Arcadia Discussion Zone

this one

Wayward, that probably is the same place, that collage is from an RLC researcher.

VENUS AND ADONIS

Vilia miretur vulgus : mihi flauus Apollo
Pocula Castalia plena ministret aqua.
LONDON

Imprinted by Richard Field, and are to be sold at
the signe of the white Greyhound in
Paules Church-yard.
1593.

"Shakespeare dedicated Venus and Adonis to the Earl of Southhampton to which many scholars believe he began a long friendship. He followed up this effort with The Rape of Lucrece a year later again with a dedicatory letter to Southampton. The second dedication though seemed to strike a far more personal connection between poet and patron and is quite unique when compared to similar dedications, indicating the progression of a close friendship. It is also believed that Shakespeare rode out the plague at Southhampton's estate Tichfield where he wrote a large share of his Sonnets and penned Love's Labours Lost,. Among all of the plays Love's Labours Lost is the work most closely associated with the Sonnets, containing several similar poems and the character of Rosaline is a very close match to the Dark Lady of the Sonnets. Venus and Adonis is based on the myth of the same name that was found the anthology Metamorphesies by Ovid, one of Shakespeare's favorite ancient authors. The story told of the Goddess of Love, represented as an older, experienced woman, pursuing a bashful, virginal youth who refuses her advances due to his inexperience. This overtly erotic poem became the Lady Chatterly's Lover of its day and proved to be extremely popular among the younger set, while his next poem The Rape of Lucrece was often praised by more refined tastes. Both poems were extremely popular in their time and saw several reprints in Shakespeare's lifetime. They only lost popularity in later times as the form of literature also faded. Interestingly enough, both of the long poems as well the rest of Shakespeare's other non dramatic poetry carry well when presented as performance pieces. "

If Shakespeare stayed at Tichfield then the Earl of Southhampton would have known for sure who Shakespeare really was! The characters in the painting are in classical garb - interesting.

Thank you for the beautiful de la Tour of MM, L.

Renne, do you know where the photo from the collage with the Magdalene of de la Tour was taken?

You tell me Wayward - please. It was posted by a European artist,

I can`t recall which one.

Annapolis Basin!

Ya know it does have that look

Hi Lov,
The photo you posted seems to be looking out the Digby Gut from the south east shore of Annapolis Basin. On the north shore at Port Royal are the large rocks pictured in the Collage, and looking southeast towards Digby is the large hills.
In the photo you posted, Digby is under the pine branches to the left.

I gotcha Incredible Spotting Bill
The original French settlement at Port Royal, known as the Habitation at Port-Royal, was settled in 1605 by François Gravé Du Pont, Samuel de Champlain, with and for Pierre Dugua, Sieur de Mons. This site is approximately 10 km (6.2 mi) west of present-day Annapolis Royal at the mouth of the Annapolis River on the Annapolis Basin. The first settlement was abandoned after being destroyed by English attackers in 1613.

Scottish settlers, under the auspices of Sir William Alexander, established their settlement, known as Charlesfort in 1629 at the mouth of the Annapolis River (present site of Annapolis Royal). The settlement was abandoned to the French under the terms of the Treaty of Saint-Germain-en-Laye (1632). A second French settlement replaced the Scottish Charlesfort at present-day Annapolis Royal.[2] It was also called Port-Royal and it developed into the capital of the French colony of Acadia. Port-Royal under the French soon became self sufficient and grew modestly for nearly a century, though it was subject to frequent attacks and capture by British military forces or those of its New England colonists, only to be restored each time to French control by subsequent recapture or treaty stipulations. Acadia remained in French hands throughout most of the 17th century.


And you KNOW how much I love the connection of Magdalene with the Acadians
It seems I am not the ONLY one who sees that connection either right Bill

ya know Bill one has to ask De La Tour who worked for the Duchy of Lorraine

what was he saying with Magdalene scrying and with whose skull is she holding

her hands are in special position in prayer



The Cross of Lorraine is on the rooftops of the St Louis New Orleans Cathedral

home of the Acadians of Annapolis Basin after the Great Expulsion

Maria Maddalena e il lago di Bolsena....
(foto by Osvaldo Carigi)
Osvaldo is from Roma, Italia.

In this cathedral, Gaudí used a new method for giving colour to the stained-glass windows, consisting of superimposing three glass sections in the primary colors (yellow, blue and red). His intention was to test the technique before implementing in the Sagrada Familia.
He also restored the rose windows and stained-glass windows that had been walled over.




"Every year on the day of Sant Martí (November 11th), one can see an awe-inspiring natural light show inside Palma’s Cathedral. Shortly after 8:oo A.M., the morning sun enters through the large stained glass window on the Eastern façade and projects the rose window’s colourful pattern on the opposite interior wall, below the Roseton of the main portal. The Cathedral doors, including the main portal, will open earlier than usual that day, Friday, to allow us to appreciate this beautiful spectacle. Admission is free. Don’t come too late; it will all be come and gone within a mere 35 minutes. If you can’t make it this time, the same effect can be witnessed again on February 2nd, come rain or shine. Well, that is not quite true. The suns reflection can’t be seen if the clouds obscure the sunlight from entering the Cathedral. Let’s hope the weather will be as good on Friday as the forecast predicts.

The Societat Balear de Matemàtiques will organise an event at the Cathedral on Saturday, November 12th, at 8 A.M., including a visit into the Cathedral as well as scientific and mathematical explanations of this remarkable event (in Catalan). I believe that event to be free, but, you will have to put your name down if you would like to attend (laseu [at] xeix.org)."



Cathedral of la Seu Majorca in Palma de Mallorca - Balearic islands.

This is a new Dali for me, any comments on the symbolism?

And (dare I say it ), obviously pregnant.

DALI - A larger version.

Wayard, you`re right! I had not noticed that about the de la Tour.

It would seem that someone at the Disney Studios is quite a tease. As Margaret Starbird has pointed out, this, de La Tour, hung in the undersea grotto of, the very red haired, Ariel, (The Little Mermaid in the Disney movie of the same name). The Name "Ariel" itself, is a prophetic name for Jerusalem as found in the Hebrew Bible and some Christian sources. The name of Arial's human lover, "Eric", in the old norse means "Eternal Ruler".
everything is connected and there are no coincidences!

You can go there now on an amusement park ride. Knowing those Disney

artists, the de la Tour is probably not a coincidence!

"Under the Sea" tableware designs..."You`re invited".

Alice at Oxford.

Didn`t Roger say that he graduated from Mary Magdalene College, Oxford?

Eglise Saint-Martin de Limoux



Much has been written about this church and the additions, but no one mentions the windows.

"Masquerade" by New York painter John Koch - I posed for him as a child.

"Children at Play" by John Koch 1953.

Wow Renne. What a beautiful little girl you were. Very impressive. I saw where Christie's had this listed at one time. Do you have a copy? You are full of surprises little lady!

Is that you Renne? You were a very pretty little girl - very lovely painting as well. I like the way the children esp. the girl is playing with structural toys.

The Da Vinci Mermaid

October 22, 2006 By peterchattaway

Just one more teeny tiny footnote regarding The Little Mermaid (1989). You may recall that this film is mentioned in Dan Brown’s novel The Da Vinci Code — though not in Ron Howard’s film adaptation thereof. As I wrote in one of my reviews of that film:

One of the amusing things about the book is how shamelessly it throws together every bit of “evidence” it can muster—from classic paintings to Disney cartoons—to convince the reader the world is full of secrets and conspiracies. But the movie keeps its focus on the highbrow art, in what seems like a bid for credibility, or respectability.

The book mentions several Disney cartoons in passing, but takes a special interest in The Little Mermaid. Here is what it says:

. . . Langdon . . . had learned not to underestimate Disney’s grasp of symbolism. The Little Mermaid was a spellbinding tapestry of spiritual symbols so specifically goddess-related that they could not be coincidence.

When Langdon had first seen The Little Mermaid, he had actually gasped aloud when he noticed that the painting in Ariel’s underwater home was none other than seventeenth-century artist Georges de la Tour’s The Penitent Magdalene — a famous homage to the banished Mary Magdalene — fitting decor considering the movie turned out to be a ninety-minute collage of blatant symbolic references to the lost sanctity of Isis, Eve, Pisces the fish goddess, and, repeatedly, Mary Magdalene. The Little Mermaid’s name, Ariel, possessed powerful ties to the sacred feminine and, in the Book of Isaiah, was synonymous with “the Holy City besieged.” Of course, the Little Mermaid’s flowing red hair was certainly no coincidence either.

Most of those assertions are bogus, I’m sure. But what about the Georges de la Tour painting? What role does it play within the film itself, and why was it put in there? It appears during the sequence in which Ariel sings ‘Part of Your World’, at the point where she sings the lyric, “What is a fire, and why does it — what’s the word? — burn?” And in the audio commentary, one of the directors says:

That painting, right there, Glen Keane picked out that painting because he wanted a picture, an image, of a fire underwater to go with the lyric.

And who is Glen Keane, you ask? He is a Disney animator, the son of Family Circus cartoonist Bill Keane, the author of a series of ‘Parables for Kids‘ books, and a professing Christian in his own right; in one of the bonus features on the DVD for Beauty and the Beast (1991), he even alludes to how his faith motivated him when he animated the Beast’s transformation back into a man.

So, the idea that there is some sort of secret mysterious heretical meaning behind this scene in the Disney film is pretty bogus.

Oh, and about the red hair. Here is what Keane’s colleagues have to say about that, in one of the featurettes on Disc 2:

Mark Henn (co-supervising animator, Ariel): The choice for red hair was definitely a very conscious, deliberate choice. For me, what I remember was simply the fact that we had just come out with a mermaid picture in Splash [1984], and you had a blonde Daryl Hannah, so right away it was just like, “Well, we gotta do something different.”

Maureen Donley (associate producer): I remember a si– major argument over Ariel’s hair. People would walk into the room with totally different images in their heads. Jeffrey [Katzenberg] thought he was going to see Daryl Hannah, maybe.

John Musker (co-writer, co-director and co-producer): He was like, “Guys, everybody knows mermaids are blonde, okay?” And we were like, “Do they know that? Do we know that?”

Roger Allers (story artist): The choice of red hair for Ariel works way better than blonde, because for one thing, you’ve got these lovely complements. You’ve got the red on top and the green tail, so you’ve got two complements which gives you an energy. Also, you want to take her into a dark place and her hair gets darker? A dark shade of red is really much more easy to accomplish than to take yellow, and make a dark yellow. Blecch.

So there you go. She’s got red hair partly because Daryl Hannah’s mermaid had blonde hair. Then again, Splash was directed by Ron Howard, who went on to direct The Da Vinci Code, so maybe there’s still room for the conspiracy theorists to maneuver here.

(end)

Starbird tried to pull this one over six years ago. Didn't work out so well for her.

TCP

"Everything is connected and there are no coincidences"
Sorry Lov!
If one subscribes to this theory Tim, then the Disney animators had no choice, or at least were guided in their choices.