POETS UNITED - OPENNESS

“Just because a door appears closed it does not mean that it is locked - nor that it will not open with the right heart, call or touch” - Rasheed Ogunlaru

The Midweek Motif for Poets United this week is “Openness”. My contribution below:

You Read me Like an Open Book

“You read me like an open book,” she said,

“And always know what to do and what to say to me.

Why cannot you be the same,

Why must I always guess (and always wrongly!)

Of what you hide deep in your heart?”

I smile (and I do enigmatic well), and reply:

“My dear, were I too like an open book,

How boring we two would be,

Going around reading each other

And bumping into trees and poles and such?”

She looks puzzled and frowns –

“But it’s so frustrating, all this guessing,

This suspense, this uncertainty!

You are shut up like a clam

And I never know what pleases you…”

I open up my hand and on my outstretched palm

There is a verdant oasis of palm trees

And sweet, inviting water;

I open my arms and there is a peaceful place,

Disarmed, serene, eirenic.

“Come,” I say, “I am accessible,

Just don’t read me, simply feel,

Listen to my constant heartbeat

And let your fingers perceive the braille of my skin

That spells out my love more eloquently than printed words.”

She touches me and divines my meaning,

Wordlessly and so divinely quiet;

And she rightly guesses this time

My hidden meanings and understands

That for so long I have been staring at her open book

With the unseeing eyes of an illiterate.

This post is part of the ABC Wednesday meme.

TRAVEL TUESDAY #24 - TIJUANA, MEXICO

“Mexico is a safe, as well as a beautiful and warmly gracious, place to visit.” - Margaret Chan

Welcome to the Travel Tuesday meme! Join me every Tuesday and showcase your creativity in photography, painting and drawing, music, poetry, creative writing or a plain old natter about Travel!

There is only one simple rule: Link your own creative work about some aspect of travel and share it with the rest of us!

Please use this meme for your creative endeavours only. Do not use this meme to advertise your products or services as any links or comments by advertisers will be removed immediately.

The Tijuana Cultural Centre (CECUT) is a cultural centre in the Zona Río district of Tijuana, Mexico. The centre opened 20 October 1982, and accommodates more than a million visitors per year. A major feature of the complex is an OMNIMAX cinema designed by architects Pedro Ramirez Vazques and Manuel Rossen Morrison. It is the only IMAX cinema in Tijuana, and has come to be popularly known as La Bola (“The Ball”). The cinema, which uses a 360-degree projector to surround viewers with a panoramic image, has 308 seats. The OMNIMAX cinema has been part of the cultural centre since the complex first opened in 1982. In October of that year, it premiered the film “El pueblo del sol”, which was made especially for the cinema’s opening. The film presents images from the most representative regions of Mexico, and got very good reviews. It was the cinema's only film for 13 years. Today, the centre offers a daily selection of films; it premieres about four films per year.

The centre encompasses a large esplanade that accommodates up to 6,000 people. The esplanade is a venue for performances, festivals, and expos. There is also permanent exhibition, called “Museo de las Californias”, which stores over 200 pieces and is a walk through the history of the Baja Peninsula and the state of California from the prehistoric period until the first half of the 20th century. Also a pre-Hispanic garden, called “Jardin Caracol” (Snail Garden), that contains sculptures from the different regions of the mesoamerican cultures that inhabited south Mexico before the arrival of the Spanish Army. Visitors can have the experience of going through the exhibition while enjoying a coffee since there is a little coffee shop in the garden.

There is also a scenic theatre, which has a room for around a thousand visitors and it is mostly used for private concerts and plays. There are also lecture rooms, video room, café, and a bookshop. There are several spaces for temporary small exhibits. In September 2008, on the eve of its 26th anniversary, CECUT opened its doors to a brand new building called “El Cubo” (The Cube), so named because of the contrast between the nickname of the OMNIMAX cinema “The Ball”. This represented the very important opportunity for CECUT to start receiving International Exhibitions, and since then it has been the home for exhibitions that have traveled from other countries including Buda Guanyin, Gabriel Figueroa, Alice Rahon, Venus en Tijuana, Proyecto Civico, and Animated Painting among others.

Nowadays this important institution has different programs for all ages, since classes for early stimulation for kids around 2 months and 2 years, plastic arts and artisan workshops for children from 5 to 15 years and concerts, conferences, movies, documentaries, exhibitions, and all kind of services for the whole family to enjoy the day and spend a nice time learning. CECUT is a short distance from the Mexico–United States border at San Ysidro, San Diego.

This post is part of the Our World Tuesday meme,
and also part of the Wordless Wednesday meme.

Add your own travel posts using the Linky tool below, and don't forget to be nice and leave a comment and link back to this post from your own post!

MOVIE MONDAY - ANZAC DAY & GALLIPOLI

“Heroes who shed their blood and lost their lives! You are now lying in the soil of a friendly country. Therefore rest in peace. There is no difference between the Johnnies and Mehmets to us where they lie side by side here in this country of ours. You, the mothers, who sent their sons from far away countries wipe away your tears; your sons are now lying in our bosom and are in peace. After having lost their lives on this land they have become our sons as well.” - Mustafa Kemal Atatürk

In Australia and New Zealand we observe Anzac Day on April 25th as a day of commemoration for those who died in the service of their country, and is a day for honouring returned servicemen and women, whichever battle or war they served in The 25th day of April is the anniversary of the landing of the Australian and New Zealand Army Corps (ANZACs) at Gallipoli in 1915. On the first anniversary of that landing services were held throughout both countries in remembrance of the thousands of Australian and New Zealand soldiers who died during the eight-month Gallipoli Campaign.

Since 1916 Anzac Day has evolved to the observance we commemorate today. The day of observance begins before dawn with a march by returned and service personnel to the local war memorial, where they are joined by other members of the community for the Dawn Service. This is a solemn and grave ceremony which brings to mind the lives lost and the terrible futility of warfare, whether it happened in Gallipoli, in the Middle East, in America, in Vietnam, in Afghanistan, the Gulf or in Korea…

The assault on the Gallipoli Peninsula began on the 25th April 1915, as an attempt by Allied Command to weaken the strategic position of Germany, Austro-Hungary and Turkey who were allied in the first world war. It was the Australasian Expeditionary Force’s first major engagement of the First World War after their training in Egypt. By the end of the first day of warfare on the Gallipoli peninsula, about 2,000 allied troops lay dead. The bloody fighting continued, and by the end of the first week more than 6500 ANZACs had been killed or wounded. No ANZACs ever reached the Turkish trenches, however, many thousands of Turks also died there.

In 1919, after the war was over, several ANZACs went back to Gallipoli to bury their dead properly. At the Nek, they found the bodies of more than 300 Australians in an area smaller than a tennis court. After eight long months of bitter fighting, the British High Command decided that the war at Gallipoli was too costly when they were also fighting other battles in Europe. The ANZACs alone had lost 10,000 men, and so the order came for a withdrawal.

Since the first anniversary of the Gallipoli landing in 1916, Anzac Day has evolved to acknowledge the sacrifice and service of subsequent wars and to encompass new understandings of the full impact of armed conflict on those who have served their country.

The 1981 Peter Weir film “Gallipoli” captures the spirit of Anzac Day and makes for poignant viewing, especially for anyone who has been in a war zone of been affected by warfare. It is acted well by the young Mel Gibson, Mark Lee and Bill Kerr and it is a film that established Gibson as an international star.

It is an excellent anti-war film that establishes this premise subtly and often with wry humour. It is Australia’s version of “All Quiet on the Western Front”, but instead of using the soldiers’ conscience as its premise at that film does, Gallipoli hinges on the Australian cultural foundation of “mateship”. War brings together mates, then it cruelly separates them. The last twenty minutes of the film are particularly illustrative of the callous and brutal nature of war. I think that long though the film is, and a little slow at times, it still is one of the best Australian films, having substance and meaning, but also emotional strength and a pillar in Australia’s culture.

ART SUNDAY - PINTURICCHIO

“In essence the Renaissance was simply the green end of one of civilisation’s hardest winters.” - John Fowles

Pinturicchio, original name Bernardino di Betto di Biago (born c. 1454, Perugia, Romagna Italy – died Dec. 11, 1513, Siena, Republic of Siena) early Italian Renaissance painter known for his highly decorative frescoes. He was born in Perugia, the son of Benedetto or Betto di Blagio. He may have trained under lesser known Perugian painters such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari, Pinturicchio was a paid assistant of Perugino. The works of the Perugian Renaissance school are very similar; and paintings by Perugino, Pinturicchio, Lo Spagna and a young Raphael may often be mistaken one for the other. In the execution of large frescoes, pupils and assistants had a large share in the work, either in enlarging the master’s sketch to the full-sized cartoon, in transferring the cartoon to the wall, or in painting backgrounds or accessories.

By 1481 Pinturicchio was associated with the Umbrian artist Perugino, whose influence on him was to be permanent. It is generally agreed that he assisted Perugino on some of the frescoes (“Journey of Moses” and the “Baptism of Christ”) in the Sistine Chapel in the Vatican (1481/82). In the 1480s he worked in the Bufalini Chapel in Santa Maria in Aracoeli and in Santa Maria del Popolo (both in Rome).

Pinturicchio’s most important work of this period was the decoration of the suite of six rooms in the Vatican known as the Borgia Apartments for Pope Alexander VI between 1492 and 1494. In these frescoes he retains Perugino’s figure types but lacks his clarity of conception. Instead, Pinturicchio relies on brilliant, often jarring colours, gilding, and ancient Roman ornamental motifs. Pinturicchio’s last major works were the 10 scenes from the life of Pope Pius II painted (1503–08) in fresco in the Piccolomini Library in Siena. In these, space, colour, and detail are handled with a crisp proficiency that may have influenced Raphael.

The Ashmolean Museum (University of Oxford), Biblioteca Ambrosiana (Milan), the Cleveland Museum of Art, the Courtauld Institute of Art (London), the Denver Art Museum, the Fitzwilliam Museum (University of Cambridge), the Honolulu Museum of Art, the Louvre, the Museum of Fine Arts, Boston, the National Gallery, London, Palazzo Ruspoli (Rome), the Philadelphia Museum of Art, the Pinacoteca Ambrosiana (Milan), Princeton University Art Museum, Walters Art Museum in Baltimore, the Vatican Museums and the Museum of Fine Arts (Budapest) are among the public collections holding works by Pinturicchio.

Above is “The Anunciation” a fresco in the Baglioni Chapel, in the Church of Santa Maria Maggiore commissioned in 1500 by Troilo Baglioni to the artist Pinturicchio.

MUSIC SATURDAY - GALUPPI

“A painter paints pictures on canvas. But musicians paint their pictures on silence.” - Leopold Stokowski

Baldassare Galuppi (18 October 1706 – 3 January 1785) was an Italian composer, born on the island of Burano in the Venetian Republic. He belonged to a generation of composers, including Christoph Willibald Gluck, Domenico Scarlatti, and CPE Bach, whose works are emblematic of the prevailing galant style that developed in Europe throughout the 18th century. He achieved international success, spending periods of his career in Vienna, London and Saint Petersburg, but his main base remained Venice, where he held a succession of leading appointments.

In his early career Galuppi made a modest success in opera seria, but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his comic operas in the new dramma giocoso style. To the succeeding generation of composers he was known as “the father of comic opera”. Some of his mature opere serie, for which his librettists included the poet and dramatist Metastasio, were also widely popular.

Throughout his career Galuppi held official positions with charitable and religious institutions in Venice, the most prestigious of which was maestro di coro at the Doge's chapel, St Mark’s Basilica. In these various capacities he composed a large amount of sacred music. He was also highly regarded as a virtuoso performer on and composer for keyboard instruments. In the latter half of the 19th century, Galuppi’s music was largely forgotten outside of Italy, and Napoleon’s invasion of Venice in 1797 resulted in Galuppi’s manuscripts being scattered around Western Europe, and in many cases, destroyed or lost.

Galuppi’s name persists in the English poet Robert Browning’s 1855 poem “A Toccata of Galuppi’s”, but this has not helped maintain the composer’s work in the general repertoire. Some of Galuppi's works were occasionally performed in the 200 years after his death, but it was not until the last years of the 20th century that his compositions were extensively revived in live performance and on recordings.

Galuppi was much admired for his keyboard music. Few of his sonatas were published in his lifetime, but many survive in manuscript. Some of them follow the Scarlatti single-movement model; others are in the three-movement form later adopted by Haydn, Beethoven and others. Galuppi’s skill as keyboard player is well documented. Hillers Wöchentliche Nachrichten in 1772 made this mention of Galuppi’s reputation in Saint Petersburg: “Chamber concerts were held every Wednesday in the antechamber of the imperial apartments, in order to enjoy the special style and fiery accuracy of the clavier playing of this great artist; thus did the virtuoso earn the overall approval of the court.”

It is no surprise that a number of Galuppi's keyboard works should make it into print during his lifetime, including two sets of 6 sonatas, published in London as opus 1 (1756) and opus 2 (1759) respectively. Felix Raabe mentions the round number of 125 “sonatas, toccatas, divertimenti and etudes” for keyboard, based on Fausto Torrefranca’s 1909 thematic catalogue of Galuppi’s cembalo works. However, given some of the outrageous assertions on this topic that Torrefranca makes elsewhere (such as the claim that classical sonata form was created by Italian keyboard composers) the accuracy of this figure must be accepted only cautiously.

Galuppi’s 12 experimental Concerti a Quattro are particularly innovative chamber music pieces that foreshadow the development of the classical string quartet. Each of the concerti is a three-movement work for two violins, viola and cello that integrates the counterpoint of the sonata da chiesa with daring chromatic twists and harmonic detours that become more pronounced as the set progresses quartet by quartet. Innovations such as the chromatically raised 5th that Burney singled out in Galuppi’s arias of the 1740s appear, and many harmonic features of the late-classical period are foreshadowed, such as the final deceptive cadence in which an augmented sixth chord is substituted before the ultimate resolution. Among other instrumental compositions by Galuppi, Grove’s Dictionary lists sinfonias, overtures, trios and string quartets, and concerti for solo instruments and strings.

Here are his complete Harpsichord Concerti played by Roberto Loreggian (harpsichord) and the Ensemble ConSerto Musico recorded in 2011.

FOOD FRIDAY - COCONUT & RASPBERRY SLICE

“Come, let us have some tea and continue to talk about happy things.” - Chaim Potok

Afternoon tea is a wonderful indulgence that we can sometimes have, especially so at the weekends. A fragrant, hot cup of tea with a slice of lemon and some delicious sweet tidbit on the side while enjoying compatible company and pleasant conversation is something that makes for a warm and cosy feeling – even more so if the weather is cool and rainy outside…

Coconut & Raspberry Slice

Ingredients

1 cup plain flour

1 cup self-raising flour

1 cup caster sugar

125g butter, chilled, cubed

3 eggs

1 teaspoon vanilla essence

1 cup raspberry jam

2 cups desiccated coconut

Method

Preheat the oven to 180˚C. Grease and line a 3cm deep, 24cm x 30 cm lamington pan. 

Process the two flours, 1/2 cup sugar and butter to resemble breadcrumbs. Add 1 egg and vanilla. Process to form a dough.

Press dough into base of prepared pan. Bake for 15 to 20 minutes, or until light golden. Spread the raspberry jam over the warm base cake base.

Whisk remaining eggs and remaining 1/2 cup sugar together. Stir in coconut. Spread over the jam. Bake for 25 minutes, or until golden. Cool completely in pan. Cut into pieces and serve.

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ALL ABOUT THE BAY LAUREL

“Our greatest glory is not in never falling, but in rising every time we fall.” - Confucius

Laurus nobilis is an aromatic evergreen tree or large shrub with green, glossy leaves, native to the Mediterranean region and belongs to the Lauraceae family. It is one of the plants used for bay leaf seasoning in cooking. It is known as bay laurel, sweet bay, bay tree (esp. United Kingdom), true laurel, Grecian laurel, laurel tree or simply laurel. Laurus nobilis figures prominently in classical Greek, Roman, and Biblical culture. Worldwide, many other kinds of plants in diverse families are also called “bay” or “laurel”, generally due to similarity of foliage or aroma to Laurus nobilis, and the full name is used for the California bay laurel (Umbellularia), also in the family Lauraceae.

The laurel can vary greatly in size and height, sometimes reaching 10–18 metres tall. The laurel is dioecious (unisexual), with male and female flowers on separate plants. Each flower is pale yellow-green, about 1 cm diameter, and they are borne in pairs beside a leaf. The leaves are 6–12 cm long and 2–4 cm broad, with an entire (untoothed) margin. On some leaves the margin undulates. The fruit is a small, shiny black berry-like drupe about 1 cm long that contains one seed.

Laurus nobilis is a widespread relic of the laurel forests that originally covered much of the Mediterranean Basin when the climate of the region was more humid. With the drying of the Mediterranean during the Pliocene era, the laurel forests gradually retreated, and were replaced by the more drought-tolerant sclerophyll plant communities familiar today. Most of the last remaining laurel forests around the Mediterranean are believed to have disappeared approximately ten thousand years ago, although some remnants still persist in the mountains of southern Turkey, northern Syria, southern Spain, north-central Portugal, northern Morocco, Canary Islands and in Madeira.

The plant is the source of several popular herbs and one spice used in a wide variety of recipes, particularly among Mediterranean cuisines. Most commonly, the aromatic leaves are added whole to Italian pasta sauces and Greek pulse dishes. However, even when cooked, whole bay leaves can be sharp and abrasive enough to damage internal organs, so they are typically removed from dishes before serving, unless used as a simple garnish. Whole bay leaves have a long shelf life of about one year, under normal temperature and humidity. Whole bay leaves are used almost exclusively as flavour agents during the food preparation stage. Ground bay leaves, however, can be ingested safely and are often used in soups and stocks, as well as being a common addition to a Bloody Mary. Dried laurel berries and pressed leaf oil can both be used as robust spices, and the wood can be burnt for strong smoke flavouring.

Bay laurel was used to fashion the laurel wreath of ancient Greece, a symbol of highest status. A wreath of bay laurels was given as the prize at the Pythian Games because the games were in honour of Apollo, and the laurel was one of his symbols. The oracle in Delphi used to chew bay leaves while she delivered her prophecies. The symbolism attached tot he laurel carried over to Roman culture, which held the laurel as a symbol of victory. It is also the source of the words “baccalaureate” and “poet laureate”, as well as the expressions “assume the laurel” and “resting on one’s laurels”.

Ovid retells the Greek myth in his Metamorphoses that laurel tree was first formed when the nymph Daphne was changed into a laurel tree because of Apollo’s pursuit of her. Daphne is the Greek name for the tree. In the Bible, the laurel is often an emblem of prosperity and fame. In Christian tradition, it symbolises the resurrection of Christ. In Italy, graduating college students wear crowns of laurel instead of the normal graduation hat, hence “baccalaureate”, from which the term “Bachelor” is derived.

Aqueous extracts of bay laurel can be used as astringents and even as a reasonable salve for open wounds. In massage therapy, the essential oil of bay laurel is reputed to alleviate arthritis and rheumatism, while in aromatherapy, it is used to treat earaches and high blood pressure. A traditional folk remedy for rashes caused by poison ivy, poison oak, and stinging nettle is a poultice soaked in boiled bay leaves. The chemical compound lauroside B isolated from Laurus nobilis is an inhibitor of human melanoma (skin cancer) cell proliferation at high concentrations in-vitro.

In the language of flowers, a laurel sprig stands for “glory”, while a flowering branch stands for “I change but in death”. A laurel wreath means “noble and exalted”.

This post is part of the Floral Friday Fotos meme,
and also part of the Friday Greens meme,
and also part of the Food Friday meme.

POETS UNITED - ORGANIC

“Why, for example, should a group of simple, stable compounds of carbon, hydrogen, oxygen and nitrogen struggle for billions of years to organise themselves into a professor of chemistry? What’s the motive?” - Robert M. Pirsig

The theme for this week’s Poets United midweek motif is “Organic”. I have chosen the original chemical meaning of the term:
Organic: Chemistry - Relating to or denoting compounds containing carbon (other than simple binary compounds and salts) and chiefly or ultimately of biological origin [compare with inorganic].

Organic

Carbon is the backbone

Onto which latches ample hydrogen,

With oxygen here and there,

Scant nitrogen, sulphur, phosphorus.

Organic – the chemistry of life,

Its complex macromolecules

Aggregating with endless variety,

Forming viscid globules, chains, nets…

Organic is so weak, so vulnerable,

Compared to say, silica:

Quartz crystal tough, transparent, sharp

And so simply inorganic.

And as the atoms whirl in space

And collide and exchange energies

Forming bonds, cohering, sharing electrons,

And reach more stable states,

How does the fragile organic

Form such perilous unions

And dangerous aggregations

As the murderous human?

   More toxic than arsenic,

   More harmful than uranium,

   More caustic than hydrofluoric acid,

   More damaging than inorganic mercury?

TRAVEL TUESDAY #23 - HELSINKI

“You can’t cross the sea merely by standing and staring at the water.” - Rabindranath Tagore

Welcome to the Travel Tuesday meme! Join me every Tuesday and showcase your creativity in photography, painting and drawing, music, poetry, creative writing or a plain old natter about Travel!

There is only one simple rule: Link your own creative work about some aspect of travel and share it with the rest of us!

Please use this meme for your creative endeavours only. Do not use this meme to advertise your products or services as any links or comments by advertisers will be removed immediately.

Helsinki is the capital and largest city of Finland. It is in the region of Uusimaa, in southern Finland, on the shore of the Gulf of Finland, an arm of the Baltic Sea. Helsinki has a population of 626,305, an urban population of 1.2 million (31 December 2013), and a metropolitan population of 1.4 million, making it the most populous municipality and urban area in Finland. Helsinki is located some 80 kilometres north of Tallinn, Estonia, 400 km northeast of Stockholm, Sweden, and 388 km west of Saint Petersburg, Russia. Helsinki has close historical connections with these three cities.

The Helsinki metropolitan area includes the urban core of Helsinki, Espoo, Vantaa, Kauniainen, and surrounding commuter towns. It is the world’s northernmost metro area of over one million people, and the city is the northernmost capital of an EU member state. The Helsinki metropolitan area is the fourth largest metropolitan area in the Nordic countries and the City of Helsinki is the third largest Nordic city after Stockholm and Oslo. Helsinki is Finland’s major political, educational, financial, cultural, and research centre as well as one of northern Europe’s major cities.

Approximately 75% of foreign companies operating in Finland have settled in the Helsinki region. The nearby municipality of Vantaa is the location of Helsinki Airport, with frequent service to various destinations in Europe and Asia. In 2009, Helsinki was chosen to be the World Design Capital for 2012 by the International Council of Societies of Industrial Design, narrowly beating Eindhoven for the title. The city was the venue for the XV Olympic Games 1952 and the 52nd Eurovision Song Contest 2007. In 2011, the Monocle magazine ranked Helsinki the most liveable city in the world in its “Liveable Cities Index 2011”. In the Economist Intelligence Unit’s August 2015 Liveability survey, assessing the best and worst cities to live in globally, Helsinki placed among the world’s top ten cities.

This post is part of the Our World Tuesday meme,
and also part of the Wordless Wednesday meme.

Add your own travel posts using the Linky tool below, and don't forget to be nice and leave a comment and link back to this post from your own post!

ART SUNDAY - PAOLO UCCELLO

“I prefer drawing to talking. Drawing is faster, and leaves less room for lies.” - Le Corbusier

Paolo Uccello, original name Paolo di Dono (born 1397, Pratovecchio, near Florence—died Dec. 10, 1475, Florence), was a Florentine painter whose work attempted uniquely to reconcile two distinct artistic styles: The essentially decorative late Gothic, and the new heroic style of the early Renaissance. Probably his most famous paintings are three panels representing “The Battle of San Romano” (c. 1456 - Panel 1 is shown above). His careful and sophisticated perspective studies are clearly evident in “The Flood” (1447–48).

By the time Paolo was 10 years old he was already an apprentice in the workshop of the sculptor Lorenzo Ghiberti, who was then at work on what became one of the masterpieces of Renaissance art, the bronze doors for the Baptistery of the Florence cathedral, which consist of 28 panels illustrating New Testament scenes of the life of Christ. In 1414 Uccello joined the confraternity of painters (Compagnia di San Luca), and in the following year he became a member of the Arte dei Medici e degli Speziali, the official guild in Florence to which painters belonged.

Though Uccello must by then have been established as an independent painter, nothing of his work from this time remains, and there is no definite indication of his early training as a painter, except that he was a member of the workshop of Ghiberti, where many of the outstanding artists of the time were trained. Uccello’s earliest, and now badly damaged, frescoes are in the Chiostro Verde (the Green Cloister, so called because of the green cast of the frescoes that covered its walls) of Santa Maria Novella; they represent episodes from the Creation. These frescoes, marked with a pervasive concern for elegant linear forms and insistent, stylised patterning of landscape features, are consistent with the late Gothic tradition that was still predominant at the beginning of the 15th century in Florentine studios.

From 1425 to 1431, Uccello worked in Venice as a master mosaicist. All his work in Venice has been lost, however. Uccello may have been induced to return to Florence by the commission for a series of frescoes in the cloister of San Miniato al Monte depicting scenes from monastic legends. While the figural formulations of these ruinous frescoes still closely approximate those of the Santa Maria Novella cycle, there is also a fascination with the novel perspective schemes that had appeared in Florence during Uccello’s Venetian sojourn and with a simplified and more monumental treatment of forms deriving from the recent sculpture of Donatello and Nanni di Banco.

In 1436 in the Florence cathedral, Uccello completed a monochrome fresco of an equestrian monument to Sir John Hawkwood, an English mercenary who had commanded Florentine troops at the end of the 14th century. In the Hawkwood fresco, a single-point perspective scheme, a fully sculptural treatment of the horse and rider, and a sense of controlled potential energy within the figure all indicate Uccello’s desire to assimilate the new style of the Renaissance that had blossomed in Florence since his birth. Following the Hawkwood monument, in 1443 Uccello completed four heads of prophets around a colossal clock on the interior of the west facade of the cathedral; between 1443 and 1445 he contributed the designs for two stained-glass windows in the cupola.

After a brief trip to Padua in 1447, Uccello returned to the Chiostro Verde of Santa Maria Novella. In a fresco illustrating the Flood and the recession of the water, Uccello presented two separate scenes united by a rapidly receding perspective scheme that reflected the influence of Donatello’s contemporary reliefs in Padua. Human forms in “The Flood,” especially the nudes, were reminiscent of figures in Masaccio’s frescoes in the Brancacci Chapel (c. 1427), perhaps the most influential of all paintings of the early Renaissance. More than any other painting by Uccello, “The Flood” illustrates the artist’s love for perspective.

Perhaps Uccello’s most famous paintings are three panels representing the Battle of San Romano, now in the Louvre, Paris; the National Gallery, London; and the Uffizi, Florence. These panels represent the victory in 1432 of Florentine forces under Niccolò da Tolentino over the troops of their archrival, Siena. There are Renaissance elements, such as a sculptural treatment of forms and fragments of a broken perspective scheme in this work, but the bright handling of colour and the elaborate decorative patterns of the figures and landscape are indebted to the Gothic style. The older style continued to be used through the 15th century in Florence to enrich the environments of the new princes of the day, such as the Medici, who acquired all three of the panels representing the Battle of San Romano.

Uccello is justly famous for his careful and sophisticated perspective studies, most clearly visible in “The Flood,” in the underdrawing (sinopia) for his last fresco, “The Nativity,” formerly in San Martino della Scala in Florence, and in three drawings universally attributed to him that are now in the Uffizi. These drawings indicate a meticulous, analytic mind, keenly interested in the application of scientific laws to the reconstruction of objects in a three-dimensional space. In these studies he was probably assisted by a noted mathematician, Paolo Toscanelli. Uccello’s perspective studies were to influence the Renaissance art treatises of artists such as Piero della Francesca, Leonardo da Vinci, and Albrecht Dürer. Uccello apparently led an increasingly reclusive existence during his last years.

Uccello was long thought to be significant primarily for his role in establishing new means of rendering perspective that became a major component of the Renaissance style. The 16th-century biographer Giorgio Vasari said that Uccello was “intoxicated” by perspective. Later historians found the unique charm and decorative genius evinced by his compositions to be an even more important contribution.

MUSIC SATURDAY - ANNIBALE PADOVANO

“Believe that life is worth living and your belief will help create the fact.” - William James

Annibale Padovano (1527 – March 15, 1575) was an Italian composer and organist of the late Renaissance Venetian School. He was one of the earliest developers of the keyboard toccata. Padovano was born in Padua (hence his surname) but little is known about his early life. He first appears at St. Mark’s in Venice on November 30, 1552, when he was hired as first organist at an annual salary of 40 ducats. He stayed at this post until 1565.

St. Mark’s at this time also began to employ a second organist (it was Claudio Merulo for the last eight years of Padovano’s tenure), which allowed two simultaneous, spatially separated organs to perform in the huge space of the cathedral: This was a key development in music of the Venetian school, which was already using spatially separated choirs of voices. Merulo took over the job of first organist when Padovano left.

In 1566, Padovano left Venice to go to the Habsburg court in Graz. Many Venetian musicians left their native area to seek their fortunes in Habsburg domains, which generally remained friendly to Venice. Padovano became the director of music at Graz in 1570, and died there five years later.

Although Padovano published a book of motets, a book of masses, and two books of madrigals, he is mainly remembered for his instrumental music. He was a notable early composer of ricercars, a predecessor of the fugue; many of the themes he used derived from plainchant, but he included considerable ornamentation in the melodic lines. In addition he often broke the theme up for motivic development in a surprisingly “modern” way, anticipating the developmental techniques of the common practice period.

Probably his most famous compositions are his toccatas, which were perhaps the earliest examples of the toccata in its more modern sense as an improvisatory, highly ornamented piece. Usually he included imitative interpolations between improvisatory sections, and also meter changes from duple to triple, anticipating later music of the Venetian school.

While in Bavaria he wrote an enormous Mass for 24 Voices, which makes use of three choirs of eight voices each. This composition was likely performed for the wedding of Duke Wilhelm V of Bavaria to Renata of Lorraine. This piece has been recorded by the Huelgas Ensemble, led by Paul Van Nevel. Here is this mass:

FOOD FRIDAY - TARTE AUX PÊCHES

“Chocolate’s okay, but I prefer a really intense fruit taste. You know when a peach is absolutely perfect... it's sublime. I'd like to capture that and then use it in a dessert.” - Kathy Mattea

When the mellow, warm, fine and sunny weather of Autumn comes it makes you think that Summer has come back just to say goodbye. You shed a few clothes that were made necessary by the low temperatures of just a couple days ago, sip on an iced tea and hanker for a Summer dessert. Too bad if ripe fresh peaches are out season, thankfully there are those you’ve preserved yourself or those that come in a can. In any case, the summery dessert is made, ready to be served on an early Autumn evening…

Upside Down Peach Tart

(Tarte aux Pêches)

Ingredients

350 g puff pastry (we use the frozen variety from the supermarket)

70 g unsalted butter

140 g caster sugar

1 cassia stick

4 perfectly ripe peaches, halved, stoned and each cut into 8 segments

(or use drained, canned peach segments)

Method

Roll out the puff pastry until 3 mm-thick. Using a 27 cm skillet or heavy oven-proof frying pan as a guide, cut out a 27 cm circle of pastry and place on a baking paper lined tray and refrigerate until needed. Preheat the oven to 200ºC.

Place the butter in the skillet with the sugar and cassia stick and cook over medium heat, shaking the pan occasionally, until the sugar melts and the syrup starts to become lightly golden. Carefully remove the cassia stick.

Arrange a neat layer of peach segments on top of the syrup in the skillet - they can overlap each other but must cover the base of the pan. Cook the peaches over low heat for 5 minutes without moving them, then remove the pan from the heat. 

Remove the pastry circle from the refrigerator and carefully place it on top of the peaches, using the back of a spoon to ease the edges of the pastry down between the peaches and the pan as if tucking in a blanket. Bake for 15 minutes or until the pastry is golden and you can see juices bubbling around the outside.  Remove from the oven and stand for 10 minutes before carefully inverting the tart onto a serving plate.

Garnish with clotted cream or French vanilla ice cream.

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