside as on the inside. The architectural statements of the time were amazing to me. This piece of history serves as an inspiration of faith for some, and a reminder of the past for others. I believe that<strong> </strong>what this piece and others like it are telling future generations is to appreciate the piece of art in front of you, but understand the roots from whence it came. Great achievements can be achieved by man when they focus on the task. Whatever the reason one ultimately decides on, the important piece is to remember.\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n<div>\n\n<hr align=\"left\" size=\"1\" width=\"33%\" />\n\n<div>\n\n<a title=\"\" href=\"#_ednref1\">[i]</a> Fiero, Gloria K. <em>The Humanistic Tradition</em>. Vol 2. Books 3-6. 6<sup>th</sup> ed. New York: McGraw-Hill, 2011. eBook. McGraw-Hill’s Connect. 2011. Web. Fall 2012.\n\n</div>\n<div>\n\n<a title=\"\" href=\"#_ednref2\">[ii]</a> Fiero, Gloria K. <em>The Humanistic Tradition</em>. Vol 2. Books 3-6. 6<sup>th</sup> ed. New York: McGraw-Hill, 2011. eBook. McGraw-Hill’s Connect. 2011. Web. Fall 2012.\n\n</div>\n<div>\n\n<a title=\"\" href=\"#_ednref3\">[iii]</a> Quoted and paraphrased from <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\n\n</div>\n<div>\n\n<a title=\"\" href=\"#_ednref4\">[iv]</a> Quoted from <a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>\n\n</div>\n<div>\n\n<a title=\"\" href=\"#_ednref5\">[v]</a> Paraphrase - <a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>\n\n</div>\n<div>\n\n<a title=\"\" href=\"#_ednref6\">[vi]</a> Quoted - <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\n\n<a title=\"\" href=\"#_edn7\">[vii]</a> Quoted - Helen Wu. \"<em>Honors In Rome” </em><a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\"><em>http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</em></a> Summer 2004, Web. Fall 2012.\n\n&nbsp;\n\n</div>\n<div><strong>Works Cited:</strong></div>\n<div></div>\n<div>Fiero, Gloria K. <em>The Humanistic Tradition</em>. Vol 2. Books 3-6. 6<sup>th</sup>ed. New York: McGraw-Hill, 2011. eBook. McGraw-Hill’s Connect. 2011. Web. Fall 2012.</div>\n<div>\n\nHelen Wu. \"<em>Honors In Rome” </em><a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\"><em>http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</em></a> Summer 2004, Web. Fall 2012.\n\n<a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>   …web, n.p., n.d., Fall 2012\n\n<a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>…web, n.p., n.d., Fall 2012\n\n<a href=\"http://saintpetersbasilica.org/Interior/Dome/Dome.htm\">http://saintpetersbasilica.org/Interior/Dome/Dome.htm</a> ...web n.p., n.d., Fall 2012\n\n<em> </em>\n\nImage 1 <a href=\"http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/\">http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/</a>  …web, n.p., n.d., Fall 2012\n\nImage 2 <a href=\"http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html\">http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html</a>…web, n.p., n.d., Fall 2012\n\nImage 3 <a href=\"http://avoidbuilding.tumblr.com/image/25324803997\">http://avoidbuilding.tumblr.com/image/25324803997</a>…web, n.p., n.d., Fall 2012\n\nImage 4 PC Application Google Earth image...n.p., n.d., fall 2012\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n</div>\n</div>\n&nbsp;','Michelangelo\'s St. Peter\'s Dome','','inherit','open','open','','2393-autosave','','','2012-09-30 12:00:28','2012-09-30 18:00:28','',2393,'http://jeanatacc.com/2011/?p=2627',0,'revision','',0),(2628,61,'2012-09-24 13:52:20','2012-09-24 19:52:20','AUSTIN COMMUNITY COLLEGE\r\n\r\nTCP – 1 Michelangelo’s Dome of St. Peter’s Basilica\r\n\r\nJ.LAUER HUMA 1302-007 #13622\r\n\r\nPHILIP ROBINSON\r\n\r\n9/24/2012\r\n\r\nTime Capsule Project 1\r\n\r\nMichelangelo’s work on the Dome at St. Peter’s was a return to the former grandeur of Greek and Roman work brought forth during the renaissance period of classical humanism focusing on Christian and classical subjects. Michelangelo worked on St. Peter’s Basilica from 1546 until his death in 1564. At the time of the domes commission, wealthy merchants, and people of stature had been commissioning grand estates and pieces of art to decorate them. The church decided to follow in the footsteps of their patrons and commission a jewel for the Basilica. The trend was quite simple, the bigger and more elaborate the better. There are many facets of this particular building that are fascinating, however for this paper I will be focusing on the architectural facet.<!--more-->\r\n\r\nGiven the backdrop of the plague and its decimating effect on civilization and the lack of qualified artisans to rebuild, maintain, and improve basic societal infrastructure; one can imagine the rarity of skilled individuals capable of designing and building a dome of this magnitude . While sharing design aspects with the Pantheon of the Greek and Roman period, this renaissance period remodel is much larger. The interior of Michelangelo’s Dome of St. of St Peter’s is absolutely stunning. There are many artistic features of the interior that add considerable weight reinforcement necessities with regard to structural concerns. “The great dome soars above the altar and the baldacchino, sumptuously embellished with mosaic and stucco ornaments. It is supported by four structural piers with a perimeter of 71 m. and a height of 120 m. from the ground to the roof of the lantern. With the four Evangelists that are portrayed in medallions with a diameter of 8.5 m. The gigantic black letters (2 m. high) of this text on a gold background are lit by the light from 16 large windows, typical of Michelangelo\'s style, which punctuate the drum. Above the windows, the dome is divided into sixteen ribs and as many segments, decorated by majestic figures on six ascending concentric levels. Starting at the bottom the figures portray: 1. busts of the 16 popes buried in the basilica; 2. majestic figures of Christ, the Virgin Mary, St. Joseph, St. John the Baptist and various Apostles;3. in the rectangular frames, angels bearing the instruments of Jesus\' Passion; 4. the faces of cherubim and seraphim in circular medallions; 5. angels, the custodians of St. Peter\'s tomb; 6. additional faces of winged angels.\r\nMany artists worked on these decorations. Clement VIII commissioned Giuseppe Cesari, known as Cavalier d\'Arpino (1568-1640) to carry out the upper part of the decoration. He prepared the cartoons from 1603 to 1612. His drawings were simultaneously transposed into mosaic by the best mosaic artists of the period. ”\r\nWhile other domes have been constructed had been constructed previously in and around Italy, I believe this particular piece stands out due to the sheer enormity and grandiosity of the structural modeling needed to support the dome that now crowns what was the Basilica. “To give a reference point: US Capitol-96ft, The Pantheon-142ft, and St Peter’s-138ft. ” Michelangelo’s St. Peter’s Dome in Rome and Brunelleschi’s Dome in Florence share many structural ideas. However, there are some obvious differences in height, diameter, and internal style. Both artists have drawn from the same basic structural design. Brunelleschi’s dome in Florence was the largest domed structure in Italy at 50 meters in diameter and 90 meters in height; finished post mortem 1473 . Then Michelangelo’s dome at the Basilica in Rome now stands at an impressive 71 meters in diameter and 120 meters in height finished post mortem 1590 . The largest differences between these two goliaths of humanistic engineering and artistic spirits would be the method of work that went into the project and the beauty that it portrays. While Brunelleschi focused on painting and architectural details, Michelangelo also incorporated ornate sculpture in his expression.\r\n\r\nI think that those inclined to the religious statements of the work received it well. “Michelangelo wanted people\'s first reaction as they walked into the dome is astonishment. People may be overwhelmed to see the amount of light that appears at the top of the dome and will lead and draw the audience\'s attention slowly toward the dome. However, the sensation must only last in an instant, because he didn\'t want people to feel secluded from the massiveness of the dome, rather be a part of the dimension of pure contemplation. ”\r\n\r\nIn the current view I believe that it is thought of as a symbol that might unify the people of the Catholic and Christian faiths. I think a lot of people today respect the amount of work that went into the project and the beauty that it portrays. I also believe that today people are less unified by a symbol of faith such as the Basilica due to the intelligence level of the populace and the availability of information on other faiths. It is also my belief that this and other great works with religious design are meant to inspire awe, respect, power, and control.\r\n\r\nWhy should Michelangelo’s Dome of St Peter’s be preserved in a time capsule? As an architectural drafting major, the part that I found most meaningful was the marriage of structure and art. It is just as beautiful on the outside as on the inside. The architectural statements of the time were amazing to me. This piece of history serves as an inspiration of faith for some, and a reminder of the past for others. I believe that what this piece and others like it are telling future generations is to appreciate the piece of art in front of you, but understand the roots from whence it came. Great achievements can be achieved by man when they focus on the task. Whatever the reason one ultimately decides on, the important piece is to remember.','Michelangelo\'s St. Peter\'s Dome','','inherit','open','open','','2393-revision-7','','','2012-09-24 13:52:20','2012-09-24 19:52:20','',2393,'http://jeanatacc.com/2011/?p=2628',0,'revision','',0),(2629,67,'2012-09-25 17:21:42','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2012-09-25 17:21:42','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=2629',0,'post','',0),(2647,61,'2012-09-25 21:32:34','2012-09-26 03:32:34','AUSTIN COMMUNITY COLLEGE\r\n\r\nTCP – 1 Michelangelo’s Dome of St. Peter’s Basilica\r\n\r\nJ.LAUER HUMA 1302-007 #13622\r\n\r\nPHILIP ROBINSON\r\n\r\n9/24/2012\r\n\r\nTime Capsule Project 1\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1.jpg\"><img class=\"alignnone size-medium wp-image-2630\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1-208x300.jpg\" alt=\"\" width=\"208\" height=\"300\" /></a>\r\n\r\nMichelangelo’s work on the Dome at St. Peter’s was a return to the former grandeur of Greek and Roman work brought forth during the renaissance period of classical humanism focusing on Christian and classical subjects. ()Michelangelo worked on St. Peter’s Basilica from 1546 until his death in 1564.(web1) At the time of the domes commission, wealthy merchants, and people of stature had been commissioning grand estates and pieces of art to decorate them. The church decided to follow in the footsteps of their patrons and commission a jewel for the Basilica. The trend was quite simple, the bigger and more elaborate the better. There are many facets of this particular building that are fascinating, however for this paper I will be focusing on the architectural facet.<!--more-->\r\n\r\nGiven the backdrop of the plague and its decimating effect on civilization and the lack of qualified artisans to rebuild, maintain, and improve basic societal infrastructure; one can imagine the rarity of skilled individuals capable of designing and building a dome of this magnitude . While sharing design aspects with the Pantheon of the Greek and Roman period, this renaissance period remodel is much larger. The interior of Michelangelo’s Dome of St. of St Peter’s is absolutely stunning. There are many artistic features of the interior that add considerable weight reinforcement necessities with regard to structural concerns. “The great dome soars above the altar and the baldacchino, sumptuously embellished with mosaic and stucco ornaments. It is supported by four structural piers with a perimeter of 71 m. and a height of 120 m. from the ground to the roof of the lantern. With the four Evangelists that are portrayed in medallions with a diameter of 8.5 m. The gigantic black letters (2 m. high) of this text on a gold background are lit by the light from 16 large windows, typical of Michelangelo\'s style, which punctuate the drum. Above the windows, the dome is divided into sixteen ribs and as many segments, decorated by majestic figures on six ascending concentric levels. Starting at the bottom the figures portray: 1. busts of the 16 popes buried in the basilica; 2. majestic figures of Christ, the Virgin Mary, St. Joseph, St. John the Baptist and various Apostles;3. in the rectangular frames, angels bearing the instruments of Jesus\' Passion; 4. the faces of cherubim and seraphim in circular medallions; 5. angels, the custodians of St. Peter\'s tomb; 6. additional faces of winged angels.\r\nMany artists worked on these decorations. Clement VIII commissioned Giuseppe Cesari, known as Cavalier d\'Arpino (1568-1640) to carry out the upper part of the decoration. He prepared the cartoons from 1603 to 1612. His drawings were simultaneously transposed into mosaic by the best mosaic artists of the period. ”\r\nWhile other domes have been constructed had been constructed previously in and around Italy, I believe this particular piece stands out due to the sheer enormity and grandiosity of the structural modeling needed to support the dome that now crowns what was the Basilica. “To give a reference point: US Capitol-96ft, The Pantheon-142ft, and St Peter’s-138ft. ” Michelangelo’s St. Peter’s Dome in Rome and Brunelleschi’s Dome in Florence share many structural ideas. However, there are some obvious differences in height, diameter, and internal style. Both artists have drawn from the same basic structural design. Brunelleschi’s dome in Florence was the largest domed structure in Italy at 50 meters in diameter and 90 meters in height; finished post mortem 1473 . Then Michelangelo’s dome at the Basilica in Rome now stands at an impressive 71 meters in diameter and 120 meters in height finished post mortem 1590 . The largest differences between these two goliaths of humanistic engineering and artistic spirits would be the method of work that went into the project and the beauty that it portrays. While Brunelleschi focused on painting and architectural details, Michelangelo also incorporated ornate sculpture in his expression.\r\n\r\nI think that those inclined to the religious statements of the work received it well. “Michelangelo wanted people\'s first reaction as they walked into the dome is astonishment. People may be overwhelmed to see the amount of light that appears at the top of the dome and will lead and draw the audience\'s attention slowly toward the dome. However, the sensation must only last in an instant, because he didn\'t want people to feel secluded from the massiveness of the dome, rather be a part of the dimension of pure contemplation. ”\r\n\r\nIn the current view I believe that it is thought of as a symbol that might unify the people of the Catholic and Christian faiths. I think a lot of people today respect the amount of work that went into the project and the beauty that it portrays. I also believe that today people are less unified by a symbol of faith such as the Basilica due to the intelligence level of the populace and the availability of information on other faiths. It is also my belief that this and other great works with religious design are meant to inspire awe, respect, power, and control.\r\n\r\nWhy should Michelangelo’s Dome of St Peter’s be preserved in a time capsule? As an architectural drafting major, the part that I found most meaningful was the marriage of structure and art. It is just as beautiful on the outside as on the inside. The architectural statements of the time were amazing to me. This piece of history serves as an inspiration of faith for some, and a reminder of the past for others. I believe that what this piece and others like it are telling future generations is to appreciate the piece of art in front of you, but understand the roots from whence it came. Great achievements can be achieved by man when they focus on the task. Whatever the reason one ultimately decides on, the important piece is to remember.\r\n\r\n&nbsp;\r\n\r\n[1] Paraphrase from Fiero\r\n\r\n[1] Paraphrase - Fiero\r\n\r\n[web1] Quoted and paraphrased from <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\r\n\r\n[1] Quoted from <a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>\r\n\r\n[1] Paraphrase - <a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>\r\n\r\n[1] Quoted - <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\r\n\r\n[1] Quoted - Helen Wu “<em>Honors In Rome” summer 2004 </em><a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\"><em>http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</em></a><em></em>\r\n\r\n&nbsp;\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong>Works Cited:</strong>\r\n\r\n<a href=\"http://saintpetersbasilica.org/Interior/Dome/Dome.htm\"><em>http://saintpetersbasilica.org/Interior/Dome/Dome.htm</em></a><em>    </em>n.p., n.d., 10 September 2012\r\n\r\n<a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>   …web, n.p., n.d., 23 September 2012\r\n\r\n<a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>…web, n.p., n.d., 23 September 2012\r\n\r\n<a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\">http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</a> Helen Wu “<em>Honors In Rome” summer 2004</em>…web, n.p., n.d., 23 September 201\r\n\r\nImage 1 <a href=\"http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/\">http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/</a>  …web, n.p., n.d., 23 September 2012\r\n\r\nImage 2 <a href=\"http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html\">http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html</a>…web, n.p., n.d., 23 September 2012\r\n\r\nImage 3 <a href=\"http://avoidbuilding.tumblr.com/image/25324803997\">http://avoidbuilding.tumblr.com/image/25324803997</a>…web, n.p., n.d., 23 September 2012','Michelangelo\'s St. Peter\'s Dome','','inherit','open','open','','2393-revision-12','','','2012-09-25 21:32:34','2012-09-26 03:32:34','',2393,'http://jeanatacc.com/2011/?p=2647',0,'revision','',0),(2630,61,'2012-09-25 17:28:13','2012-09-25 23:28:13','','Image 1','','inherit','open','open','','image-1','','','2012-09-25 17:28:13','2012-09-25 23:28:13','',2393,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1.jpg',0,'attachment','image/jpeg',0),(2631,61,'2012-09-25 17:30:25','2012-09-25 23:30:25','','10_IMG_7019','','inherit','open','open','','10_img_7019','','','2012-09-25 17:30:25','2012-09-25 23:30:25','',2393,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/10_IMG_7019.jpg',0,'attachment','image/jpeg',0),(2632,61,'2012-09-25 17:30:57','2012-09-25 23:30:57','','tumblr_m5m6njjmfg1qgpvyjo1_1280','','inherit','open','open','','tumblr_m5m6njjmfg1qgpvyjo1_1280','','','2012-09-25 17:30:57','2012-09-25 23:30:57','',2393,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/tumblr_m5m6njjmfg1qgpvyjo1_1280.jpg',0,'attachment','image/jpeg',0),(2634,61,'2012-09-25 17:34:47','2012-09-25 23:34:47','','10_IMG_7019','','inherit','open','open','','10_img_7019-2','','','2012-09-25 17:34:47','2012-09-25 23:34:47','',2393,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/10_IMG_70191.jpg',0,'attachment','image/jpeg',0),(2635,61,'2012-09-25 17:35:26','2012-09-25 23:35:26','','image 3','','inherit','open','open','','tumblr_m5m6njjmfg1qgpvyjo1_1280-2','','','2012-09-25 17:35:26','2012-09-25 23:35:26','',2393,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/tumblr_m5m6njjmfg1qgpvyjo1_12801.jpg',0,'attachment','image/jpeg',0),(2633,61,'2012-09-25 17:01:22','2012-09-25 23:01:22','AUSTIN COMMUNITY COLLEGE\r\n\r\nTCP – 1 Michelangelo’s Dome of St. Peter’s Basilica\r\n\r\nJ.LAUER HUMA 1302-007 #13622\r\n\r\nPHILIP ROBINSON\r\n\r\n9/24/2012\r\n\r\nTime Capsule Project 1\r\n\r\nMichelangelo’s work on the Dome at St. Peter’s was a return to the former grandeur of Greek and Roman work brought forth during the renaissance period of classical humanism focusing on Christian and classical subjects. Michelangelo worked on St. Peter’s Basilica from 1546 until his death in 1564. At the time of the domes commission, wealthy merchants, and people of stature had been commissioning grand estates and pieces of art to decorate them. The church decided to follow in the footsteps of their patrons and commission a jewel for the Basilica. The trend was quite simple, the bigger and more elaborate the better. There are many facets of this particular building that are fascinating, however for this paper I will be focusing on the architectural facet.<!--more-->\r\n\r\nGiven the backdrop of the plague and its decimating effect on civilization and the lack of qualified artisans to rebuild, maintain, and improve basic societal infrastructure; one can imagine the rarity of skilled individuals capable of designing and building a dome of this magnitude . While sharing design aspects with the Pantheon of the Greek and Roman period, this renaissance period remodel is much larger. The interior of Michelangelo’s Dome of St. of St Peter’s is absolutely stunning. There are many artistic features of the interior that add considerable weight reinforcement necessities with regard to structural concerns. “The great dome soars above the altar and the baldacchino, sumptuously embellished with mosaic and stucco ornaments. It is supported by four structural piers with a perimeter of 71 m. and a height of 120 m. from the ground to the roof of the lantern. With the four Evangelists that are portrayed in medallions with a diameter of 8.5 m. The gigantic black letters (2 m. high) of this text on a gold background are lit by the light from 16 large windows, typical of Michelangelo\'s style, which punctuate the drum. Above the windows, the dome is divided into sixteen ribs and as many segments, decorated by majestic figures on six ascending concentric levels. Starting at the bottom the figures portray: 1. busts of the 16 popes buried in the basilica; 2. majestic figures of Christ, the Virgin Mary, St. Joseph, St. John the Baptist and various Apostles;3. in the rectangular frames, angels bearing the instruments of Jesus\' Passion; 4. the faces of cherubim and seraphim in circular medallions; 5. angels, the custodians of St. Peter\'s tomb; 6. additional faces of winged angels.\r\nMany artists worked on these decorations. Clement VIII commissioned Giuseppe Cesari, known as Cavalier d\'Arpino (1568-1640) to carry out the upper part of the decoration. He prepared the cartoons from 1603 to 1612. His drawings were simultaneously transposed into mosaic by the best mosaic artists of the period. ”\r\nWhile other domes have been constructed had been constructed previously in and around Italy, I believe this particular piece stands out due to the sheer enormity and grandiosity of the structural modeling needed to support the dome that now crowns what was the Basilica. “To give a reference point: US Capitol-96ft, The Pantheon-142ft, and St Peter’s-138ft. ” Michelangelo’s St. Peter’s Dome in Rome and Brunelleschi’s Dome in Florence share many structural ideas. However, there are some obvious differences in height, diameter, and internal style. Both artists have drawn from the same basic structural design. Brunelleschi’s dome in Florence was the largest domed structure in Italy at 50 meters in diameter and 90 meters in height; finished post mortem 1473 . Then Michelangelo’s dome at the Basilica in Rome now stands at an impressive 71 meters in diameter and 120 meters in height finished post mortem 1590 . The largest differences between these two goliaths of humanistic engineering and artistic spirits would be the method of work that went into the project and the beauty that it portrays. While Brunelleschi focused on painting and architectural details, Michelangelo also incorporated ornate sculpture in his expression.\r\n\r\nI think that those inclined to the religious statements of the work received it well. “Michelangelo wanted people\'s first reaction as they walked into the dome is astonishment. People may be overwhelmed to see the amount of light that appears at the top of the dome and will lead and draw the audience\'s attention slowly toward the dome. However, the sensation must only last in an instant, because he didn\'t want people to feel secluded from the massiveness of the dome, rather be a part of the dimension of pure contemplation. ”\r\n\r\nIn the current view I believe that it is thought of as a symbol that might unify the people of the Catholic and Christian faiths. I think a lot of people today respect the amount of work that went into the project and the beauty that it portrays. I also believe that today people are less unified by a symbol of faith such as the Basilica due to the intelligence level of the populace and the availability of information on other faiths. It is also my belief that this and other great works with religious design are meant to inspire awe, respect, power, and control.\r\n\r\nWhy should Michelangelo’s Dome of St Peter’s be preserved in a time capsule? As an architectural drafting major, the part that I found most meaningful was the marriage of structure and art. It is just as beautiful on the outside as on the inside. The architectural statements of the time were amazing to me. This piece of history serves as an inspiration of faith for some, and a reminder of the past for others. I believe that what this piece and others like it are telling future generations is to appreciate the piece of art in front of you, but understand the roots from whence it came. Great achievements can be achieved by man when they focus on the task. Whatever the reason one ultimately decides on, the important piece is to remember.\r\n\r\n&nbsp;\r\n\r\n[1] Paraphrase from Fiero\r\n\r\n[1] Paraphrase - Fiero\r\n\r\n[1] Quoted and paraphrased from <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\r\n\r\n[1] Quoted from <a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>\r\n\r\n[1] Paraphrase - <a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>\r\n\r\n[1] Quoted - <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\r\n\r\n[1] Quoted - Helen Wu “<em>Honors In Rome” summer 2004 </em><a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\"><em>http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</em></a><em></em>\r\n\r\n&nbsp;\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong>Works Cited:</strong>\r\n\r\n<a href=\"http://saintpetersbasilica.org/Interior/Dome/Dome.htm\"><em>http://saintpetersbasilica.org/Interior/Dome/Dome.htm</em></a><em>    </em>n.p., n.d., 10 September 2012\r\n\r\n<a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>   …web, n.p., n.d., 23 September 2012\r\n\r\n<a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>…web, n.p., n.d., 23 September 2012\r\n\r\n<a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\">http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</a> Helen Wu “<em>Honors In Rome” summer 2004</em>…web, n.p., n.d., 23 September 201\r\n\r\nImage 1 <a href=\"http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/\">http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/</a>  …web, n.p., n.d., 23 September 2012\r\n\r\nImage 2 <a href=\"http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html\">http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html</a>…web, n.p., n.d., 23 September 2012\r\n\r\nImage 3 <a href=\"http://avoidbuilding.tumblr.com/image/25324803997\">http://avoidbuilding.tumblr.com/image/25324803997</a>…web, n.p., n.d., 23 September 2012','Michelangelo\'s St. Peter\'s Dome','','inherit','open','open','','2393-revision-8','','','2012-09-25 17:01:22','2012-09-25 23:01:22','',2393,'http://jeanatacc.com/2011/?p=2633',0,'revision','',0),(2637,61,'2012-09-25 17:41:04','2012-09-25 23:41:04','','Image 4','','inherit','open','open','','michelangelos-st-peters-dome-google-earth-img','','','2012-09-25 17:41:04','2012-09-25 23:41:04','',2393,'http://jeanatacc.com/2011/wp-content/uploads/2012/09/Michelangelos-St.-Peters-Dome-Google-Earth-Img..jpg',0,'attachment','image/jpeg',0),(2636,61,'2012-09-25 17:32:44','2012-09-25 23:32:44','AUSTIN COMMUNITY COLLEGE\r\n\r\nTCP – 1 Michelangelo’s Dome of St. Peter’s Basilica\r\n\r\nJ.LAUER HUMA 1302-007 #13622\r\n\r\nPHILIP ROBINSON\r\n\r\n9/24/2012\r\n\r\nTime Capsule Project 1\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1.jpg\">                                                     <img class=\"alignnone size-medium wp-image-2630\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1-208x300.jpg\" alt=\"\" width=\"208\" height=\"300\" /></a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/10_IMG_7019.jpg\">            <img class=\"alignnone  wp-image-2631\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/10_IMG_7019-300x216.jpg\" alt=\"\" width=\"300\" height=\"216\" />            </a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/tumblr_m5m6njjmfg1qgpvyjo1_1280.jpg\"><img class=\"alignnone  wp-image-2632\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/tumblr_m5m6njjmfg1qgpvyjo1_1280-208x300.jpg\" alt=\"\" width=\"208\" height=\"300\" /></a>\r\n\r\nMichelangelo’s work on the Dome at St. Peter’s was a return to the former grandeur of Greek and Roman work brought forth during the renaissance period of classical humanism focusing on Christian and classical subjects. Michelangelo worked on St. Peter’s Basilica from 1546 until his death in 1564. At the time of the domes commission, wealthy merchants, and people of stature had been commissioning grand estates and pieces of art to decorate them. The church decided to follow in the footsteps of their patrons and commission a jewel for the Basilica. The trend was quite simple, the bigger and more elaborate the better. There are many facets of this particular building that are fascinating, however for this paper I will be focusing on the architectural facet.<!--more-->\r\n\r\nGiven the backdrop of the plague and its decimating effect on civilization and the lack of qualified artisans to rebuild, maintain, and improve basic societal infrastructure; one can imagine the rarity of skilled individuals capable of designing and building a dome of this magnitude . While sharing design aspects with the Pantheon of the Greek and Roman period, this renaissance period remodel is much larger. The interior of Michelangelo’s Dome of St. of St Peter’s is absolutely stunning. There are many artistic features of the interior that add considerable weight reinforcement necessities with regard to structural concerns. “The great dome soars above the altar and the baldacchino, sumptuously embellished with mosaic and stucco ornaments. It is supported by four structural piers with a perimeter of 71 m. and a height of 120 m. from the ground to the roof of the lantern. With the four Evangelists that are portrayed in medallions with a diameter of 8.5 m. The gigantic black letters (2 m. high) of this text on a gold background are lit by the light from 16 large windows, typical of Michelangelo\'s style, which punctuate the drum. Above the windows, the dome is divided into sixteen ribs and as many segments, decorated by majestic figures on six ascending concentric levels. Starting at the bottom the figures portray: 1. busts of the 16 popes buried in the basilica; 2. majestic figures of Christ, the Virgin Mary, St. Joseph, St. John the Baptist and various Apostles;3. in the rectangular frames, angels bearing the instruments of Jesus\' Passion; 4. the faces of cherubim and seraphim in circular medallions; 5. angels, the custodians of St. Peter\'s tomb; 6. additional faces of winged angels.\r\nMany artists worked on these decorations. Clement VIII commissioned Giuseppe Cesari, known as Cavalier d\'Arpino (1568-1640) to carry out the upper part of the decoration. He prepared the cartoons from 1603 to 1612. His drawings were simultaneously transposed into mosaic by the best mosaic artists of the period. ”\r\nWhile other domes have been constructed had been constructed previously in and around Italy, I believe this particular piece stands out due to the sheer enormity and grandiosity of the structural modeling needed to support the dome that now crowns what was the Basilica. “To give a reference point: US Capitol-96ft, The Pantheon-142ft, and St Peter’s-138ft. ” Michelangelo’s St. Peter’s Dome in Rome and Brunelleschi’s Dome in Florence share many structural ideas. However, there are some obvious differences in height, diameter, and internal style. Both artists have drawn from the same basic structural design. Brunelleschi’s dome in Florence was the largest domed structure in Italy at 50 meters in diameter and 90 meters in height; finished post mortem 1473 . Then Michelangelo’s dome at the Basilica in Rome now stands at an impressive 71 meters in diameter and 120 meters in height finished post mortem 1590 . The largest differences between these two goliaths of humanistic engineering and artistic spirits would be the method of work that went into the project and the beauty that it portrays. While Brunelleschi focused on painting and architectural details, Michelangelo also incorporated ornate sculpture in his expression.\r\n\r\nI think that those inclined to the religious statements of the work received it well. “Michelangelo wanted people\'s first reaction as they walked into the dome is astonishment. People may be overwhelmed to see the amount of light that appears at the top of the dome and will lead and draw the audience\'s attention slowly toward the dome. However, the sensation must only last in an instant, because he didn\'t want people to feel secluded from the massiveness of the dome, rather be a part of the dimension of pure contemplation. ”\r\n\r\nIn the current view I believe that it is thought of as a symbol that might unify the people of the Catholic and Christian faiths. I think a lot of people today respect the amount of work that went into the project and the beauty that it portrays. I also believe that today people are less unified by a symbol of faith such as the Basilica due to the intelligence level of the populace and the availability of information on other faiths. It is also my belief that this and other great works with religious design are meant to inspire awe, respect, power, and control.\r\n\r\nWhy should Michelangelo’s Dome of St Peter’s be preserved in a time capsule? As an architectural drafting major, the part that I found most meaningful was the marriage of structure and art. It is just as beautiful on the outside as on the inside. The architectural statements of the time were amazing to me. This piece of history serves as an inspiration of faith for some, and a reminder of the past for others. I believe that what this piece and others like it are telling future generations is to appreciate the piece of art in front of you, but understand the roots from whence it came. Great achievements can be achieved by man when they focus on the task. Whatever the reason one ultimately decides on, the important piece is to remember.\r\n\r\n&nbsp;\r\n\r\n[1] Paraphrase from Fiero\r\n\r\n[1] Paraphrase - Fiero\r\n\r\n[1] Quoted and paraphrased from <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\r\n\r\n[1] Quoted from <a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>\r\n\r\n[1] Paraphrase - <a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>\r\n\r\n[1] Quoted - <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\r\n\r\n[1] Quoted - Helen Wu “<em>Honors In Rome” summer 2004 </em><a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\"><em>http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</em></a><em></em>\r\n\r\n&nbsp;\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong> </strong>\r\n\r\n<strong>Works Cited:</strong>\r\n\r\n<a href=\"http://saintpetersbasilica.org/Interior/Dome/Dome.htm\"><em>http://saintpetersbasilica.org/Interior/Dome/Dome.htm</em></a><em>    </em>n.p., n.d., 10 September 2012\r\n\r\n<a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>   …web, n.p., n.d., 23 September 2012\r\n\r\n<a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>…web, n.p., n.d., 23 September 2012\r\n\r\n<a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\">http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</a> Helen Wu “<em>Honors In Rome” summer 2004</em>…web, n.p., n.d., 23 September 201\r\n\r\nImage 1 <a href=\"http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/\">http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/</a>  …web, n.p., n.d., 23 September 2012\r\n\r\nImage 2 <a href=\"http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html\">http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html</a>…web, n.p., n.d., 23 September 2012\r\n\r\nImage 3 <a href=\"http://avoidbuilding.tumblr.com/image/25324803997\">http://avoidbuilding.tumblr.com/image/25324803997</a>…web, n.p., n.d., 23 September 2012','Michelangelo\'s St. Peter\'s Dome','','inherit','open','open','','2393-revision-9','','','2012-09-25 17:32:44','2012-09-25 23:32:44','',2393,'http://jeanatacc.com/2011/?p=2636',0,'revision','',0),(2638,61,'2012-09-25 17:37:16','2012-09-25 23:37:16','AUSTIN COMMUNITY COLLEGE\r\n\r\nTCP – 1 Michelangelo’s Dome of St. Peter’s Basilica\r\n\r\nJ.LAUER HUMA 1302-007 #13622\r\n\r\nPHILIP ROBINSON\r\n\r\n9/24/2012\r\n\r\nTime Capsule Project 1\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1.jpg\"><img class=\"alignnone size-medium wp-image-2630\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Image-1-208x300.jpg\" alt=\"\" width=\"208\" height=\"300\" /></a>\r\n\r\nMichelangelo’s work on the Dome at St. Peter’s was a return to the former grandeur of Greek and Roman work brought forth during the renaissance period of classical humanism focusing on Christian and classical subjects. Michelangelo worked on St. Peter’s Basilica from 1546 until his death in 1564. At the time of the domes commission, wealthy merchants, and people of stature had been commissioning grand estates and pieces of art to decorate them. The church decided to follow in the footsteps of their patrons and commission a jewel for the Basilica. The trend was quite simple, the bigger and more elaborate the better. There are many facets of this particular building that are fascinating, however for this paper I will be focusing on the architectural facet.<!--more-->\r\n\r\nGiven the backdrop of the plague and its decimating effect on civilization and the lack of qualified artisans to rebuild, maintain, and improve basic societal infrastructure; one can imagine the rarity of skilled individuals capable of designing and building a dome of this magnitude . While sharing design aspects with the Pantheon of the Greek and Roman period, this renaissance period remodel is much larger. The interior of Michelangelo’s Dome of St. of St Peter’s is absolutely stunning. There are many artistic features of the interior that add considerable weight reinforcement necessities with regard to structural concerns. “The great dome soars above the altar and the baldacchino, sumptuously embellished with mosaic and stucco ornaments. It is supported by four structural piers with a perimeter of 71 m. and a height of 120 m. from the ground to the roof of the lantern. With the four Evangelists that are portrayed in medallions with a diameter of 8.5 m. The gigantic black letters (2 m. high) of this text on a gold background are lit by the light from 16 large windows, typical of Michelangelo\'s style, which punctuate the drum. Above the windows, the dome is divided into sixteen ribs and as many segments, decorated by majestic figures on six ascending concentric levels. Starting at the bottom the figures portray: 1. busts of the 16 popes buried in the basilica; 2. majestic figures of Christ, the Virgin Mary, St. Joseph, St. John the Baptist and various Apostles;3. in the rectangular frames, angels bearing the instruments of Jesus\' Passion; 4. the faces of cherubim and seraphim in circular medallions; 5. angels, the custodians of St. Peter\'s tomb; 6. additional faces of winged angels.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/10_IMG_70191.jpg\"><img class=\"alignnone size-medium wp-image-2634\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/10_IMG_70191-300x216.jpg\" alt=\"\" width=\"300\" height=\"216\" /></a>\r\nMany artists worked on these decorations. Clement VIII commissioned Giuseppe Cesari, known as Cavalier d\'Arpino (1568-1640) to carry out the upper part of the decoration. He prepared the cartoons from 1603 to 1612. His drawings were simultaneously transposed into mosaic by the best mosaic artists of the period. ”\r\nWhile other domes have been constructed had been constructed previously in and around Italy, I believe this particular piece stands out due to the sheer enormity and grandiosity of the structural modeling needed to support the dome that now crowns what was the Basilica. “To give a reference point: US Capitol-96ft, The Pantheon-142ft, and St Peter’s-138ft. ” Michelangelo’s St. Peter’s Dome in Rome and Brunelleschi’s Dome in Florence share many structural ideas. However, there are some obvious differences in height, diameter, and internal style. Both artists have drawn from the same basic structural design. Brunelleschi’s dome in Florence was the largest domed structure in Italy at 50 meters in diameter and 90 meters in height; finished post mortem 1473 . Then Michelangelo’s dome at the Basilica in Rome now stands at an impressive 71 meters in diameter and 120 meters in height finished post mortem 1590 . The largest differences between these two goliaths of humanistic engineering and artistic spirits would be the method of work that went into the project and the beauty that it portrays. While Brunelleschi focused on painting and architectural details, Michelangelo also incorporated ornate sculpture in his expression.\r\n\r\n<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/tumblr_m5m6njjmfg1qgpvyjo1_12801.jpg\"><img class=\"alignnone size-medium wp-image-2635\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/tumblr_m5m6njjmfg1qgpvyjo1_12801-208x300.jpg\" alt=\"\" width=\"208\" height=\"300\" /></a>\r\n\r\nI think that those inclined to the religious statements of the work received it well. “Michelangelo wanted people\'s first reaction as they walked into the dome is astonishment. People may be overwhelmed to see the amount of light that appears at the top of the dome and will lead and draw the audience\'s attention slowly toward the dome. However, the sensation must only last in an instant, because he didn\'t want people to feel secluded from the massiveness of the dome, rather be a part of the dimension of pure contemplation. ”\r\n\r\nIn the current view I believe that it is thought of as a symbol that might unify the people of the Catholic and Christian faiths. I think a lot of people today respect the amount of work that went into the project and the beauty that it portrays. I also believe that today people are less unified by a symbol of faith such as the Basilica due to the intelligence level of the populace and the availability of information on other faiths. It is also my belief that this and other great works with religious design are meant to inspire awe, respect, power, and control.\r\n\r\nWhy should Michelangelo’s Dome of St Peter’s be preserved in a time capsule? As an architectural drafting major, the part that I found most meaningful was the marriage of structure and art. It is just as beautiful on the outside as on the inside. The architectural statements of the time were amazing to me. This piece of history serves as an inspiration of faith for some, and a reminder of the past for others. I believe that what this piece and others like it are telling future generations is to appreciate the piece of art in front of you, but understand the roots from whence it came. Great achievements can be achieved by man when they focus on the task. Whatever the reason one ultimately decides on, the important piece is to remember.\r\n\r\n&nbsp;\r\n\r\n[1] Paraphrase from Fiero\r\n\r\n[1] Paraphrase - Fiero\r\n\r\n[1] Quoted and paraphrased from <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\r\n\r\n[1] Quoted from <a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>\r\n\r\n[1] Paraphrase - <a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>\r\n\r\n[1] Quoted - <a href=\"http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome\">http://saintpetersbasilica.org/Docs/Basilica-Square3.htm#Dome</a>\r\n\r\n[1] Quoted - Helen Wu “<em>Honors In Rome” summer 2004 </em><a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\"><em>http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</em></a><em></em>\r\n<strong> </strong>\r\n\r\n<strong>Works Cited:</strong>\r\n\r\n<a href=\"http://saintpetersbasilica.org/Interior/Dome/Dome.htm\"><em>http://saintpetersbasilica.org/Interior/Dome/Dome.htm</em></a><em>    </em>n.p., n.d., 10 September 2012\r\n\r\n<a href=\"http://www.brunelleschisdome.com/\">http://www.brunelleschisdome.com/</a>   …web, n.p., n.d., 23 September 2012\r\n\r\n<a href=\"http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html\">http://www.pbs.org/wgbh/buildingbig/wonder/structure/st_peters_basilica.html</a>…web, n.p., n.d., 23 September 2012\r\n\r\n<a href=\"http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html\">http://honorsaharchive.blogspot.com/2004/10/michelangelos-contributions-to-saint.html</a> Helen Wu “<em>Honors In Rome” summer 2004</em>…web, n.p., n.d., 23 September 201\r\n\r\nImage 1 <a href=\"http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/\">http://www.flickr.com/photos/farbspiel/5053183077/in/photostream/lightbox/</a>  …web, n.p., n.d., 23 September 2012\r\n\r\nImage 2 <a href=\"http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html\">http://theridoureport.blogspot.com/2011/04/wood-model-of-dome-and-drum-for-saint.html</a>…web, n.p., n.d., 23 September 2012\r\n\r\nImage 3 <a href=\"http://avoidbuilding.tumblr.com/image/25324803997\">http://avoidbuilding.tumblr.com/image/25324803997</a>…web, n.p., n.d., 23 September 2012','Michelangelo\'s St. Peter\'s Dome','','inherit','open','open','','2393-revision-10','','','2012-09-25 17:37:16','2012-09-25 23:37:16','',2393,'http://jeanatacc.com/2011/?p=2638',0,'revision','',0),(2640,1,'2012-09-25 16:49:29','2012-09-25 22:49:29','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Pic.rtf\">Pic</a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2012/09/Pic.rtf\">Pic</a>\r\n\r\nhttp://classicalastrologer.com/pico_d3.jpg\r\nWhy was Giovanni Pico Mirandolla’s Oration on the Dignity of Man Monumental?\r\n1. Name of Work: Oration on the Dignity of man.\r\n2. Creator: Giovanni Pico della Mirandolla\r\n3. Date: 1486\r\nBy: Joseph Avila\r\nIn this writing, Pico gives praise and full account to prove that human existence and thought have spawned from a creator of divine purpose, he gives light on a \"unity of truth\" for all mankind that gives hierarchical order, an order ”where man is right in the middle of earth” placed there by God. Pico gives complete thanks for being in this position and takes the reader by complete surprise. “Man is the most fortunate of living things, and consequently deserving of all admiration, we were made to be at the center of the world.\"(Fiero) “Pico ties traditional modern divinity purpose with philosophical ideals and rationales. Pico goes on to boldly challenge the church to debate on some 900 theological propositions that challenge the church\" at the young age of 24. A website describing Pico’s Oration “It thoroughly remaps the human landscape to center all attention on human capacity and the human perspective. Pico had a massive intellect and literally studied everything there was to be studied in the university curriculum of the Renaissance; the Oration in part is meant to be a preface to a massive compendium of all the intellectual achievements of humanity—a compendium that never appeared because of his early death.”1\r\n5. A general discussion of the historical context of its time (what were some of the major\r\nevents that shaped life at the time the work was created?).\r\nThe time frame that this was published could not have been more precise or more perfect of a time to introduce these writings to the world, these writings at this time helped create a movement, a movement that inspired a nation to stand up for what they believe in, and strive for excellence, and elevate mankind as a whole through individuality, this was a time when the Roman Catholic Church was branded with scandals and filled with conspiracies and inundated with corruption, Pico didn’t just give enlightenment on divine purpose but he added moral justice and rationalization which he said was \"heavenly\", he goes on to describe the individuals purpose as only \" a little lower than the angels.\" Pico lifted the world in an ethical and spiritual and divine way that gave the world a purpose, and pushed the world to strive for \"perfectibility of the individual,\" he pushed man to find their own destiny in the hierarchical order of life.\r\n1. Pico\'s work was not typical of this era, which made it more monumental. This work helped inspire a movement that was at the early stages of its life, an era that was in need for intellectual, rational and moral excellence that pushed away from corruption, it was the spawn of the renaissance (or rebirth) in a time of corruption from church officials. Christianity was the law, and Pico went against the law with his writings and stood up to the church, questioned and debated with them.\r\n2. This piece definitely stands out because Pico was like a light in the middle of darkness; he was giving people the truth, in a world of lies. He was leading the world on how to be one with God, and how to gain \"spiritual intelligence\" Pico states \"It is not freedom from the body which makes an angel, but its spiritual intelligence which makes an angel.\"(Fiero) Pico’s bold statements shock the world, but in a good way, he is saying we as humans not just have a divine purpose to fulfill but we as humans have the opportunity to become divine ourselves, only high priest had divine purpose at that time. Pico is not just undermining the church’s authority and the rule of the high priest, but he is saying all humans are divine, or have the abilities through there own decisions to become divine, he states “It will be in your power to descend to the lower, brutish forms of life, or you will be able through your own decisions to rise again to the superior orders whose life is divine.”(Fiero) “If rational, he will reveal himself as a heavenly being, if intellectual, he will be an angel and the son of God.” “ man who deserts the divine law becomes a brute” (Fiero) Pico warns people not to be \" a slave to your senses and to be dedicated to your stomach, but to be rational thus heavenly.\"(Fiero)\r\n\r\n3. The work was received as negative in its time in the Churches\' eyes; ”Pico was persecuted for heresy and was forced to flee Italy.” (Fiero)” ”When the Apology that Pico hastily published provoked Innocent to denounce all nine hundred Conclusions, the audacious young Count left for Paris, but at the pope\'s request he was detained by French authorities and briefly jailed.”(2) Some scholars argue that Pico’s theses were very important during this time, to blend religions. One article writes “Pico’s theses were an important symbol of the renaissance blending Christian and Greek ideas.”(3)\r\n\r\n4. People today view him and his writings as an iconic figure in Europe, an example is \"Frances Yates was the first to recognize Pico as a \"Christian magus,\" and to elevate his role in history, saying, \"The profound significance of Pico della Mirandola in the history of Humanity can hardly be overestimated. He it was who first boldly formulated a new position for European man, man as magus using both Magia and Cabala to act upon the world, to control his destiny by science.\" (Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"(4) People today have a much different reaction then when it was originally written, the writings of Pico are held to extreme high acclaim.\r\n5. My initial reaction was that I was blown away, I have never read something that combines divinity, and spiritual grace with the thought of reason (Greek thought) woven into it, Pico also used other religious doctrines, Pico “Introduced to the Hebrew Kabbala, Pico became the first Christian scholar to use Kabbalistic doctrine in support of Christian theology. In 1486, planning to defend 900 theses he had drawn from diverse Greek, Hebrew, Arabic, and Latin writers, he invited scholars from all of Europe to Rome for a public disputation. For the occasion he composed his celebrated Oratio.”(5) What amazed me most was that Pico also says there is Divine purpose, a destiny but also free will at hand. Pico first starts out by stating \"God is the Father and the Mightiest Architect who has infinite wisdom\". (fiero)Pico states that it is your own decision to rise again to the superior orders whose life is divine, so he is stating that there is free will after biblical reason and purpose that again transcends back to its original higher realm of purpose, which is in a sense a choice from divine purpose.\r\n6. Pico’s work has a drastic reflection on other artist’, one artist is Raphael Sanzio, who was considered a master painter. Raphael painted a fresco for the Vatican Stanza della Segnatura, Raphael painted the School of Athens, in this painting Raphael immortalizes the company of great philosophers and scientist of history, \" At the center of the composition appear two giants of philosophy, Plato, who is pointing upward of heavenward to indicate that his view of reality is fixed in universal forms, and he is standing directly next to Aristotle who is pointing downward, to the earth, to indicate that universal truth depends on study of the earth.\" The painting clearly separates the two opposing views and draws the line right down the center of the painting, completely separating earth and heavenly views, this has a lot to do with Pico’s Divinity of man, according to Raphael, he is stating that there are two opposing views that have a fine line between them, fate verses free will, this goes against Pico’s ideas which state that they can both be of one “unity of truth” a heavenly divine purpose which can be impeded by your own fee will.\r\n7. It is hard to say what is most important of this work, I think this whole work is a masterpiece when it is whole, Pico warns the public of divine truth, and propels human thought and rationalization but to not forget that\" it is man\'s unique right to such unbounded admiration.\" that \" man is the most fortunate of living things.\"(fiero)I asked myself why does Pico view man as such fortunate of beings’, why does he hold man on such a high platform in his writings, calling man a “miracle”, after all the corruption and wars, lies and ignorance that constantly surrounds him, when man is capable of so many bad things. There was one theme to my question, Pico’s love for his God and love for man(humankind) to strive for perfection in oneself, to strive for justice and what is right, through rationalization. If we all learn to perfect ourselves as an individual first, then we can become close to perfect as a whole. Man is constantly changing, and has the power to transform, we are so great because we have the power within ourselves to choose to be great. We can change the world one individual at a time. In Pico’s words when God the father, the Mightiest Architect in his infinite hidden wisdom created humans, he created a creature which might comprehend the meaning of so vast an achievement, which might be moved with love and beauty and smitten with awe in its grandeur. He bethought Himself to bringing forth man.\r\n\r\nWorks Cited\r\n\r\n1. http://www.alcott.net/alcott/home/champions/Pico.html\r\n2. The Stanford Encyclopedia for Philosophy: http://plato.stanford.edu/entries/pico-della-mirandola/ 6-3-2008\r\n3. C.F Wallis, Info please Encyclopedia 1965 http://www.infoplease.com/ce6/people/A0838961.html\r\n4. Francis Yates, Giordano Bruno and the Hermetic Tradition, Chicago and London: University of Chicago Press, 1964, 116.\"\r\n5. Encyclopedia Britannica http://www.britannica.com/EBchecked/topic/459504/Giovanni-Pico-della-Mirandola-count-di-Concordia','Why Giovanni Pico Mirandolla\'s Oration on the Dignity of Man Monumental','','inherit','open','open','','2403-revision-6','','','2012-09-25 16:49:29','2012-09-25 22:49:29','',2403,'http://jeanatacc.com/2011/?p=2640',0,'revision','',0),