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Made for the Medici villa of Castello, the work of art is currently kept in the Uffizi Gallery in Florence. An iconic work of the Italian Renaissance, often assumed as a symbol of Florence itself and its art, perhaps in ancient times it was a pendant with the equally famous Primavera by Botticelli, with which it shares its historical provenance, format and some philosophical references. It represents one of the highest creations of the Florentine painter’s aesthetic, as well as a universal ideal of female beauty. The Birth of Venus has always been considered the perfect idea of ​​female beauty in art, just as David is considered the canon of male beauty; Since both works are kept in Florence, the Florentines pride themselves on possessing the canons of artistic beauty within the city walls …

The giant and the child Under the sun against the wind On a timeless day They walked among the stones

It was 1971. Italy divided its attention between the repeal of article 553 of the penal code, which prohibited the production and trade of contraceptives, and the mafia killings of Pietro Scaglione and Antonio Lo Russo. In that Italy, which no longer exists, an eighteen-year-old boy presents the song The Giant and the Girl at the event “A record for the summer”. The singer was Rosalino Cellamare, known as Ron, the music was built by Lucio Dalla and the words came from Paola Pallottino. The song was received by the audience as a children’s fairy tale. On the other hand, the Rai censors of the program “A disc for the summer”. Paola Pallottino was forced to make major changes to the text. The original text contained the sentence: but the giant is now standing – with his sword of love – and crying he cuts the flower – before it is trampled on. The phrase …

They called me a bitch. They called me a witch. They called me slut. I was just myself. Free to be cruel, sadistic, perverse, nymphomaniac, to be scary. I had their life in my hands and if only I wanted to, I could have crushed them all under my leather boots, always shiny, always in order. Flies, crawling worms, scraps of humanity, useless creatures that we had the duty and honor to exterminate, to make Europe and the world better. I watched them walk, pale, undernourished, dirty, hungry. I despised those empty, frightened eyes, those lifeless gazes before death, their slow and fearful gait, ready to start at every noise, to make themselves small-small to take shelter from what awaited them: extermination. For me they were nothing, a daily obligation, a pastime to the boredom of the camp. Their survival did not concern me. I became aware of those invisible presences only when I saw them suffering, kneeling in the dust …

Pellegrina Forgione was born in Pietralcina, a small town in the current province of Benevento in 1892. Her father Grazio Maria, called Orazio or Razio, and her mother Maria Giuseppa di Nuzio, called Peppa, were of humble origins. The house that gave her birth was certainly not a palace. Two overcrowded rooms, which over the years were enlivened by the birth of numerous children, in all 8: Michele, the first-born, the first Francesco, who died a few days after his birth, Amalia, who survived only two years, Francesco, born Padre Pio , Felicita, the saint’s favorite sister, Pellegrina, Graziella, who became a nun in 1917, and Mario, who survived only one year. Unlike the other brothers, Pellegrina proved to be very independent from an early age, little inclined to obedience. She did not have a good relationship with them, she was not linked by complicity as were, for example, Francesco and Felicita. When the Forgione brothers were small, father Orazio and Michele, the eldest, I will leave …

The Lascaux cave is one of the most important painted caves of the Paleolithic, due to the number and aesthetic quality of the works it contains.

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